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Apr 142017

Friday Film : A roll of T-max 400 from shooting to sharing 

By Jerome

Hello Steve and Brandon,

In November last year I had the chance with the local photo club to shoot a roll of t-max 400 during a film « Grenowalk » (a shooting walk once a month, each time a different theme ; and the club is from Grenoble, France). I restored the Yashica FR I 35mm reflex camera lent by my step parents, throw a roll of t-max 400 (36 views), and here we go.


Shooting was very enjoyable ; the viewfinder is very big and bright (paired with a 50mm f/1.7), composing and focus are easy, metering very good (confirmed by the images later). Once shot, the film was developed by myself in an associative lab, La Bifurk, where I was taught how to develop and enlarge a 35mm film. Scan was done with a DIY box, where the film is back illuminated with my smartphone and scanned with an Olympus E-P5, the same 50mm f/1.7 used one the Yashika, and a couple of close-up filters, and post processed with Lightroom (curve inverting, contrast, local dodge/burn, spot removal). The t-max is a low grain film, and with pleinty of informations in hightlight and shadow to recover ; PP was easier than I tought.

I am quite happy with the result, I think some images are worth showing, I hope you will enjoy some of them.

Thanks for reading,


Feb 032017

India Street Photography

By Roshan Moh’d

Hello Steve!

My name is Roshan, 20, and I’m from Hyderabad, India.  I’m a street photographer and a CS student. I’m a self taught photographer and started shooting film for a year.. and got attached to Film photography..  Bought a Canon AE1 with 50mmf1.8 lens.. shot few rolls.  Got it developed and processed here. In India Labs are very rare, especially in the place where I live and it’s expensive too.

The scans aren’t great.

Hope you guys enjoy my work. Please follow and support me on Instagram @numowl

Thank you! 😀

Jan 272017

Friday Film: Leicas in the Attic

By Keith Lewis

What a treasure trove of film cameras!  My son and I were astounded and excited by what we were being shown.  Through a casual conversation about cameras with a neighbor friend, I had learned that his wife’s deceased father had been a passionate amateur photographer and that they had been left as part of his estate quite a collection of “old film cameras”. These cameras had been stored in an attic for several years.  I was invited to look at them along with my son who was visiting with us that weekend from Holland and is a very keen and talented “retro” street photographer i.e., he much prefers shooting film over digital.

The collection of cameras included high-end Nikon, Minolta and Canon analog SLRs, a Pentax 6×7 medium format camera with many attachments, many lenses, flashes, tripods etc.   The collection also included two field cameras and the “jewels in the crown” for us were a Leica M6 and Leica iiig complete with a wide selection of lenses, filters, viewfinders, cases and attachments all in seemingly excellent or very good condition.

The Ebony RW45 field camera was probably the most unusual and rarest camera in the collection.  What a piece of hand built workmanship!  A beautiful assembly of mahogany wood, machined titanium and leather and in almost unused condition.  I quickly went online and discovered that this “old” camera is still desired and used by many serious landscape photographers around the world.   Ebony cameras have only just gone out of production when the last master-craftsman in a small shop in Japan decided to retire (July 2016).  I quickly realized that this would be a great camera for the right buyer but it was not for me; way too much skill and patience required!

My son was immediately drawn to the Leica M6 since a high-quality rangefinder has been on his wish list for a very long time.  We soon agreed he would have an option to purchase the M6 pending some test shots.  I spent the next few weeks with this camera on loan and thoroughly enjoyed the experience of using a rangefinder for the first time.  Here are a few sample shots showing the vibrancy and clarity of the outstanding Leica M lenses.  Note that these results are from a standard high street 1-hour processing, Fuji ISO 200 film and low resolution scan.  The camera was found to be in great condition except for some paint bubbling on the top where it must have been stored in a damp case?  The two Summicron lenses (35mm & 50mm) and the 90mm Elmarit lenses were found to be in excellent condition despite being almost 20 years old (the Elmarit is older).

White Horse of Kilburn, North York Moors National Park, Leica M6 w/Summicron 35

Roseberry Topping, North York Moors National Park, Leica M6 w/Summicron 35

To cut a very long story short my friends gave me free-rein to assess and experiment with all the cameras and to help them find buyers.  Their goal was to try to find photographers who would use, love and appreciate the cameras as a continuation of her father’s legacy.  Very generously, selling price was a secondary consideration. Fortunately, I have a golf friend who is a passionate photographer and I garnered his interest and enlisted his help in this project.   We found talented and motivated buyers for the medium format and large format field cameras, plus some of the better condition 35mm lenses.  There was little interest in the 35mm SLRs and we sold those through a dealer.

