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Lightbox Monday #11 – Phonebox Drama

Nikon F5 + Nikon 50mm Series E f1.8 + Kodak TMax 400 (NYC, 2017)

Lightbox Monday #10 – NYC Building Textures

Nikon F5 + Kodak TMax 400 + Nikon 50mm f1.8 Series E (NYC, 2017)

Camera Review: Agfa Optima 335

Agfa Optima 335 Sensor (Taken with a Nikon F4 + Ilford Delta 100)

I can’t quite remember where I saw this camera mentioned but I do remember being struck so much by its design that I put a £10 bid on eBay almost immediately for this camera during summer of last year. I put a roll through it in 2016 and it didn’t come out very good. I’d mainly been taking pictures of mates at a party and I was clearly being too optimistic about the light levels. That roll at least proved the camera worked and the few shots that came out well did show nice rendering of colour. 

Fast forward a year during which this camera has been sat on my shelf collecting dust I decided to take it with me to a recent trip to the Big Apple to try my hand at some street photography.

Agfa Optima 335 + Kodak TMax 400 (NYC, 2017)

Agfa Optima 335 + Kodak TMax 400 (NYC, 2017)

It was a bright sunny and incredibly hot day as I walked down from Columbus Circle to 34th street. The camera is so compact and light I just had it held in my hand all the time. This is pretty much the simplest camera possible; the focus is via 3 zones that snap into place (although it is possible to leave the focus in between if you want, and there is a distance scale underneath the lens barrel  – but in reality you’re not likely to use that), the aperture and shutter speed are automatically selected by the camera with no manual override. On the top of the camera there is a huge red button to fire the shutter on the top of the wind on crank thats just asking to be pressed and a small knob to change the crank from advance to return.

I was pretty snap happy, but the light was brilliant, and the shadows promising for some good contrast out of the TMax film. I was interested how the little f3.5 lens would hold up and how good the camera would be at getting a decent exposure. After developing the roll – wow  – I was completely surprised. Most shots were correctly exposed and the lens was really sharp. Sure black and white film has tons of latitude and the availability of light meant the aperture was probably f16 for most of these shots, but still, I was still surprised.

Agfa Optima 335 + Kodak TMax 400 (NYC, 2017)

Agfa Optima 335 + Kodak TMax 400 (NYC, 2017)

This isn’t a 100% positive review however. Upon finishing the roll I went to rewind the film. You do this by rotating a knob to change the crank lever from advance to rewind. After a while the crank seemed to become ineffective. Without really thinking I presumed the film as completely rewound so opened the back. Error. It turns out the gear on the crank must have disengaged somehow. I closed the back on the camera as quickly as I could, then decided to put the camera in a darkbag and then manually wind back the film there by hand.  Luckily the design of the camera came to the rescue. The exposed film is wound on into a little covered section in the camera, so opening the back only ruined 2 images. It seems like great design to alleviate the issue of prematurely opening the back. We’ll see with my next roll how the rewind goes.

Agfa Optima 335 + Kodak TMax 400 (NYC, 2017)

Agfa Optima 335 + Kodak TMax 400 (NYC, 2017)

Agfa Optima 335 + Kodak TMax 400 (NYC, 2017)

Agfa Optima 335 + Kodak TMax 400 (London, 2017)

Agfa Optima 335 + Kodak TMax 400 (NYC, 2017)

So to sum up – this camera not only looks incredible, but is very well designed from a functional perspective, and appears to perform very well to my eye. For street photography I think its great in looking inconspicuous. Finally, with some P&S film camera’s valuations soaring, this seems to be a really good cheap option to consider. If you’re looking for more control like aperture selection then keep a look out for the higher spec models in this line from AGFA like the 1535 (although I’ve never seen one on eBay UK). You can read more about this camera on the links below:

http://www.camera.portraits.srv2.com/optimasensor.htm 

http://camerapedia.wikia.com/wiki/Agfa_Optima_335_Electronic_Sensor 

Lightbox Monday #9 – Barbican Brutalism

Nikon F5 + Nikon 50mm f1.8 AFD + Kodak TMax 400 (London, 2017)

Nikon F5 + Nikon 50mm f1.8 AFD + Kodak TMax 400 (London, 2017)

