Film Retrospective | 100 Reviews Special

This is only the second time I've reached a significant milestone in my ongoing reviews, the magic number of one hundred. And to be clear, I've done one hundred film reviews, not reviewed one hundred separate film stocks. And that's because I've reviewed some rebadged films; sometimes, I knew it was a rebadge and then made a point not to go after that film stock again, notability ORWO films. I reviewed the four motion picture-specific films from ORWO as their Lomography rebadge. But in the case of Fomapan 100, I reviewed that first as KosmoFoto Mono 100 and then again as Fomapan 100. Agfa AviFoto 80 has been reviewed many times under Rollei Retro 80s, Rollei RPX 25, Adox HR-50 and Adox Scala 50. So today, I will look back at the last 100 reviews and make a top list of some of my favourites, similar to what I did at the 100 camera review mark but slightly different.

Top Five Favourite Films
It's always hard to choose just one! But in these cases these are films that are still produced and readily available. They are also ones that I will always grab when I need to get the shot! Both for my personal and professional work. And yes, these days it is mostly Ilford on the list, which is interesting because when I started reviewing film stocks, it would have been dominated by Kodak.

Ilford FP4+
When it comes to a go-to mid-speed film, Ilford FP4+ is that film. It offers up everything I look for in this speed range, with excellent tonality, great latitude, classic grain and excellent edge sharpness. I was first introduced to FP4+ when Kodak discontinued Plus-X and I wanted something similar, and FP4+ was that film, even has the classic ASA-125 box speed. It's my goto for outdoor events, portrait work, and general photography. Plus I can use it in all my cameras from 35mm up to 4×5 and larger. And it handles any situation I throw at it when it comes to lighting, natural, artificial, high-contrast, low contrast. And you can over and under expose it and push/pull in development when the situation requires such a process. And it responds to ever developer I throw its way.

Minolta Maxxum 9 - Konica-Minolta Zoom AF 24-105mm 1:3.5-4.5 D - Ilford FP4+ @ ASA-125 - Tetenal Neofin Blau (1+9) 9:00 @ 20C (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford FP4+ @ ASA-125 - 510-Pyro (1+100) 10:30 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-125 - Adox FX-39 II (1+9) 6:00 @ 20CPacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford FP4+ @ ASA-64 - Pyrocat-HD (1+1+100) 8:00 @ 20C

Ilford Delta 100
While of a speed similar to FP4+, Delta 100 is the one film I take when I need something that looks sharp and modern. Thanks to the contemporary emulsion, I can achieve excellent results across all the formats. I started to enjoy Delta 100 with my original review set in 2015 when I began exploring the Ilford line of films and developers. And I'm glad I did; this spot would have been filled with Tmax 100, but I needed to find something similar with the cost increases. Also, Delta 100 works well with all the developers I use. It has become the go to film stock for my lens tests along with Delta 400. Now to see if I can over-expose it to ASA-32.

Nikon F5 - AF Nikkor 35mm 1:2D (Yellow-12) - Ilford Delta 100 @ ASA-100 - Fotospeed FD10 (1+9) 7:00 @ 20CModified Anniversary Speed Graphic - Schneider-Kreuznack Angulon 1:6,8 90mm - Ilford Delta 100 @ ASA-50 - Agfa Rodinal (1+25) 7:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Delta 100 @ ASA-100 - Kodak HC-110 Dil. E 7:30 @ 20CBronica GS-1 - Zenzanon-PG 1:3.5 f=100mm - Ilford Delta 100 @ ASA-80 - SPUR HRX (1+20) 9:00 @ 20C

Ilford HP5+
You guessed it, another Kodak replacement. While I struggled for a while to come to love Ilford HP5+ in 35mm, I always enjoyed working with it in medium and large format. Probably my favourite combination across the board is shooting it at ASA-200 and developing it in Pyrocat-HD. But it works well in almost any developer, except Rodinal. Perfect when you need a fast shutter speed, offers up excellent latitude. Good tonality, edge sharpness, and a bit more visible grain but nothing too serious.

Minolta XE-7 - Minolta MD Rokkor-X 45mm 1:2 - Ilford HP5+ @ ASA-400 - Kodak D-76 (1+1) 13:00 @ 20CHolga 120N - Optical Lens f=60mm 1:8 - Ilford HP5+ @ ASA-400 - Ilford ID-11 (1+1) 11:00 @ 20C (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford HP5+ @ ASA-1600 - Bellini EcoFilm (Stock) 11:00 @ 20C (Constant Rotation)Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200 - Pyrocat-HD (1+1+100) 9:00 @ 20C

Eastman-Kodak Double-X 5222
Wait, there's a 200-speed film that I actually enjoy working with? Well yes, because there is something incredibly special about Double-X. First there is the connection to motion pictures, Casino Royale and more recently Oppenheimer. But Double-X always delivers the goods, while not fine-grained, it has a wonderful grain structure, and a tonality that goes on for days. I use this film for street photography, general-purpose and travel. It can be developed in a lot of different developers, but it does look amazing in Kodak's dedicated motion picture developer D-96. No matter the situation, this film will give you excellent image quality. Plus if you go through CineStill you can get Double-X in both 35mm and 120 formats.

Hasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Cinestill BwXX @ ASA-200 - FPP D96 (Stock) 6:00 @ 20CNikon F5 - AF Nikkor 85mm 1:1.8D - CineStill BwXX @ ASA-250 - Ilford Ilfotec HC (1+63) 10:45 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - CineStill BwXX @ ASA-250 - Fotospeed FD10 (1+9) 10:00 @ 20CNikon F5 - Tamron AF 100-300mm 1:5-6.3 - Cinestill BwXX @ ASA-200 - Cinestill D96 (Stock) 6:30 @ 20C

Ilford Pan F+
It's always good to have a slow film in your toolkit. And while there are plenty of options, my go-to when things matter is Ilford Pan F+. You get a slow film with lots of contrast and latitude. Excellent edge sharpness and fine grain. Plus, you can throw it in almost any developer and get excellent results. Perfect for landscapes, portraits, and bright days. It replaces Panatomic-X a little more than TMax 100 does in my books, despite having much more contrast. And it looks good in high-contrast developers like D-19, much better than I thought it would.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Ilford Pan F+ @ ASA-50 - Tetenal Neofin Blau (1+9) 12:15 @ 20C (Constant Rotation)Nikon F5 - AF Nikkor 24mm 1:2.8 - Ilford Pan F+ @ ASA-50 - Kodak D-19 (1+1) 5:30 @ 20C (Constant Rotation)Canon EOS 3000 - Canon Lens EF 28mm 1:2.8 - Ilford Pan F+ @ ASA-50 - 510-Pyro (1+100) 6:15 @ 21CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Ilford Pan F+ @ ASA-50 - Ilford Microphen (1+1) 6:00 @ 20C

Top Five Discontinued Film Stocks
While we are lucky to have as many films out there as we do today, there are many that have been discontinued. Some recently, others before I was born. Yet I still am drawn towards a bunch of these and will purchase them when I come across them at a camera fair, store, or online.

Kodak Panatomic-X - Discontinued: 1987
By this point, you're probably sick of me extolling the virtues of Panatomic-X. But I cannot stop; it's such a great film and, oddly enough, one I found because I thought the name was cool. I mean, Panatomic-X, it's so cold war! Now this film is only for some, it doesn't have a lot of contrast natively, but that can be fixed in either post-processing or by using a strong mix of a high-contrast developer. While personally, I love the film in D-76, HC-110 (Dil. H), and Xtol. It might do well in D-19 (to boost that contrast) or drop the contrast even more with D-23. And while Panatomic-X is long gone, a few options exist to get a near experience. You can always shoot TMax 100 at ASA-32 and pull the film in development, or get your hands on CatLABS X Film 80 or Mk. II.

Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Kodak Panatomic-X @ ASA-32 - Kodak D-76 (Stock) 5:00 @ 20CNikon FA - AI-S Nikkor 50mm 1:1.4 - Kodak Panatomic-X @ ASA-32 - Blazinal (1+50) 10:00 @ 20CNikon F4 - AF Nikkor 35mm 1:2D - Kodak Panatomic-X @ ASA-32 - Kodak Xtol (1+1) 7:30 @ 20CMinolta XE-7 - Minolta MD Rokkor-X 45mm 1:2 - Kodak Panatomic-X @ ASA-32 - Kodak HC-110 Dil. H 9:00 @ 20C

Kodak Kodachrome - Discontinued: 2002-2009
It would only be a list of discontinued films with Kodachrome. I first heard about Kodachrome through the Film Photography Project right when Kodak announced the discontinuation of the legendary film stock. I got my hands on a couple of rolls, but sadly those were poorly stored, and they showed. But I got more from Sean Galbraith, and these were in top condition, and I started to see why people love this film so much! It has rich, authentic colour reproduction. But I also had the chance to shoot Kodachrome 25 and Kodachrome 40 (Tungsten) balanced and get them out to Dwayne's Photo before they stopped processing the film.

Nikon F3 - AI-S Nikkor 50mm 1:1.4 - Kodak Kodachrome 64 - Processing By: Dwyanes PhotoNikon F3 - AI-S Nikkor 50mm 1:1.4 - Kodak Kodachrome 64 - Processing By: Dwyanes PhotoNikon F4s - AF Nikkor 35mm 1:2D - Kodak Kodachrome 25 - Processing By: Dwyanes PhotoNikon F4s - AF Nikkor 35mm 1:2D - Kodak Kodachrome 40 Type A - Processing By: Dwyanes Photo

Fujifilm Astia 100F - Discontinued: 2011
Fuji often gets a bad rap for it's constant discontinuation of films, and most of these films are slide films. Although they are noted for some colour negative and B&W stocks that people still yearn after. But of all the films that Fuji has discontinued, my favourite, oddly is a slide film. Fujifilm Astia 100F is the second slide film that I ever shot, the first is the Sensia line. But it was Astia that made me love slide film. It had the perfect balance of contrast, sharpness, and colour replication. In fact, I feel it had the most realistic colour replication of all the Fuji slide films.

Nikon F3 - AI-S Nikkor 50mm 1:1.4 - Fuji Astia 100F @ ASA-100 - Processing By: Silvano'sRollieflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fuji Astia 100F @ ASA-100 - Processing By: Silvano'sArsenal Kiev 88 - Biometar 80mm 1:2.8 - Fuji Astia 100F @ ASA-100 - Processing By: Silvano'sIntrepid 4×5 Mk. I - Schneider-Kreuznach Symmar-S 1:5.6/210 - Fuji Astia 100F @ ASA-100 - Processing By: The Darkroom

Agfa APX 25 - Discontinued: 1989-2000
I'll admit, I had a roll of APX 25 in 120 long before I knew what the film was and used it to practice loading film onto Patterson reels in daylight. I admit that mistake, but since then, I have used this film several times, including a 120-roll. I enjoy working with slow films, and APX 25 offers excellent edge sharpness, fine grain, and fantastic tonality. While you get terrific results from Rodinal, I enjoyed using Adox FX-39 II. But I also have gotten superb results from Fotospeed FD10. I am looking forward to trying the film with Diafine and Compard R09 Spezial (Studional). I do regret not being able to develop a roll in Tetenal Neofin Blau, but you cannot make the old stock solution with the new bottles.

Minolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Agfa APX 25 @ ASA-25 - Ilford ID-11 (Stock) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Agfa APX 25 @ ASA-25 - Ilford Ilfotec HC (1+63) 11:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Agfa APX 25 @ ASA-25 - Adox Rodinal (1+50) 9:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Agfa APX 25 @ ASA-25 - Adox FX-39 II (1+9) 5:15 @ 20C

Efke Films - Discontinued: 2012
Okay, so I'm going a little weird for this last one because I'm including all Efke films in this section. While I have only done an official review (twice) for KB100 (the fastest film of the group), I have had the chance to shoot all three versions. Efke's line of films includes ASA-25, ASA-50, and ASA-100 versions and are based on the original Adox B&W films released in the mid-20th Century. Efke got their hands on the formulas and equipment after Dupont sold it in 1972. Eventually, Fotoimpex would begin rebadging the film under the Adox name until discontinuation in 2012, when Efke could no longer maintain the equipment. After learning about Freestyle Photographic through the Film Photography Project, I first got my hands on films. I started to explore the weird world of B&W films. The films are silver rich and provide a classic look that most modern films don't offer. However, you did need to use a water stop bath and hardening fixer to preserve these film stocks.