The one camera unspoken for was the Leica iiig.  I was hooked from the first moment I got hold of this wonderful camera, complete with the vintage compact and collapsible Leica LTM (Leica Thread Mount) lenses.  The experience with the Leica M6 inspired me to try film again so I asked to borrow the iiig and see whether it would work for me both as a collectable and as a working camera.  I spent several enjoyable hours researching the history and functionality of the Leica “Barnack” cameras and I became more excited about the iiig when I realized it’s long pedigree and the fact that this was the last model produced.  It is notable that production of the iiig continued for a couple of years even after the “revolutionary and modern” Leica M3 was released.

I decided that before loading film in the iiig I should test the LTM lenses for clarity by hooking them up to my digital Lumix GX7 via a very inexpensive E39 to m4/3 adapter ring purchased on Amazon.  As soon as I took the first digital test shots with a vintage 3.5cm Summaron F3.5 lens I knew I was on to something special.  The pictures had great colour and a different feel to them i.e., a rich combination of pop and subtlety. Next I decided to take a few direct comparison shots between the Summaron lens and the Panasonic 20mm F1.7 lens which is renowned for its sharpness.  In these comparisons, I used aperture priority mode and tried to shoot the pictures with approximately the same frame view, aperture and a fixed ISO 200 setting.  As you can see in the example below the Summaron lens often resulted in a much more pleasing picture.

Land Rover GX7 w/Summaron 3.5cm

Panasonic GX7 and 20mm


In another example, you can see the fine detail and bokah produced by the Summaron lens fully open at F3.5.


Flowers with GX/7 w/Summaron 3.5cm>

I did a series of checks, using the Lumix GX7, on all the other vintage Leica LTM lenses which included a 3.5 cm Elmar (F3.5), a 5cm collapsible Elmar (F2.8) and two 9cm Elmar (F4) lenses.  In addition to the Leica lenses there was a 24mm Voightlander (F4) LTM lens complete with view finder.  All the lenses were found to be in great condition except for the 5cm Elmar which showed signs of haze and fogging, particularly when wide-open.   I have recently had this lens evaluated by a Leica specialist and it is probably beyond economic cleaning which is a disappointment because it is an excellent standard lens for the Leica iiig which features 5cm and 9cm guide lines in the view finder.

Once I was satisfied that the lenses were good to use, I set about loading my first film into the iiig body.  As noted in a recent post, this didn’t go well and I was very disappointed to lose some good test shots of Rievaulx Abbey.  Prior to my second film I practiced loading the film several times and made sure that the wind-on was properly engaged.  For this trial, I used B&W Ilford XP2 film.  My camera handling was much better, I got used to metering using an iPhone app and I was confident of some good results. Unfortunately, the high-street processer over developed this film and the photographs were ruined because they were very grainy.   However, there was enough in the grainy pictures to make me want to persevere with the iiig so I loaded a third film, trying again with a Fuji colour print film (ISO 200).  This time success! I got a few prints and scans I was happy with and decided to go ahead and purchase the iiig plus the collection of lenses and attachments.  Here are a few examples of the test shots taken in beautiful North Yorkshire.  Note that the Fountains Abbey pictures were taken on a rather cold, dreary and damp November afternoon.


Kilburn Church

Fountains Abbey 1

Fountains Abbey2

I feel extremely fortunate to have the experience of using the Leica M6 and Leica iiig both of which are fantastic examples of Leica design and workmanship. Some may be wondering which do I prefer?  Frankly I do not feel qualified or experienced enough to critically compare two great camera systems that many others have reviewed and extensively commented on.  I can say what I love about both cameras:


Leica M6 & Summicron lenses

·      Fantastic build quality and feel

·      Sharpness second to none

·      Test pictures had great “feel” with vibrant colours

·      Having an integrated view finder and rangefinder that works with 35mm to 90mm lenses

·      Very easy to use metering


Leica iiig & assorted LTM lenses 

·      Jewel-like mechanics and finish; no batteries required

·      Fantastic design in a compact package (smaller than the M6)

·      Separate viewfinder and rangefinder with high magnification; it takes a bit of getting used to but I like this feature since the magnification on the rangefinder makes precise focusing easier!

·      Small beautiful compact LTM lenses that can be used on almost any digital camera via inexpensive adapter to produce great pictures.


The Leica iiig has a few challenges and quirks which can take a bit of getting used to, not least being the film loading which is from the bottom of the camera and required a pre-step of shaping and trimming the film leader using a template to ensure a proper engagement with the winding mechanism.  You need to be very patient when using the camera because the knob winding for film advance is slow and must be completed before the shutter speed can be changed etc.  Slower shutter speeds need to be set with a second dial. You need to focus and frame your photos in two steps using the separate rangefinder and viewfinder.  You do have to remember to take the lens cap off because there is no metering or through the lens view to remind you that this rather important step has been completed; I speak from experience LOL! These rather precise steps slow your photography down but the results can be very rewarding.

