Film Photography

Shooting Lomography Redscale XR 50-200

Draped flag

I forget who gave me this roll of Lomography Redscale XR 50-200. Perhaps Stephen Dowling of Kosmo Foto? Perhaps the kind people at Analogue Wonderland? Well, it was somebody, and if it was you, I’m sorry I can’t recall.

Wherever it came from, it’s been rolling around at the bottom of my film box for at least two years now. There’s just never been a time when my subjects would have benefited from a strong red cast! But I’m busy shooting up everything in that box, and this roll’s number came up. I loaded it into my Pentax ME, which already had a 50mm f/1.7 SMC Pentax-M lens attached, and took it with me everywhere I went for a while.

You’re supposed to be able to control the red by setting ISO anywhere from 50 to 200. The more light you let fall onto this film, the less red effect you get. I set my Pentax ME right in the middle at EI 100 and got mighty, mighty red images.

Happy 10th

It turns out you need to shoot this film in direct, bright sunlight. Shadows come out muddy and underexposed.

Down the country road

This shadowy tree-tunnel shot turned out okay, though.

Tree tunnel

If I had another roll of this stuff I’d shoot it at EI 50 to try to tone the red down. I tried to tone it down in Photoshop, but I couldn’t manage it without introducing other deleterious effects. These images are all straight of the processor’s scanner.

Chair on the deck

I know that plenty of film photographers love films that give them unusual looks like this. I’m not among them. As I looked through these scans for the first time, I wished I’d shot many of these scenes with one of my usual color films. Lomography Redscale XR 50-200 just isn’t my jam.

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Film Photography

Shooting Adox HR-50


I suppose idle curiosity made me choose Adox HR-50 when the good folks at Analogue Wonderland offered me yet another roll of film to try. HR-50 is a specialty film aimed at landscape and streetscape photography, which is right up my alley. It’s also a relatively new film, as ADOX introduced it in 2018.


Analogue Wonderland sent me this film in exchange for this mention. Buy Adox HR-50 from them here. Or choose from one of the 200 other films they keep in stock every day!

But then I put off shooting it for several months. As I read about it around the Internet, I got the sense that this film performs best in Adox’s HR-DEV developer. The Massive Dev Chart doesn’t even list times for most popular developers for this film. So how would my usual labs process it?

Fortunately, I was learning how to develop my own film. I figured that after I started getting repeatable results, I’d give this film a go. I bought the smallest bottle of HR-DEV to go with it. All of my preconditions met, I loaded the roll into my Olympus OM-1, mounted a 50mm f/1.8 F.Zuiko lens, and took it on photo walks over the next several weeks.

Church doors

Given the film’s slow speed I looked for bright days to shoot it. Even on lightly colored subjects like this sandstone church, HR-50 returned rich, even tones.

Whitestown UMC

I brought the HR-50 out on lunchtime walks through my neighborhood, as well. It kept doing a great job of capturing a good range of tones. I am especially pleased with its rich blacks.

Flowering tree in the front yard

HR-50 even does a good job rendering the sky without using a filter.

Stone column

I made a few photos where the sun was not behind or to the side of the camera. In those cases, the photos came out a little dark and lacking a little shadow detail. I don’t know whether that’s the OM-1’s metering or some characteristic of the HR-50.

Retention pond

Even when the sun reflected off a surface, the HR-50 refused to blow out.

No outlet

Despite this film’s stated use for streetscapes and landscapes, I moved in close for a few photos. HR-50 kept giving me the same solid range of tones and imperceptible grain.


I developed this film in HR-DEV diluted 1+49 per Adox’s time and temperature instructions. I scanned them using VueScan and my Canon CanoScan 9000F Mark II. These might just be the best results I’ve ever gotten from my home development and scanning. Nothing like using a film’s recommended developer to remove risk.

Ash leaves

Interestingly, Adox does not recommend using Rodinal, my favorite developer, with this film. It also does not recommend D-76, which makes sending this film out to a lab for processing a challenge as so many of them use D-76 or one of its clones.

I like this film. I’ll use it again. Especially since I have so much HR-DEV developer left!

Like what you see? Buy some Adox HR-50 for yourself at Analogue Wonderland here.

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Film Photography, Travel

Shooting Film Washi D

Wabash St.

When it comes to black-and-white photography, I hew to the classics. Lately I’ve enjoyed Ilford’s FP4 Plus for its rich tones. When I want something faster, it’s a tossup between Kodak T-Max 400 and Ilford HP5 Plus. But I am also a deeply curious man. When I heard about Film Washi, a one-man film company from France, I wanted to try its films.


