Ilford Pan-F in Tetenal Neofin Blue

Having messed about with Ilford 3200 in an attempt to get some truly monstrous grain (previous post), it’s back to the other end of the film speed spectrum with an old favourite – Ilford Pan F. All shots on an Olympus OM2N in aperture priority mode (with appropriate exposure compensation).

Olympus OM2N Pan F Neofin Blue

25 ASA with a 50mm f1.4 at 1/30th second and an excellent start!

 

Olympus OM2N Pan F Neofin Blue

The centre of the image showing very little grain .

Rather than use the same old developer I thought was worth trying something different after reading this :- an article from Practical Photography back in 1960 describing using Neofin Blue with a now long gone film Ilford Micro Neg. Interestingly this reminded me of several characteristics of Adox’s CMS20 film. Neofin Blue is a high acutance one shot developer for slower films – the fast film version was Neofin Red now discontinued. The link above is to a really interesting website if you’re into photographic history by the way.

Olympus OM2N Pan F Neofin Blue

There are five ampoules of developer in a pack working out at around £1.60 per film if used at the standard dilution. The dilution can be halved for economy if you wish.

Pan F is happy at 25 and 50 ASA, though the contrast at 25 ASA in ID11 developer is pretty strong. Will it do the same thing in Neofin Blue? I’ve never used Tetenal chemistry so this should be interesting.

Olympus OM2N Pan F Neofin Blue

The 50mm f.14 again at f5.6 – nice.

Mixing Neofin Blue has an extra calculation – one ampoule of 30ml in 500ml of water is the standard dilution. Other dilutions are possible (half an ampoule, more water etc) which will result in a multiplier to the development time. I stuck with the standard dilution as it’s the first time I’ve used it. The development time was a short 4.5 minutes which seemed very brief but worked perfectly.

Olympus OM2N Pan F Neofin Blue This is good! The harsh contrast I’ve experienced with ID11 at 25 ASA just isn’t here at all, the grain is very well controlled and the tonality pleasing.

What about 50 ASA?

Olympus OM2N Pan F Neofin Blue

@50 ASA and this is hardly different from the 25 ASA results which is welcome. 25 ASA just isn’t fast enough sometimes.

 

Olympus OM2N Pan F Neofin Blue

The centre of the previous image – being able to see the thin cable attached to the top of the tower and exiting left is impressive (the branches are slightly out of focus)!

 

Olympus OM2N Pan F Neofin Blue

Being fairly slow film this is good for long exposures – this was around one second through an R25 red filter at f16. Vivitar 17mm f3.5

 

Olympus OM2N Pan F Neofin Blue

Some of Pan-F’s dark characteristics remain – those shadows are very deep even if i missed a few dust spots – sorry.

Most of these were taken using a new minimalist kit approach – one camera body, a 50mm f1.4 or 1.8, a 28mm f2, a 135mm f3.5, two spare rolls of film and a spare set of batteries. A wonderfully light and flexible set of equipment which can be carried in jacket pockets without a heavy camera bag. As the 50mm lenses get used more than any other I could leave the other lenses behind and go really minimalist! Try it one day – it’s very refreshing and the results are good so far.

Olympus OM2N Pan F Neofin Blue

50 ASA on an overcast day allows the gratuitous use of wide apertures and some flashy shallow depth of field. This is with the 50mm f1.8 – it’s bokeh is a bit busy here.

All in all an excellent result. At 25 ASA the contrast is better controlled than ID11’s results, and at both 25 and 50 ASA the grain is excellent for a high acutance developer. The ‘dark’ look of Pan F has been nicely preserved too. It’s not quite as grainless as Adox CMS20 but then I didn’t really expect it to be. A highly recommended combination!

Thanks for looking – hope you find it useful.

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

Grain at Last! Ilford Delta 3200 in Rodinal.

Or alternatively (suggested by Nick in the previous post’s comment section) ‘The Search for the Holy Grain’.

Ilford Delta, Rodinal, Olympus OM2N

Worbarrow Bay with Portland just visible on the horizon on the left. I thought this very heavy grain may be caused by under/over exposure but the negative looks fine.

In an attempt to get some really grainy results I’ve been trying some faster films with little success – I want a really grainy image like those obtainable using now discontinued films such as Kodak TMax 3200, Scotch 3M 1000 or even Kodak Hi Speed IR.