In the UK there was a very popular TV show called “Cash in the Attic”.  In my limited experience, there are many “old” cameras stashed away in attics, some of which have real value, others have less material value but nevertheless are interesting and exciting collector’s items.  Since finding the Leicas, I have discovered via a different friend an Original (1929) Rollieflex camera tucked away with a bunch of later model cameras in her late father’s attic.  Prior to finding the Leicas, another neighbor sold me a Purma Special complete with original box, close-up attachment and manual.  This camera was given to his father as a retirement present in 1937 and at that time this camera was a state-of-the-art innovative design and possibly the first to be mass-produced in a sleek bakelite material. He was so happy to pass this legacy on to someone that is interested in it’s history and contribution to photography.  For those of you that are interested in classic cameras and photography I suggest you start asking friends, neighbors and relatives what they have stashed away in the attic.  You never know what you might find…….



Note that in the above picture the iiig has the optional Leica Viooh universal viewfinder mounted on it.  This viewfinder covers 3.5cm to 13.5cm focal lengths with parallax adjustments.  It is a little quirky to use but quite necessary with the 3.5cm lens on the camera, plus it is a great talking point since it looks like a mini ray-gun!

Sep 172016

Film Friday on a Saturday. Maremma, Tuscany, Italy

by Massimiliano Farinetti

Dear Brandon and Steve, long time I don’t submit anything for your website I daily follow…

This year I spent my summer holidays in . Maremma, Tuscany, Italy
What a beautiful piece of land (and sea)!  Nice people, nice places, nice food and nice wines.

I’ve decided to go there with a Fujifilm GA645Pro loaded with Provia 100F only and I really enjoyed my choice: one fixed 60/4 lens on 6×4,5 format has given me less trouble in changing lenses and more focus on the scenes. That slide film colors are really superb…

My “walking” was around Monte Argentario (photo 1-2-7) and the two islands close to it, Giglio (5) and Giannutri (4), and the well-known villages of Castiglione della Pescaia (3), Capalbio (6) and Pitigliano (the village built on top of a tuff’s hill, photo 8)









Hope this small tribute could let some people be more interested about those really nice places

Thanks for the space you will allow me

Massimiliano Farinetti

Sep 092016

Quick Shot/Friday Film. Leica M-A, 50 Lux and some Tri-X

by Anthony Kileen


I was visiting Savannah, GA, with my wife a few months ago and we went into the cathedral there, which is a beautiful space. I spotted this lady praying near the votive candles. In this crazy world, I felt like there was a moment of calm and peace.

Leica M-A, Summilux 50 mm f/1.4, 1/60 s, Kodak Tri-X film.


Anthony Killeen

Aug 262016

FILM FRIDAY: Trip to Arkhangelsk, Russia

by Dierk Topp

Hi Steve and Brandon,

In 1964 I worked as a sailor before I started studying, In 1966 during the semester vacation I hade the chance to work on a trip to Arkhangelsk, Russia. The trip started in Hamburg, Germany and we went up North to the Lofoten, Norway, passed the North Cape, passed Murmansk and down South up the Dvina River to Arkhangelsk. Before we arrived Arkhangelsk to old boats came to us (old ships from the WW2 German Marin) with the controlling gang.

(Wiki: Lofoten is known for a distinctive scenery with dramatic mountains and peaks, open sea and sheltered bays, beaches and untouched lands. Though lying within the Arctic Circle, the archipelago experiences one of the world’s largest elevated temperature anomalies relative to its high latitude.)

More links to google maps at the end (I don’t want to lose you here already :-) )

I had my Edixa Reflex with me and took slides during these once in a lifetime trip of the Lofoten and North Cape. I had been the electrician on the ship and had to stay on board most of the time while they were loading wood for Germany with or machines. There where no cranes! But they did a poor job and the captain asked me to take some documentation pictures of the loading. Taking photographs where not allowed in the harbor and when the Russians saw me taking pictures they came after me and I had to escape into the captains room. They did not come in but the next day three Russian officers came on the ship and ‘wanted’ the film (with all my images from the trip and Lofoten and North Cape!). I hade to give it to them and they told me, that I will get it back, if there was nothing forbidden on the pictures. Of corse I did not see it again :-(

This war in the middle of the Cold War! I learned from this experience to be careful when taking pictures. Outside the harbor it was permitted and I always hade my Edixa hanging round my neck in front of me. This camera had a finder like the Hasselblad and you could see and control the image by just looking down into the finder. This way it was easy to take pictures without being noticed :-)

These are 50 years old slides! I digitized them with a Sony A6000 with an Rodenstock enlarging lens on a bellows and used a Nissin TTL flash as light source.

