I often like the medium-format version of a film better than its 35mm counterpart. The larger negative opens up the film and shows you what it can really do. This goes for the new 120 Mono film from Kosmo Foto.
When friend-of-the-blog Stephen Dowling, the man behind Kosmo Foto, announced this new film, I preordered immediately. My order arrived in due course, but it took me a couple months to find a day to spool a roll into my Yashica-D. I took both on a walk up and down the lovely Main Street in Zionsville.
Dowling makes no bones about it: this is an existing film, repackaged for Kosmo Foto. This classic emulsion features strong contrast and managed grain, much like black-and-white films of old. Best of all, it’s reasonably priced. If you’re curious, get yours here.
It was a full-sun summer day as I strolled Zionsville’s charming brick Main Street. A lot of classic emulsions struggle to keep highlights in check on days like this; no so Mono.
Moving in close, as close as my TLR would let me anyway, Mono shows good resolving power.
I don’t mind doing a little work in Photoshop to make my photos more presentable, but it sure is nice when I can use them right off the scanner. Such was largely the case with these images. The only thing I did consistently was rotate them slightly so the verticals were vertical and the horizontals were horizontal; I do struggle to hold a TLR level.
It’s not a photowalk in Zionsville unless I photograph the great Black Dog Books sign.
Rich blacks, reasonable midtones, good contrast, barely detectable grain. What’s not to like about Kosmo Foto Mono in 120?
This post is brought to you by Analogue Wonderland, who offer dozens of fun films for you to try. Click the logo to see!
Why did I wait so long to start shooting Ilford?
I actually know why: so many fine childhood photographic memories that involve little yellow boxes. It leads me to reach for Kodak first. But I’ve been missing out.
Ilford HP5 Plus is a fast (ISO 400) black-and-white film with a traditional grain structure. As you can see, it delivers plenty of lovely grays evenly at every level between white and black. No “chalk and soot” here, no sir.
The only thing I did with any of these photos in Photoshop was boost contrast and exposure a little to suit my tastes. But truly, I could have used these images without any post-processing. I almost never get that outcome with film. Oh Ilford, I’m sorry I waited so long!
I shot this roll in my Nikon N90s with my 50mm f/1.8 AF Nikkor lens attached. I have to think this camera’s advanced (for its time) matrix metering helped get even exposures on this blindingly bright day.
These scenes are all from Downtown Indianapolis, where I work now. It’s lovely to take a camera on a lunchtime photowalk. The sun directly overhead typically provides the harshest light; conventional wisdom is to go earlier or later. But noon’s when I can get out, and Ilford HP5 Plus is just the film for it.
There’s so much to photograph Downtown now! I last worked Downtown in 1996, and revitalization had only just begun. I wish I had made lunchtime photowalks then for then-and-now comparisons!
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.
Analogue Wonderland, who sponsors this post, ships film almost anywhere. Click their logo to choose from their extensive selection.
I love car shows! Especially those where everyday people show off their old iron. A nearby dealer of classic cars invites folks to bring their muscle and classic cars the last Saturday of every month during the warm-weather months. I visited last month with my Nikon N90s and 50mm f/2 AF Nikkor lens.
My Nikon was packing Fujifilm Fujicolor Industrial 100, which Analogue Wonderland sent me in exchange for the mentions in this review. I liked the old Fujifilm Superia 100 very much — the two rolls I got to shoot before it was discontinued. I’d heard that this film was still available in Japan, but was rebranded as Fujicolor Industrial 100.
These results are good enough for me: if this isn’t the same film it’s darn close. Unfortunately, it’s a little pricey. But when you need a smooth-grained, bold-colored film with managed contrast and excellent sharpness, this option remains available. As of this writing, at least; Fujifilm loves to discontinue film stocks. (You can buy this film from Analogue Wonderland here.)