Ilford Delta, Rodinal, Olympus OM2N

The central portion of the above shot. That’s a lot of grain… I was after grain but maybe a bit less than this!

At 1600 and 3200 ASA Ilford Delta 3200 is (annoyingly) very well-behaved when developed in ID11, so the next step is Rodinal which sharpens up detail at the expense of harder grain.

Ilford Delta, Rodinal, Olympus OM2N

Tyneham church entrance. The sky has overexposed – as I took a meter reading from the ground here – and the grain hasn’t shown on the scan. Interesting.

Ilford Delta, Rodinal, Olympus OM2N

The centre of the previous shot – grainy goodness in spadefulls!

All shots from one roll in an OM2N using a 17mm f3.5 lens in manual mode as the max ASA setting is 1600 – so set the exposure and take a stop off. The Rodinal was at a 1+25 dilution at 20 degrees c for 11 minutes.

Ilford Delta, Rodinal, Olympus OM2N

Centre weighted meter reading and some grain in the sky as it hasn’t overexposed. This is just about right.

The grain is most evident in skies when no exposure compensation has been set for the main subject. If a meter reading is taken from the ground (rather than the whole scene) the clouds become over exposed and the grain can’t be seen – so a choice of technique.

Ilford Delta, Rodinal, Olympus OM2N

On a fairly bright winter’s day exposures are possible at 3200 using 1/1000th of a second and f16 to f11. On a brighter day a red 25A or polarizer would be needed – unless your SLR can shoot faster than 1/1000th of a second or you lens run to f22/f32 of course.

Ilford Delta, Rodinal, Olympus OM2N

Sorry – another shot of the same building. I got a bit carried away here.

These were all taken an Tyneham and Worbarrow Bay in Dorset. The ruins are what’s left of a small village which was taken over by the army as a combat training zone in World War 2 with the promise to the villages and landowner that it would all be returned – it never was.

Ilford Delta, Rodinal, Olympus OM2N

Anyway, back to this film/developer combo. Well I can’t complain that it’s not grainy. What’s odd is how variable the appearance of the grain is. In some cases using the same exposure for different shots of the same subject produces markedly different grain, even though the negatives look fine. Shots with lots of mid-tones seem to show the most grain when normally exposed, highlights when overexposed are fine and shadows are fine too surprisingly though the darker greys are a bit ‘grungy’.

Apart from the first picture in this series, the rest of these are just what I was after so I’ll stick with this for a few more rolls. Oddly several shots earlier in the roll showed the same ultra graininess but all the subsequent shots had less obtrusive grain :-

Ilford Delta, Rodinal, Olympus OM2N

Another shot from earlier in the roll.

So – a few mysteries and mishaps, but I like this a lot (you may not!) and it’s good to finally find a film/dev combo which achieves the look I was after.

Hope you find this useful, thanks for looking!

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

 

Finally Getting Some Grain – Ilford Delta 3200

The search for some really grainy shots continues, and the latest batch of shots seems to be heading in the right direction.

Olympus OM2N, Ilford Delta 3200, D76

Some decent grainy goodness at last – not quite there yet but this is a ‘work in progress’!

This mini project was inspired after being reminded of Scotch 3M 1000 slide film in an old photography book. I used to like fast Scotch film a lot – sadly it’s now been discontinued for many years. It didn’t try to hide its grainyness – instead the grain was an integral and deliberate part of the image. It was a little like trying to recreate a 19th century painting technique called pointillism using film. Modern 400 ASA films have proved reluctant to ‘grain up’ to the challenge so more extreme measures are called for.

Olympus OM2N, Ilford Delta 3200, D76

Overcast days are best for this technique- too much light overwhelms the OM2N’s 1/1000th second shutter speed without a filter of some sort..

It turns out this ‘closest yet’ effort was really very simple – expose Ilford Delta 3200 at it’s ‘box speed’ 3200 which just involves a little work on the OM2N. The OM2N goes to a maximum 1600 ISO and is at it’s limit, so no there’s no -1 exposure compensation in aperture priority mode. It’s just a case of setting the exposure manually and then taking a stop off. So simple really as long as you remember!

Olympus OM2N, Ilford Delta 3200, D76

These were developed in D76 – it’s Rodinal for the next try to really harden the grain up. After that it’s 6400 ASA – with an ND filter I think.