I may have used the Agfa CT18 at that time but I am not sure and don’t want to tear the slides apart. It must have been a very early slide film, if I look at the grain.
On some images the left side is overexposed from malfunction of the shutter curtain, but I did not try to correct it. It is part of this form of documentation.

The processing was done with CS6 and LR5 and LR/Mogrify 2 for the framing and text. For the WB I tried to find some white in the images to correct the colors but they are still not perfect.

If you want to comment on specific images you find its number above the image.

Please excuse my English, I hope that you may understand what I want to describe :-)

Image 1: Let me start with a picture from the Lofoten, O made it on the way home but this was my impression on the tour to Arkhangelsk. To me it looked like the Alps under water, a landscape like a dream! google link follows at the end.

Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5

Image 2: The harbor of Arkhangelsk, of corse a forbidden photograph. All the wood was transported on the water and moved with ships. This wood was not for us, we got prepared wood as you see on image14.

Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5

The harbor was far outside the city and we had to use the tram to go into the city or to go to other parts of the harbor, where a sort of ‘disco’ and dancing was going on. My colleagues always knew, where it was :-) At one of these places I met two girls, how spoke German and they told me, that they would like to go to Germany with me. Impossible, when we left a gang cam on board and checked every part of the ship, where a human body could hide, that was the only thing, that interested them.

The exchange rate was 4 DM for a Rubel what made everything very expensive for us. At that time Nylon shirts where very much wanted from the Russians and some of my colleagues where wearing several shirts together when they went on land and sold them for a very good price. As far as I remember, a bottle of Krim champagne was 5 or 7 Rubel.

I was told, that one guy sold all the shirt and got a problem with the watching officer, when he got back to the ship without a shirt :-)
One Russian guy asked me in English to sell him my jeans, he did not care, how I will get back on my ship :-))

The next images are from ‘Downtown’ Arkhangelsk


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5

The following images are from the harbor area, where even the streets are made out of wood It has been April and still quite cold. When I cam back to the ship before 12 PM at night the wooden street has been very slippery and I had to watch my steps not to step into one of these holes of missing wood.


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5

This guy I found at many places, must have been very important there :-)


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5

On our way back to Hamburg…the problem with the shutter on the left side must have been only with certain shutter speeds.


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5


Camera Edixa Reflex, slides digitized with Sony A6000, bellows, enlarging lens and Nissin TTL flash, PP: LR5

If you made it down here I promised you some links

google maps of the Lofoten

some fantastic images from the lofoten at google

and of course Arkhangelsk

My flickr album with all (these and a few more) images from this trip
Thanks for looking and I hope it was informative for you



Aug 122016

Film Friday with a Kodak Retinette II

By Jozef Gwizdala

Processed with VSCO with a6 preset

My first film camera was purchased around 3 years ago in an antique shop in Poznan, Poland. After admiring an old-fashioned camera whilst walking down a backstreet in the old city, I decided to enter the shop that was selling this camera (the shop looked as though it had been left unchanged for the past 100 years). As I entered, I was coldly greeted by an old woman who once I expressed interest in purchasing something, lightened up. I had no idea how a camera worked back then so I asked her if the camera worked, which she assured me that it did. I knew that I should probably not trust her but once I found out that it cost 40 Zł (around £8), I decided that it was worth it, even if it didn’t work, due to the beautiful aesthetics of the camera. Once I got back to the hotel room I decided to find out what this camera really was.

The internet told me that my camera was a Kodak Retinette II that was manufactured around 1939 in Germany. There was a total production run of 41,000 and cost $74 in 1939 (which the internet informs me is the equivalent of around $1300 today. 35mm film had only recently been made popular with the launch of the Leica camera in 1925 which probably explains the high cost. However, the thing that struck me the most was the rarity of this camera. I could not and still to this day can not find any record or trace of one of these cameras being sold on the internet. I’m sure that there must be a few of these camera hiding in people lofts but it is also inevitable that these leather coated cameras have largely been broken and thrown away over the years. Regardless, I decided that I needed to try out this camera.


Processed with VSCO with s2 preset
My parents had stopped shooting film over a decade ago but had two rolls of colorama film left. The expiry date, 2005. I realised that this combined with an ancient camera would yield interesting results so I decided to give it a go. I wouldn’t recommend a beginner using a camera that was this complex but I definitely learnt a great deal from this camera although with no meter on the camera, I am sure many of the photos I took on the roll were ruined by my optimistic guessing. Although perhaps not applying enough tape to the broken hinge on the camera, flooding the negatives with light was the bigger culprit to the ‘interesting’ image quality.