This isn’t my first time shooting cars with a Fujifilm ISO 100 color film. I used Superia 100 at a show a couple years ago; see my shots here. I liked those photos so much that I saved my one roll of Industrial 100 until I could again find myself among some old cars. So far I’ve shared a ’67 Corvette, a Pontiac GTO from the late 60s (with the tachometer on the hood), an early-70s VW Bug from Australia (hence the amber turn signal; they were red in the US), and a ’66 Plymouth Satellite reflecting a newer Ford Mustang.
This photo of a ’76 Chevy El Camino shows the sharpness this film can capture. The 50/1.8 AF Nikkor lets this film’s capabilities shine through. This El Camino was yellow and white (which surely wasn’t a factory color combination). I find that many color films struggle to capture yellow. Not so the Industrial 100.
The light matters, of course; here’s the front fender of the same car and the yellow isn’t as vibrant. My Photoshoppery on these images was largely limited to using Auto Tone to remove a slight green caste, and to lightly tone down highlights and, sometimes, to boost contrast a little.
A car show is a great place to test color film because classic cars were painted in real colors, not just black, white, gray, and beige as today! Can you imagine buying a pea-soup-green sedan now? Various shades of green were common on cars in the ’70s. The jutting fender is out of focus because I made this shot inside in available light, and this ISO 100 film granted little depth of field.
What’s a car show without a ’57 Chevy?
I loved how this one had a model of itself on the back parcel shelf.
This film even likes black. A lot. Notice how the blacks are different on the ’57 Chevy above and ’67 Camaro below? It’s not a difference in lighting — these are legitimately two different blacks, and Fujicolor Industrial 100 rendered them both beautifully.
Now I want to buy five or six rolls of this film and keep shooting it. But I have too much Agfa Vista 200 in the freezer to need more color negative film. Maybe after I finish shooting up the Agfa, buying some more Fujicolor Industrial 100 can be my reward.
You can buy Fujicolor Industrial 100 in a few places online — including Analogue Wonderland, here.
This post is sponsored by Analogue Wonderland, who offer more than 200 films from around the world!
I shoot a lot of Fujicolor 200, a snapshot film. I like its look — well saturated color, good sharpness, managed grain. I also like the look of its main US competitor, Kodak Gold 200 — warmer, slightly less saturated, barely noticeable grain. But it’s more expensive. I’m a frugal dude, so I shoot Fuji.
Elsewhere in the world Kodak offers another ISO 200 color negative film, ColorPlus. Anywhere I find it for sale online, it costs less than Fujicolor 200. If you want to try it, you can order it from Analogue Wonderland here. As of this writing, it’s the least expensive color film they offer.
If you shot Kodacolor 200 film in the 1990s, as I did, you’ll recognize the canister inside the ColorPlus box — it says “Kodacolor 200” on it and has the same design as that film of yore. Is it the same film? It must be, yet these aren’t the same well-saturated colors on the prints I still have from those days.
Is it me or do these colors just seem off? Muted? Is that a blue caste I detect? I suppose I could have Photoshopped it away. I shot this roll of ColorPlus in my Olympus Trip 35, by the way — a snapshot film in a (very good) snapshot camera.
These colors are more muted than I like, but the sharpness and contrast are good. It’s not fair to draw conclusions about any film after just one roll because so many variables are at play: lens, exposure, processing, scanning. I’ll shoot my other roll of ColorPlus in a different camera to see if it behaves differently.
It’s not like the whole roll was a bust, either. I really like this shot I made through my car’s window.
Others have said that this film doesn’t do well in the shade or on an overcast day, but I didn’t find that to be true. Bracing myself against a wall I even made this photo inside my church, and it turned out fine. These are the best colors I got on the whole roll. (Our stained-glass windows are all marked with names in this way — original members of our congregation from the early 1900s.)
Just for fun, I’ll end with this photo of a Morris Minor I found improbably parked in Zionsville, Indiana. The ColorPlus captured its hue nicely.
If I were in some foreign country, needed a roll of film, and ColorPlus were my only choice, I’d buy it and not regret it. If Fujicolor 200 were also available, even for more money, I’d buy it instead — and almost certainly be slightly happier with my photographs.