Nikon F5 + Nikon 20mm f4 Ai + Kodak TMax 400 (London, 2017)

Nikon F5 + Nikon 20mm f4 Ai + Kodak TMax 400 (London, 2017)

Lightbox Monday #8 – Tate Modern (Pushed Neopan)

Nikon F3 + Nikon 24mm f2.8 Ai + Fuji Neopan 400 pushed 1600 (London, 2011)

Nikon F3 + Nikon 24mm f2.8 Ai  + Fuji Neopan 400 pushed 1600 (London, 2011)

Nikon F3 + Nikon 24mm f2.8 Ai  + Fuji Neopan 400 pushed 1600 (London, 2011)

We’re spoilt for choice for world class art galleries in London. The Tate Modern is an excellent free modern art gallery in a repurposed power station on the south bank of the Thames. The main Turbine Hall (pictured above) is a vast enclosed space that really gives you a sense of being small. Its a space thats used for large installations of sculpture. This series of images from a visit in 2011 captured the Ai Weiwei Sunflower Seeds exhibition which consisted of more than 100 million individually handmade ceramic replica sunflower seeds. Originally the exhibit was interactive – visitors could roam about and pick up the seeds. However in a good example of modern health and safety fears the dust created from the ceramic seeds was deemed to be too big of a risk to allow this and the section was promptly roped off.  

I really enjoyed revisiting these images some 6 years later whilst categorising my library of film photographs. The first thing that stuck me was how much I liked the contrast of pushing the now defunct Neopan 400 to 1600. I don’t think I’ve pushed a roll of film since then and I don’t really know why. I intend to do this again soon. This series of images were also captured with a recently acquired 24mm wide angle lens and it does a good job of capturing the vastness of the space. Now I have the 20mm f4 and 24mm f2.8 and I’m toying with the idea of selling one of them. Originally it was going to be the 24mm but these images have given me pause for thought. Finally the last thing I took from looking at these negatives is how I must have been pretty careless in developing them. There are chemical marks peppered throughout the rest of the roll but also visible on these images particularly on the image with the wall text. It serves as a good reminder to make sure I spend enough time washing the negatives after fixing!

FED 2 Rangefinder First Impressions

I hoped to share some first images from this fantastic looking Russian rangefinder today.  I purchased this camera for around £45 on eBay at the start of the year. I’d decided to try out using a rangefinder again (despite a disappointing experience previously with an Olympus 35RD) which was influenced by a few factors. Firstly there is no disputing that rangefinders look fantastic. The sleek metal and textured black body oozes a class of nostalgic design. Secondly, so many fantastic street photographs have been captured with rangefinders I got ideas of taking to the streets of London to try and get a few of my own. Even though street photography is something I find incredibly difficult I was excited and intrigued about what kind of images this tool could help me produce.

The FED 2 was made in USSR Ukraine and copied patented designs for the Leica II that were lost with Germany’s defeat in World War II. Its all mechanical, meterless and has a solid metal construction. Shutter speeds are B, 30, 125, 250 and 500th of a second and the lens mine came with, a Jupiter 52mm f2.8, has a continuous aperture selection with no clicks between f2.8 and f22. Immediately it was easy to see some of the more awkward features of the camera. To load the film one needs to take off the entire back. The shutter speed dial needs lifting up to change speed – not so bad but a bit annoying and the rangerfinder itself is pretty dim. The wind on is a circular dial which is nowhere near as satisfying as a normal advance crank. Also upon doing this the first time I realised there was no roll inside the camera that is required to wind on the film. Scouring eBay again for one I found a seller in the Ukraine which cost me a tenner (or around 25% of the camera’s full cost!). Afterwards I found a tutorial on making one out of a used core from a normal 35mm canister which would’ve saved me the expense.

Alas the first impressions ended up being less positive than hoped! I took the camera with me today on a trip into central London to finish off the roll. One of the problems I found out with this camera is that the film counter moves freely and so it easily to reset by accident. This had happened around the 10 frame mark the first time I took the camera out and so today when trying to finish off the roll I ended up not knowing how many shots I had left. I eventually became suspicious the roll had not ended and upon my return home decided to open up the back (in a changing bag) to check. To my disappointment it was clear something had gone terribly wrong – the film had snapped, presumably initially winding it on. This seems really strange, its something thats never happened before and I didn’t think the wind on mechanism for this camera put abnormal force on the film. So I still wait to see what kind of images come out of this classic soviet camera.

