Why are you doing this to yourself? You don’t even know if the pictures will be good!

The hobby within a hobby.

NOTE: I’ll begin this experience report with a brief disclaimer. It’s been less than three years since I returned to shooting 35mm film after switching to digital photography over 20 years ago. I’ve inundated myself with as much film education as possible between web articles and advice from experienced film shooters. But, since my prior experience with film is decades old, this review is from a rather novice point of view.

When I was a young teenager, I had lots of hobbies. I collected stamps, coins, and shells. I learned a lot about physics designing paper aeroplanes, kites and trebuchets.

My buddy, Andy, and I experimented with the aerodynamics of different wing and body shapes, trying to see how far or how high we could throw a paper plane. Far, very far.

Andy and I were inseparable. We did covert chemistry experiments in my bedroom, making a mess of the rug and the bedroom walls. I loved physics and chemistry. We took apart discarded electronics and built new things with them. I remember one time, we built a radio transmitter. I insisted on hooking it up to the television antenna. We had fun broadcasting our ramblings on the airwaves. Dad was not amused.

Flounder Beer Garden | Saturday 22 August, 2020 | Pentax P3 | Pentax-A SMC 50mm f/2 | Fujicolor Pro 400H

But we loved biology, too. One year, we got into fishkeeping. My dad bought me an 18-litre fish tank where I kept some guppies we netted from a nearby stream. Later, he bought me a larger tank, perhaps 100 litres. I kept guppies and swordfish and platys. Dad gifted me the book he had used when he had a tank as a young boy. That surprised me. Up to then, I had had no idea Dad was into fishkeeping. I read the book cover to cover, learning about the difference between fish that lay eggs and fish that have live births. I was fascinated by fish breeding.

I saved up my birthday money and bought another 100-litre tank to breed guppies and platys. I wanted to see what wild combinations I could produce. Could I do it successfully? We created all sorts of fun combinations of these fish. Other than curiosity, there was no point in breeding tropical fish. We lived on a tropical island with lots of "free" fish to be caught from nearby streams. It was a fun challenge.

Camilla | Saturday 22 August, 2020 | Pentax P3 | Pentax-A SMC 50mm f/2 | Fujicolor Pro 400H

I can speculate as much as I want about why photographic film is making a comeback. I think it’s nostalgia and a desire for a more challenging and hands-on medium. After decades of digital photography, I recently started using 35mm film again. I bought a film camera on eBay, had it cleaned, lubed and adjusted, slapped in a roll of film and failed. I had forgotten the film roll in the pocket of my jeans, and it didn’t survive the laundry.

35mm film is inferior to 35mm digital. 35mm digital IQ is superior. 35mm digital lenses are superior. 35mm digital dynamic range is higher, and the colour is more true to life. Too many things can go wrong with making prints from 35mm film - in the camera, in the development process, and in the printing process. There are far fewer variables with 35mm digital. 35mm film takes much more work. More work does not mean better images. It just means more work.

Flounder Brewing Co. | Saturday 22 August, 2020 | Pentax P3 | Pentax-A SMC 50mm f/2 | Fujicolor Pro 400H

We are used to how 35mm film looks from seeing it in magazines or family albums. We have cultural emotions and memories associated with 35mm film. At some point, all these people, including myself, will die, and only weirdos will make inane statements like “I like the aesthetics of film”. Sometimes, I like to fish, and sometimes, I like chicken, but in 50 years, when vegans rule the world, that statement will seem quaint.

I use 35mm film because it reminds me of the 1970s when I was ten. Dad would pile us into his white Volkswagen Beetle for a road trip around the mountains of St. Vincent or to the beach. He always took photos using his Asahi Optical Co. Pentax Spotmatic II. Or when my uncle, Dad’s brother, would host his yearly “cookout” with all the family. He would break out his slide projector, and we would go through the family photos, laugh, and have fun.

Source Brewing | Saturday 22 August, 2020 | Pentax P3 | Pentax-A SMC 50mm f/2 | Fujicolor Pro 400H

Every time I pick up my X-700, those are the memories that come back to me.

I’ll quote Ken Rockwell, who hit the nail on the head.

If and only if you're an accomplished artist who can extract every last drop from film's quality, then film, meaning large format film, technically is better than digital in every way. Few people have the skill to work film out to this level, thus the debate.
...
Convenience has always won out over ultimate quality throughout the history of photography. Huge homemade wet glass plates led to store-bought dry plates which led to 8 x 10" sheet film which led to 4 x 5" sheet film which led to 2-1/4" roll film which led to 35mm which led to digital. As the years roll on the ultimate quality obtained in each smaller medium drops, while the average results obtained by everyone climbs. In 1860 only a few skilled artisans like my great-great-great-grandfather in Scotland could coax any sort of an image at all from a plate camera while normal people couldn't even take photos at all. In 1940 normal people got fuzzy snaps from their Brownies and flashbulbs while artists got incredible results on 8 x 10" film. Today artists still mess with 4 x 5" cameras and normal people are getting the best photos they ever have on 3 MP digital cameras printed at the local photo lab.
...
So why the debate? I suspect the debate is among amateurs who've really only shot 35mm since it's been the only popular amateur film format for the past 25 years. Pros never say "film," they say a format like "120," "4x5," "6x17," "8x20" or "35" since "film" could mean so many things. Amateurs say "film" since they only use one format and presume 35mm. Therein lies the potential for debate when people don't first define their terminology. Today's digital SLRs replace 35mm, no big deal. Ken Rockwell