If you’d like to try ColorPlus, order it from Analogue Wonderland here.
How is it that I’ve been back into film photography for 13 years but have never shot Kodak’s Portra 400? My 2018 EMULSIVE Secret Santa gave me the nudge I needed by dropping two rolls into the gift box she sent.
As I’ve seen others shoot Portra 400, some use it as a general-purpose color film and others find it most useful for photos that involve people. I don’t often shoot people. I tend to shoot things that don’t move. Like cemeteries. And flowers. In cemeteries.
I had been shooting my Nikomat FTn and decided to keep at it for this roll. I had my 50mm f/2 Nikkor H-C lens mounted. Portra gave me just enough exposure room to shoot inside, albeit with shallow depth of field.
I can’t decide whether I think the colors are muted or not. So many people have said Portra’s colors are muted that I don’t trust my judgment. I see muted colors in these books, but that might be because the books’ colors are genuinely muted. The magnolia flowers and the American flag above don’t look muted to me. Are the greens below muted? I want to say no, but I also can’t recall how vivid the scene was in real life.
I don’t notice grain in these photos at this size, but I do when I look at them at full scan size. It’s neither pleasing nor disruptive. It’s workmanlike grain, faint and unobtrusive. However, I scanned these on my flatbed scanner. Lab scans might have made the grain even harder to detect.
The Portra was at its best at early evening, the sun in that golden-hour sweet spot.
Portra 400 is a very good film. I haven’t pixel-peeped to be sure, but it might have the least obtrusive grain of all the fast color films I’ve shot.
But the film I use most, Fujicolor 200, suits me fine and costs a lot less.
My EMULSIVE Secret Santa sent me two rolls of Portra 400, so sooner or later I’ll put the other one through a camera. I shot it at box speed this time, so next time perhaps I’ll shoot it at EI 200. Several photo bloggers I follow get really nice results when they do that.
This post is sponsored by Analogue Wonderland, who make film photography fun and accessible for everyone.
You’d think I would have shot Ilford’s FP4 Plus by now. It’s a traditional-grained ISO 125 film, much like Kodak’s lamented, discontinued Plus-X, which I loved. Also, Ilford films are easy to buy in central Indiana given that their US distributor, Roberts, is located here. I can walk into their store and buy any film Ilford makes.
But it wasn’t until the nice people at Analogue Wonderland asked if I’d like to write some sponsored posts for them in exchange for some film from their extensive selection that I thought, “Here’s my chance to finally shoot some Ilford!” FP4 Plus was at the top of my wish list.
As much as I miss Plus-X, I’m not going to compare the two films. It’s been overdone. Search “Plus-X vs. FP4” and prepare for the link avalanche. No, I’m going to evaluate FP4 Plus on its own merits, through the lens of my Olympus XA.
FP4 Plus is a very good medium-speed black-and-white film. Its blacks are inky rich and it authoritatively captures a full range of middle tones. Best of all, it does not tend toward blown highlights like so many other ISO 100-125 black-and-white films I’ve tried. I’m looking at you, Kentmere and Fomapan.
Even in mixed lighting, FP4 Plus delivers the details. Its grain is almost undetectable, it’s so fine. It leads to delicious sharpness.
The only time I wasn’t thrilled with FP4 Plus was on a particularly gloomy day. An ISO 400 film would have been a better choice, but FP4 Plus is what I had in the camera and so I shot it. This photo conveys the feel of the day all right, but lacks detail in the deepest shadows.
I plowed ahead shooting on this dim day. I had to run an errand in Lebanon after work, so I photographed around the town’s square. You can drive only one way down this alley.
The original Boone County Jail is now a bar and restaurant. You can have dinner in one of the cells.
This seriously old house is about a block off the square.
Down another side street off the square is the First Baptist Church. Just look at the great tones and all that detail!
FP4 Plus is a lovely, lovely film. I regret not trying it sooner. I need to always have some cooling in the film fridge.