Olympus OM2N, Ilford Delta 3200, D76

These were taken on a cold, overcast day in Lymington near the New Forest in Hampshire UK. Lymington seems to be dependent on the yachting/tourist fraternity – in January it’s quite quiet and empty.

Olympus OM2N, Ilford Delta 3200, D76

Worn out, old patterns complement this technique nicely – but only in the smoother areas (the window) as this wall was already pretty gritty already.

Now for a close up of the grain structure :-

Olympus OM2N, Ilford Delta 3200, D76

The full frame.

 

Olympus OM2N, Ilford Delta 3200, D76

And a portion of the centre – complete with a few drying marks. Oops.

Finally a rural church – always a good choice for a book cover.

Olympus OM2N, Ilford Delta 3200, D76

This was taken before a heavy storm – hence the dark clouds. The snowdrops add a certain something.

Well, almost there, but this has been more difficult than first imagined. Thirty years ago grain was a major problem using 35mm film, but the past few experiments have shown that it’s really quite difficult to get really grainy results with modern emulsions. Ilford 3200 seems to produce some promising results, but pushing Kodak Tri-X to 3200 ASA might work well – more experiments!

This is the best reason to use film – the combinations of film, developer and exposure provide some fascinating possibilities and learning opportunities. The 5d Mk2 and the 60D are enjoying a break for a while until this particular project is over – this is the best photographic fun I’ve had in ages.

Oh – and Ilford 3200 in D76 is quite good too!

Thanks for looking – hope you find this useful.

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

The Search for Grain Continues – Kodak Tri-X. Lots of Shots and Some Photographic History.

Approaching a review of Kodak Tri-X provokes some nervousness. Tri-X has been around since 1954 (though reformulated many times since then) and was the black and white film which defined a photographic era for fashion and journalism in the 1970’s and 1980’s, creating a dark gritty look which is still used today. It’s still the best-selling mono film (according to Kodak).

Kodak Tri-X, 35mm, Olympus OM2N, D76

Salisbury Cathedral again on an overcast day. This needed some PP but the dark ‘look’ I remember is still there. Zuiko 28mm f2 though not as grainy as I’d remembered.

The great Don McCullin used Tri-X for his famous photographs of the Vietnam war. For David Bailey, Irving Penn, Alfred Eisenstaedt, and Cartier Bresson it was a mainstay too. In short it’s one of the few films which has legendary status so I’d best be thorough! For a fuller description see here for an excellent history of this film.

Kodak Tri-X, 35mm, Olympus OM2N, D76

Inside the cathedral and that tonality is lovely – enough to feel optimistic! Vivitar 17mm lens.

When a film has been going for 60 years it’s got to be good – but does the modern version capture that ‘look’ I loved thirty years ago? Best shoot a few rolls.

Kodak Tri-X, 35mm, Olympus OM2N, D76

A further interior – and good too. Vivitar 17mm lens. The textured stone of the interior masks the graininess as always.

All these shots rated at 400 ASA on a Olympus OM2N with a variety of Zuiko/Vivitar lenses and developed in D76 – D76 and Tri-X must be a classic combination. Scanned on the usual Plustek 7500 and subjected to some levels and contrast adjustment.

Kodak Tri-X, 35mm, Olympus OM2N, D76

The last from Salisbury and a bit of a gothic type shot – working as hoped. Vivitar 17mm lens.

The film feels like a quality product in a well made cassette with solid felt light baffles. It’s difficult to break into for loading on a film spiral – always a good sign. It loads easily onto the spiral too.

Kodak Tri-X, 35mm, Olympus OM2N, D76

Hard light suits this film. The humble Zuiko 50mm f1.8.

Drying it doesn’t attract much dust and is quite a ‘hard’ emulsion when dry. When you’ve had 60 years to perfect a film it should be one of the best I suppose!

Kodak Tri-X, 35mm, Olympus OM2N, D76

Zuiko 50mm f1.8.

One of the properties of Tri-X was to capture a subject’s essential details – complete with grain, dirt and darkness in the process. It was famous for it’s deep black tones and is often used to emphasise the grittier side of life – with a bit of PP in the contrast department it does it well.

Kodak Tri-X, 35mm, Olympus OM2N, D76

To portray dark grittyness this is excellent. Zuiko 28mm f2.

Exposure latitude is wide too allowing shooting in a wide variety of situations.

