¹ — Please watch this Analog Resurgence video to understand what you’d be getting yourself into first: youtube.com/watch?v=QrZaQV…
I’m giving away this pack of very expensive film because it looks like a 1) pain to assemble, 2) pain to operate, and 3) I have no compatible camera or even experience shooting pack film.
But I know that there is someone out there who knows how to shoot this film, has the right tools, and the desire to deal with the challenges of assembling this thing.
If that’s you, please reply to this thread, and I’ll contact you via email. First one gets it.
How to get a “pushed film” look without actually push-processing it.
Push-processing means adding development time or temperature to your film so it acts as a more sensitive film than it’s marked on the box. For example, you can push an ISO 100 film to EI 200 by simply metering it as if it were an ISO 200 film (giving it one stop of light less) and then either asking your lab or, by yourself, keep it in chemicals for a set time longer so that the shadows and highlights develop more.
Pushing film helps get action shots with low-ISO film and photographing in dimmer light than the film is designed for. But pushing film typically increases contrast and, if it’s a colour film, saturation — which can be a desirable effect.
Unfortunately, not all labs can push-process your film. Or if they could, it might add to your total costs. Even if you develop at home, there isn’t always enough time to push-process something, or you may be mixing films in a single tank and don’t want to alter the development times for just one film.
Luckily, if you can get high-quality scans and your film has a reasonably wide dynamic range (7+ stops), you can underexpose it by 1-2 stops (same as when you’d push your film by +1 or +2 stops) and *develop normally*.
Your scans will appear dark and may have colour shifts. But once you correct those issues using your favourite image editing app, the results can look very close to what you’d expect if you were to push this film by the same number of stops.
I’m attaching an example test shot pair of Kodak Kodacolor 100 exposed and developed normally (left), then underexposed by -2 stops (right) and developed normally (this was actually on the same roll).
Both films were scanned on Nikon SUPER COOLSCAN 5000ED (analog.cafe/r/nikon-super-…) and inverted with #film Q. I’ve corrected them using the greyscale masking technique.
How to edit film scans (this article explains what a high-quality scan means and how greyscale masking works for colour correction): analog.cafe/r/how-to-edit-…
If you Google my full name, you’ll find articles, like “This is the First Photograph to Ever Be Developed With Weed,” the existence of which is owed to the incredible versatility of the Ilford HP5+ film and the three friends who helped that experiment come to life.
Another world’s first was when I pushed HP5+, an ISO 400 film, to behave like an ISO 100,000 film (+8 stops of push processing). And no one, to my knowledge, had before shot it at EI 3 — which I also tried, succeeded, and published on this blog.
Whatever I threw at HP5+, it handled it like a champ. Sure, it would take some work to get this film to perform unusual tasks, but when it comes to being a reliable partner in creating black-and-white images, there may be no stock better than this. Whether you’re a pro, an experimental photographer, or maybe this is the first film you’ll ever shoot — HP5+ just works.
The original review of HP5+ was published three years ago, before the experiments and countless rolls I spent trying to understand the emulsion better. Today’s update is a complete rewrite of the original article, which incorporates all of the above:
Not only does this re-review include the usual basics, like the grain, contrast, home development, scannability, prices, etc., but it has an updated section that disambiguates the Ilford name (which is just one of *four* names under which this film was sold). I’ve researched and covered the history of this film more thoroughly — and I’ve rescanned my 2018 negatives to offer you photos taken with this film when I was a little worse at photography (but thanks to this film’s forgiving qualities, still look pretty decent today).
Please enjoy the review, remember that you can download and print it as a very pretty PDF, and let me know if you have any experience with this film you’d like to share!
Analog.Cafe Podcast s1/e4 “OKTO35: Make Movies on 135 Film with Blaž Semprimožnik!”
In this episode, Daren and I sit down (remotely¹) with Blaž Semprimožnik — a Slovenian engineer who invented a new way to shoot movies on regular 35mm film — the kind we buy for our still cameras!
¹ — Please note that this is our first podcast interview — expect some echoes and a few hops around the topic 😅. We’re still learning. That said, the episode delves deep into the inner workings of the camera and Blaž’s ideas behind it. As we warm up, the conversation gets more interesting!
You may find reading this article beforehand helpful to get a better idea of what OKTO35 looks like and what it’s capable of: analog.cafe/r/okto35-a-gen….