 

First Impressions Fuji Pro 800z

This first impressions post is likely to also be a last impressions post as this emulsion was discontinued by Fuji several years ago. Its been sitting in my fridge / freezer / fridge along with the rest of a stash of film  I overbought a while back that has since expired. This is actually the first high speed colour film I’ve tried. Keen to finally try it out (some 5 years after buying it) I loaded it into my Nikon F5 for some snapshots on the farm when recently visiting my family in Shropshire.

Nikon F5 + Nikon 80-200mm f2.8 + Fuji Pro 800z (Shropshire, 2017)

I used the Epson Scan software with my v500 to digitise the negatives. This is my normal process after getting a dev only service at Aperture UK (my go-to lab now for colour film in central London which does C41 dev for £6). The first thing I noticed was the excessive grain. I wondered if this was due to the film being expired and perhaps because of the multiple (at least 4) freeze/unthaw cycles (plus probably the same number of X-Ray scans when I moved from the UK to NYC and back). Perhaps these were a factor, but I realised that it could be the unsharp mask that the Epson scan applies by default. Unchecking this and applying a lesser amount of sharpening in Lightroom gave me much more pleasing results.

Nikon F5 + Nikon 80-200mm f2.8 + Fuji Pro 800z (Shropshire, 2017)

Nikon F5 + Nikon 80-200mm f2.8 + Fuji Pro 800z (Shropshire, 2017)

Nikon F5 + Nikon 80-200mm f2.8 + Fuji Pro 800z (Shropshire, 2017)

Overall I can’t say I’m enamored with the results with this film. Most of these shots didn’t need 800 speed and I prefer the tones of lower speed colour films I’ve used like Portra 400. I also find the grain a little much but I acknowledge that fresh unexpired stock would probably perform better so its not a fair test of the emulsion. I also think that a fair few of the frames were underexposed. This no doubt compounded the less than satisfactory results so next time I try a high speed film I’ll make sure to add some exposure compensation to see if thats garners better images.

Nikon F5 + Nikon 80-200mm f2.8 + Fuji Pro 800z (Shropshire, 2017)

Nikon F5 + Nikon 50mm f1.8 AFD + Fuji Pro 800z (London, 2017)

As for the gear, the F5 was very enjoyable to use. Despite its heft and size the ergonomics of the camera are so good that these to me detract from its operation. I used two lenses for this roll – the 80-200mm f2.8 afd (push/pull) zoom and 50mm f1.8 afd prime. Both felt completely natural on this body in their use and I’m looking forward to using this combination again in the future. Whilst the Ai lenses I used on my first test roll of the camera worked quite well, the autofocus and matrix metering of afd lenses was much appreciated. I’m looking forward to shooting more with the 80-200mm on some fresh film.

Nikon F5 + Nikon 80-200mm f2.8 + Fuji Pro 800z (Shropshire, 2017)

Nikon F5 + Nikon 80-200mm f2.8 + Fuji Pro 800z (London, 2017)

Lightbox Monday #7 – Tones of Camden’s Graffiti

Nikon F65 + Nikon 50mm f1.4G + Ilford Delta 100 (Camden, 2010)

Its an iconic piece of graffiti on a bridge in Camden. Reviewing some old images from when I first started shooting film this one caught my eye. Its a pretty run of the mill snapshot but what I do like about it is the way the graffiti itself is more of a background with the eyes being drawn to the contrast on the patterns of the rivets themselves. Its also a reminder of my short use of a Nikon F65; an entry electronic level SLR from the early 2000s. It was a reasonably fun camera to use being very lightweight and also compatible with the 50mm AFS f1.4 lens I used quite a bit at the time on a DSLR. It was dirt cheap to buy at around £15  and could produce some decent exposures. The main issue I had with the camera was really that it felt a bit boring to use at the time. Film was fun then but I was more intrigued by older cameras and soon after I would decide to part ways with this camera for an F3 instead. Now I’ve got a new appreciation for electronic Nikon SLRs and I actually think this is probably the best camera for a Nikon DSLR user with some modern FX glass to try out film (due to its very low cost to relatively high feature set – see Thom Hogans review).

