Some frames from a 36 exposure roll of Kosmo Foto Agent Shadow.
Bhavna and I were on a weekend trip up to Oberlin, Ohio, to take Kiran back for her last semester at Oberlin College. It was a long weekend, and Bhavna and I decided to visit the lakeshore town of Sandusky.
After reading Jim Grey’s first impressions of the Kosmo Foto Agent Shadow ISO 400 135 films, I decided to try it myself. I was a backer of the Kickstarter Project, but I had not yet exposed any of the four cartridges of Kosmo Foto Agent Shadow. I loaded one of the 36 exposure cartridges into my Minolta X-700, a camera I rarely use as I tend to favour my XF-11. I shot the entire roll at box speed. The roll was developed at Black Lab Imaging in Flemington, New Jersey and scanned at home on my Epson Perfection V600 using VueScan 9.
Kosmo Foto Agent Shadow is a 400-ISO panchromatic black-and-white film which the creator describes like this:
The film is an existing emulsion made by a company with more than a century’s experience in making film.
While the film is rated at ISO 400, the film can be push processed four stops up to ISO 6400 with appropriate development. Kosmo Foto Agent Shadow is perfect for shooting at box speed in bright or overcast light, but can also be used in much lower light conditions if needed.
The film is fine-grained at box speed but shows more atmospheric grain when push processed, along with more dramatic contrast.
In September, I exposed a roll of Agent Shadow at box speed while walking around the streets of Sandusky with Bhavna. The grain is noticeable, but the photographs have a fascinating vintage look. I can’t wait to try the three remaining rolls.
Name
Kosmo Foto Agent Shadow 400
Type
Panchromatic Black and White (negative)
Native ISO
400
Format
35mm
Process
C-41
Features
Kodak T-GRAIN emulsions, Fine Grain, High Sharpness & Edge Detail
One of my frustrations with 35mm film photography is the effort involved in compensation for the lack of metadata. This week, I spent a lot of time learning to read 35mm film strip edge DX bar codes. The photographs are all from around Palmer Square.
One of my frustrations with 35mm film photography is the effort involved in compensation for the lack of metadata. I tried using apps to track the information about each frame, but the process has inherent limitations. When I load the 35mm film cartridge into the camera body, I can record the film stock, type, ISO, camera make and model, and lens make and model in the app. With some effort, and assuming I expose each frame without the use of aperture priority or shutter priority, I can record the aperture and shutter speed. The action of manually documenting this information for each frame gets in the way of concentrating on the making of the photograph. I have given up on tracking the minutiae of each frame. I do the bare minimum by recording the camera, lens, film stock information, and the date the film was loaded into the camera.
When I send my film off for development, I usually use Boutique Film Lab, which lets me put a note with each order. I put information about the camera, lens, film stock, and the date the film was loaded into the camera. Just in case I forget to make an entry, I rely on the information on the film strip to identify the film stock. The process has worked well enough.
However, the entire process is easily subject to failure. I had one such recent loss. I exposed the film and wrote down the information on paper. I wanted a faster development turnaround time, so I sent the 35m film cartridge to Bleeker Digital Solutions, a lab in New York City. Bleeker’s interface does not have an area to input notes. I expected that I would rely on the information on the paper. But before the negatives were returned, I lost the paper with my notes. I then hoped that I could rely on the information on the negatives. When the negatives were returned, I stuck them in a drawer and waited for when I had time to scan them in.
Yesterday when I looked at the film strip, I realised I had made an error. There was nothing human-readable to help me identify the film stock. So now what? I had read that on some film stock, the information is DX encoded on the film strip. I spent hours last night searching the internet, learning to decode the binary code on the film strip. I combined the information I found on the post, Decoding 35mm DX Film Edge Barcodes, the Wikipedia entry for DX encoding, then converted the bar code to binary, then used a binary to decimal converter, and a DX codes lookup table. All that effort to find out that I had exposed a 36 exposure roll of Kodak Ektar 100 Color Negative Film. Whew!
I had a lot of challenges with scanning. I used VueScan Preview to line up the border around each frame. However, after scanning, the images were scanned off-axis. I watched the negative twice, but the results were the same. I cropped the imported images. I also had a challenge getting the white balance. I used the same technique I always use. I used the white balance dropper in Adobe Lightroom.
All in all, my experience with Kodak Ektar 100 was dismal. After I expose that roll, I will be done with Kodak Ektar.
Most of the frames were exposed in downtown Princeton around Palmer Square and Witherspoon Street.
It takes only a split second to ruin a partially complete roll of 35mm film. Lessons learned from using a Harman Reusable Camera with Kentmere Pan 400
The Harman Reusable Camera and Kentmere Pan 400 combination is a reusable plastic 35mm film camera with a built-in flash. The Kentmere and Ilford photography brands are owned by Harman Technology Ltd, a UK-based manufacturer of photographic materials. This introductory photography kit is sold with two Kentmere Pan 400 film cartridges, a battery, and a strap. The Kentmere Pan 400 is a budget B&W film similar to Ilford’s HP5 that has a reputation for delivering excellent results.
The plastic camera had a very flimsy feeling to it, so fragile that the camera comes with a warning that you can easily break it if you force rewind your film. I did not doubt that if I did, it would wreck the camera. This item is not returnable. There is a switch on the front to enable the built-in flash, a switch to open the film door, a push-button film release on the bottom, the film advance, and the shutter release. There are no other controls on the camera.
The lens is 31mm with a fixed aperture of f/10. The camera has a fixed shutter speed of 1⁄120 sec at ISO 200 or ISO 400. The camera’s viewfinder has a field of view of 70%. This means that what you see inside the viewfinder will be about 30% less than what the camera captures, which is quite different. You can see my fingers in some frames.
I dropped the roll into the camera, exposed a few frames, then put the camera down and forgot about it. When I rediscovered the camera a few months later, I could not remember if I had loaded the roll or not. I hesitated by eventually opened the film door.
It takes only a split second to ruin a partially complete roll of 35mm film. I snapped the film door as quickly as possible, but the damage was already done. I completed exposing the remaining frames, but I knew that I had already ruined it. The scans that follow are what I was able to recover.
I won’t use this camera again. This was a lesson in sticking to tools that give me the information I need to succeed in film photography. If you are a photography student looking to dip the "toe" into film photography, I recommend buying an inexpensive used camera and lens kit on eBay. Since it has a fixed aperture and shutter speed, YOU WILL NOT learn the basics of photography from using this camera.
Item
Description
lens
1 element
Lens focal length
31mm
Max/Min aperture
f/10
Focusing
Focus Free, 1m - infinity
Shutter Speed
Shutter 1/120s
Film Format
135 Film (24x36mm) ISO 200 or 400
View Finder
Field = 70%
Flash
Built-in Flash Push Switch - 15s recycle time
Power source
1AAA – Alkaline Battery (included)
Weight
100 grams
Dimensions
114 (W) x 63 (H) x 35 (D) mm
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