As I continue to practice developing black and white film, I’m shooting up my film stock. I tend to hang onto special films waiting for the perfect reason to use them. Perfect never comes and then the film expires. Nuts to that!
I’m also cycling through my cameras to make sure they all get a little use now and then. That’s how I came to put my last roll of Ferrania P30 Alpha into my Olympus Trip 35. I’ve never shot black and white in the Trip before!
Because I developed my last roll of P30 in Rodinal, this time I used LegacyPro L110, an HC-110 clone, in Dilution H (1+63). Let’s just tweak all of the variables!
I’m not blown away by these results. They’re all soft, even after sharpening as much as I dared in Photoshop. Shadows tended to black. And for whatever reason I was incapable of holding the camera level, although that’s easily fixed in Photoshop.
Here are some of the photos, the ones I think turned out best. The subjects aren’t anything special, just stuff I shot around the neighborhood. I was especially fixated on the high-power lines that run through here.
I just finished a roll of Arista Premium 100, said to be rebranded Kodak Plus-X, in my Zeiss Ikon Contessa LK. Photos to come!
In college, one of my roommates had one of these. He bought it new in 1985. It was a hell of a car for a college freshman to own, and he was very happy with it.
I got to drive it once. He and I had been at a bar in town and where I had just one beer he had three. He was always extra careful when he’d been drinking, so he handed me the keys.
This car is super low, so much so that oncoming cars’ headlights shone directly into my eyes as if they were high beams. I don’t know how fast it would go as I drove it only over city streets near the speed limit. But I remember its stiff chassis and excellent clutch and shifter.
I shot this on Kodak ColorPlus, which was provided by Analogue Wonderland in exchange for this mention. You can buy ColorPlus from them 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.
Some subjects draw me in every time I pass by with a camera. This scene on Main Street in Zionsville has become one of those subjects. I am sure I have at least one more photo from here, but I can’t find it now. Enjoy these five.
Since I moved to Zionsville, I’ve been trying to find new common subjects. One is clearly the sign at Black Dog Books in the village; I was photographing it regularly even before I moved here. But I’ve photographed this giant wall three times now, which makes me think it’s becoming a common subject for me. I like the giant, colorful letters.