Nikon FM Camera Review

The Nikon FM captured on Ilford Delta 100.

The Nikon FM is a fully manual all mechanical SLR body released by Nikon in 1977 and was produced for 5 years until 1982. It takes pretty much all lenses Nikon has ever made (the AI tab has a switch so it can flip up to use non-Ai lenses) that feature an aperture ring, provides 60/40 centre weighted metering and comes with a standard K split prism focusing screen. As for other features, its pretty simple. The shutter goes upto 1/1000 and it also has a self timer. 

I bought this camera around 2012 for around £50 and I still own it today 4 years later (checking eBay for recent sales I see them between £60-80 – another example of how analogue photography’s continuing popularity is keeping prices rising above inflation). At the time I was enjoying using an F3 as my main film body, but this was usually loaded with colour film and I wanted another film SLR to use for black and white. This fit the bill pretty well, especially because it was cheaper than an F2, weighted less and less bulky. 

Nikon FM + Nikon 35mm f2.8 + Kodak TMax 100 (NYC, 2012)

The ergonomics of the body are great in their simplicity. This is a body designed before the era of hand grips but still feels natural in the hand and despite the fact that its all made out of metal its not all that heavy at 590 grams. Thats 115 grams less than the F3 and over 200 grams less than an F2! Its easy to see why this camera was favoured by pros as their backup body. Compared to the higher spec’d Nikon F line the main drawback I find with the FM is the lack of 100% viewfinder coverage. Its actually 93% and whilst its still reasonably bright it is one of the big things I notice during use. I think once you get used to 100% finders its hard to go back. 

Nikon FM + Nikon 50mm f1.8 Series E + Kodak Ektar (NYC, 2012)

The other thing I’m not such a big fan of is the meter and its LED displays with just – 0 + because I’d prefer to see how much I’m over or under on a continuous scale. Thats a minor gripe though and overall its been a very dependable camera on the trips to NYC, Nashville, Utah and Brazil. With modern cameras with so many different features and modes, its nice going back to the basics and having to manually focus and physically set the shutter and aperture slows you right down before pressing the shutter. The self timer is really the only other feature I need – its quite handy if I want to be in the shot. Generally when I give this camera to a friend to take my photo it comes out mis focussed so if I have a tripod with me its safer to set up the self timer.

Nikon FM + 35mm Ai f2.8 + Kodak Ektar (Iguazu Falls, 2012)

Nikon FM + Nikon 35mm f2.8 Ai + Kodak Portra 160 (Rio de Janeiro, 2012)

Nikon FM + Nikon 35mm f2.8 Ai + Kodak Portra 160 (Rio de Janeiro, 2012)

Overall the camera comes highly recommended. Its probably the best choice if you want a full metal manual Nikon on a small budget.

Lightbox Monday #6 – Glacier National Park on Velvia

Bronica SQ + 80mm f2.8 + Fuji Velvia 100 (Glacier National Park, 2015)

Bronica SQ + 80mm f2.8 + Fuji Velvia 100 (Glacier National Park, 2015)

Spending 4 days in Glacier national park in September 2015 was a fantastic trip. The landscapes are phenomenal and the hiking excellent. I’d decided to take a full pack of gear of DSLR kit and my trusty Bronica loaded with some Fuji Velvia. I’d never shot it before in medium format so it would be a bit of an experiment. These two shots are a couple of the best; I especially like the saturation in the blues and greens. Like my previous attempts at using Velvia I was punished though on quite a number of shots by my sloppy metering. Overexposure soon causes the colours to go drab and uninteresting whilst the lack of latitude with underexposure put a few frames that would’ve probably been OK with a negative film like Ektar beyond saving.

I’m not sure I’ll put slide film through the Bronica again anytime soon. Primarily due to the cost, but also because I’d want to have my DSLR with me to meter which ends up being a whole lot of gear. However these images do serve as a reminder that, when exposed correctly, this film can provide me with very pleasing results.