Saturday 22 August, 2020 | Pentax P3 | Pentax-A SMC 50mm f/2 | Fujicolor Pro 400H

The second roll came out better, but the results are nowhere close to what I can do with my digital camera. My wife chided me for wasting money. I bought another gently used film camera, and my results were much better. Then, the most recent roll was developed after the film door on one of my cameras accidentally opened. My wife looked at the photographs.

“Why are you doing this to yourself? You don’t even know if the pictures will be good.”

I looked at her, trying to think of an answer.

“It’s a fun challenge. It’s my hobby within a hobby.”

Unfortunately, like other Fujifilm stocks, Pro 400H is prone to green and magenta color casts. I was really hoping this wouldn't be a problem with Fuji's flagship film, but it remains a distinct characteristic of Fuji's color science. ~ Fuji Pro 400H — 35mm film review by Tobias

All images in this post were made on a 36-exposure roll of Fujicolor Pro 400H in a Minolta X-700 with MD Rokkor-X 50mm f/1.7 lens and developed and scanned at The Darkroom. in San Clemente, CA. The images are presented here as scanned, without any colour correction, to show the characteristics of the film. If you don't like the green cast, use another film or shoot digitally and use a film simulation. Now that I understand the Fujicolor Pro 400 film better, I may use it when the subject can benefit from the green cast on a sunny day, e.g., in the woods or on a sunny winter day in the city.

Submitted for the 100DaysToOffload project.

Isolation Photo Project, Day 66

A few weeks ago, I exposed a roll of RetroChrome 400 35mm film with my Pentax Spotmatic II at the Delaware & Raritan Canal State Park.

NOTE: I'll begin this experience report with a brief disclaimer. It's been less than two years since I returned to shooting 35mm film after switching to digital photography over 20 years ago. I've inundated myself with as much 35mm film education as possible between web articles and advice from experienced film shooters. But, with my former experience way in the past and limited recent experience, this review is coming from a relatively novice point of view.

A few weeks back, I went on a photography adventure with my Asahi Optical Co. Pentax Spotmatic II and the SMC Takumar 55mm f/2 lens, armed with a roll of Film Photography Project RetroChrome 400 35mm Colour Reversal Film. I couldn't contain my excitement, snapping away all 35 frames in a few hours. Finding the right shutter speed and aperture settings to centre the metering needle was challenging, and it forced me to explore the Pentax ES II setting. Most of my frames were born along the Delaware & Raritan Canal State Park, near the iconic Kingston Mill House—my frequent muse. Out of the lot, I cherry-picked the top ten images to share.

My canvas was the scenic Delaware & Raritan Canal State Park Trail, near the Kingston Lock and the picturesque Kingston Grist Mill. It felt like the perfect stage to test my 35mm film skills.

Kingston Locktender's House
Kingston Locktender's House · Friday 8 May 2020 · Asahi Pentax Spotmatic SPII · SMC Takumar 55mm f/2
Kingston Locktender's House
Kingston Locktender's House · Friday 8 May 2020 · Asahi Pentax Spotmatic SPII · SMC Takumar 55mm f/2
Kingston Lock
Kingston Lock · Friday 8 May 2020 · Asahi Pentax Spotmatic SPII · SMC Takumar 55mm f/2

According to the Darkroom website's description, RetroChrome is a special 35m film originally designed for industrial and governmental purposes. Kodak sold it as a colour reversal camera film tailored for daylight photography, with applications ranging from news and sports to industrial shots. This expired 35mm film has been in cold storage since 2004, and despite its age, it was expected to perform well at its intended box speed of 400 ISO.

When I received an email from Darkroom, I expected it would say that the cartridge was blank. However, the email brought a pleasant surprise—a notification from Darkroom that my FPP RetroChrome 400 Colour Slide Film was successful with the E-6 development process. The Darkroom's NORITSU KOKI EZ Controller had worked its magic. The email said that the negatives were now scanned and ready for download. I had opted for the high-resolution Super Scans producing JPEG images at 4492×6774 pixels.

Kingston Grist Mill
Kingston Grist Mill · Friday 8 May 2020 · Asahi Pentax Spotmatic SPII · SMC Takumar 55mm f/2
Kingston Grist Mill
Kingston Grist Mill · Friday 8 May 2020 · Asahi Pentax Spotmatic SPII · SMC Takumar 55mm f/2
Kingston Grist Mill
Kingston Grist Mill · Friday 8 May 2020 · Asahi Pentax Spotmatic SPII · SMC Takumar 55mm f/2
Kingston Grist Mill
Kingston Grist Mill · Friday 8 May 2020 · Asahi Pentax Spotmatic SPII · SMC Takumar 55mm f/2

I added EXIF data to my images using Exif Editor.