Processed with VSCO with c3 preset

After keeping the shot roll of film for a couple of months on my shelf I finally got round to sending it off to AG photo lab in Birmingham to be developed. The photos I got back were certainly interesting. The majority were just light leaks but there were a nice handful that came out. One in particular was a self-portrait in my bedroom using the fully mechanical (and utterly unpredictable) self timer on the camera. The light leak and the ‘off’ colours in this photo added to the overall aesthetic if anything. I also managed to get a photo of a couple of friends in there which didn’t turn out so great. Perhaps the most amazing thing for me was the photos I took in London, just over the Thames, that came out in surprising detail.


There were still light leaks but they were less prevalent than in other photos that I had taken with the camera. From this photo I can see how this would have been a fine camera back in 1939. I cannot help wondering what photos have been taken with this camera. Undoubtably, being made in 1939, this camera would have captured the Second World War and the aftermath. The events of communist rule of Eastern Europe. The list goes on and so does this camera’s legacy. However, the camera in its current state is perhaps better suited to the lomography movement but hopefully it will still be able to continue to produce in some shape or form the art that is photography.”



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Jun 102016

Review of the Fuji TX-2

By Ibraar Hussain


Many people are familiar with the Hasselblad X-Pan series of cameras which are unique in that they are a different sort of Panoramic format; they shoot 35mm Film with a frame which is twice the length of a regular 35mm Full Frame – making this essentially a cropped 6×7 format – giving huge amounts of detail. But how many people know that these ‘Hasselblad’ cameras and lenses aren’t Hasselblads at all, but in fact Fujifilm Professional cameras and Fujinon EBC lenses, made by Fujifilm in Japan?

The Fuji range is almost exactly the same camera as the Hasselblad bar cosmetic differences in terms of branding and colour on both the lenses, the body and accessories. The Fuji is also cheaper! If you can find one (they’re much rarer), you’ll notice that it is sold for substantially less! I bought my Fuji TX-2 in A++ condition from in here in Britan for £690 – boxed and complete with the 45mm f4 Fujinon Super EBC lens and the included ND centre filter and lens hood (all boxed and in great condition) – the equivalent Hasselblad X-Pan II will cost you over twice as much! That is a Huge difference in price!

The Hasselblad X-Pan has been used and reviewed here in some excellent articles by Dirk Dom amongst others, so many people will be familiar with it’s look, use and results.

Park bench. Claremont Landscape garden in Autumn. Agfa Precise 100.


Yellow Field of Oil Seed Rape and Farmhouse. Oxfordshire. Fuji Provia 100.


In looks the TX-2 resembles Fuji’s Digital brethren from the XT- and X-Pro stable – The design similarities are striking and it’s obvious that Fuji has adopted the beautiful design cues from their older Film line of Range Finder cameras. In use the TX-2 is much like a Konica Hexar RF in that it is a Manual Focus RF with a big bright (and long) Finder, with Auto Load and Auto advance and Auto Wind with the Aperture and Shutter Speed visible in the VF. Konica copied the Contax G series (apart from the AF) and it’s excellent to see these famous renowned Japanese camera houses sharing a similar philosopphy – Alas Konica and Contax are no more, but at least we can see Fuji still bearing the Standard and producing excellent cameras in this Digital age (including some excellent Medium Format RF’s).

When using E6 (Slide) Film, there is some light fall off because of the wide frame size, so Fuji have included a ND Filter which is dark in the middle, with it’s lenses – I use this attached when shooting E6 (which is all I have shot using this so far). Using Film and such formats suits me fine – I am a part time photographer; in that I only go out and shoot a few times a year at the most – usually when out on vacation or visiting somewhere interesting – last year I shot a roll in my (now sold) Olympus Pen F in the Spring, followed by 1 roll and a bit in my Fuji TX-2 while on Holiday in Cornwall in August – I then shot the rest of that Roll in October/November duing a day excursion in a mist and fog laden Autumnal National Trust Garden. Now this Spring I shot a roll while traipsing round Wiltshire, Buckinghamshire and Oxfordshire. So in 10 months I shot around 60 expsoures – that’s nothing in this Digital day and age of spray, pray and choose one out of thousands.

Waylands Smithy. Neolithic Barrow. Oxfordshire. Fuji Provia 100.


At Waylands Smithy. Bright Yellow Rape field. Oxfordshire. Fujifilm Provia 100.


Farmhouse and Horses. Hampshire. Fuji Provia 100.


So if you’re like me and can’t be asked going out to shoot shoot shoot shed loads of pictures, and haven’t the time, then try some Film! The Panoramic format is, in my opinion, the most difficult format to shoot with and get the composition right. The Web and sites such as Flickr are full of tens of thousands of Panoramic XPan format photographs which are crap; they’re poorly composed and the Panoramic format in those cases is a hindrance, and spoils the photo. With Square or normal rectangular formats such as 35mm or 645/7×5 the composition is easier – with square being the easiest to get right.