Ring of Kerry in Monochrome

The below images are from a roll of TMax 400 loaded in my Bronica SQA during my recent trip to Ireland (see trip report and colour images here).  Most of the images below are from the Cliffs of Kerry near Portmagee with the final one being from the Blarney Castle. The overcast and foggy nature of most of the trip I think lent itself quite well towards monochrome photography.


Lightbox Monday #5 – Ford 5000 Tractor Portrait

Bronica SQ + 80mm f2.8 + Kodak TMax 400 (Shropshire, 2017)

 There is an excellent restaurant in Northwood in Shropshire set up by family friends and outside there is a quite epic display of the proprietor’s tractor collection. There must be 20-30 tractors there, all Fords, mainly shipped back in containers from New Zealand. It reminded me my camera collection at least doesn’t take up too much space. My wife did not share that point of view. 

Family Portraits with the Bronica SQ-A

Whilst portraits are not something I do often, I’ve been trying to do more of my friends and family. Medium format film captures so much detail enabling all the character of a persons face to be recorded. The 80mm f2.8 lens is also a good performer and can create a nice and shallow depth of field to make the image pop. Below are 3 generations of the Walmsley family – my Brother, Father and Grandfather.

Michael

Anthony

Matthew

 

Film Photography Blog Reading List

Below is a list of what I have been some of the most interesting reading material on the internet regarding film photography. I’ll keep updating this list with any more that I read regularly!

https://www.35mmc.com/ 

http://www.fogdog-photography.com/fogdog-blog/

https://blog.jimgrey.net/

http://www.nikonf6.net/

http://www.bluehourjournal.com/

http://www.mikeeckman.com/

http://www.japancamerahunter.com/

http://www.casualphotophile.com/ 

https://cameragocamera.wordpress.com/

http://johnnymartyr.wordpress.com

https://jordivollom.wordpress.com

The Ring of Kerry – Ireland

Bronica SQA + 80mm f2.8 + Kodak Portra 400 (Ireland, 2017)

Despite only being an hour and a half flight away from London, I had never previously visited the Emerald Isle. After living abroad in the US and New Zealand I realised I had traveled far around the world but had not spent enough time exploring whats on my doorstep. I booked a 3 day long weekend trip flying to Cork with the plan of driving around the coast and the Ring of Kerry. 

Bronica SQA + 80mm f2.8 + Kodak Portra 400 (Molls Gap Ireland, 2017)

I drove from Cork to Cloanakilty for Lunch and then take the coastal roads to Bantry where I’d stop the first night. Saturday the route was through the Killarney National Park and onward anti-clockwise around the ring of Kerry, staying the evening in Waterville (apparently Charlie Chaplins favourite holiday destination!). The next day would mainly consist of the drive to Cork and a short trip to the Blarney Castle, where you can kiss the Blarney Stone (if thats your sort of thing – and it does seem to be the thing to do for busses and busses and busses of American tourists). 

Bronica SQA + 80mm f2.8 + Kodak Portra 400 (Ireland, 2017)

Bronica SQA + 80mm f2.8 + Kodak Portra 400 (Killarney National Park Ireland, 2017)

From a photography perspective I took my Bronica as I hoped to get some good landscapes in medium format. I also took my digital, which to be honest I should have left at home (although it was useful for metering!) What I would say is that (good) weather can be unpredictable. The light for the whole trip (including sunset and sunrise) was relatively poor as it was a mixture of fog, rain and only small glimmers of blue sky. I’d taken 3 backs for the Bronica with a roll of Portra 400, TMax 400 and FP4. As it turned out I only took 2 exposures on FP4 (this was supposed to be for long exposures keep reading for more context). Getting the photos back I must say that I much prefer my B&W TMax images (another post with these coming soon). I took quite a few similar shots at the cliffs of Kerry in both B&W and Colour and I think the B&W works alot better with the overcast sky. The colour ones are ok, I like the purple heather, but I think colour is actually more of a distraction to the power of the landscape with these. Despite generally being a big fan of the square 6×6 format I’ve found myself cropping quite a few down to a conventional image ratio. Acquiring a 6×4.5 back is definitely on my to do list.