Kodak Tri-X, 35mm, Olympus OM2N, D76

Shooting into the light and a nice result – flare, grain and all.

However – is it grainy enough? That’s what this search is all about!

Kodak Tri-X, 35mm, Olympus OM2N, D76

The whole frame.

And a small enlargement :-

Kodak Tri-X, 35mm, Olympus OM2N, D76

This small section of the negative looks quite detailed with reasonable grain for 400 ASA.

Nope – I’m looking for more grain than this. Let’s try uprating it to 1600 ASA and push processing it for 12 minutes.

Kodak Tri-X, 35mm, Olympus OM2N, D76

This is a little more like it in low light. 50mm f1.8.

Outdoors in soft sunlight :-

Kodak Tri-X, 35mm, Olympus OM2N, D76

Time for a frame enlargement and here’s the full frame. Zuiko 135 f3.5 (a recent acquisition!)

 

Kodak Tri-X, 35mm, Olympus OM2N, D76

And here’s a small section enlarged. Slightly harder grain than a 100 ASA film but not that much.

Well it’s made things a little more grainy but not as much as I’d hoped. Tri-X is made to be pushed to higher speeds so it shouldn’t be too much of a surprise. These were developed in D76 but it’s (annoyingly!) done a good job on the grain structure that I’m thinking for the next roll it will have to be souped in Rodinal which should harden the grain up a bit. It’s amazing how good modern film is by comparison with 30 years ago. All of the high-speed films tested so far have proved highly resistant to heavy grain formation – so much so there’s not a huge difference between them and 100 ASA film. Even Ilford 3200 was tame at 1600 ASA.

Finally – for those who don’t like slopping chemicals around – can Tri-X be replicated digitally in DXO Filmpack? There’s a preset for it so let’s see.

Here’s a Tri-X ‘original’ :-

Kodak Tri-X, 35mm, Olympus OM2N, D76

And here’s a DXO converted shot from an EPL5 :-

Kodak Tri-X, 35mm, Olympus OM2N, DXO Filmpack

Close enough I’d say, though film development and PP variations (in both cases) mean that DXO can only really do an approximation of the final ‘look’. The stonework on the house is brighter in the later shot due these being taken many weeks apart – the DXO shot has the advantage of some sunlight on the wall face.

Well what to make of it? Tri-X is still an excellent film just past it’s 60th birthday and as good as it’s competitors if you prefer a darker look (think of it crudely as a fast Ilford PAN-F). As a photographer who still shoots lots of film as well as digital, it’s worth a thanks to Kodak for keeping this stuff in production. My recommendation is to give it a try – I’m about to order 10 rolls!

Thanks for looking – hope this is useful!

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

 

Some More Ilford Delta 3200 (through a red R25A filter)

Being rather taken with this fast monochrome film (having used lower ISO rated films for years) here are a few more to whet the appetite.

i3259

Just about right – though I cheated a bit and added a vignette here for dramatic effect. 17mm.

All taken on a trip in winter round Poole Harbour (Dorset UK) on a drizzly, dull day using an OM2N, a Vivitar 17mm, a Zuiko 50mm f1.8 and R25A red filters to bring some drama to the patches of blue skies. Exposed at 1600 ASA the dev time was 9 1/2 minutes in D76 stock which does a good job with this film.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

That looks suspiciously like a fingerprint on the right. Hmm. I’ll pretend it’s a Photoshop layer. 17mm.

The viewfinder is darkened using the filter (and everything is red obviously) but using smaller apertures and the depth of field markings is sufficient. It’s best to use these on the 17mm lens anyway as the viewfinder focus aids aren’t that useful on such a wide-angle lens where most things are in focus.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

Hardly ‘gritty urban’ but it has something. The red filter has done a nice job on darkening the blue skies here. 17mm.

The ‘exposure factor’ for an R25A red filter is 3x so this is the equivalent of shooting at 200 ASA which is more than enough even on an overcast day using wide-angle lenses to use f11 or f16 and keep the shutter speed fast enough for hand holding.

Ilford Delta 3200, Olympus OM2N, Zuiko 50mm f1.8

The light was just right here for a few seconds as the sun came out from between heavy clouds brightening the wet pavement and putting some highlights in the river ripples. 50mm.

The low contrast conditions meant that the whole roll was fairly flat, so some levels adjustments plus the inevitable dust spotting were needed.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

Not that happy with the tone of the grass in this one. I suppose it’s the low diffuse light and the red filter. It’s OK though.