With a normal rectangular view you have room for foreground interest and lead in lines and main subjects which have plenty of room around them to interest the viewer and to be interesting in themselves. The panoramic format seems squashed and compressed with not enough room to arrange things normally in order to make the composition right – whether it’s a still life, landscape, street shot or portrait. The Panoramic is a poor format for Portraiture, glamour and the like and can be very challenging to get right.

Sundial at Lands End. Lands End Cornwall. Agfa Precise 100.


The Birds. Claremont. Surrey. Agfa Precise 100


Autumnal Woodland Walk. Claremont Landscape Gardens. Surrey. Agfa Precise 100


With normal formats one can use a landscape or vertical portrait format – whereas with the X-Pan such things are very difficult to get right- most vertical X-Pan shots simply do not work. So in effect the X-Pan format is very niche and tends to be used as a secondary camera for when the subject matter calls for or is ideally suited to the format. I was faced with these challenges when I first picked the camera up and looked through the View Finder. all of a sudden things weren’t as easy or as normal as I’d have wanted – I was forced to rethink composition and try hard to make it work. the 45mm lens has the angle of view of something like a 21mm Wide Angle lens in 35mm – but with the extra resolution and Film, plus the fact that it is cropped.

Regatta off the Roseland Peninsula. Cornwall. Agfa Precise 100


Bales of Hay. Roseland. Cornwall. Agfa Precise 100


St. Michael’s Mount. Marazion. Cornwall. Agfa Precisa 100


When the format is used properly by a skilled hand, the results are spectacular. I have spent many years admiring quality X-Pan (and Fuji 617 format) photographs – especially of landscapes, and other subjects and themes. These will be difficult for me to get near let alone match – I suppose a photographer can only shoot as well as his level of skill and creativity – and mine is pretty limited.  Perhaps later this year or the next I will take the Fuji TX-2 to the Karakoram and Hindu Kush to shoot some spectacular vistas – and I look forward to that, but in the meantime I need to learn how to use it and get things right so I took the camera to Cornwall last Summer, to Claremont Landscape Garden on a foggy Autumnal day and this Spring to Oxfordshire to give it a test drive and get to grips with it’s use.

The Merry Maidens. Neolithic Stone Circle. Cornwall. Agfa Precise 100

fujitxcornwallagfa222 copy

Foggy Walk in The Park. Claremont Landscape Gardens. Surrey. Agfa Precise 100.


In use I think I’m fairly competent at using it, because my main and much loved Contax G2 works in a similar way – and I have also had the pleasure of using Fuji’s excellent GA645 MF Rangefinder (along with various Manual Focus RF’s) I realise that the X-Pan format is a wider sort of Cinema scope – so I took as inspiration the sort of sweeping panoramic shots of people and places seen in movies, and tried to use this along with my usual style in composition. I was quite pleased with the results as the Meter (a centre weighted one) is fairly accurate – with the shutter speed readout in the VF I could judge where to lock exposure (by pressing the shutter half way rather than a Contax G2 type lever) and the weight and feel is very ergonomic and confidence inspiring. The Fuji TX-2 is a fantastic camera, it’s a joy to own and to use and if the results are pleasing it can be very rewarding to use. Oh, and there are another two lenses available for it, plus it can also shoot in regular 35mm!

All Photographs Fujifilm Professional TX-2. Fujinon Super EBC 45mm f4. Scanned with Epsonscan Epson 4990

Jun 032016

Friday Film with my Canon F1n

By Peter Grumann

Hi Steve and Brandon,

I like the broad variety of Photography that you are showing on your site. Being one of the last dinos who are shooting film I would like to submit  some pictures for the Friday Film section.

My name is Peter Grumann from Germany. I live in Bavaria near Landsberg by the Lech river. My camera is a Canon F1n, heavy worn with brassing and dings and dents, here used with 50mm F 1,4 SSC lens. The location is the promenade by the river in Landsberg, where several cafes can be found. Especially on weekends there are many people making it an ideal place for street-shooting (no cars!). So we have one camera, one lens and one location.

About using film:

In every major German city we have the DM drugstores. They sell and develop film. You can get Agfa 100 precisa slide film and Kodak 200 or 400 negative color film and Agfa b+w film also. Development within 2-3 days. They also make very good prints and photo books. Prices are moderate.  I prefer to see my pictures printed as a book over seeing them on-screen. A book is great for sharing your photos with friends. And shooting film always gives you a hard copy of your work. Film may not be as sharp as digital images, but has great colour and subtle grain.

Thank you for running this great site!