I’ve already shot a roll of Film Washi S, and here I’ve shot a roll of Film Washi D. Analogue Wonderland sent me both rolls in exchange for these mentions. Their Film Washi stocks vary with time; check here to see what they have available now. Or choose from any of the over 200 other films they keep in stock.

I loaded the Film Washi D into my Olympus XA and brought it on a weekend trip to Chicago with my wife. It was early January, cold and gloomy. Who knows whether this was the best light to test this ISO 500 film, but that’s what I threw at it.

Cafe view

Like so many boutique films, Film Washi D loves contrasty scenes. I knew this going in, because I read up about it on Film Washi’s site first. I learned my lesson after not doing that with the roll of Film Washi S I shot last year. Turns out this film was originally used for aerial surveillance and cartography. Strong contrast is likely useful in that application.


I had a devil-may-care attitude as I shot this roll. “I wonder if this film can handle this light,” I kept wondering. It kept saying yes. I’m especially pleased with how it captured the iconic sign of the Berghoff Restaurant.

The Berghoff, Chicago

We had tickets to see the new production of The Phantom of the Opera; this was the marquee. (I’d never seen the show in any form before. The production was first rate, but I was surprised to find I don’t like the story.)

Phantom of the Opera at the Cadillac Palace Theatre

There was a dull muddiness to all of these photos as scanned. I shouldn’t be surprised — the negatives were incredibly thin. I shot at the box speed of 500, but I wonder now if I should have shot at half that. Or perhaps my lab didn’t know what to do with this film and underdeveloped it. I opened these images in Photoshop’s RAW editor and used the Black and Dehaze sliders to tame the muddiness. Sometimes it wouldn’t be fully tamed without losing all the shadow detail. I had to stop short of that in the photo below.

The Loop, Chicago

Skies were overcast all weekend, creating diffuse, even light. But there wasn’t always enough light for Film Washi D to pull detail out of the shadows.

Umbrella Men

Not knowing this about the film yet, I lucked into using it to good effect here.

Shadowy Tower

But give Film Washi D some blacks and some whites to play with, and it brings them home with aplomb.

Painted rhino

If I had this roll to shoot over again, I would have shot nothing but street with it. I made exactly one street image, this one, shot from my hip. I thought there was something interesting in this lone woman at the end of this line of chairs, and I was right. The Film Washi D captured a reasonable range of tones.


The woman spied me with my camera, even though it was at my hip, and shouted obscenities at me. She was most unhappy about being my subject. So here you go, lady: you’re immortalized on the Internet.

Many thanks to Analogue Wonderland for the chance to try Film Washi D and give it this one-roll review.

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Film Photography

Downtown Indianapolis on Ilford HP5 Plus


I work in Downtown Indianapolis. Yes, it’s capital-D Downtown here. My favorite way to take a work break is to grab whatever film camera I have with me and take a walk around capital D. For a few weeks recently, that was my little Olympus Stylus, into which I’d loaded a roll of Ilford HP5 Plus.


The generous people at Analogue Wonderland sent me this roll of Ilford HP5 Plus so I’d write about the experience and drop their name. You can buy HP5 Plus from them here. But do explore their site — they offer over 200 other films! Click the logo to see.

Contrasting Doors

Last time I shot HP5 I used my big semi-pro Nikon N90s SLR. I wanted to see what kind of results I got from a different class of 35mm camera, hence the Stylus. Answer: every bit as impressive. I got excellent detail and balanced contrast shot after shot. As a traditionally grained film, you will absolutely see grain on HP5. But it looks natural and doesn’t detract from sharpness or detail.

Central Christian

I shot this roll little by little in December and January, two of Indiana’s gloomiest months every year. At ISO 400, HP5 Plus had the speed to cope with the poor light and give me big depth of field.


Even on a day with some sun, the HP5 Plus delivered good balance between the bright and shadowy areas.

View from the 12th Floor Window

I walked around on idle lunch hours with the Stylus, photographing anything I thought might look good in black and white.

Cups Coffee

There are plenty of lovely older buildings Downtown with interesting details to study. HP5 Plus did a great job navigating the natural contrasts.

Inland Bldg.

Even though Indianapolis is Indiana’s largest city by far, it’s not large like Chicago or Dallas. The core of Downtown is about one mile square, beyond which the tall buildings give way fast to shorter office and apartment buildings and then neighborhoods full of older homes. Roberts Camera is just beyond that mile square. They process 35mm color film at a reasonable price. They also happen to be the US distributor of Ilford products.