Zeiss Ikon Contax IIIa - Carl Zeiss Jena Tessar 1:3,5 f=5cm T - Efke KB100 @ ASA-100 - Kodak D-23 (Stock) 7:45 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Adox CHS 100 - Blazinal (1+25) 6:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D (Yellow-15) - Efke KB50 @ ASA-50 - Kodak Xtol (Stock) 8:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Adox CHS 50 - Processing By: Silvano'sPacemaker Crown Graphic - Fuji Fujinon W 1:5.6/125 - Efke PL25 @ ASA-25 - PMK Pyro (1+2+100) 7:30 @ 21CModified Anniversary Speed Graphic - Fuji Fujinon-W 1:5.6/125 - Efke PL25 @ ASA-25 - PMK Pyro (1+2+100) 7:30 @ 21C

Top Five Favourite B &W Films
While these aren't always the one I'll reach for when results matter, they are among my favourites that I've shot and used. And I continue to use them when I'm feeling in a creative rut or want to get out and have some film fun and work in the black & white sphere!

Kentmere 100
Kentmere 100 is a wonderful budget film from Harman Technologies/Ilford Photo. But don't let the budget label scare you, because Kentmere 100 is a film that hits high above its price point. Yes, it doesn't have the finest grain out there but it has a lovely traditional grain structure. But that grain helps enhance the edge sharpness which combined with the wonderful tonal range of the film creates a delightful film that will deliver excellent results. Plus with the recent release of the film in 120 format makes it a great film that can fill out your film cataloge.

Nikon F5 - AF-S Nikkor 14-24mm 1:2.8G - Kentmere 100 @ ASA-100 - Kodak HC-110 Dil. B 5:45 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kentmere 100 @ ASA-80 - SPUR HRX (1+20) 9:30 @ 20COlympus OM-10 - Olympus G.Zuiko Auto-W 1:3,5 f=28mm (Yellow-12) - Ketmere 100 @ ASA-100 - Flic Film Black/White & Green (1+49) 12:00 @ 20C (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kentmere 100 - Compard R09 Spezial (1+30) 9:00 @ 20C

Rollei RPX 25
Based on Agfa Avifoto 80, and probably is my favourite of all the films based on this surveillance film stock. While it also works well as Adox HR-50 and makes unique transparencies as Adox Scala 50. When you get to Retro 80s, it gets far too punchy. RPX 25 is a film rated at ASA-25, has excellent near-IR sensitivity and responds well to many different light. But what makes RPX 25 a cut above the other versions? You can get this in 35mm, 120, and 4×5 sheets! While not a film you take out all the time with a slow ASA-25 speed, it is a film for sunny days.

Pacemaker Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Rollei RPX 25 @ ASA-25 - Pyrocat-HD (1+1+100) 12:00 @ 20CContax G2 - Carl Zeiss Biogon 28/2,8 T* - Rollei RPX 25 @ ASA-25 - Kodak D-76 (1+1) 8:00 @ 20CPentax 67II - SMC Pentax 67 1:2.4 105mm - Rollei RPX 25 @ ASA-25 - Ilford Ilfotec HC (1+63) 11:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 24mm 1:2.8 - Rollei RPX 25 @ ASA-25 - Adox Scala Developer (1+1) 10:45 @ 20C

Adox CHS 100 II
The return of the classic! CHS 100 II is a reformulated and reintroduced version of Efke KB100, which is based on an original Adox film stock. CHS 100 II is similar to the original one but has a more robust emulsion and has a bit more latitude. It offers up an old school look with a bit more grain than modern 100-speed films. The one thing I did notice with this film is that it doesn't do well in high-contrast conditions, you'll loose a lot of shadow detail. So you can probably shoot it at ASA-80 or ASA-64 to help open up those shadows when you develop, don't pull in development. You can get this in 35mm and 4×5, although I would love to see Adox bring it back in the 120 format. While you can use this with any developer, for the best results I recommend Adox FX-39 II.

Canon AE-1 - Canon Lens FD 28mm 1:2.8 - Adox CHS 100 II @ ASA-80 - Adox Atomal 49 (1+1) 9:00 @ 20C (Constant Rotation)Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Adox CHS 100 II @ ASA-100 - Adox Atomal 49 (Stock) 5:45 @ 20CKonica-Minolta Maxxum 70 - Minolta Maxxum AF 35-70mm 1:4 - Adox CHS 100 II @ ASA-100 - Adox FX-39 II (1+9) 7:00 @ 20CCrown Graphic - Schneider-Kreuznack Xenar 1:4,7/135 - Adox CHS 100 II @ ASA-100 - Kodak Xtol (1+1) 7:15 @ 20C

ORWO UN54+ (Lomography Potsdam)
ORWO is a strange company these days. While tracing itself to the original Agfa company and then reformed on the eastern side of the iron curtain. The company's current iteration has been in hot water of late, especially the owner. All that aside, UN54+ is a beautiful film with tonnes of tonality, fine grain and excellent sharpness. Plus, if you get it from Lomography, you can order it in 35mm and 120. It loves D96 and handles other developers well. But honestly, for best results, a Pyro developer or D96, and you'll be happy.

Mamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Lomography Potsdam 100 @ ASA-100 - Kodak HC-110 Dil. E 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Lomography Potsdam 100 @ ASA-100 - Blazinal (1+50) 9:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Lomography Potsdam 100 @ ASA-100 - Pyrocat-HD (1+1+100) 10:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Lomography Potsdam 100 @ ASA-100 - Cinestill D96 (Stock) 6:00 @ 20C

Fomapan 100
Along the same lines as Kentmere 100, Fomapan 100 is an excellent budget film. But it has a look that's different from Kentmere 100, its a classic film with a classic look. It has an excellent edge sharpness, but is a little more fine-grain than Kentmere 100 but it also depends on how you develop the film. It has a good tonality, but can get pretty crunchy under high-contrast situations. Plus you can get this film under multiple boutique and budget brands. So even if you cannot get the Foma branded stuff, there are plenty of other ways to get your hands on the stock. Fomapan 100 is also avaliable in 35mm, 120, and sheet films.

Leitz Leica M4-P - 7Artisans DJ-Optical 35/2 - Fomapan 100 @ ASA-100 - Foma Retro Special (Stock) 4:00 @ 20CMamiya C220f - Mamiya-Sekor 1:2.8 f=80mm - Fomapan 100 @ ASA-100 - 510-Pyro (1+100) 8:30 @ 20CNikon FM - AI-S Nikkor 105mm 1:2.5 - Fomapan 100 @ ASA-100 - Ilford Microphen (1+1) 9:00 @ 20CHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 100 @ ASA-100 - Kodak D-23 (Stock) 10:00 @ 20C

Top Five Favourite Colour Films (C-41 & E-6)
I don't shoot a lot of colour film, I find it difficult to scan and getting it processed is a bit of a drag. I can and have processed colour at home, but because the kits last for several rolls I usually will wait until I have a huge backlog then spend the next couple of evenings running everything through. If I take it to the lab I'm looking at at least a week turn around if I can take the time to drop the rolls off. And colour slide is still a mail out process. Plus, colour film is not the cheapest way to shoot film these days. But these are some of my favourite colour films I've reviewed.

Kodak Ektachrome E100
Regarding slide film, I have always been more of a Fujifilm shooter. But with Fujifilm cutting or reducing the production of many of their E-6 films, the reintroduction of Ektachrome E100 made me sit up and look. I have shot plenty of Ektachrome, including E100G and E100VS. So when Kodak said that the new E100 would take the best of both those film stocks, I was excited. I don't see myself using this again due to increased prices and the struggle to shoot enough to make it worthwhile for an E-6 kit or to send it out to a lab and have a good month's turnaround. I will recommend this to someone wanting to start shooting slide films. It's forgiving for a slide with decent latitude and has a beautiful rich colour replication and excellent edge-sharpness. Plus it looks fun when cross-processed using the ECN-2 process.

Nikon F5 - AF Nikkor 35mm 1:2D - Kodak Ektachrome E100 @ ASA-100 - Processing By: Boréalis PhotolabMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak Ektachrome E100 @ ASA-100 - Processing By: Boréalis PhotolabMamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Kodak Ektachrome E100 @ ASA-100 - Unicolor Rapid E-6 KitMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Kodak Ektachrome E100 @ ASA-100 - Unicolor Rapid E-6 Kit

Kodak Portra 400
Okay, I don't shoot a lot of Portra anymore; the biggest reason it is hard to find is that everyone wants to shoot Portra 400. The second is that it costs so much money when you find it; I tend to leave it for those who live and breathe nothing but Portra 400. Yet, this is probably the most accessible professional film for the average photographer, especially for those who are moving to film from digital. Portra 400 is a film you can abuse and shoot almost like your digital camera, adjusting the sensitivity between shots and then processing it normally. While it doesn't have as wide a range as digital, you can shoot Portra 400 between 100 and 1600 without pushing and pulling during processing. The colours will change depending on the EI and processing, but generally, they are pleasing. More pastel and soft with over-exposure and punching with under-exposure, and relatively accurate when shot at the box speed. It's a good film, one I would use for jobs where the client insisted on colour film but not for everyday shooting; for that, I would go with Ultramax 400.

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Portra 400 @ ASA-400 - Processing By: Burlington CameraMinolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.7 - Kodak Portra 400 @ ASA-800 - Processing By: Burlington CameraHasselblad 500c - Carl Zeiss Planar 80mm 1:2.8 - Kodak Portra 400 @ ASA-400 - Processing By: Burlington CameraRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kodak Portra 400 @ 1600 - Processing By: Silvano's

Eastman-Kodak Vision3 250D
Regarding colour film, other than Areocolor IV, the most affordable way to shoot colour is to go to the Kodak Vision3 series of films; of the four stocks available, my hands-down favourite is 250D. This lovely mid-speed film has a lot of latitude and does a beautiful job replicating colours. It isn't weird like 200T or 500T that requires extensive colour grading and filtering to work in daylight, you get excellent results right from the scanner, and you can shoot it over or under a stop without any loss when processing normally. The downside is that it comes with a remjet layer, so only specific labs can handle that and the ECN-2 process. But you can get it with this layer removed or never put it in place during manufacturing.

Nikon FE2 - AI Nikkor 28mm 1:3.5 - Kodak Vision3 5207 250D @ ASA-250 - FPP Super Color Negative ECN-2 KitNikon FE2 - AI Nikkor 28mm 1:3.5 - Kodak Vision3 5207 250D @ ASA-250 - FPP Super Color Negative ECN-2 KitNikon FE2 - AI Nikkor 28mm 1:3.5 - Kodak Vision3 5207 250D @ ASA-250 - FPP Super Color Negative ECN-2 KitNikon FE2 - AI Nikkor 28mm 1:3.5 - Kodak Vision3 5207 250D @ ASA-250 - FPP Super Color Negative ECN-2 Kit

Kodak Ultramax 400
It was hard to figure out which film to fill this spot, it was a close match between Gold 200 and Ultramax 400, but in the end, it was how Ultramax 400 looked at ASA-200 and normally developed that sold it for me. But don't just shoot it one stopover; it performed beautifully at box speed and one stop under. It's the perfect well-rounded consumer film I recommend to new shooters over Portra 400. The problem is that supply is hard to come by, and the cost is rising. But if you do find it, you are in for a treat. I consider this film superior to Portra 400; the colours look better.

Nikon FA - AI-S Nikkor 35mm 1:2.8 - Kodak Ultramax 400 @ ASA-200 - Processing By: Burlington CameraNikon FA - AI-S Nikkor 35mm 1:2.8 - Kodak Ultramax 400 @ ASA-200 - Processing By: Burlington CameraPentax Espio 115m - Pentax Zoom Lens 38-115mm 1:3.9-10.5 - Kodak Ultramax 400 @ ASA-400 - Processing By: Burlington CameraMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - Kodak Ultramax 400 @ ASA-800 - Processing By: Burlington Camera

SantaColor 100 (Kodak Areocolor IV)
The "New" kid on the block, while it isn't really new but rather newly available. Kodak Areocolor IV is designed as an aerial surveillance film that can be processed in either C-41 (Colour Negative) or E-6 (Colour Slide) because it lacks the orange mask that is a type of negative film. Plus, it is a fresh film and continues to be produced. The problem in the past has been that it can only be purchased in large bulk rolls, making it difficult for even home bulk loaders to split it down. Enter several companies who started rerolling this under various house brands. You have SantaColor 100, FlicFilm Electra 100, FilmWashi X, and Luminar 100. Plus, who knows how many others! This is a fun colour film that I can get behind as it produces a beautiful warm colour with plenty of latitude. It works best between ASA-125 and ASA-200, rather than the 'box' speed of ASA-100, which blows out the images.

Minolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - KameraStore SantaColor 100 @ ASA-50 - Processing By: Burlington CameraMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - KameraStore SantaColor 100 @ ASA-100 - Processing By: Burlington CameraMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - KameraStore SantaColor 100 @ ASA-200 - Processing By: Burlington CameraMinolta Maxxum 9 - Minolta Maxxum AF 28-135mm 1:4-4.5 - KameraStore SantaColor 100 @ ASA-400 - Processing By: Burlington Camera

Five Most Difficult Films
Sometimes there are films that are difficult to nail down. And while these aren't bad films, I've just had trouble getting them to a point that I'm happy with the results. And while I have managed to figure some films out (see the next section), others continue to elude my efforts. Now I haven't given up on these films and in some cases I do keep on trying to get results that I like out of them, but others I have given up on.

FilmWashi Type D
Washi D surprised me in a couple of ways, the first being that despite having a box speed of ASA-500, the images are fine-grained and sharp. Probably because this is a surveillance film stock that is designed to give exacting details for intelligence agents. The second is how crazy the images got when you added a yellow filter. With a deep yellow filter you get dramatically dark skies and even a pale yellow there is significant darkening. That said, this film drove me crazy with the paper thin emulsion that I ruined one roll and nearly ruined a second. It also does not handle overcast conditions, strange for a 500-Speed film and dislikes HC-110/Ilfotec HC. Although in the case of Ilfotec HC, I think I could have extended the development at least a minute and a half to help bring out the shadow details. That said, Type D is no longer available as it is sourced from Russia and since the illegal invasion and ongoing war in Ukraine is not sold by Washi.

[](https://www.flickr.com/photos/axle81401/50162308641/in/dateposted-public/ "FRB No. 64 - Film Washi "D" - Roll No. 1 (Kodak D-76)")Nikon F5 - AF Nikkor 35mm 1:2D (Yellow-15) - FilmWashi Type D @ ASA-500 - Kodak D-76 (1+1) 8:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 (Yellow-12) - Film Washi D @ ASA-500 - Ilford Ilfotec HC (1+63) 8:00 @ 20C[](https://www.flickr.com/photos/axle81401/50165890966/in/dateposted-public/ "FRB No. 64 - Film Washi "D" - Roll No. 2 (Rodinal)")Olympus OM-2n - Olympus G.Zuiko Auto-W 1:3.5 f=28mm (Yellow-12) - FilmWashi D @ ASA-500 - Blazinal (1+50) 11:00 @ 20C

Agfa Copex Rapid
Of all the films I have faced difficulties with, Copex Rapid is the one that I certainly will want to try again. The problem is that the film itself can be difficult to source, but the real trouble is the dedicated developer cannot be found in North America and costs a lot of money and will take a long time to ship from Europe. And the type of photography Copex Rapid is aimed at I don't practice. But it does perform well with regular developers under bright conditions. This is a fair weather film, it loves bright sunlight, and needs exacting exposure.

Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Agfa Copex Rapid @ ASA-25 - Ilford ID-11 (Stock) 5:00 @ 20CNikon FE2 - AI Nikkor 24mm 1:2.8 - Agfa Copex Rapid @ ASA-50 - Adox Rodinal (1+100) 18:00 @ 20CMamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Agfa Copex Rapid @ ASA-64 - 510-Pyro (1+300) 20:00 @ 21CNikon FE2 - AI Nikkor 24mm 1:2.8 - Agfa Copex Rapid @ ASA-50 - Adox FX-39 II (1+19) 9:00 @ 20C

Adox CMS 20 II
I caught a lot of flack for this film stock, CMS 20 II is a closed imaging system, which is to say it works with only one developer, Adotech IV. Now I'm not one for a closed system, especally with a B&W film, so I wanted to try and use other developers. Also it was near impossible to get bottles of Adotech IV when I completed this review. Now I did get workable results from most of the developers I used, D-76, Rodinal, and Pyrocat-HD. The best results I got are from TMax Developer. I did go back and revisit this film twice, once with Adotech IV and again with the Adox Scala Reversal Kit. In both cases, I don't know what happened but I could not get results good enough for publishing. Unlike some of the other films on this list, I won't be trying CMS 20 II again.

Pentax 645 - SMC Pentax A 645 35mm 1:3.5 - Adox CMS 20 II @ ASA-20 - Kodak TMax Developer (1+4) 5:30 @ 20CNikon F90 - AF-S Nikkor 14-24mm 1:2.8G - Adox CMS 20 II @ ASA-20 - Kodak D-76 (1+3) 10:30 @ 20CNikon F5 - AF Nikkor 35mm 1:2D - Adox CMS 20 II @ ASA-20 - Blazinal (1+100) 18:00 @ 20CNikon F5 - AF Nikkor 50mm 1:1.4D (CPOL) - Adox CMS 20 II @ ASA-12 - Pyrocat-HD (1+1+100) 9:00 @ 20C

Svema Foto 200
There are a lot of people who feel this film is special, and they aren't wrong. It's a wonderful film that provides amazing tonality and excellent sharpness. But it comes at a cost, there is way more grain with this film than I would expect from a 200-Speed film! Surprisingly it works best in Rodinal, and has less-visible grain than the other developers I tried it in, it also responds well to Kodak Xtol. But the real problem I have with Svema 200, is getting it loaded onto the reels. The paper thin negatives buckle at the slightest resistance and when working in a change bag, it heats up quickly and you get the film sweats. I don't have a need for Svema 200 in my current photography so I won't be returning to this film.

Nikon FA - AI-S Nikkor 35mm 1:2.8 (CPOL) - Svema Photo 200 @ ASA-200 - Kodak D-76 (Stock) 8:30 @ 20CNikon F5 - AF DC-Nikkor 105mm 1:2D - Svema Foto 200 @ ASA-200 - Blazinal (1+50) 14:00 @ 20CNikon F4 - AF Nikkor 35mm 1:2D - Svema Foto 200 @ ASA-200 - Kodak Xtol (1+1) 12:00 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - Svema Foto 200 @ ASA-200 - Pyrocat-HD (1+1+100) 15:30 @ 20C

Foma Retropan 320
I really wanted to like Retropan, I think this film has a lot of potential to fill in a gap that is just enough different from Fomapan 400, but I can't get around the fact that the contrast is far to low in most developers! To get the best results, you do want to add some filtration and use the dedicated Retro Special developer. But once you start straying, you start to see a lot of muddy grain, displeasing low contrast, and an overall softness. It even didn't play well with Pyrocat-HD, and looks ugly in D-76 stock. I think it would do well in a high-contrast developer like LQR or D-19, but again, I don't see it a worthwhile effort when I have better results from Fomapan 400.

Mamyia m645 - Mamiya-Sekor C 35mm 1:3.5 N (Yellow-12) - Foma Retropan 320 Soft @ ASA-320 - Foma Retro Special Developer (Stock) 5:00 @ 20CMamyia m645 - Mamiya-Sekor C 35mm 1:3.5 N (Yellow-12) - Foma Retropan 320 Soft @ ASA-200 - Foma Fomadon LQN (1+10) 8:30 @ 20C (Constant Rotation)Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Foma Retropan 320 @ ASA-320 - Kodak D-76 (Stock) 9:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Foma Retropan 320 @ ASA-320 - Pyrocat-HD (1+1+100) 11:30 @ 20C

Redeemed Films
I honestly have a drive to find the right way to shoot and develop a film. It might take a bit of time to discover the right combination to get results that I like, but it can be worth it and you discover a film that will work in odd situations or to give a look of yesteryear that isn't possible with modern film stocks.

Fomapan 400
Foma 400 is an interesting film. When I first heard about it, the film was not given the best reputation. Gritty, Grainy, Mushy. But when I reviewed the stock I saw that it had some potential. It took a lot of work to figure out how to get the best results from Fomapan 400. Some will say that it is not a true 400-Speed Film, but I do disagree with that statement now. Fomapan 400 is a beautiful film when shot at either 400, 800, or 200 and every point in-between. It's all about shooting the stock at the right speed and developing it right in the situation at hand. Fomapan 400 is a true classic film, it looks like the Tri-X of the 60s and 70s. Works well with high-contrast developers, compensating developers, and yellow filters. You can pick this stuff up in 120, 35mm, and sheet films. Along with various boutique and budget rebadges.

Mamiya C220f - Mamiya-Sekor D 1:3.5 f=105mm - Fomapan 400 @ ASA-200 - Ilford Ilfotec HC (1+31) 6:00 @ 20CNikon F5 - AF Nikkor 14mm 1:2.8D - Fomapan 400 - Foma Retro Special Developer (Stock) 6:00 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 400 @ ASA-200 - Kodak D-76 (1+1) 9:00 @ 20CNikon FM - AI Nikkor 28mm 1:3.5 - Fomapan 400 @ ASA-200 - Flic Film Black/White & Green (1+49) 12:00 @W film. P30 was a film that baffled me for a long time, a tough nut to crack. But I had to figure out the best conditions and development for the film. Then there was also the slight difference between the original Alpha release and the full production film stock. A delightful film that certainly gives a unique perspective. It loves light and medium contrast conditions, works best in run of the mill developers like D-96 and Xtol clones. While I haven't used the film in 120, I do plan on using it in that medium. Although if I had to choose between P30 and the newly released ORTO, I would pick ORTO.

Minolta Maxxum 9 - Minolta Maxxum AF 100mm 1:2.8 MACRO - FilmFerrania P30 @ ASA-80 - Cinestill D96 (Stock) 8:00 @ 20CNikon F5 - AF-S Nikkor 14-24mm 1:2.8G - FilmFerrania P30 @ ASA-80 - Adox XT-3 (Stock) 9:00 @ 20CNikon F5 - AF Nikkor 35mm 1:2D (Yellow-15) - Film Ferrania P30 @ ASA-50 - Kodak D-76 (Stock) 8:00 @ 20CNikon FE - AI-S Nikkor 35mm 1:2.8 - Ferrania P30 @ ASA-80 - Kodak HC-110 Dil. H 12:00 @ 20C

Kentmere 400
When I first reviewed Kentmere 400 I disliked it more than Fomapan 400. This was an ugly film, gritty, grainy, and mushy. But after Ilford released the film in 120 I started to get into the film a lot more. A budget friendly fast film that isn't Fomapan 400, and Kentmere 400 has a different look and feel. Like Foma 400, Kentmere 400 is a film that you need to develop and shoot right to get the best results. Compensating developers are a must, Tmax Developer, Atomal 49, and Studional (R09 Spezial/Hydrofin). And also, don't try over-exposing the film, it just goes grey and not in a good way. But you can push it a couple of stops and see some excellent results.

Nikon FE2 - AI-S Nikkor 35mm 1:2.8 - Kentmere 400 @ ASA-400 - Compard R09 Spezial (1+30) 8:00 @ 20CMamiya m645 - Mamiya-Sekor C 1:2.8 f=80mm - Kentmere 400 @ ASA-400 - Adox FX-39 II (1+9) 10:00 @ 20C (Constant Rotation)Leitz Leica M4-P - DJ-Optical 7Artisans 35/2 - Kentmere 400 @ ASA-400 - Adox Atomal 49 (1+1) 13:30 @ 20C (Constant Rotation)Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Kentmere 400 @ ASA-400 - Adox Atomal 49 (1+1) 13:30 @ 20C (Constant Rotation)

Fomapan 200
While I warmed up to Fomapan 400 it took me a lot longer to get used to Fomapan 200. I still don't think I'm 100% there with Foma 200. But I've always disliked most 200-speed films. But I'm certainly on the right path with Fomapan 200. The trouble is that it likes exotic developers, Pyro-Based, HR-DEV, Atomal 49, and others. My opinion of Fomapan 200 has certainly improved and it is a capable film I just haven't figured out the right spot for where I like the stock. I guess I still have a way to go with this film, but maybe using it on a Frugal Film Project cycle will help out?

Rolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-200 - Compard R09 Spezial (1+30) 10:45 @ 20C (Constant Rotation)Nikon FM - AI-S Nikkor 35mm 1:2.8 (Yellow-12) - Fomapan 200 @ ASA-100 - Pyrocat-HD (1+1+100) 7:30 @ 20CRolleiflex 2.8F - Carl Zeiss Planar 80mm 1:2.8 - Fomapan 200 @ ASA-125 - Adox HR-DEV (1+35) 12:00 @ 20CNikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

Rollei Superpan 200
Here's another 200-speed film, Superpan 200 is an interesting film stock that has a lot to offer. It has a unique look and feel that extends into the near-IR range. While I haven't tried it with a dedicated IR filter, but it looks amazing under a red filter and a high-contrast developer. Like Fomapan 200, it took me a while to get to know Superpan 200. It all started with a stand development in Rodinal. Now I'm not big on stand-development, but it gave me a starting point for what I want Superpan to look like. Then it was a matter of building from there, will it be a regular choice, no, but I at least know how to get it to the right spot.