Best Regards
Peter Grumann






May 202016

Film Friday: Rolleiflex w/ Ilford Delta 100

By David Patris

I am from Belgium and I have been a frequent reader since a few years now. Recently I discovered my father’s Rolleifleix ( 75mm, Tessar 3.5), which was left a long time in a closet, with this camera I am enjoying to go 6×6 cm.
I use the Ilford Delta 100, a long favored film of mine, scanning them with the Epson V750 and processing the files with lightroom.

Thanks for your work with this site. I hope you will appreciate the following pictures.

David Patris

Blankenberge, Belgian coast 1.

Blankenberge, Belgian coast 2.

Colorado provencale. Lubéron, France.

Lubéron forêt des cèdres arche 2

Lubéron, forêt des cèdres. France.

Arc de Triomphe. Paris.

Congressiste, porte Maillot, Paris.

Parisan Trip.

Mar 092016

The French Quarter of New Orleans

By Anthony Killeen

The French Quarter has to be one of the best places for street photography. It’s full of interesting scenes and people, and it’s a hive of activity all day and night.

All of these were taken withe a Leica M-A and Summilux 50 mm f/1.4. For the first shot, I used CineStill 800T, which is a relative newcomer to the film market, made by the Brothers Wright. It’s made from film stock produced for the motion picture industry and is color balanced for tungsten lighting. The anti-halation layer at the back of the film has been pre-removed to make it possible to develop in routine C41 chemistry. The consequence of this removal is that the film is subject to halos around bright lights, but in this kind of shot those halos only add to the drama of the lighting.

The other two shots were taken with Kodak Tri-X 400.

Thanks for considering these!

My blog:

 Orleans band


Flying around


Street preacher


Anthony Killeen

Feb 122016

Hasselblad Xpan, a print solution.

By Dirk Dom


The Hasselblad Xpan is a panoramic rangefinder which makes 65 x 24mm images on 35mm Together with the Mamiya 7, this is my absolute favorite camera. A problem is: what do you do with its output? The panoramic format doesn’t lend itself to standard stuff.

Here’s a solution which works real well for me.


I use an Epson V750, scan at 2.700PPI. That is resolution enough for a 24 inch print.


I used to paste two images together on a 30 x 45 cm print, and have it printed on a Fuji Frontier. But these prints were just too small, and I had no solution to present them, so it wasn’t any good.

After two trips to san Francisco, Easter and Summer 2015, I decided to go without compromise. I was going to make a real album with 24 inch prints.

Here’s how I did it:

I scanned my images and photoshopped them. I looked at them at 200% and got rid of the tiniest faults.

Printing image by image on a 24 inch roll of paper made for lots of paper loss, so in Photoshop I combined the images in huge prints of ten, with 1 centimeter of white in between. I can tell you these 2.5 meter prints look real impressive.

The prints were made on a very high quality inkjet printer with archival inks and on Permajet Oyster paper. I didn’t do this myself, but had it done by the company Kodec in Belgium, who are real masters. I have a 24 inch Eizo screen and the image on it is 100% the same as the printed result, so I don’t need to have tests made.


I bought myself a paper cutting machine and cut out the prints.

I bought 100 grams tracing paper to put between the prints and cut that, too. The prints were 604mm long, I got two sheets out of A1 size tracing paper. All the cutting was done in two hours, I could have never done it without the paper cutting machine.

The prints came from a roll and they had a curl. I first put them under a flat board for a week, but that didn’t help. After looking on the Net, I discovered you need to reverse curl the prints. I experimented a bit. The photo shows how I did it, between rolled up drawing paper.


You need quite a small curl radius: first I tried 6 cm, then 4, and only with 2cm it worked and the paper went flat. I used a plastic broomstick of 2 cm diameter on which to reverse curl. I rolled and held for two minutes. Of course I did all print handling with white cotton gloves.

I made front and rear covers in matte cardboard. The bridge drawing I got off the Net.


Everything was now ready to bind.

I used a spiral (Wire-O) bind because I wanted the photo’s to open completely flat. I had a plastic cover put over it. The binding I had done at a printing shop. There are two options to bind the book: either you put the binding to the left, which makes the book open 1.2 meters, or you make the binding on the top, like a calendar. I thought the part above would interfere with appreciating the shots, so I chose a binding to the left.

This is the result:

image024 image025

Although it’s very clearly visible that this is a book which is self-made, it handles perfectly. The pages turn over very smoothly, and the tracing paper stays nice and flat. To me, it’s a success.

The 24 inches are a perfect size for the Xpan photo’s. Xpan panorama’s need 24 inches for their WOW! Factor to come out. I can now take my prints anywhere, and even let people handle them. I’m thinking of converting all my portfolio’s to this bound shape.