While I’ve never used them, there are a few auto mechanics just outside Downtown’s mile square. Convenient!


HP5 Plus is a great film for everyday photography. If you’d like to try Ilford HP5 Plus for yourself, you can order it from Analogue Wonderland here. They provided me this roll of film in exchange for this mention.

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Film Photography

Another go with Kodak ColorPlus

Jesus Saves

So many film-photography bloggers I follow get such nice results from ColorPlus, Kodak’s low-priced ISO 200 color film, that I couldn’t reconcile the meh results I got from my first roll. I shot it in my Olympus Trip 35; see some of the images here.


So I tried again, thanks to the largesse of Analogue Wonderland, who sent me another roll in exchange for this review and this mention. Get your ColorPlus from them here. I put this roll into my black Olympus OM-1 and mounted a 50mm f/1.8 Olympus F.Zuiko lens.

Then I took this camera to work, in Downtown Indianapolis, and brought it out at lunch or after hours to make some images around the center of the city. I work around the corner from the City-County Building, the seat of the combined government of Indianapolis and Marion County.

City-County Building

You’ll find the old City Hall a couple blocks away. It’s currently vacant. The orange seats are for people waiting on a bus. They came out of one of the stadiums we used to have here that was demolished to make way for bigger and better stadiums.

Bleacher seats at City Hall

I looked specifically for colorful subjects among the beiges and grays of Downtown’s buildings. ColorPlus looks mighty good to me in these images, far better than what I got from it in the Trip 35. It’s a mystery to me, as the Trip usually does lovely work. But I discovered long ago that some lenses love certain films and not others.

Bank of Indianapolis

It was a bit of a risk to shoot ISO 200 film past dusk, but I managed to hold the camera steady enough for the long exposure. These evening colors look mighty pleasing to me!

Downtown at night

I made this shot while sitting outside at a restaurant with my brother. I liked the juxtaposition of all the lines. Keen eyes will spot Kurt Vonnegut painted onto the side of a building.

Hedge Row

Lesson learned: it’s not fair to pan a film based on one roll shot. These colors are lovely.

Green car at Qdoba

Kodak ColorPlus is a good consumer-grade color film, rendering realistic tones through my F.Zuiko lens. If you’d like to try ColorPlus, order it from Analogue Wonderland here.

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Film Photography

Shooting Film Washi S

Federal Courthouse

Let me say right off that I’m frustrated with myself. These photographs don’t capture the best that Film Washi S can do. It wasn’t until after I shot most of the roll that I read over at EMULSIVE that you’re supposed to shoot this film in dull, diffuse lighting. I shot every single frame in blistering, blazing summer sunshine.


And so I’m considerably embarrassed to admit that this post is sponsored by Analogue Wonderland, who sent me a roll of this film to try in exchange for this mention. My humblest apologies to the very good people at Analogue Wonderland that I bungled this so badly. Click here to buy some Film Washi S of your own from them. But don’t be a doofus like me — shoot it in the right light.


Not that the roll was a total bust. With a little light Photoshoppery I was able to get usable images from almost every frame. The contrast is mighty high, is all. In full sun, you get your black, you get your white, but you get very little in between. On a few photographs it was mighty appealing. But not on the one below. It shows the film at its contrastiest.

City Market

Film Washi S is actually sound recording film — bright purple! — spooled into 35mm cartridges. On a film print of a movie, the soundtrack is imprinted optically onto the film, and is then transferred to the final movie print.


I loaded the Film Washi S into my Pentax ME and mounted my 35mm f/2.8 SMC Pentax-A lens. That light little SLR and that widish lens are a great kit for making photographs in Downtown Indianapolis, as I did.

Circle Tower

Whenever the sun was not directly behind me, the frame tended to fog a little.

Mass Ave corner

I can’t see any grain on any of these images. I’m not surprised, as this is an ISO 50 film. Check out all the great detail the film captured on this ornate theater building.

Indiana Repertory Theater

It is a shame, however, that so much is lost in the shadows. This is why with specialty films it pays to read everything you can before you go off shooting. (That’s a note to self.)


Despite my challenging choice of lighting for this film, it did lovely work in a few cases. Like this one. So silvery! So sharp!


Shooting specialty films is great fun under any circumstances. But it is even more fun when you read up on it first and know the conditions in which it delivers its best results. So let me be clear: shoot Film Washi S on an overcast day. Don’t be a doofus like me.

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