Show links:
- Blaž’s website with tons of information about the OKTO35 project blazsemprimoznik.com
- Blaž’s YouTube — watch it for more sample videos, the story of the camera creation, and footage of the whole thing coming together — youtube.com/@BlazSemprimoz…
- PayPal — Blaž accepts donations for the project, mostly to get more film for testing the camera — paypal.me/BlazSemprimoznik
This episode was published on November 24, 2025. 57 min.
Kodak Snapic A1 is a new film camera with a 3-element glass lens and automatic film transport.
RETO Project has released their new affordable ($99 MSRP) yet practically unique camera with a 𝒇9.5 25mm ultra-wide lens, built-in flash featuring red-eye reduction, and fully automatic film transport. The camera comes in two colours: Rhino Grey and Ivory White.
It has a fixed 1/100 shutter, which means you’ll need to be mindful of your exposures — this is not a point-and-shoot camera. You can, however, estimate your ideal film type using the Sunny 16 calculator (analog.cafe/app/sunny-16-c…) — set it to 𝒇8, 1/125.
The onboard flash is GN8 (here’s how to use it to get precise exposures in all light conditions: analog.cafe/r/a-simple-gui…).
The cameras operate on two AAA batteries.
RETO/Kodak cameras offer a good balance of affordability and build quality. While they are relatively simple devices and share a similar shutter design with plastic toy cameras, there’s often something extra (including superior build quality) that makes them more fun and more dependable. Kodak Ektar H35N+ (analog.cafe/r/kodak-ektar-…) has a glass-aspherical lens that makes it the sharpest plastic half-frame camera, while also being very affordable. RETO Pano (analog.cafe/r/reto-pano-re…) is another fun one with an ultra-wide lens and a retractable panoramic mask — I still use it today.
Kodak Snapic A1 takes the earlier designs further with an all-glass lens and motorized film transport, which should make rapid series of shots and loading and reloading the camera much faster.
More info about this camera and the story of RETO will be published in the Analog.Cafe newsletter tomorrow. Sign up here (it’s free): analog.cafe/account/subscr…
Last week, I wrote about a project that hopes to make shooting movies on regular 35mm film cartridges a reality for anyone interested (analog.cafe/r/okto35-a-gen…).
This week, I found a video by a YouTuber who attempted (and succeeded) to replicate the technology inside 16mm movie cameras using his skills, 3D printing, and a few extra parts.
Reducing dependence on Amazon AWS and guarding against AI slop.
Analog.Cafe stores and distributes a large number of PDFs, high-resolution sample images, and other downloadable content. Previously, it was stored on Amazon S3 for quick, easy access. However, as the company’s uptime stability has recently been brought into question and its business ethics have long been questioned, I’ve decided to replace some of its services.
Substituting the essential tools that are deeply intertwined in all internet activities is not easy. Some of the services Analog.Cafe provides still depend on companies that use Amazon in their own stacks. However, starting today, I am no longer directly relying on AWS to serve any part of this website’s content.
All hosted content is now stored on Digital Ocean, specifically on its servers in Toronto, Canada����. This includes the distributed computing cluster used to process and invert your film negatives via #film Q. All Analog.Cafe data, except for business logic, continues to be served from Toronto, as it has since the website’s inception in 2018.
As the readership and membership continue to grow, I will work to move the remaining parts of the infrastructure onto servers operated by companies with the most ethically sound practices possible, while maintaining and improving speed and reliability.
I can’t promise that this website will never use any services rendered by companies that aren’t perfect in every way. This is simply not possible. However, as a software engineer, I control more data and infrastructure than a typical blog or social media account, so I will aim for the greatest good possible.
As of last week, I’m also placing some of this responsibility onto artists and photographers who publish their work on Analog.Cafe. An updated rule on this page, analog.cafe/open-call, requires any machine-generated text to be disclosed. This update was in response to a recent submission that was essentially AI slop, offered by a reputable film lab, no less.
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Thank you so much for your support and understanding. I am hoping that explicitly defining the direction Analog.Cafe follows will help create a better product and experience for all readers and the community at large.
Pro Image is my favourite ISO 100 colour-negative film. I’ve been shooting it since 2017. Since I posted my review of this stock in 2022, I’ve done a lot more with it — from pushing two stops to ISO 400 to overexposing it for pastel tones and improving my own scanning techniques. Today’s update adds everything I’ve learned about it and photography in general in the past three years.
What I love the most about this film is its versatility, shelf stability, and ease of scanning. Of course, it won’t work in every scenario; it’s no good under overcast skies and artificial light. But when it works, it works incredibly well.