Though it’s difficult to be certain the red filter has brought out some nice detail in those clouds, improved (I think anyway) by the grain of the film.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

My favourite from the day with the sun getting quite low and the path and trees looking ominous. The 17mm lens goes a bit soft at wider apertures (below f8) and f3.5 was needed for this but the trees hide it luckily.

In case you’re wondering if you can achieve the ‘look’ of this film in software, the answer is that you can – almost! The following two images are firstly the last of a roll of Adox Silvermax and secondly the first off the roll of Ilford Delta 3200. I know it’s converting from one film to another but Silvermax is a fine-grained well-behaved film and the image characteristics are similar to a monochrome converted digital shot. OK – not 100% convincing, I know for a proper comparison I should use a digital shot but I didn’t have a digital camera on me at the time.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

‘Proper’ Ilford Delta 3200 image

The Ilford image is quite low in contrast, the grain is quite soft and in the clouds the transitions between light and dark are nice and gentle. The DXO version comes very close, but this is with the contrast turned right down to a minimum. There is more detail visible in the buildings and the grain is sharp. I don’t personally think the clouds look as good but that’s purely personal.

Ilford Delta 3200 simulation, DXO film pack, , Olympus OM2N, Vivitar 17mm f3.5

Simulated in DXO Film Pack from a Silvermax image (no filter present on the lens).

So it’s very close indeed and possibly good enough, but I still prefer the original. Whether the difference is worth messing around loading, processing and scanning proper film is up to you! It would be possible to process the Ilford image to look more like the DXO default output but the grain would still be too sharp on the DXO image and that process seems to be the wrong way round (Ilford isn’t simulating DXO!).

I’m so impressed by this film there’s a load on order and if you hadn’t already guessed it’s heartily recommended! Hope you find this useful, thanks for looking.

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

 

Speeding Things Up a Bit (with Ilford Delta 3200)

Time for playing with some faster film. For agency shots 100 ASA grain is about as extreme as I like to shoot as too much grain can be distracting. Recently I started wondering if it might be worth challenging that assumption and as a consequence there’s now a healthy stock of fast grainy goodness in the fridge waiting to be used.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

This looks like a brilliant start – though the grain is very well disguised by the textured nature of the subject. Don’t worry – there is some grain!

Starting with the fastest film in the tupperware box, Ilford’s Delta 3200, here are some of the results from the first roll, all shot in or around Salisbury Cathedral (Wiltshire UK) on an overcast winter’s day. A bit of research indicates that this film is best shot fresh and developed quickly after – something done here and I’ve no complaints.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

Smidge of camera shake here even at f3.5 – oops.

The first problem is that the OM2N used for this only runs up to 1600 ASA. However, when you look up dev times you realise it’s not that much of a problem as this film can be exposed at all sorts of high speeds with appropriate development.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

Can’t complain at this at all. The figure is Sir Richard Colt Hoare – a pioneer of archaeology and owner of Stourhead in Wiltshire in the 1700’s by the way.

All shots on the OM2N, a Vivitar 17mm f3.5 lens or a Zuiko 35-70 f.4, scanned on a Plustek 7500.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

With the contrast tweaked up this is starting to look nicely gritty.

Developed in stock D76 at 20 degrees centigrade for 9 1/2 minutes as recommended by the ever useful Massive Dev Chart. These were all then cropped and had dust and scratches removed in Photoshop – not that there were that many as  this film doesn’t seem to attract too much muck when drying.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

The central font – a 3 metre wide modern engineered masterpiece which is quite hypnotic.

Outdoors against clouds the grain shows up much more clearly. I like it but others may not. If you’re in the former camp it opens up some creative opportunities for some atmospheric shots.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

The spire from fields nearby. The height doesn’t really come across in a photograph – it’s huge!

In most cases the contrast needed a boost in Photoshop as expected – faster film is usually less contrasty than slower film. What did come as a pleasant surprise was the range of tones captured using just basic development. Depending on taste you can go for a darker look bringing out the grain or keep it subtle – though the grain is always going to be heavier than slower film.

Ilford Delta 3200, Olympus OM2N, Vivitar 17mm f3.5

Crop from the centre and a look at that grain structure.

 

http://www.salisburycathedral.org.uk/visit-what-see/cathedral-font

The Cathedral towering over the houses of Salisbury. The grain here I think adds to the shot looking quite atmospheric.