Bronica SQA + 80mm f2.8 + Kodak Portra 400 (Ireland, 2017)

I ‘d taken a tripod expecting to do some long exposures with an ND filter, something I’ve not done yet on film. However, somewhat stupidly, after setting up my first shot on a beach just out of Cloanakilty I went to change the shutter to Bulb mode and I was perplexed; where the hell was it? So it turns out there is no bulb mode on the body, but some lenses have a switch on them to allow this. I didn’t end up trying this out until I got home and I can report its a bit of a pain in the arse. You’ve got to unscrew something and then flip the switch back to stop the exposure. At least this way it doesn’t run down the batteries.

Bronica SQA + 80mm f2.8 + Kodak Portra 400 (Ireland, 2017)

If you’re reading this researching a trip like this some tips I would give:

  • Check out Giles Normans work (such as Ireland: Timeless Images) for inspiration
  • Leave more time – 3 days to do the ring of Kerry and the south Coast from Cloanakilty was not really enough time to relax – it was alot of driving.
  • Definitely visit some seafood restaurants (such as O’Conners Seafood in Bantry which was excellent)
  • Try and see some music while you’re there. I saw some excellent traditional Irish music at the Lobster pub in Waterville.

Lightbox Monday #4 – Tones of Scafell Pike

Bronica SQ + Zenzanon 80mm f2.8 + Ilford Delta 100 + Self Developed with TMax 1:4 Developer (Scafell Pike, 2016)

Lugging my Bronica up England’s highest peak at least was worth it for this one shot. It was an overcast and foggy day, but I like the way the film has captured the texture and tone of the mountainside here. Unfortunately I only have two shots left from this trip due to an error in development.

In an effort to reduce my costs while shooting more film I’ve started to home process black and white film once more. During my Imperial College days I learnt the basics in the excellent darkroom the photo society had there and then continued with a makeshift bathroom in my flat after graduating. I never really got back into it when I moved abroad and I’d stopped using monochrome films so much because to get a roll processed at my normal labs in London were over a tenner each; this soon adds up and also was making me hesitate before each shot when really I should be experimenting with photography more.

Anyway, the error. This was the first 120 film I had self developed in at least 4 years. Whereas before I had a nice dark bathroom to use, my current flat does not, so I am having to use a changing bag for the first time. Its pretty much a pain in the arse and seems especially so when loading 120 film onto the plastic patterson reels I have. I completely butchered this film. When the roll went stiff I didn’t realise the film had got so jammed that it crumpled and ripped. Trying to keep my frustration at bay I decided the rip was too bad to continue winding it on so cut my losses (literally). I couldn’t actually remember what was on this film so at the time I wasn’t too bothered, it was collateral damage in reacquainting myself with self processing.

The remaining shots came out well but I was pretty gutted to realise this was my Scafell Pike roll. Oh well, I guess I’ll have to go and lug my Bronica up there again sometime!

Bronica SQ + Zenzanon 80mm f2.8 + Ilford Delta 100 + Self Developed with TMax 1:4 Developer (Scafell Pike, 2016)

Ricoh 35FM Camera Review

Specifications

Lens: Ricoh 40mm f2.8 Color Rikenon
Focus: 3 Zones with clicks, but does also have a distance scale in metres.
Shutter Speed: Auto only – not displayed in finder
Aperture: Auto only – displayed in finder via a needle
Meter: CDS sensor on the lens
ISO: 25 – 400
Price Paid: £2.50

Review

I picked up this little compact camera, presumably from the 1970s, from a flea market in Christchurch NZ for the princely sum of $5NZ (~£2.50 at the time). It was completely covered in dust and the light seals were decrepit but it seemed the shutter fired. The needle didn’t move in the finder, but I thought I’d take the risk anyway. It looked pretty cool though and I was intrigued if the f2.8 lens would be a hidden gem. So on my return to the UK I bought some light seal material and had a go at fixing it up. I’d never done this before but its really easy (although more on this later). It took me the best part of a year to actually get through the expired roll of Ilford Delta 100 I put in there, mainly because I kept forgetting to take it with me. There wasn’t much excuse for this – its relatively compact (it’ll fit easily in a coat pocket) and not all that heavy, even though its construction is mainly metal. 