The book is a bit too big to carry around, I’m making a cardboard box for it.

How much did it cost? Well, not cheap. The book has 36 prints. It cost about 800 dollars, of which 300 went to buying the necessary tools. These, of course, I can use again.

I researched having a panoramic album with prints this size printed commercially. There are print services for it on the Net. The price is the same as this DIY book and they look very beautifully made. They open flat, but the panorama is printed across two pages and has a fold in the middle. I was 100 % sure the print quality of my book would be outstanding, with the commercial work, you have to wait and see. So I chose the DIY option.

Well, Xpan users, this is my solution to the print problem.

If you’ve made it this far through my exposé, you deserve a little reward. Here’s some shots I made with the Xpan in S.F. All Kodak Ektar 100.

I have both the 45mm and 90mm lens, I used the 90 (equivalent to 50mm on full frame) about 80% of the time.

image026 image027 image028 image029 image030 image031

Thank you,



Jan 292016

Friday Film: Leica M6 Classic

Hi Steve and Brandon,

I hope this email finds you both well. Recently we had a chance to escape the Canadian cold and take a (short!) family winter getaway. I brought only the Leica M6 classic, the Voigtlander Nokton 40mm f/1.4 SC, a 3-stop ND filter, and a pile of Portra.

It is always exciting to get home, process the film, and relive the experience. (Though there is always that tiny bit of concern that the rangefinder was bumped out of alignment, and you actually have nothing to show for it!)

Fortune smiled upon us this time.










These are all self-developed, and scanned using the Pakon F135+. Included below are some samples. More images may be found on my site at

Thanks for considering.

Warmest regards to you and your readers,


Jan 222016

Film Friday: Portraits of Nepal on Hasselblad 500cm

by fiftyasa

Dear Brandon and Steve,

Once again thanks for keeping up the good work with your website!

I just came back from a trip to Nepal and would like to share some film shots taken with a Hasselblad 500cm, Planar 2.8/80 and TriX400 or TMAX100 (last 2 images).

As you might recall, Nepal was heavily hit by a terrible earthquake last year. The signs are still visible with several temples and buildings destroyed. In addition to the earthquake devastation, the country is now suffering from a border blockade (explained for example here) which leaves the population with shortage of fuel, gas and medicines.

In spite of this, Nepal remains a wonderful country and a photography paradise! Nepal needs today more than ever that tourists return to visit its amazing valleys, mountains and villages and enjoy the hospitality of its people. My strong recommendation is to go without hesitation! If you are a travel photographer, this country is a gem!

Most of the images below are taken in remote villages off the beaten tracks where accommodation is home-stay based: you will stay with a hosting family, eating with them and sleeping in their houses. This is an amazing experience that no hotel in the world can give you.

RAW-WB: 0.342704 1 0.815287

RAW-WB: 0.354571 1 0.850498








The rest of the images are visible here:

If you also want to see digital images of the trip same (taken with a Leica M9), you are welcome to visit my website here:

Negatives are digitalized with a Sony A7 mounted on a copy-stand with an Apo-Rodagon D1x (a merge of 2 shots gives you 36 MPixel resolution per frame).

Dec 042015

Film Friday: Flamenco

by Dierk Topp

Hi Steve and Brandon,

This is a series of flamenco images. I took these images with the Nikon FA and T-Max 400 in 1987.

My wife loved flamenco, since she went to school and later she joined a small group and they danced just for fun and on small events in public.

The first images of my wife and a friend of the flamenco group are made in our living room with two soft boxes. Images 8 and 9 show the famous Swiss flamenco dancer Nina Corti dancing in the “Fabrik” in Hamburg, Germany. On these images the light was not easy. The lens could have been my 35-135mm or the 180/2.8 Nikkor.

analog: T-Max 400, 1987

analog: T-Max 400, 1987

analog: T-Max 400, 1987

analog: T-Max 400, 1987

analog: T-Max 400, 1987

analog: T-Max 400, 1987

analog: T-Max 400, 1987

flamenco Nin Corti

Sony NEX-6 with Meyer Optik Trioplan 2.8/100 @ f/2.8

I digitized the images with the set up that you see on this last image:

making of: Sony A7R, bellows and Leitz Focotar 50mm/4.5

The Sony A7R with a Metabones adapter attached to a Nikon mount bellows with a Leica enlarging lens and a slide/film copy adapter. Light from a Nikon SB800 set on manual exposure. Today (for these images shown here) I use my A7RII with 42 MP = 5.300 DPI and a wireless TTL controlled Nissin Di700A flash. That makes it easy and I shoot a complete set of 6 negatives in about 20 seconds with perfect exposures. Processing with PS for inversion to positive and some cleaning and cropping and with Nik Silver Efex Pro for final B&W.



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