All in all a bit of an eye-opener. The range of tones captured is very good, and for subjects with some texture the grain isn’t that much of a problem at all. Where the grain becomes more obvious – outdoors against a cloudy sky in these examples – it can be use to create either a soft romantic effect at low contrast or a gritty dark look with the contrast turned up. However, if you’re planning to make 20 inch prints it may be worth considering something slower!

Based on this I’ll try some winter landscapes for which it should be well suited.

Hope you find his useful – thanks for looking!

 

Does Film Not Work All of a Sudden?

Of course it does! These recent shots were taken on an OM2N with a Vivitar 17mm f3.5 or a humble 50mm f1.8 using Adox Silvermax. More importantly they were accepted by the agency for commercial use (hopefully book covers).

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

Developed in ID11 stock for 9 minutes at 20 degrees centigrade. Just shot at box speed of 100 ASA and with straightforward development – nothing fancy.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

Scanned on a Plustek 7500 then downsized to around 18 MP these were a rather nice set of negs.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

To add a bit of drama a light texture layer was added before the final save.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

The location was Poole in Dorset on a cool but bright autumn day, just enough cloud in the sky to add some interesting clouds.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

The shot above was also vignetted to give it a ‘closed in’ look.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

All of the above using the 17mm, the one below using the 50mm lens.

Olympus OM2N Vivitar 17mm f3.5 Adox Silvermax

All in all a productive hour or so with lightweight, minimal equipment (no zoom lenses) as is so often the case. I must do this more often, and would humbly suggest you should too!

Thanks for looking, hope you like them.

p.s. There a reviews of lots of other films on the film, camera and lens review index tab.

A Quick Test – AgfaPhoto APX 400 Professional 35mm Film

Having used AgfaPhoto’s APX100 for a few years, it seemed a good idea to try the 400 ASA version as I haven’t used much film above 100 ASA for a while. I was wondering if a modern 400 ASA film might be good enough for occasional use, as winter in the UK has been pretty dark and cloudy. Here are the results from a roll shot ‘on and off’ over winter, shot on an Oly OM2N with a 28mm f2 lens and developed in ID11 for 10 minutes.

apx400_1

Shot on a flat, dull day in January, this is a good start – no post processing other than resizing, straight from the scanner. Not much of a challenge for DR though…

apx400_1bit

An enlargement from the centre left. This is much better than expected, and not much grainier than 100 ASA film.

Another dull overcast day at Worbarrow Bay after a storm had passed over – this looks quite grainy when resized, though not when viewed at full size which is odd. Still the ‘grainy look’ works quite well with this subject.

apx400_2

Physically the film canister is very well made, with a quality felt seal and a solid metal case. The film itself is a modern emulsion, and is easy to handle and process. It gathers hardly any dust and dries to a hard scratch resistant finish – all very reassuring.

Now for a proper subject to test with – the interior of Salisbury Cathedral. Very bright windows and dark shadows are something of a ‘torture test’. All shot on a 28mm f2 which is a bit soft wide open, but with exposures of 1/15th of a second meant any smaller aperture was out of the question.

apx400_4

This is very, very good – an excellent range of tones and a lovely rendering of brighter mid-tones. I really like this!

And another :-

apx400_5

Again a superb result with a wide range of tones. The sun was just coming out making the contrast between the windows and arches extreme.

All in all a very good result. This is a 400 ASA film which is almost indistinguishable from 100 ASA film, and it’s ability to capture a wide range of tones is impressive. I’ll certainly be ordering a few rolls for next winter and for occasional interior use. Highly recommended.

Thanks for looking!

Adox CHS100 II – Initial Impressions

Last April I used my last roll of Adox CHS film (the 50 asa version, article here), a film with a long history which produced soft, subtle images with an ‘old school’ look. Ten months later I’ve finally got round to testing it’s replacement – CHS100 II. The 100 asa version replaces the 25, 50 and 100 asa versions of the discontinued emulsion.

chs2_08b

A very good start – exactly the same ‘look’ as the old version.

Adox have worked hard to reproduce the characteristics of the original, updating certain materials and producing it in a more modern facility (the reason the factory closed and the film discontinued, was in part down to the age of the machinery and the costs of keeping it running). Adox’s page about the film is here.