So here came the moment of truth, I decided to start home developing B&W again recently and picked this test roll to be the first. Not great scientific method (testing my B&W developing skills and also a camera I didn’t know if was working in one shot). It became clear quite quickly after removing the film from the Patterson tank after development that something had gone wrong. After inspecting the negatives I deduced there must have been a light leak on one side of the camera. How could that be? Hadn’t I replaced the seals well enough? So I picked up the camera and realised that I’d missed adding a strip by the film door. I guess because all of this had pretty much perished, I’d not noticed that there should be foam here. Furthermore on inspecting the camera I also saw that there was a weird oily looking reflection from inside the lens. This certainly had appeared recently and after some quick searching online for the symtoms the results seemed to imply that the glue in the lens had come unstuck. So in summary, not a great test of this camera, but it does look like they have alot of potential (see a review below with some good image samples) and are going cheap on eBay so why not try one out?

Ricoh 35FM + Ilford Delta 100 (Paris, 2017)

Ricoh 35FM + Ilford Delta 100 (London, 2017)

More information from external sites:

http://beacon225.blogspot.co.uk/2014/01/ricoh-35-fm.html

Buy one on eBay

Lightbox Monday #3 – Underground

Nikon F3 + Nikon 24mm f2.8 Ai + Kodak TMax 100 (London, 2011)

Whilst Canary Warf is a place I almost never go, its tube station is pretty impressive. It was designed by British Architect legend Norman Foster and was opened in 1999 and is worth a visit if you can think of any other reason to goto Canary Warf. The tones of TMax capture it well, however I can’t believe I scanned it with so much dust on the negative. Its certainly a candidate for a rescan when I get time. Also its one I developed myself, probably with Ilfotec HC, in the Imperial College darkroom. I’m about to start developing my own black and white film once more in my new flat. I don’t think I ever mastered the process before and got relatively inconsistent results but I’m going to focus this time on trying to get better. I think as well I’ll try to settle down on one B&W film to use as I’ve never really got into the habit of just using one for more than a few rolls. I haven’t fully decided which one yet but the tones from this TMax scan are making me lean this way.

Lightbox Monday #2 – Snow on Hackney Road

Nikon F3 + Nikon 50mm f1.8 Series E + Kodak Ektar (London, 2013)

It was a cold snowy start to 2013 in London. I’m a big fan of photographing in the snow – its effective at removing distractions and helping you to see scenes that you see every day with a new perspective. This scene I saw almost every day walking from my flat into work. The road is popular for graffiti artists, but this piece in particular was my favourite from during the time I lived in the area. Its a cartoon skull on its side, with a great mouth that wraps around a doorframe. I captured a few shots of this street art from different angles, but I quite like this one with the eye peeping over the snow capped hedge (although the chromatic aberration around the tree branches and the busyness of these branches does detract a little from the poignancy of eye looking over). I chose this image after stumbling across it on an old Facebook album, but upon searching my photo library in my library it appears that I had lost all of the scans from this roll of film. Luckily I had recently been sorting out my negative storage so I could quickly rescan. It just shows that multiple backups are so important in general and its pretty handy to have a physical one as well as digital!

Lightbox Monday #1

Cosina CT1A + Cosinon 50mm f2 + Ilford HP5 Plus (Morocco, 2010)

Lightbox Monday is an idea I’ve, ahem, borrowed from another blog I enjoy reading each week. I’ve at least changed the date… Anyway after a crazy few years of moving about (and a brief spell of living in a van the other side of the world), its been nice to go back through my photo library and do a good bit of sorting out. Its cool to see some photos, underrated at the time, become much more interesting with the passing of time.

This is a shot from a roll of HP5 plus I took with me to Morocco. I’d managed to get a standby flight on Ryanair for £25 round trip for me and a mate and this felt like the most exotic place the budget airline could take me in January. We stayed in Marrakech but did an overnight excursion to the northern edge of the Sahara desert, where we did a couple of hours on a camel and camped in a traditional berber tent. I am quite fond of this picture, much more than any of digital shots I got of these camels. For another favourite from this trip check out this one.

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