Fuji Neopan Acros 100 in Ilford ID11

I don’t shoot Fuji Neopan Acros as much as I used to, probably because bulk orders of Agfaphoto’s APX100 fill my fridge with 100 ASA film. However, rummaging around there a week ago I found a forgotten roll from last year and decided to give it another try – glad I did!

All shots taken on an Olympus OM2N using the famous Zuiko 24mm f2.8 lens tested earlier, at 100ASA. The roll was developed in Ilford’s ID11 using stock solution.

acros03s

This has a good range of tones – better than I remember for Acros which always became too contrasty for me in the past.

Dev times are short in ID11 – 6 mins 45 seconds in stock solution making the process seem quite quick – I’m used to 12  minutes or more using my standard dilute 1+50 Rodinal.

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Detail from the shot – and nice, fine grain. A light ‘dust and scratches’ filter has been applied.

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Again – a good range of tones – I especially like the way the subtle transitions of tone in the water have been rendered. The exposure was obviously biased towards the water leaving the underside of the bridge more or less completely dark.

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Here sunlight has created strong contrast between the shadow and light grey path – the film has coped well (as has the good old OM2n!).

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Another good result – though I must check that left light seal again. An excellent range of tones albeit in near perfect lighting conditions.

The results show Acros to be a well-behaved, fine-grained film which handles strong lighting conditions nicely – definitely recommended. As a general purpose emulsion it’s perfect – I’ll be ordering a few more rolls to go with the much less contrasty APX100.

Next time I use it I’ll try to remember to use Rodinal as the developer, but I’m favouring ID11 more recently as it produces such clean negatives with no noticeable loss of sharpness.

Ilford Pan F+ in ID11

Having done a few posts about Adox and Rollei film, it’s about time I did one about an old friend – Ilford’s Pan F black and white film. This was my standard film when I first started B/W photography – so it has a history longer than I’d care to admit! It’s current version is a 50 ASA fine-grained film, with a reputation which suggests it’s difficult to use.

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This was taken on an Olympus OM2N with the lovely 24mm f2.8 lens reviewed earlier for use on digital. It’s rather nice on 35mm too!

It’s got a tendency to be too contrasty – so reducing recommended development times and tank agitation is a good idea if you’re going to scan the negs. My recipe is ID11 stock for 6 minutes at 20 C, inverting the tank a few times at the start, then every 1 minute. This produces very useable images with some good dynamic range, but still retains some of the film’s ‘dark’ look.

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There’s a good dynamic range here from the detail in the clouds through to the shadows.

I’d describe it as a half way house between a film like Agfaphoto’s APX100 where contrast is very well controlled, and Rollei Blackbird which produces contrasty, dark images.

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Again a nice result – just enough contrast without losing the shadow and highlight detail.

The grain is very fine – just what you’d expect from a 50 ASA film.

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From the trees in the top left. Although the 24mm lens at max aperture is stating to lose resolution, the grain is almost unnoticeable.

Physically the film is easy to handle, and goes on the film spiral very easily. It also doesn’t attracting dust when drying – unlike some films.

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Excellent again

Overall then, a very fine-grained film with a distinctive look which may be worth a try if you think the look of Rollei Blackbird is a too dark. At 50 ASA – or even 25 ASA – it will allow the use of those fast primes almost wide open on bright days and as long as it’s developed properly won’t disappoint.

It was good to shoot this film again after few years – I’ll be getting some more on my next film order.

Hope you find this useful – thanks for looking!