While I had a fair idea of how the scanned negatives would turn out, thanks to samples on the Film Photography Project website and Flickr, I knew mastering exposure with my Spotmatic II required finesse.

As for the film's signature grain and colour cast, it delivered as expected. Some frames did lean towards slight overexposure, but a little tweak in Adobe Lightroom added that missing pop. Still, the grain remains noticeable. While I like the shots of Kingston Mill House and Lochtender's house, I admit that the greenery didn't excite me.

Would I go on another RetroChrome 400 adventure? Absolutely, but next time, I'd enlist the aid of my Pentax ES II or Pentax P3 for automatic metering and aperture priority. Scenes featuring vintage diners and 1970s cars parked against downtown backdrops could make for captivating subjects.

Millstone River
Millstone River · Friday 8 May 2020 · Asahi Pentax Spotmatic SPII · SMC Takumar 55mm f/2
Millstone River
Millstone River · Friday 8 May 2020 · Asahi Pentax Spotmatic SPII · SMC Takumar 55mm f/2

How about you? Have you ventured into the world of PP RetroChrome 400 Colour Slide Film? What's your take on the enchanting grain and hues it brings to life?

Submitted as part of the 100DaysToOffload project.

Ilford HP5 Plus 400 | Pentax Spotmatic SPII | SMC Takumar 55mm F:2

This roll of film is the second roll of Ilford HP5 Plus 400 that I developed with The Darkroom. This roll was shot on my Asahi Optical Co. Pentax Spotmatic II and Asahi Optical Co. SMC Takumar 55mm f/2 lens.

NOTE: I'll begin this experience report with a brief disclaimer. It's been less than two years since I returned to shooting 35mm film after switching to digital photography over 20 years ago. I've inundated myself with as much film education as possible between web articles and advice from experienced film shooters. But, with my former experience way in past and limited recent experience, this review is coming from a relatively novice point of view.

UPDATE 13 April 2020: Hamish Gill of 35mmc suggested I may have a faulty shutter. In March, I had the camera CLA'd (Clean, Lube and Adjust) by Eric Hendrickson. Soon, I'll shoot another roll of film to see the difference.

This film is the second roll of Ilford HP5 Plus 400 that I developed and scanned at The Darkroom Lab. This Ilford HP5 Plus 400 roll was shot on my Asahi Optical Co. Pentax Spotmatic II and Asahi Optical Co. SMC Takumar 55mm f/2 lens.

Using the Asahi Optical Co. Pentax Spotmatic II camera was more challenging than using the Pentax P3. The Pentax P3 has a shutter priority mode, and my unit has a working light meter. When I shot using the Pentax P3 camera, I set the shutter speed to 1/250s, and the camera adjusted the aperture as needed. However, while the Asahi Optical Co. Pentax Spotmatic II has a working light meter, the plastic to move the lever broke, and the rest of the camera settings must be set manually. I used the Sunny 16 technique to estimate the shutter speed on the Spotmatic II to expose each Ilford HP5 Plus 400 frame properly. The Sunny 16 technique is something I only learned about relatively recently. I practised a little at home, but this was my first time using it in the field.

I took the Spotmatic II and a cartridge of Ilford HP5 Plus 400 to the client’s office building at Old Slip, about a block from Wall Street in Manhattan, and exposed some frames during my lunch hour. I walked around Front Street, Gouverneur Lane, and South Street. The rain was light which made for a challenging walk. I was concerned about the camera getting wet, so I walked across South Street and under FDR Drive along the East River Esplanade. It's an area I explored with my Fujifilm X-T2 last year using an Ilford HP5 Plus 400 film recipe.

Photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression.Henri Cartier-Bresson

I expected all my frames to be severely under or overexposed. The shutter speed of the Asahi Optical Co. Pentax Spotmatic II is limited to 1/1000s, but fortunately, it was a rainy, overcast (and cold) day in Manhattan. The images are slightly over or underexposed, but I'm pleased with the results. I feel proud I had the skills to use this old camera, but I want a small, handheld light meter to make metering easier. Given the shutter speed limitation, I have purchased a roll of ADOX Scala 100 for use in brighter conditions.

The images were developed and scanned by The Darkroom.

South Street, Manhattan, New York City
11 February, 2020 · Gouverneur Lane, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Wall Street Ferry and Pier 11. South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · CitiBike and Slip B at Pier 11, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · Bumper, East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · NY Waterway Ferry, East River, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Looking up at FDR Drive. East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Have a wet seat. East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Strutting pigeon. East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Pigeon in flight. East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
 South Street, Manhattan, New York City
11 February 2020 · East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2
South Street, Manhattan, New York City
11 February, 2020 · Seagulls but not the seashore. East River Esplanade, South Street, Manhattan, New York City · Asahi Optical Co. Pentax Spotmatic II · Asahi Optical Co. SMC Takumar 55mm f/2