Mamiya m645 - Mamyia-Sekor C 35mm 1:3.5 N (Red-25) - Rollei Superpan 200 @ ASA-200 - Kodak D-19 (1+1) 8:30 @ 20CMinolta XE-7 - Minolta MD Rokkor-X 45mm 1:2 - Rollei Superpan 200 @ ASA-200 - Kodak D-76 (1+1) 14:00 @ 20CNew Mamiya 6 - Mamiya G 1:3.5 f=75mm L - Rollei Superpan 200 @ ASA-200 - Adox FX-39 II (1+14) 15:15 @ 20C (Constant Rotation)Nikon Nikkormat EL - AI-S Nikkor 35mm 1:2.8 - Rollei Superpan 200 @ ASA-200 - Adox Atomal 49 (Stock) 10:30 @ 20C

Well that wraps up the first 100 reviews! Here's to another 100 reviews, but it may never reach that number. Sadly unlike cameras and lenses there is a finite number of film stocks out there, but hopefully I can at least get up to 150? And I do want to get my hands on more discontinued and expired film stocks to fill out some more reviews. Plus I have some ideas to add secondary reviews for film stocks already tested. Until then you can find a complete list of my reviews over on the dedicated page.

#filmreviewblogs #510pyro #adoxatomal49 #adoxchs100art #adoxchs100ii #adoxcms20ii #adoxfx39ii #adoxhrdev #adoxrodinal #adoxscaladeveloper #adoxxt3 #agfaapx25 #agfacopexrapid #agfarodinal #arsenalkiev88 #belliniecofilm #blazinal #canonae1 #canoneos3000 #cinestilld96 #compardr09spezial #eastmandoublex #eastmanvision3250d #efkekb100 #film #filmreview #filmferraniap30 #filmwashid #flicfilmblackwhitegreen #fomafomadonlqn #fomaretrospecialdeveloper #fomaretropan320 #fomapan100 #fomapan200 #fomapan400 #fotospeedfd10 #fppsupercolornegativeecn2kit #fujifilmastia100f #graflexcrowngraphic #graflexspeedgraphic #hasselblad500c #holga120n #ilforddelta100 #ilfordfp4 #ilfordhp5 #ilfordid11 #ilfordilfotechc #ilfordmicrophen #ilfordpanf #intrepid4x5mk1 #kamerastoresantacolor100 #kentmere100 #kentmere400 #kodakd19 #kodakd23 #kodakd76 #kodakektachromee100 #kodakhc110 #kodakkodachrome25 #kodakkodachrome40typea #kodakkodachrome64 #kodakpanatomicx #kodakportra400 #kodaktmaxdeveloper #kodakultramax400 #kodakxtol #konicaminoltamaxxum70 #kyoceracontaxg2 #leitzleicam4p #mamyiac220f #mamyiam645 #minoltamaxxum9 #minoltaxe7 #newmamyia6 #nikonf3 #nikonf4 #nikonf5 #nikonf90 #nikonfa #nikonfe #nikonfe2 #nikonfm #nikonnikkormatel #olympusom10 #olympusom2n #orwoun54 #pentax645 #pentax67ii #pentaxespio115m #pmkpyro #pyrocathd #review #rolleirpx25 #rolleisuperpan200 #rolleiflex28f #special #spurhrx #svemafoto200 #tetenalneofinblau #unicolorrapide6kit #zeissikoncontaxiiia #zenzabronicags1

A Faded Glory – Bridge Street Station – Great Western Railway (1879-Present)

I remember the first time I visited the Bridge Street Station in Niagara Falls, not far from the glitz and crowds of the tourist-packed falls area. There sits on a quiet side street off the old downtown of Queen Street surrounded by run-down buildings sits the last remaining train stations in Ontario that is credited to the Great Western Railway.

The beautiful Gothic stylings are clearly on display.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200 - Pyrocat-HD (1+1+100) 9:00 @ 20C

The importance of the train station in Niagara Falls is thanks to the Niagara Suspension Bridge. The Great Western Railway completed its mainline in 1854 with great fanfare in Hamilton, Ontario, where its main headquarters and rail yard were located. But to cross the Niagara River, trains had to be rerouted down the Niagara Escarpment and loaded onto rail ferries at Queenston to move the cars into the United States. Until 1855 when the world's first railroad suspension bridge, the Niagara Suspension Bridge, saw completion. An engineering marvel of the time, it served a single track on the top deck while pedestrian and horse-drawn traffic on a lower tier. Being on a terminus, Great Western completed a large wooden station known locally as Clifton Depot. In addition to that, Great Western constructed a large marshalling and traffic yard with freight sheds and a roundhouse nearby. The large station was built to a similar station completed in Hamilton, Ontario, with separate men's and ladies waiting rooms. A station master's office, a telegraph operator's bay, and a large baggage room. The station also featured a full-service restaurant and dining room operated by a local family, known as the Great Western. In 1879 disaster struck, and the entire station was destroyed by fire.

Taking a closer look at the center section of the station, which remains the focus of most traffic today.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8DWhile these doors probably aren't used, they show off the Gothic Revival styles of the doors and windows of the station.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8D

Undaunted and riding high on financial stability Great Western moved quickly to replace the station. Joseph Hobson, the railway's chief engineer and architect, designed a new station to replace the original wooden station. The new station used the Victorian Gothic style with a brick exterior. The new station featured two-storey centre sections with single storey west and east wings. The station's roof used a unique jerkinhead style, a combination of hip and gabled styles. Inside the centre, the section contained a round ticket office with separate mens' and ladies' waiting rooms. The second floor held the telegraph operator's bay and station offices. The east wing contained the new Great Western Restaurant, while the west wing contained the freight offices. It quickly became known as the most prestigious station on the Great Western Railway and earned Joseph Hobson a name. Grand Trunk gladly continued to operate the station when they purchased the entire Great Western Railway in 1882. The only change was renaming the restaurant to The Grand Trunk. The restaurant was forced to close in 1909. Canadian National took over the station in 1923. By this point, the station had started to show its age, and it received restoration work in 1939 in preparation for the Royal Tour. King George VI and Queen Elizabeth (The Queen Mother) disembarked at the Bridge Street Station during the tour.

Looking out towards the bridge crossing from the Bridge Street Station.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8DToday the Whirlpool Bridge (1896) stands in replacement of the original Niagara Suspension Bridge and still served by the original lines today.
Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-100 - Kodak D-23 (Stock) 6:00 @ 20C

With a sharp decline in passenger traffic by the mid-century, Canadian National began cutting passenger services. The separate waiting rooms were combined, and many structures designed to support steam locomotives fell in the 1960s as diesel motive power took over. Surprisingly the station never got a paint job to railroad red. Instead, Canadian National painted it a grey colour in 1967; they also abandoned and closed the second story chopping eighty feet off the western wing. A similar demolition planned for 1976 stayed thanks to a local heritage designation. When Canadian National turned over passenger service to the newly created VIA Rail in 1978, the Bridge Street station was also turned over to the new Crown Corporation. While the station remained untouched, a Federal heritage designation in 1999 freed up funds to completely restore the station's exterior. The grey paint was stripped away, and the original red brick exterior was restored. GO Trains have called on the station since 2009, and VIA removed all staff in 2012. Today the station remains an automated location with no physical staff on site. It still stands as a testament to the Great Western and Joseph Hobson. Make sure to watch your wallet, however, in the area.

#afadedglory #canada #canadianhistory #canadiannationalrailway #crowngraphic #grandtrunkrailway #greatwesternrailway #ilfordfp4 #ilfordhp5 #infrastruture #kodakd23 #mamiyam645 #niagarafalls #niagarasuspensionbridge #nikond750 #ontario #pyrocathd #railroad #railway #trainstation #viarail

A Faded Glory – Ridgeway – Grand Trunk Railway (1900-1975)

Sitting as the main building at the Fort Erie Railway Station, the former station that once served the village of Ridgeway is a prime example of Grand Trunk's plan to modernise the railway at the start of the 20th Century. It is also interesting that a village as small as Ridgeway would warrant such a large station.

The size of the Ridgeway Station certainly surprised me having visited the community of Ridgeway before.
Graflex Crown Graphic - Nikon Nikkor-W 1:5.6/180 - Ilford HP5+ @ ASA-200 - Pyrocat-HD (1+1+100) 9:00 @ 20C

The railway first came to Ridgeway thanks to Brantford, Hamilton and the Great Western Railway. As a result, the Buffalo, Brantford & Goderich Railway, which eventually became the Buffalo & Lake Huron Railway despite its financial instability through the first half of the 1850s, finally reached Paris, Ontario in 1856, heading further along to Goderich. Buffalo & Lake Huron would start constructing stations in 1855; these were simple wooden structures that were more shelters than a modern train station. While I'm unsure if such a station had been built at Ridgeway, the first station I could confirm was named for the township in which Ridgeway was located and carried the name Bertie Station and was completed in 1864 by Grand Trunk Railway. Grand Trunk by 1864 had taken over the entire Buffalo & Lake Huron network to prevent the line from falling into American hands or disappearing entirely. Again, this first station would be a simple shed or barn-like station built in board and batten construction, located in the downtown of Ridgeway on Ridge Road between Hibberd and Disher. It contained a general waiting room, baggage room and a station master's office with a ticket window and telegrapher bay. The station's only notable point took place in July 1866 when the combined Canadian Militia force arrived before marching north to meet a body of Fenian invaders and was forced to retreat to the station and departed.

Here you can see the art glass decoration on the waiting room windows.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8DThe telegraph tower and semaphor traffic signals.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8D

By the end of the 19th Century, much of the area had become a popular spot for tourists, especially the draw of the resorts and beaches of Crystal Beach. And under Charles Hayes, starting in 1896, Grand Trunk began a massive modernisation project and replaced many older stations. The Bertie Station would be among the first stations to be replaced. The new 1900 station now carried the name Ridgeway. Constructed in the style of Queen Anne Revival with Picturesque elements. Keeping with the board and batten wooden construction to complete the new more giant station. The station would feature a larger general waiting room and baggage room with an exterior porte-cochère to shelter passengers as they arrived and departed from the station. The interior would be richly ornamented with stained glass windows in the waiting room, along with excellent lighting and heat: a station master's office, ticket window and telegraph operator bay. A tower would also provide better views of the tracks running in either direction. The station again offered assistance to the town in 1913 when a fire threatened the community; a Grand Trunk operator telegraphed for additional water, which arrived in time to save both the town and station from destruction. Canadian National would take over operations in 1923 and continue to run passenger and freight services; the station would receive a railroad red paint job in the mid-century. Passenger services ceased in 1970 as traffic dwindled on the line.

The park Pavillion in Ridgeway where the station originally sat.
Mamiya m645 - Mamiya-Sekor C 35mm 1:3.5 N - Ilford FP4+ @ ASA-100 - Kodak D-23 (Stock) 6:00 @ 20CMembers of the Royal Hamilton Light Infantry XIIIth Battalion Ceremonial Guard who dress and portray as members of the Canadian Militia force that fought at Ridgeway.
Sony a6000 + Sony E PZ 16-50mm 1:3.5-5.6 OSS

When Canadian National began planning to remove the old right-of-way, the town of Fort Erie, wishing to preserve local railway heritage, purchased the station from Canadian National in 1974. Then carefully remove the station from its original location in Ridgeway and moved it several kilometres away to the new Fort Erie Railway Museum. After several years of restoration efforts, the station reopened along with size Canadian National Locomotive 6218, a 4-8-4 "Northern" type locomotive. The restoration saw the removal of the red paint and repaint in a white with green paint colour scheme. The interior and exterior features were cleaned and restored, including a Canadian National era semaphore single tower. Inside the station became the main exhibit space for the museum. By 1985, Canadian National had abandoned and removed the tracks between Fort Erie and Caledonia on the original Buffalo & Lake Huron line; some sections remain in operation today. The line now forms a multi-use trail known as Friendship Trail. In the town of Ridgeway, a pavilion was constructed near where the two original stations once stood.

