I make photos with my phone that I wouldn’t bother to make otherwise. If I have to go find one of my regular cameras, I just won’t be bothered. These tulips on our kitchen windowsill is one of those photos. I was at the sink below to wash my hands when I noticed how the tulips popped against the night in the window. It took just a few seconds to get my phone out of my pocket, set it to square format, and make this image.
It is such fun to make photographs well after nightfall, holding my film SLR in my hands, with only building and street lights shining on the scene. As I walked along the river in Chicago, Kodak T-Max P3200 let me make photographs as if it were 9 a.m., not 9 p.m.
It was cold that night, being the first weekend in January. My Nikon F3 can handle that kind of treatment, which is why I chose it. I mounted my 35mm f/2.8 AI Nikkor lens so I could fit more of the city in each frame.
My wife and I had just come from Navy Pier, where we photographed the Chicago skyline from the Ferris wheel. We had plenty of time for a leisurely walk along the Chicago River before our dinner reservations within the Loop. We walked on both sides of the river, crossing the bridges wherever we felt like it.
Chicago at night is a perfect subject for Kodak T-Max P3200. The built environment generates plenty of light to render subjects beautifully.
I forget exactly what apertures and shutter speeds I used to make these photos, but they let me shoot easily and comfortably. My lens wasn’t wide open, and I didn’t have to worry about camera shake.
As you can see, the P3200 does return noticeable grain. A couple of these photos do show slight underexposure. My F3’s meter did the best it could to read this light but didn’t always nail it. A few of these images looked a little foggy, but a little tweaking in Photoshop cleared that right up.
I remain amazed by how well this film works. I know some people push other films, such as Tri-X, to 3200 and get good results. But you have to push your processing accordingly. That’s not a huge deal when you process your own. But I send my 35mm black-and-white film to a pro lab. It’s nice not to have to pay extra for the push processing on P3200.
My wife and I had a lovely walk along the Chicago River as I shot this roll of Kodak T-Max P3200. I look forward to doing it again someday — and to finding other subjects that this film can make sing.
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.
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.
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.)
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.
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.
Not knowing this about the film yet, I lucked into using it to good effect here.
But give Film Washi D some blacks and some whites to play with, and it brings them home with aplomb.
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.
Chicago’s Wrigley Building was built from 1920 to 1924 as the first skyscraper north of the Chicago River. It’s a stunner at any time of the day, but I especially like it at night. Its white facade, beautifully lit, stands in contrast to the dark buildings all around it.
The building’s south tower is the taller of the two, 30 stories vs. 21.
The building is covered head to toe in terra cotta, providing no end of interesting detail to study.
I focused my lens on the south tower far more than the north, but here’s one good shot of the north tower, its entrance.
The north tower is 410 N. Michigan Ave., the south is 400.
The two towers are separated by a little alley, with a third-floor bridge connecting the two buildings and framing the scene.
There are no shortage of wonderful angles from which to compose interesting photographs.
Nikon F3, 35mm f/2.8 AI Nikkor, Kodak T-Max P3200.
“I want to get a good view of the Chicago skyline at dusk,” my wife said. “I’d like to photograph it.”
Instantly I thought of Navy Pier and its Ferris wheel. I’d ridden it before, years ago, and remembered its commanding view of the city. So we made our way over. The view was as commanding as I remembered.
It was only about 5:30 pm, but it was already dark on this early January day. Interestingly, the Kodak T-Max P3200 saw through the night right to the overcast sky, and that’s what it rendered.
The Ferris wheel cars are enclosed and heated, making it comfortable to make these photographs on a 25-degree evening. However, the glass is tinted, which robbed me of a stop or two of exposure. I shot these with my Nikon F3 and 35mm f/2.8 AI Nikkor lens wide open, which gave me shutter speeds of 1/15 and 1/30 sec. I’m glad I have a steady hand.
This is the same Nikon F3 that has developed a light leak thanks to a failed light seal. But at night, there’s too little light to sneak past that seal and leave streaks on the film. So this whole roll turned out fine.
The ride moved slowly and went around several times, giving us plenty of time to make these photographs. I arranged them here as if I made them in one pass, but in reality I shot one or two photos on each pass.
I forgot one key thing: my wife’s tendency to motion sickness. She found the gently swaying car to be a little challenging. But she got some fun shots with her DSLR, in color.
I bought this roll of P3200 that morning, at Chicago’s famous Central Camera. I stepped in the front door and there behind the counter was Johnny Sisson, of the Classic Lenses Podcast. He looks just like the photo he uses in social media, so he was easy to spot. I introduced myself and we chatted for a couple minutes. Affable fellow.
View from the hotel window Nikon F3, 35mm f/2.8 AI Nikkor Kodak T-Max P3200 2018
I just love how much definition the T-Max P3200 delivered at night through our Chicago hotel window. Just look at the cars in the glowing parking garage! They’re so clear you can almost tell what make and model some of them are.
If you’re looking at this on a computer monitor rather than on your phone or tablet, you can see how even at this larger size the considerable grain doesn’t detract at all from the image.