Physically the film now has a PET base making it easier to use, get on a film spiral etc. The old emulsion was so delicate that at 25 degrees C it separated from the base, and very gentle development was required, rolling (rather than inverting) the tank during development. No such restrictions apply to the modern film – it’s very easy to handle and process. A major improvement is how little dust is attracted to the drying negatives. The old version’s soft emulsion attracted so much dust that I gave up scanning a few rolls as the post-processing would have been tortuous. The 35mm cassette is also better made – the metal ‘end caps’ were often worryingly loose on the old film.

chs2_06s

Subtle greys – what this film excels at.

This first roll was shot on an OM2N in Swanage in Dorset at the box speed of 100 asa using a Zuiko 50mm 1.4 and a 28mm f2 (mainly at f5.6 to f8). The film was developed in stock Ilford ID11 for six minutes. A note for users of stock developer – this film gives the developer a yellow colour rather like indicator stop bath. I don’t think it’s a problem, but I’ll know when I develop the next roll! The scanner was a Plustek 7500 using an APX25 film profile with just resizing in photoshop. I tried an ‘auto levels’ but it made no visible difference.

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Here’s the test shot for the ‘pixel peeping’ (should be ‘grain peeping’ really).

The grain is unusual, being a bit larger than I’d expect for a 100 asa film, but soft and not intrusive.  This was developed in ID11/D76 – whether this would be the case with using Rodinal is something I’d need to test – I’d expect sharper results but harder grain.

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The central portion of the above image.

To some readers these may appear to lack contrast, as we’ve become used to a contrasty, modern digital rendering of the world. However, it seems to me that this isn’t the point of this film (though you can always play in photoshop to increase contrast if you want to!). What this film does extremely well is reproduce a mid 20th century film emulsion, and the look associated with it. Where a wide range of subtle mid tones is required, this is hard to beat. In larger formats it’s going to be superb.

So – thanks for looking, and hope you find this useful. I should also thank Adox for plugging a gap in a film photographer’s film choice!

A Roll of Efke 820 IR Film (found in the film box in the fridge!)

I was sorting through the tupperware box of film in the fridge last weekend and found a bit of a treasure – a roll of Efke 820 IR film ordered last year and completely forgotten about!

efke3sAll fired up with enthusiasm I waited for a sunny day, and for a bit of fun, loaded up the OM2N and shot off the roll inbetween some other photo business . Exposures were bracketed at  at 2/4/8 seconds at f8 and gently developed in ID11 stock for 8.5  minutes (rolling the liquid in the developing tank rather than inverting it) – these are the results. Much grainier than I’d remembered – almost reticulated, but the temperatures of dev, stop, fix and wash were all 20 degrees centigrade. Maybe it was a dodgy last batch of film, these not being made any more, but in an odd sort of way I like it.

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What’s better is that there’s another roll left! As it’s the last one I’m not sure whether to treat it reverently and take immense care, or just have some fun with it. Rollei IR film – at least judging by these results – produces better images so not many regrets at it’s demise.

Hope you like them – thanks for looking!

p.s. apologies for the repetition of subject – I’m spending a lot of time at Knowlton lately!

Another Roll of Expired Film

I’ve got a long term fascination with shooting old film. The results are hit and miss, but all the better for it!

This roll expired in 2003, a roll of Fuji Superia, exposed at 100 ASA, one stop overexposure relative to it’s original speed of 200 ASA. All shot on an OM2N with a 50mm f1.4 and a neutral density filter (x8) to allow wider apertures. The processing was standard lab C41 with no special instructions.

The subject is a vintage car rally, with lots of old cars with what are now relatively unknown names. Wolseley anyone?fuji4

This film seems to age with a preference for a blue hue which I personally like, but others may not. The softness of the light is like flare, but it in this light it couldn’t be – the sun was behind me.

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Finally a really typical image on old film – these aren’t manipulated with any software – just straight off the scanner with some levels adjustments. Ten years hasn’t done much for the grain in the final images, but it’s all part of the process.

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If you’re lucky enough to be given an old roll of film, don’t throw it away – use it! The results may be be more interesting than you anticipated!

Thanks for looking, hope you like them.

Latest Roll of Adox CMS20

Too much messing around with digital lately – time to return to film. This set is from the last roll for Adox CMS20 – shot at 12 ASA it’s perfect for brighter days where you want to achieve a shallow depth of field.