#afadedglory #battleofridgeway #buffalolakehuronrailway #canada #canadianhistory #canadiannationalrailway #crowngraphic #forterie #forterierailwaymuseum #grandtrunkrailway #history #ilfordfp4 #ilfordhp5 #infrastruture #kodakd23 #mamiyam645 #nikond750 #ontario #pyrocathd #railroard #railway #ridgeway #sonya6000 #trainstation

Foma:52 – Week 45 – For the Fallen

Throughout most of my 52-Roll projects, I made a point that at Week 45 or thereabout, to remember those who gave the ultimate sacrifice in the service of their country, here in Canada that is called Remembrance Day and falls on the 11th of November to mark the armistice that ended the fighting on the western front. While I had initially planned to photograph the Milton Remembrance Day Parade the Sunday before the 11th, I quickly shifted to feature cenotaphs and war graves in Oakville, Milton, and Guelph due to other plans.

A memorial to Lieutenant-Colonel John McCrea, author of the poem "In Flanders Fields" where many Canadians get the image of the poppy from as a sign of Remembrance Day.
Nikon FM - AI-S Nikkor 105mm 1:2.5 - New Classics EZ400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20C

This week there are a few items to unpack historically, but let's start with the first one, Remembrance Day. If you're tapped into history, you'll realise that Remembrance Day is the second day in Canada that would serve as a solemn day to remember Canada's War Dead. On the 2nd of June 1866, a force of Canadian Militia consisting of the XIIIth Batallion Volunteer Militia of Canada, 2nd Battalion Queen's Rifles, and various other small militia formations arrived at the Grand Trunk Station in Ridgeway and marched north. What they did not expect to encounter was a force of Fenians, Irish-Americans bent on holding the Province of Canada Hostage to force the British Parliament to grant independence to Ireland. The engagement, known as the Battle of Limestone Ridge or Ridgeway saw the Canadians soundly defeated through mismanagement, miscommunications, and faced with a larger, better armed and trained fighting force. The Fenians would eventually retreat from Canadian shores but many saw this as the first engagement of the Canadian Army (at least in prototypical form). Canadian Militia troops would fight in a series of other conflicts, our wars of colonisation, but in many cases, especially Ridgeway, these were quietly swept under the rug. In 1890 the veterans from those conflicts visited the small memorials and graves of those fallen, decorating them in remembrance. This was a form of protest, and the following year nearly 30,000 showed up on the 2nd of June 1891 decorating the Lime Ridge Monument in Toronto and lobbying the Provincial and Federal Government for some form of recognition. Decoration Day became Canada's first day of remembrance for our war dead. Eventually, a Canadian General Service Medal was authorised in 1899 and veterans from the 2nd Boer War, and the Great War were added to Decoration Day. The day is usually marked with Canadians cleaning up the graves of the fallen, decorating them with flowers and any war memorials. While Decoration Day continued to be celebrated in Canada, in England on the 11th of November 1919, the first anniversary of the Armistice, King George V marked the day with a solemn ceremony of remembrance of the dead from the Great War. One of the biggest symbols of this day of remembrance was the Poppy. A blood-red flower that occupied the battlefields of Europe as far back as the Napoleonic Wars. The heavy artillery bombardment of modern war churned up the chalk rich soil turning it into lime, a nutrient that the popaver rhoeas flourished quickly as soon as the fighting died down. This flower was noticed by a Canadian Medical Officer, Lieutenant-Colonel John McCrea, who, in his grief of having lost his close friend Lieutenant Alexis Helmer, the day prior in 1915, wrote the poem "In Flanders Feilds", a poem that stuck into the Canadian mythos of the war. The poppies were also noticed by a French woman, Madame Anna Guérin. They made fabric poppies and sold them with the money used towards reconstruction efforts in France during the post-war period. The symbol was adopted by the Royal Canadian Legion in July 1921. The Canadian Government also adopted Armistice Day that same year, with the day being marked on the Monday of the same week of the 11th of November. For about a decade, both Armistice Day and Decoration Day were marked by many Canadians. It wasn't until 1931 that the name of Armistice Day was renamed Remembrance Day and set directly on the 11th of November. After 1931 Decoration Day fell out of the public eye, and those who fought in the conflicts remembered by Decoration Day are not publicly recognised by Remembrance Day (Boer War, Fenian Raids, Red River Rebellion, and North-West Rebellion). Recently, however, those who died during the Anglo-American War of 1812 have received some recognition. Remembrance Day has also expanded to Canadian War Dead from World War Two, Korea, Peacekeeping Missions, Gulf War and the War on Terror. Decoration Day is still celebrated but is a regional event and is focused mainly on. HisNiagara Region.

Guelph's main Cenotaph located in Trafalgar Square, it features many figures including this one holding two wreathed swords.
Nikon FM - AI-S Nikkor 105mm 1:2.5 - New Classics EZ400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20CA second cenotaph near Guelph's armoury, with the phrase "Our Glorious Dead" a common phrase found, along with the Latin phrase "Te Deum Laudamus" meaning God, We Praise You.
Nikon FM - AI-S Nikkor 105mm 1:2.5 - New Classics EZ400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20C

My travels took me through Guelph, Milton, and Oakville to explore the memorials to the fallen, so I made a point to include a little something from each of those places. For the featured image. The monument to Lieutenant-Colonel John McCrea, the author of the poem "In Flanders Fields," has become synonymous with Remembrance Day within the Commonwealth sphere, especially here in Canada. Also, from Guelph, the main cenotaph is set outside the downtown and a smaller one standing near the Central Train Station near the city's Armoury. This second cenotaph features "Our Glorious Dead" and "God, We Praise You" in Latin, a common phrase found on many memorials. From Milton, there are two memorials; the first is our main cenotaph. Located in Victoria Park near Town Hall standing atop, that is a typical image that many monuments across Canada and the US feature a soldier standing next to a cross. The second is located in Evergreen Cemetery, the memorial for our local branch of the Royal Canadian Legion and the Remembrance Day ceremony. The final two are from Oakville, the Cenotaph in George Square, a simple affair surrounded by the names and locations of the veterans of Oakville. And a second memorial to the service of the local reserve regiment, the Lorne Scots that traces itself back to 1866 and continues the tradition of earlier Militia units.

The Cenotaph for the Milton branch of the Royal Canadian Legion, enscribed with Milton's war dead, located at Evergreen Cemetary.
Nikon FM - AI-S Nikkor 105mm 1:2.5 - New Classics EZ400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20CMilton's Victoria Park Cenotaph, surmounted with a typical statue and the phrase "In Flanders Fields" on a cross similar to the ones haistly made to mark the graves of the fallen.
Nikon FM - AI-S Nikkor 105mm 1:2.5 - New Classics EZ400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20C

And we're back into the final nine rolls of film for the year, so we're back working with Fomapan 400. But this week, instead of using the branded Fomapan 400, we're working with a rebrand film, New Classic EZ400. A rebrand brought to market by a YouTube film photographer, Ribsy. Having a bottle of Kodak D-23 around and liking the results from that film/developer combination, I went with that as my developer and shot the film at ASA-250 to get the best results. I also used the AuRA Rotary Assist Film Developing Machine to run the processing, as I'm working on a review on the accessory for next year. It made sense to capture these memorials using a combination that produced classic results and looks in the final images. The easy choice in capturing these memorials would be a normal or wide-angle lens. And I did consider my 28mm, 35mm, or 50mm; in the end, I settled on my classic 105mm f/2.5. The reason was that I wanted to capture details, names, services and dates. Also, the spectacular cenotaphs in the towns I visited were varied.

Poppies decorate the Oakville Cenotaph in Georges Square.
Nikon FM - AI-S Nikkor 105mm 1:2.5 - New Classics EZ400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20CA memorial in Georges Square to the Lorne Scots, the local regiment of the Canadian Army (Reserves) marking their battle honours from The Anglo-American War of 1812 to modern conflicts.
Nikon FM - AI-S Nikkor 105mm 1:2.5 - New Classics EZ400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20C

Next week we're exploring the churches in and around Milton & Oakville.

#foma52 #52roll #52rollproject #actofremembrance #canada #canadianhistory #fomapan400 #guelph #kodakd23 #milton #newclassicsez400 #nikonfm #oakville #ontario #remembranceday

Classic Camera Revival – Episode 115 – Mystery Camera Challenge IV

While we love shooting and talking about our own cameras, what happens when you're thrown for a loop you can get some interesting results! So with the gang all back together in person, we decided to take this favourite format and take on another mystery camera challenge! This time around we have John, Jess, Bill, and Alex all trading cameras around the table. John takes over Alex's favourite, the Minolta Maxxum 9. Jess getting to work with a beautiful Nikon FM from John. Alex lugging around a beast, the Nikkormat FTn from Bill. And it wouldn't be an MCC without Bill ending up with a red-window medium format. Jess passes along a Halina Prefect Senior to Bill, we've always joked about having a Halina on our show and now it has actually happened.

Some images from the Mystery Camera Challenge are below!

Nikon Nikkormat FTn - Auto Nikkor-O 1:2 f=35mm - Fomapan 400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20CNikon Nikkormat FTn - Auto Nikkor-O 1:2 f=35mm - Fomapan 400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20CNikon Nikkormat FTn - Auto Nikkor-O 1:2 f=35mm - Fomapan 400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20CNikon Nikkormat FTn - Auto Nikkor-O 1:2 f=35mm - Fomapan 400 @ ASA-250 - Kodak D-23 (Stock) 7:30 @ 20CMinolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - FPP Wolfman 100 @ ASA-100Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - FPP Wolfman 100 @ ASA-100Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - FPP Wolfman 100 @ ASA-100Minolta Maxxum 9 - Minolta Maxxum AF 28mm 1:2.8 - FPP Wolfman 100 @ ASA-100

Want a subscription to SilverGrain Classics and are a fan of Classic Camera Revival? Visit their shop online and buy a magazine or a subscription? Looking for a good spot to get your gear and material fix check out Burlington Camera (Burlington, ON), Downtown Camera (Toronto, ON), Film Plus (Toronto, ON), Belle Arte Camera (Hamilton, ON), Pond's FotoSource (Guleph, ON), Foto Art Camera (Owen Sound, ON). In Quebec, Photo Service (Montreal, QC) and Studio Argentique (Montreal, QC), Out West there's Kerrisdale Cameras (BC), The Camera Store (Calgary, AB) and Beau Photo Supply (Vancouver, BC). Additionally you can order online at Argentix (Quebec), buyfilm.ca (Ontario), the Film Photography Project or Freestyle Photographic. Looking for development options, check out these labs that have our support, Boréalis Photo Lab, Old School Photo Lab, The Darkroom, and Film Rescue International.

Also you can connect with us through email: classiccamerarevivial[at]gmail[dot]com or by Facebook, we're at Classic Camera Revival, Twitter @ccamerarevival, and Instagram (@classiccamerarevival)!

#classiccamerarevival #ccr #fomapan400 #fppwolfman100 #halinaprefectsenior #kodakd23 #minoltamaxxum9 #nikonfm #nikonnikkormatftn #podcast

Foma:52 – Week 42 – All In the Details

As a photographer who loves working mainly in the urban environment, sometimes it can be challenging to go back to a location you've visited before and capture new images. But if you change your focus, there's a chance you can find something new, and today we're back in the historic downtown of Milton to look at the architectural details throughout the downtown.

Nikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

While I never went to school for architectural training, I did a single drafting class in high school. However, I am also a life-long Lego builder and am drawn towards exciting architecture. And Milton's downtown offers up a lot of interesting architecture and architectural detailing. Many of the buildings in downtown date to the middle and later decades of the 19th Century, with most following Gothic Revival and Victorian styles. But there are some additional styles with some Italianate and Edwardian era buildings. I noticed throughout that many buildings, both residential and commercial, carry some similar detailing. The one detail I did notice is flower patterns, almost a Tudor or Lancaster Rose in the brickwork. I'm not particularly sure about why this is, but more of an observation.

Nikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20CNikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

My initial plans for the week was to take the camera out for several days and explore the architectural details throughout Milton and Oakville. However, there is also the matter of timing. I knew I had a heavy weekend of photography coming up, so rather than wait and have to rush this roll out a little too close to publishing, I went with a single morning in Milton. One of the first things I had to realise is that most of the images would have a touch of camera shake as I could not shoot every frame at 1/250″ I was already pushing things but shooting almost all thirty-six frames at f/4. Ignoring that, I went with my gut and started pulling out the images that caught my eye. The top photo is one shot from a little further off of the Knox steeple; the exciting thing is that the steeple, despite appearances, never contained bells. From there, it only got easier. The 1916 date imprint on the old Princess Theater replaced the first downtown cinema that burned down that same year. The Waldie Blacksmith Sign, the face and date on the original town hall and the super-sketchy fire escape ladder on the Thompson House. And two decorative stained glass transoms that, if you aren't looking, you'll miss. Oddly enough, despite seeing many of these brick roses, I decided not to include one throughout this post.

Nikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20CNikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

As someone who loves working with wide-angle lenses, especially when it comes to architectural work, narrowing down my focus can be a tricky thing. Sure I have my 105mm and 135mm lenses, but these still open up the possibility of more comprehensive images. I needed to drill right into the nitty-gritty of these buildings. That only left two possible lenses in my Nikon tool kit, the first being a Tamron 100-300mm zoom lens; while it does have an aperture ring and thus will work on my FM, it is autofocus and isn't particularly good at manual focus. This only left the newest addition, the 200mm f/4. Having only recently added the lens, it takes a bit to get used to the reach and keep that shutter speed up, while it wasn't the best possible day for shooting, early in the morning. For development, I went back to my favourite, Kodak D-23, as it gave one of the best classic results out of Fomapan 200 and helped out in the lighting condition in the day with the film shot at the box speed ASA-200.

Nikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20CNikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

We're headed back out on the road next week and looking for gold, not the yellow stuff, black gold, oil!

#foma52 #52rollproject #architecture #canada #fomapan200 #kodakd23 #milton #nikonfm #ontario

A Brief History of the Railway in Canada – Part II – A New Way to Move (1850 – 1880)

Today moving around is easy. At the same time, we deal with traffic and delays, our availability of automobiles, aeroplanes, transit, and trains. Combined with well-paved roads, GPS, maps, gas stations, rest areas, travel for us in the 21st Century is a breeze. But some two centuries earlier, life in Ontario, then Upper Canada, was far more challenging. Many who lived in the settlements well outside the few urban centres never strayed too far from home. Local roads were often blazed trails from Indigenous people who lived on the land. Sir John Graves Simcoe had ordered military roads, but even these were little more than dirt tracks. Travel often required days, with long-distance travellers frequently changing stagecoaches and staying in halfway houses, inns or taverns with communal sleeping and dining arrangments. The real superhighways of the age were water; the Indigenous Nations realised this as this the European colonists. But even the water had sections of rapids and waterfalls that forced engineers to build locks and canals. The Anglo-American War of 1812 showed the difficulty of a shared waterway with a belligerent power which again saw the completion of two outstanding Canals, the Rideau and the Welland. But all modes and means of travel were subject to the weather; even the waterways froze in the deep Canadian winters. That all changed; while the opening of the Champlain & St. Lawerence Railway in 1836 saw the start of the age of steam in Canada, civil and political unrest delayed any major expansion until the passage of the Railroad Guarantee Act in 1849.

The intersection of Queen and Yonge in Toronto once was home to the Toronto Locomotive Works, the current Bank of Montreal built in 1910 replaced the final building.
Nikon F6 - AF-S Nikkor 14-24mm 1:2.8G - Kodak Tri-X 400 @ ASA-400 - Kodak D-76 (1+1) 9:45 @ 20CLocated at Aurora's GO Station, a Locomotive bell errected in 1953 to commemorate the 100th Anniversary of the first steam train.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8DA historic plaque in Collingwood near the site of the former Northern Railway of Canada station, now a reconstruction of the third station which is the local history museum.
Mamiya m645 - Mamiya-Sekor C 45mm 1:2.8 N - Ilford FP4+ @ ASA-100 - Kodak D-23 (Stock) 6:00 @ 20C

The passage of the Act by the colonial parliament allowed the Canadian Government to provide money towards the construction of railroads throughout the Province of Canada. The Act, however, contained some conditions for government funding. The mainline needed to be at least 120 kilometres, promise at least a 6% return on the bond and use the Provincial Gauge. The inclusion of the final stipulation ensured that it would be challenging to interface with American railroad operators who used Standard Gauge but allowed for easy command of any rail operator within the Province. In contrast, several small railroad operators sprung up early on. These including the London & Port Stanley, which proved too short for government funds and used standard gauge worked on a rail line from Port Stanley to London mainly to run freight including timber and coal from Ohio. The Great Western Railway, backed by Sir Allan Napier MacNab, the Buchannan family, and Samuel Zimmerman, planned a line from Windsor to Niagara Falls, with the main facilities being located in Hamilton, Ontario. The other major operator, the Toronto, Simcoe & Huron Railway, planned to build a line from Toronto to Georgian Bay under Frank Capreol. Capreol initially wanted to raise funds using a lottery system, but the City of Toronto disallowed this method. Capreol was forced to bring onboard Charles Berczy and rechartered as the Ontario, Simcoe & Huron Joint Railway and used traditional investment methods for raising capital. By 1851 both Great Western and Ontario, Simcoe & Huron had started construction of their mainlines. Two days before the grand ceremony to kick off construction, Frank Capreol found himself sacked from the railway he conceived of, and the party went on without him. The grand ceremony was attended by Lady Mary Lambton, wife of the Governor-General and Sir Sandford Fleming, followed by a party at Toronto's St. Lawerance Hall with entertainment provided by P.T. Barnham. Great Western, however, started with far little fanfare but with great annoyance to Brantford, who refused to pay bonuses and Great Western bypassed the community. It also helped that MacNab offered up a large amount of property for use as the main yard, station, and headquarters for his firm. Sir Allan would also be forced out of Great Western shortly before completion. In 1852 the third big player joined the fray, Grand Trunk Railway formed as a combination of several smaller firms who saw access to Government money as a way to join together to complete a line between Toronto and Montreal, but quickly expanded their reach through the inclusion of the Toronto & Guelph Railway and St. Lawerence & Atlantic Railway. Ontario, Simcoe & Huron faced difficulties in their first leg of the first wedge of the Oak Ridge Morain. At the same time, Grand Trunk had trouble constructing a bridge at Port Hope over the Garafraxa River. After being spurned by Great Western, Buffalo, Brantford, and Goderich chartered their line running from Fort Erie to Goderich as the Buffalo, Brantford & Goderich Railway.

The original Great Western Yard, continues to operate today under Canadian National Railway.
Mamiya m645 - Mamiya-Sekor C 150mm 1:3.5 N - Ilford FP4+ @ ASA-100 - Kodak D-23 (Stock) 6:00 @ 20CThe Port Hope VIA station, is the oldest still used GTR station in Ontario, completed in 1856.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8DPenman's Bridge in Paris, Ontario, is part of the original Buffalo & Lake Huron line to Goderich, Ontario. Today operated by Canadian National.
Nikon D750 - AF Nikkor 28-105mm 1:3.5-4.5D

The race to complete the first steam railway was won in 1853. In May of that year, Ontario, Simcoe & Huron ran the first steam train from Toronto to Machell's Corner, Aurora, Ontario. Driving the train, a locomotive named "Toronto" was completed the previous month by the Toronto Locomotive Works. It set Ontario, Simcoe & Huron apart using a Canadian built locomotive while the other two used British built locomotives. In the eastern part of Canada West, the Brockville & Ottawa Railway began construction from the docks at Brockville towards Pembroke, supporting the local timber industry that thrived along the Ottawa River. Grand Trunk cast Great Western as their main competitor and immediately planned to extend their holdings to extend their line from Guelph out to Port Edward (Sarnia, Ontario). In 1854, Great Western completed their mainline, and the celebrations shut down the city of Hamilton for a whole day. But at the same time, the board ousted Sir Allan from the company. In 1855, Ontario, Simcoe & Huron had reached Georgian Bay, helping kickstart the small town of Collingwood. Seeing a chance, Great Western absorbed the small Hamilton & Toronto Railway, completing a line between the two major cities in the province. The biggest triumph of the year for Great Western was constructing the Niagara Suspension bridge, making them the first to build a suspension bridge to carry a railway across. With all three rail operators now converging on Toronto, a stretch of land along Front Street fronting onto the large harbour that jutting into Lake Ontario began the focal point of all three, forming what would become known as the rail lands. Grand Trunk, along with London & Port Stanley, completed their lines in 1856. Grand Trunk and Buffalo, Brantford & Goderich both passed through Stratford within a month of each other. Although the effort was digging deep into the cash reserves of Buffalo, Brantford & Goderich, and by 1857 new investment renamed the operator to Buffalo & Lake Huron Railway. The speed of construction would come back to haunt Great Western when a Hamilton bound train out of Toronto broke through the bridge over the Desjardins Canal, killing sixty, among them Samuel Zimmerman and the son of Hamilton's Mayor. By 1858 rather than fight over a small amount of real estate, Grand Trunk opened the New Station, which all three major players used, the city's first "Union" Station. While far from grand, the small three-building complex would form the prototype of stations to come. Buffalo & Lake Huron would reach Goderich but at a tremendous financial cost. Ontario, Simcoe & Huron, long unprofitable, brought onboard Fredrick Cumberland, who recharted the line to Canada's Northern Railway. Under Cumberland, any train that could not pay for itself got cut, and the savings helped build a branch line from Allandale into Barrie's downtown. By decade's end, Brockville & Ottawa arrived in Perth and branch from Smith Falls to Ottawa completed, and Grand Trunk had reached their western terminus at Port Edward.

A lonely and faded memorials to the victims of the Desjardin Canal disaster stands in the Hamilton Municipal Cemetery.
Mamiya m645 - Mamiya-Sekor C 150mm 1:3.5 N - Ilford FP4+ @ ASA-100 - Kodak D-23 (Stock) 6:00 @ 20CThe Chatsworth Railway Bridge is the only surviving piece of infrastructure from the Toronto, Grey & Bruce Railway.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8DUnionville is one of two surviving Toronto & Nipissing Railway Stations left in Ontario.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8D

The Desjardins canal accident made all the railway operators see the dangers of using iron rails and began slowly converting their networks from iron to steel, kicking off the domestic steel industry. Great Western kept production in-house, building their steel mill, the first in what would eventually become a primary economic driver in Hamilton for the next hundred years. Buffalo & Lake Huron, still in a financial slump, secured purchase by Grand Trunk, who began to take over operations starting in 1864, while still running trains and services under the original banner. The Wellington, Grey & Bruce Railway sought to construct a new line running from Toronto to Southhampton, an area of the province that had not been part of the initial construction boom. The north-western towns had been clamouring for some time, but Northern Railway ignored their cries, who refused to expand despite starting to turn a modest profit. As Provincial leaders gathered to discuss the unification of the separate provinces that made up British North America, one thing kept on coming up, a railroad across the continent. The negotiations would carry on against the backdrop of the American Civil War and the Fenian Raids. Still, by 1867 the Dominion of Canada was formed out of the Provinces of Canada (now divided into the separate provinces of Quebec & Ontario), Nova Scotia, and New Brunswick. Despite being late in the decade, it began to kick off a new wave of construction. In Toronto, the now decade-old station proved far too small as rail travel became popular quickly. Both Great Western and Northern Railway left the wooden station and constructed their own new Toronto stations. After facing trouble getting investment in Wellington, Grey & Bruce proceeded with a shorter mainline, choosing to run from Guelph to Southampton and use Great Western rails to make it into Toronto. Construction of their line kicked off from the community of Fergus and headed in both directions from there. Trying to bank on their promise, the Canadian Government turned to Grand Trunk, who by this point controlled some 2,000 kilometres of track to construct a transcontinental rail line with Federal backing, of course, but Grand Trunk turned them down flat. While most rail operators by this point we're still running either Provincial or Standard Gauges, Scottish business owner George Laidlaw latched onto a third gauge, narrow gauge. In 1868 Laidlaw chartered a pair of narrow gauge railways, Toronto, Grey & Bruce, to run a line up from Toronto to Orangeville and Kincardine with a branch running to Owen Sound. The second, Toronto & Nippissing to run from Toronto to Lake Nippissing. Both would be in support of the Gooderham & Worts Distillery. Both would start within months of each other, but Toronto, Grey & Bruce received the most fanfare. A group of American investors looking to secure a standard gauge line across Ontario chartered the Erie & Niagara Extension Railway to construct a line from Fort Erie to Windsor. Spurred on by the formation of the Toronto, Grey & Bruce, Northern Railway began their expansion, with a line running towards Owen South from Collingwood and Orillia from Barrie. Brockville & Ottawa, despite falling short of their goal, began construction of a branch line under the name Canada Central Railway to construct a line from Renfrew to Mattawa to link up with a potential transcontinental line. Despite a strong start, Wellington, Grey & Bruce now faltered, and Great Western purchased majority control of the operator and began planning a branch line from Harriston to Kincardine. Erie & Niagara Extension would begin construction of their line under the new name of Canadian Southern Railway.