All shots on an Olympus OM2N – mainly as it has a 12 ASA ISO setting which makes things easy… Developed in the recommended Adotech II developer for a bit less than the recommended time (8 mins rather than 8.5 mins), Ilford stop bath for 30 seconds then the rather unnerving 45 seconds in Ilford fixer.

This first one is slightly blue toned, shot on the Zuiko 50mm f1.4 at f4 – just enough to give a nice blur to the bridge in the background.

Next – the remaining river bank supports left standing after the winter floods. Maybe a bit more contrast ?

Finally a real surprise – the lighting in this unspotted scan is really odd – as if there was a light source shining on the gate. I suppose it was light reflecting from the gravel path but I’m not complaining!

As usual, the grain is almost invisible even at maximum magnification – easily out classing a Plustek 7500 film scanner. Excellent stuff!

All shots for the book cover market – thanks for looking and hope you like them!

Some more Adox CHS20 Developed in Adotech

After sorting out some problems with a very unwell PC, this one comes from the new one – which is working well – at least so far.

These were all taken on the latest roll of Adox CHS20, developed in the recommended Adotech developer at 12 ASA in an OM2N with various Zuiko lenses. The extremely slow speed of this film allows the use of fast primes wide open even in quite bright conditions – and it would be a shame to waste such an opportunity!00325928

The range of tones captured in the flaking paint is wonderful – they’re green ‘in colour’.

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A gate and the opportunity using the 85mm f2 to blur the background away.00325914

Same gate – different angle .00325913

Finally some rather odd bokeh from the Zuiko 50mm f1.4. It keeps surprising even after 20+ years.00325910

The next roll will be developed in Rodinal – if anything results I’ll let you know!

Thanks for looking – hope you like them.

A Few More Adox Silvermax Samples

(Five images). This time in better lighting conditions! The previous shots were all taken on overcast days, so a bright  weekend and a few hours by the coast was the obvious excuse to burn off another roll. These are all straight off the scanner using the Agfa APX100 film profile, which after some messing around seems the best one. All the shots are from one roll, shot at box speed using an Olympus OM2N and developed in Ilford ID11 stock.

First one and a dynamic range challenge which the film has coped with very nicely. Zuiko 28mm lens.

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This larger portrait oriented shot shows how little grain there is and how well this film/developer combination works. Zuiko 85mm lens.

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This is the best of the lot – shot on a Vivitar 17mm lens, the range of tones for a bright day is impressive.

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Next – a  ‘torture test’ – deep shadow and bright sky, but excellent result again.

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This was a bit out of the DR range of any film or non-HDR digital image – the sky a few stops past rendering any detail, but the rest is fine.

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The bright light shots from this film confirm the claims Adox make – the extra silver content seems to be making a real difference. I’m really impressed – and now need some more rolls….

The seaside shots at Kimmeridge Bay, and the church is in Kingston nearby in case anyone’s interested (Dorset UK).

Thanks for looking – hope you find this useful!

Adox CHS50 – My Last Roll

(Three Images). A few weeks ago, my last roll of  Adox CHS ART film was shot and developed – an ‘old school’ film made in the same way it was 60 years ago and despite a few irritations, was a bit of a special film. The Efke factory (where it was made for Adox) was closed last year, so shooting the last roll was a sad day – I used to use a lot of Efke film.

The CHS range (25, 50 and 100 ASA) had a fine grain and an unusual response to colour which gave the results a special ‘vintage’ look. The example below has been lightly layered to enhance the effect. Everything developed in Rodinal 1+50, and shot on either an OM1N or an OM2n with a variety of lenses.

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The range of tones captured is impressive due to the high silver content though they may seem rather low contrast to digital photographers. A characteristic darker appearance of blue skies can be seen in the example below.

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Its weakness is its soft emulsion which produced some very dusty negatives when compared to modern films. It also needed more care than usual during development – especially with regards to temperature. Above 20 degrees centigrade, the emulsion becomes very soft, and at 25 degrees will separate from the backing! Still, the vintage look was worth the dust cloning required – in the example below there are still a few dust spots in the sky above the church tower.

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All is not lost though – Adox are developing a 100 ASA replacement, made in Germany and available in 35mm (36 exposure and 100 ft rolls), 120 and every variety of sheet film size – see here.

I’m really looking forward to trying it – I just hope we don’t have to wait too long!

Hope you find this useful, and thanks for looking.