Milton's former Credit Valley Railway passenger station, one of two such stations that survive from the original line.
Nikon D750 + AF Nikkor 35mm 1:2DThe former Burlington Hamilton & North-Western Station, while no longer in the original location and far from the original form it is the only surviving Hamilton & North-Western Station.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8DWhat was once the massive Canadian Southern Railway Yard in St. Thomas now sits mainly empty.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8D

After less than a decade under the management of Grand Trunk, Buffalo & Lake Huron became wholly owned by Grand Trunk in 1870. With their major junction point between their two lines at Stratford, a major motive power shop started construction in the city. Also, to show their dominance, they hired architect Edward Seaton Scott to design a brand new Union Station for Toronto. Wellington, Grey & Bruce would start construction of their Kincardine branch line. In addition to building the line, they also established a maintenance yard at Palmerston and reached Guelph, Elora, and Alma in addition to building the line. Laidlaw's lines would also reach goals, Toronto, Grey & Bruce hit Bolton, and Toronto & Nippissing arrived in Uxbridge. With these two moving along, Laidlaw began to plan a new line; the Credit Valley Railway was initially conceived as a narrow gauge auxiliary line from Toronto to Ontario. But quickly shifted to a standard gauge line from Toronto to Orangeville, and a Streetsville branched west heading towards St. Thomas. With help from a bonus, Canadian Southern selected St. Thomas as their headquarters proved the incentive to push Credit Valley westward. Another small operator, Ontario & Quebec, saw formation to build a line from Perth to Toronto but never left the paper. Although the biggest news of 1871 would be the promise by Canadian Prime Minister Sir John A. MacDonald that a transcontinental railway would be completed within a decade and entertained various contractors to complete the line. Among those seeking to build the line, one Alexander Galt, who had formed the Canadian Pacific Railroad Company and had many business interests in the western part of British North America. By 1873, Grand Trunk opened their new Motive Power Shops in Stratford. Their massive Second Empire styled Toronto Union Station, which quickly gathered back Great Western and Northern Railway. And a third triumph was the opening of the International Railway Bridge between Fort Erie and Buffalo. Toronto, Grey & Bruce arrived in Owen Sound that same year and extended out to Southampton and Kincardine, but the line terminated in Teeswater. The reason being that Wellington, Grey & Bruce had already reached Kincardine by 1874, but Toronto, Grey & Bruce blocked Northern Railway from reaching Owen Sound, forcing them to terminate at Meaford. The selection of the Canadian Pacific Railroad Company to construct the transcontinental line made several people guess, and a Liberal member of Parliament found out that the contract was awarded thanks to large donations to reelection campaigns by many Conservative members. The Pacific Scandal toppled the MacDonald Government and saw the election of a Liberal Parliament with newly minted Prime Minister Alexander MacKenzie promising to build the line with Government funds. True to his word, in 1875, the construction began starting at Fort William and heading west towards Winnipeg. By 1876, the Northern Railway had reached Gravenhurst but now had a new operator nipping at their heels; Hamilton & North-Western aimed to build a line from Hamilton to Collingwood. Financial troubles had them reaching Milton by this point but sought to continue north to Barrie and Collingwood running parallel to the Northern Railway line. Canadian Southern, having gone bankrupt, struggled along but found a new investor and began a part of the large Vanderbilt Railroad Empire who gladly continued operations in Canada. Credit Valley's line from Parkdale at the Western end of Toronto opened to Milton in 1877. And a year later, Hamilton & North-Western reached Collingwood, exhausting what little reserve they had left. Credit Valley would open up many branch lines by 1879, with lines running to Brampton and Elora and even reaching Galt and quickly St. Thomas afterwards with great fanfare. Despite initially being competitors, Northern Railway and Hamilton & North-Western merged convenience and capital, forming North & North-Western Railway and continued to drive further north to reach Bonfield and the Pacific line.

While a far cry from what it once was, the Toronto Railway Corridor is still a very active line with multiple operators going through it daily.
Nikon D750 - AF-S Nikkor 28-70mm 1:2.8DWhile not the first, the International Railway Bridge from 1873 among the longest serving rail bridges in Ontario.
Nikon D750 - AF Nikkor 50mm 1:1.4DThe 1903 Canadian Pacific Station in North Bay, Ontario - The destination of almost all southern railroads to the transcontinental line. Seen here in 2011 still under restoration.
Nikon D300 - AF-S Nikkor 14-24mm 1:2.8G

By the decade's end, Toronto had become a hotbed of railway competition. The rail lands were filled with kilometres of tracks, and roundhouses dotted the landscape as Grand Trunk operated a massive maintenance yard, as did Great Western and even Credit Valley. The rail corridor competition proved fierce as the big three and even smaller operators jockeyed for priority routing. In some cases, the contest grew violent as track operators moved to barricade and slowed down competitor trains running, sharing their tracks. They gave priority to their trains or ones which they had sharing agreements. Toronto's problem would become Ottawa's problem as the railroad proved a political matter in the first decade of Confederation. Eventually, legislation passed to ensure that a peaceful sharing of limited space was made. In Ottawa, the Conservatives under Sir John A. MacDonald returned to power after the four years MacKenzie Liberal government. This time MacDonald took a far more aggressive stance moving quickly to complete the pacific line, which would dominate the next big railway boom for Ontario and Canada.

#afadedglory #aurora #burlington #canada #canadianhistory #chatsworth #collingwood #forterie #hamilton #ilfordfp4 #ilfordhp5 #infrastructure #kodakd23 #kodakd76 #kodaktrix400 #mamiyam645 #napanee #nikond300 #nikond750 #nikonf6 #northbay #ontario #paris #pyrocathd #railroad #railway #stthomas #toronto #train #unionville

Foma:52 – Week 40 – Stone City

Known as Stone City, Kingston is one of Ontario's oldest cities. The city traces itself back to the early days of colonial settlements in New France. While today the city remains a military stronghold. It has also gone through an identity crisis due to its connection to Canada's first Prime Minister, Sir John A MacDonald, and his government's continued role in destroying Canada's Indigenous peoples.

The City in three stages, at the front, the former Market Battery from the War of 1812, the Grand City Hall in the background built for service at the Parliament Building for the Province of Canada, and in the middle, the new Tourist driven city with Confederation Park.
Nikon FM - AI Nikkor 24mm 1:2.8 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

The first known human settlement where the modern city of Kingston stands today dates back to around 9,000-3,000 years ago, although the first permanent human settlement would not come until around 500CE. The Hurons would occupy the land until the Beaver Wars, and the Haudenosaunee established their village, naming Cataraqui. The word carried multiple meanings, but the most widely accepted one is "the place where one hides." European contact came in 1615 when French explorer Samual de Champlain sailed past during his exploration of the Great Lakes. Seeing the site's potential, the French established a fur trading fort, Fort Cataraqui, later Fort Frontenac in 1673. Tensions between the Haudenosaunee and French traders resulted in the fort's destruction in 1688, but the French rebuilt shortly after, not wanting to give up a strategic location. By the 1700s, the Haudenosaunee had moved on, and the Mississaugas arrived, as did the British who destroyed the fort during the Conquest of New France during the French-Indian War. The St. Lawerence River Valley became a refuge for United Empire Loyalists in the late 18th century. To help settle these loyal subjects, the Colonial Authorities signed the Crawford Purchase in 1783. They allowed the establishment of a military post and a settlement known as King's Town on the natural harbour formed where the Cataraqui River flows into Lake Ontario. By 1788 the settlement's name had been shortened to Kingston. The small village grew, the natural harbour and twin points formed a highly secure location. It quickly outstripped Newark (Niagara-On-the-Lake) and York (Toronto) as Upper Canada's leading urban centre. The first Grammar School (High School) opened in 1792 and was a hub of military and commercial activity by the century. During the War of 1812, the settlement came under fire from American warships. Still, thanks to the heavy defences along the shore, Point Henry and Point Fredrick saw the American squadron's driven back. The King's Navy Yards constructed some of the largest warships in the Royal Navy, including the H.M. Ship St. Lawrence armed with 112 guns, although it never saw action during the conflict. The British constructed a new fort at Point Henry and used the King's Navy Yard following the war. Even after signing the Rush-Baggot Agreement, the yards became more of holding space for the riggings and arms for the squadron. The village grew into a town by 1838, a bastion of British conservatism that made it the perfect choice for the capital of the Province of Canada. The move was designed to show the French-Canadians their irrelevance and punishment for the preserved blame for the Rebellions of 1837-8. An explosion on the docks in 1840 destroyed the downtown allowing for reconstruction using limestone and earning the moniker the Stone City. Despite being the primary urban centre, Kingston in 1841 had little in services, let alone a sanitary system. Despite the grand designs for a new Parliament building, by 1844, the capital moved to Montreal. The completed building served as the new city hall when Kingston was incorporated as a city in 1846. Through the second half of the 19th century, the city grew, becoming a hotbed for industrial growth and economic trade; one of the first large scale locomotive factories opened, eventually becoming the Canadian Locomotive Company. During the Oregon Crisis, additional defences resulted in a much larger Fort Henry and four Martello Towers. The significant military presence turned the old Navy Yard into the Royal Military College of Canada to educate new generations of officers for the Canadian Militia. During the war, heavy involvement from Kingston saw the old fort used twice as an internment camp and generations of cadets moved out from the college. The post-war saw a gradual decline from industry into an educational and, more recently, tourism realm, with more universities and colleges added to the city. Many downtown buildings once home to industry and supporting ventures are home to restaurants and small shops. The once vast industrial waterfront is home to hotels, condos, and parks. Today, the military remains a significant part of Kingston's identity and a deep connection with history. The city is home to 1,211 historical sites, 21 of them Federally recognized and one World Heritage Site.

Shoal Tower, one of four Martello towers that form the defence of Kingston.
Nikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20CThe Island Queen is a Mississippi Paddlewheeler that provides tourist cruises through the 1000 Islands.
Nikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

The one thing I did my best to do was to avoid anything directly connected to Canada's first Prime Minister, as the city is still working on putting a more nuanced spin on Sir John A. MacDonald. The trouble is that in Kingston, it is nearly impossible. Thankfully there is plenty to shoot in Kingston that isn't completely connected to Sir John A; the trouble is that there's too much to shoot. And when it comes to Kingston, I've always faced two limits, time and weather, and this week is no different; despite having a bit more time, the weather wasn't exactly the best. For the first time, I did not feature the image used in the banner in the blog post; instead, the top photo is the three stages of the city. Starting with the Market Battery from the War of 1812 and through the mid 19th century, the grand City Hwas all built for the Colonial Parliament of the Province of Canada to the modern confederation park. From there, I had to include a rather odd sight, a Mississippi paddle wheeler, another element of the city's tourism. And, of course, the awesome Shoal Tower, another reminder of the city's military heritage. From there, it was a matter of showing off the old stone buildings that are now home to hotels and restaurants that directly drive downtown business. And sadly, yes, there is one building that has a connection to Sir John A.

Something rare to see in a historic downtown, a modern building constructed into a historic block.
Nikon FM - AI Nikkor 24mm 1:2.8 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20CThe Prince George Hotel is made up from the Springer Market Square dating back to 1809 that were combined into a single building in 1892.
Nikon FM - AI Nikkor 24mm 1:2.8 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

This week I decided to run with a two-lens kit, my primary lens being the stunning Nikkor 24/2.8, but I also packed a recent arrival to my stable, the Nikkor 200/4. The only reason I took it with me was to capture some of the Martello towers visible from the downtown, but for the most part, I wanted to get that wide-angle view of the stunning stone architecture. With the light and on-and-off rain sprinkles, I shot the Fomapan 200 at the box speed of ASA-200, and despite the poor lighting conditions, I could get some good shots ensuring that I hit against a flat focal plane. Combined with the ultrawide lens, I was able to get a good depth of field for the architectural work. For the 200mm, I ensured my subjects were a fair distance off as I was often shooting at f/4 to get that 1/250″ shutter speed to avoid any camera shake. I went with Kodak D-23 again; it seems to do one of the best jobs with Fomapan 200, which isn't bad for a t-grain modern emulsion and a classic one-developing agent developer.

The historic fire station, now a resteraunt.
Nikon FM - AI Nikkor 24mm 1:2.8 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20CA former commercial block, the Smith Robison Building circa 1841, still home to multiple commercial ventures.
Nikon FM - AI Nikkor 24mm 1:2.8 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

We're back in Toronto and revisiting one of the first dates Heather and I went on; we're going to the Zoo.

#foma52 #52rollproject #architecture #canada #canadianhistory #city #fomapan200 #fortification #kingston #kodakd23 #nikkor #nikonfm #ontario #project #urban

Foma:52 – Week 40 – Stone City

Known as Stone City, Kingston is one of Ontario's oldest cities. The city traces itself back to the early days of colonial settlements in New France. While today the city remains a military stronghold. It has also gone through an identity crisis due to its connection to Canada's first Prime Minister, Sir John A MacDonald, and his government's continued role in destroying Canada's Indigenous peoples.

The City in three stages, at the front, the former Market Battery from the War of 1812, the Grand City Hall in the background built for service at the Parliament Building for the Province of Canada, and in the middle, the new Tourist driven city with Confederation Park.
Nikon FM - AI Nikkor 24mm 1:2.8 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

The first known human settlement where the modern city of Kingston stands today dates back to around 9,000-3,000 years ago, although the first permanent human settlement would not come until around 500CE. The Hurons would occupy the land until the Beaver Wars, and the Haudenosaunee established their village, naming Cataraqui. The word carried multiple meanings, but the most widely accepted one is "the place where one hides." European contact came in 1615 when French explorer Samual de Champlain sailed past during his exploration of the Great Lakes. Seeing the site's potential, the French established a fur trading fort, Fort Cataraqui, later Fort Frontenac in 1673. Tensions between the Haudenosaunee and French traders resulted in the fort's destruction in 1688, but the French rebuilt shortly after, not wanting to give up a strategic location. By the 1700s, the Haudenosaunee had moved on, and the Mississaugas arrived, as did the British who destroyed the fort during the Conquest of New France during the French-Indian War. The St. Lawerence River Valley became a refuge for United Empire Loyalists in the late 18th century. To help settle these loyal subjects, the Colonial Authorities signed the Crawford Purchase in 1783. They allowed the establishment of a military post and a settlement known as King's Town on the natural harbour formed where the Cataraqui River flows into Lake Ontario. By 1788 the settlement's name had been shortened to Kingston. The small village grew, the natural harbour and twin points formed a highly secure location. It quickly outstripped Newark (Niagara-On-the-Lake) and York (Toronto) as Upper Canada's leading urban centre. The first Grammar School (High School) opened in 1792 and was a hub of military and commercial activity by the century. During the War of 1812, the settlement came under fire from American warships. Still, thanks to the heavy defences along the shore, Point Henry and Point Fredrick saw the American squadron's driven back. The King's Navy Yards constructed some of the largest warships in the Royal Navy, including the H.M. Ship St. Lawrence armed with 112 guns, although it never saw action during the conflict. The British constructed a new fort at Point Henry and used the King's Navy Yard following the war. Even after signing the Rush-Baggot Agreement, the yards became more of holding space for the riggings and arms for the squadron. The village grew into a town by 1838, a bastion of British conservatism that made it the perfect choice for the capital of the Province of Canada. The move was designed to show the French-Canadians their irrelevance and punishment for the preserved blame for the Rebellions of 1837-8. An explosion on the docks in 1840 destroyed the downtown allowing for reconstruction using limestone and earning the moniker the Stone City. Despite being the primary urban centre, Kingston in 1841 had little in services, let alone a sanitary system. Despite the grand designs for a new Parliament building, by 1844, the capital moved to Montreal. The completed building served as the new city hall when Kingston was incorporated as a city in 1846. Through the second half of the 19th century, the city grew, becoming a hotbed for industrial growth and economic trade; one of the first large scale locomotive factories opened, eventually becoming the Canadian Locomotive Company. During the Oregon Crisis, additional defences resulted in a much larger Fort Henry and four Martello Towers. The significant military presence turned the old Navy Yard into the Royal Military College of Canada to educate new generations of officers for the Canadian Militia. During the war, heavy involvement from Kingston saw the old fort used twice as an internment camp and generations of cadets moved out from the college. The post-war saw a gradual decline from industry into an educational and, more recently, tourism realm, with more universities and colleges added to the city. Many downtown buildings once home to industry and supporting ventures are home to restaurants and small shops. The once vast industrial waterfront is home to hotels, condos, and parks. Today, the military remains a significant part of Kingston's identity and a deep connection with history. The city is home to 1,211 historical sites, 21 of them Federally recognized and one World Heritage Site.

Shoal Tower, one of four Martello towers that form the defence of Kingston.
Nikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20CThe Island Queen is a Mississippi Paddlewheeler that provides tourist cruises through the 1000 Islands.
Nikon FM - AI-S Nikkor 200mm 1:4 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

The one thing I did my best to do was to avoid anything directly connected to Canada's first Prime Minister, as the city is still working on putting a more nuanced spin on Sir John A. MacDonald. The trouble is that in Kingston, it is nearly impossible. Thankfully there is plenty to shoot in Kingston that isn't completely connected to Sir John A; the trouble is that there's too much to shoot. And when it comes to Kingston, I've always faced two limits, time and weather, and this week is no different; despite having a bit more time, the weather wasn't exactly the best. For the first time, I did not feature the image used in the banner in the blog post; instead, the top photo is the three stages of the city. Starting with the Market Battery from the War of 1812 and through the mid 19th century, the grand City Hwas all built for the Colonial Parliament of the Province of Canada to the modern confederation park. From there, I had to include a rather odd sight, a Mississippi paddle wheeler, another element of the city's tourism. And, of course, the awesome Shoal Tower, another reminder of the city's military heritage. From there, it was a matter of showing off the old stone buildings that are now home to hotels and restaurants that directly drive downtown business. And sadly, yes, there is one building that has a connection to Sir John A.

Something rare to see in a historic downtown, a modern building constructed into a historic block.
Nikon FM - AI Nikkor 24mm 1:2.8 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20CThe Prince George Hotel is made up from the Springer Market Square dating back to 1809 that were combined into a single building in 1892.
Nikon FM - AI Nikkor 24mm 1:2.8 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

This week I decided to run with a two-lens kit, my primary lens being the stunning Nikkor 24/2.8, but I also packed a recent arrival to my stable, the Nikkor 200/4. The only reason I took it with me was to capture some of the Martello towers visible from the downtown, but for the most part, I wanted to get that wide-angle view of the stunning stone architecture. With the light and on-and-off rain sprinkles, I shot the Fomapan 200 at the box speed of ASA-200, and despite the poor lighting conditions, I could get some good shots ensuring that I hit against a flat focal plane. Combined with the ultrawide lens, I was able to get a good depth of field for the architectural work. For the 200mm, I ensured my subjects were a fair distance off as I was often shooting at f/4 to get that 1/250″ shutter speed to avoid any camera shake. I went with Kodak D-23 again; it seems to do one of the best jobs with Fomapan 200, which isn't bad for a t-grain modern emulsion and a classic one-developing agent developer.

The historic fire station, now a resteraunt.
Nikon FM - AI Nikkor 24mm 1:2.8 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20CA former commercial block, the Smith Robison Building circa 1841, still home to multiple commercial ventures.
Nikon FM - AI Nikkor 24mm 1:2.8 - Fomapan 200 @ ASA-200 - Kodak D-23 (Stock) 7:00 @ 20C

We're back in Toronto and revisiting one of the first dates Heather and I went on; we're going to the Zoo.

#foma52 #52rollproject #architecture #canada #canadianhistory #city #fomapan200 #fortification #kingston #kodakd23 #nikkor #nikonfm #ontario #project #urban

Foma:52 – Week 39 – Entrenched

When it comes to Historic Fort York in Toronto, most people will associate with the Anglo-American War of 1812, which isn't wrong. The fort is home to the most extensive collection of original buildings from the era and is among the oldest buildings in the city. But this week, we're moving ahead by a century into the fort's role during Canada's involvement in the First World War.

One of the best parts about Fort York is the juxtaposition of the 1815 buildings with modern condo towers in background.
Nikon FM - Lomography Daguerreotype Achromat 1:2.9/64mm - Fomapan 200 @ ASA-50 - Kodak D-23 (Stock) 5:45 @ 20C

When Canada found itself at war in 1914, it had only served once overseas during the Second Boer War. Canada's involvement in that colonial conflict resulted in a great deal of reform within the Militia. The Militia had three branches, the Permanent Active Militia or Permanent Force, the Active Militia, and a Sedentary Militia (which played no fundamental role). The Permanent Force offered up a series of troops used to man the defensive works across Canada and the Active Militia could be called up to service if needed. In 1914 the Canadian Government formed the Canadian Expeditionary Force (CEF) to organize troops to send to the Western Front. The first troops arrived in England in the Fall of 1914 and were deployed to the front in 1915. By Fall 1915, the second division of Canadian troops came, joining the 1st and the Canadian Corps, which eventually grew to four divisions by August 1916. In addition to the Canadian Corps, including the Canadian Army Medical Corps, Service Corps, Machine Gun Corps, Cavalary, drivers, guides, and more. In combat, Canadians fought in seventeen major engagements and faced one of the Germans' first uses of poison gas against allied troops. And fought until the very end of the war earning a fearsome reputation in combat. By the end of the war, most of the CEF was disbanded, but a 1918 study allowed many current regiments in the Canadian Army to perpetuate the battle honours earned during the war.

While the soldiers get all the glory, the men and women of the Canadian Army Medical Corps deserve a great deal of the credit for their efforts close to the front in clearing stations.
Nikon FM - Lomography Daguerreotype Achromat 1:2.9/64mm - Fomapan 200 @ ASA-50 - Kodak D-23 (Stock) 5:45 @ 20CLance Corporal Julius is the unit Mascot for the No. 3 Casulty Clearing Station - Canadian Army Medical Corps.
Nikon FM - Lomography Daguerreotype Achromat 1:2.9/64mm - Fomapan 200 @ ASA-50 - Kodak D-23 (Stock) 5:45 @ 20C

Since I had already dedicated an entire week to the 11th Swiss Rifles, I made a point to include mainly reenactors who represented Canadian units, save for one shot of a Swiss Rifleman due to the awesome pipe. These included folks portraying the 3rd Battalion CEF elements, Princess Patricia's Canadian Light Infantry, and Royal Canadian Regiment. But also made a point to include the famous Lance Corporal Julius, the mascot of the 3rd Casualty Clearing Station and members of the nurses that portray those who served in the Canadian Army Medical Corps. It also proved difficult because I could not always get full resolution on the detailed elements of the uniforms of the Canadian reenactors. The trouble is that by this point, the colourful and unique elements of the uniforms of the Napoleonic era had been lost in the dry, dusty battlefields of South Africa. But I think I caught almost everyone. If you want to see all the photos I captured during the event; you can check out the full album over on Flickr.

There's always a great deal of training that goes into new recruits including rifle drill or how to move your weapon around in a safe and sharp manner.
Nikon FM - Lomography Daguerreotype Achromat 1:2.9/64mm - Fomapan 200 @ ASA-50 - Kodak D-23 (Stock) 5:45 @ 20CA reenactor representing a member of the Royal Canadian Regiment, members of the RCR served in the 3rd Canadian Division CEF.
Nikon FM - Lomography Daguerreotype Achromat 1:2.9/64mm - Fomapan 200 @ ASA-50 - Kodak D-23 (Stock) 5:45 @ 20C

Given the era of the reenactors, I had to tone down the perfection delivered by 'modern' Nikkor glass. I returned to a lens I have only used once before in the project, the Lomography Daguerreotype Achromat 64mm/2.9. An 1839 lens formula offered up that old-school look that many cameras of the age carried. The biggest problem is that 35mm film during the First World War was limited to motion picture films, with most still cameras using medium format. Because I planned to use the optical qualities of the lens when shot at f/2.9 and given the sunny conditions during the day, I ended up giving the film a two-stop overexposure, shooting the Fomapan 200 at ASA-50, at least for a majority of the roll, the first handful of frames I shot at box speed (ASA-200). I went with Kodak D-23 for the developer, a classic slower and older version of Kodak D-76 for the developer, and pulled the film in development to compensate for that much overexposure. I could have also used Rodinal for the developer as I know it was around during the First World War. It surprised me that even the shots I rated the film at ASA-200 turned out to be a bit denser but still viable,e I chose not to scan them to keep things consistent.

A Rifleman from the 11th Swiss Rifles, I had to include this image because of the awesome Germanic pipe James had with him.
Nikon FM - Lomography Daguerreotype Achromat 1:2.9/64mm - Fomapan 200 @ ASA-50 - Kodak D-23 (Stock) 5:45 @ 20CHurry up and wait is always the name of the game, catching a bit of a nap before falling in for drill.
Nikon FM - Lomography Daguerreotype Achromat 1:2.9/64mm - Fomapan 200 @ ASA-50 - Kodak D-23 (Stock) 5:45 @ 20C

We're sticking to the historical theme but moving further back in time to the original capital city of the United Provinces of Canada, the city of Kingston.

#foma52 #52rollproject #canada #canadianhistory #fomapan200 #fortyork #historicfortyork #kodakd23 #lomography #nikonfm #ontario #reenactment #toronto #worldwar1