In today’s update, I made sure to mention all the ways you can get the best colours out of this film. And to demonstrate my experience with this film in truly warm climates (which Pro Image is designed for), I rescanned and restored images I took in 2018 while living in Chiang Mai, Thailand. That was a trip, I tell you. It was also a lot of work — it took me hours to remove all the dust and scratches from one of the frames.
I’m finally proud of this review again — and I hope you enjoy it too. Remember that you can download it as an expertly-formatted PDF to keep and print.
This website is a book, five thousand pages and nearly a million words long. Whatever happens to the open web or to me personally, you can keep a piece of it forever.
Six hundred and fourteen articles, essays, guides, and reviews are now available for download as expertly formatted PDFs with high-resolution images.
With the two-column layout, large and inline images, and a new, minimal design built from scratch for the task, each PDF is a zine. Better than anything you can get by hitting “print” on a website, I built these pages for easy viewing.
The entire PDF library is over 15GB, with individual files ranging from 5MB to 20MB (the largest being 150MB).
It took some time to make this, and several hours to generate the files from the massive amount of content on this website. My hosting fees are going to be wild — but I think it’s worth it.
Look for the “Download PDF” button at the top of your favourite article to get it!
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Please note that this project is currently in Beta stage as I’m checking all files individually and making updates to the design, content, and scripts accordingly.
Film Ferrania is working on reintroducing its films.
The company has been going through a series of internal struggles and transformations during the past two years. But since being acquired by InovisCoat (better known as ORWO), Film Ferrania has been working to restore production. Today, they reconfirmed those efforts.
Unfortunately, there’s no timeline for bringing their films back onto store shelves. Film Ferrania’s email update (see attached screenshot) shares no dates. The email address in the header is invalid, and the contact email on their website is also inactive. I’ll keep looking for ways to reach them and will update this post if I hear anything back!
This may not be an update I’m really waiting for (official film production relaunch), yet the story of Ferrania’s downfall and restoration goes pretty deep:
Stephen Dowling of Kosmo Foto has outlined Ferrania’s ownership change in his earlier post this year: kosmofoto.com/2025/04/film…
Like a totally normal person, I look forward to my trips by debating which cameras and how much film I should bring months in advance. Alas, someone took advantage of my wanderlust, and they’re looking for their next victim. A company advertised by a trusted travel search website with fake reviews and an extremely aggressive telephone manner is operating a bait-and-switch scam.
TL;DR: Avoid SkyTrend and beware of Trustpilot surfacing fake reviews.
I’ve used Momondo to find cheap flight tickets for nearly a decade. It has an excellent UI and several ways to share its data on the best times to buy and fly. They typically search their database to surface good options, then direct you to the vendor, presumably collecting affiliate fees upon purchase.
But Momondo also shows occasional ads, and the one I clicked on is not marked as such (even though Momondo’s VP Consumer Support said that it is an ad via email). That ad led me to SkyTrend.
SkyTrend listed ticket prices that were $100-$500 cheaper than Momondo’s. As you may know, flight tickets can vary by that much very quickly as the companies that sell them use dynamic pricing to maximize their profits.
Since I’ve never booked through SkyTrend, I looked them up on Trustpilot and saw that they have a 4.1 out of 5-star rating. The vast majority of reviews are positive, with a few negative ones, some calling them a scam. But it’s the Internet, and the nature of modern air travel is stressful and often unpleasant, so I thought that a disgruntled customer among a sea of positive reviews isn’t necessarily a red flag.
After the purchase, I received a call. I was in the shower, so I had to call back, when I was met with a friendly voice asking me to hold for five minutes.
The next person informed me that the flights I got were this cheap because the dates will change at any moment, and I can not bring anything on the plane, not even personal items.
What the fuck? My initial reaction was anger. The voice told me they won’t help me if I yell at them and assured me there’s no way my bank will process a chargeback against United Airlines, which is who they will be charging me through (as an intermediary, they only forward my details to the actual airlines).
The talent of that operator was in being able to match my anger, bullshit confidently, and wear me out emotionally to consider his side seriously. The deal: an extra $900 add-on to ensure that I can bring baggage, and the flight dates are set. This is an unfortunate situation, but I reconsidered my emotions; perhaps this person was just relaying their company’s policy; perhaps I shouldn’t’ve yelled. So I apologized to the bully and went with an option I thought would salvage my trip and the sunk cost.
It was a different flight that wasn’t on the exact dates I wanted, and it stopped in cities I didn’t care to visit. My credit card charges appeared from United (the actual airline) and PayPal (for the $900 addon).
After catching my breath, I called my bank. They suggested I check with the airline whether I actually have the tickets. I did. Then they said I must call both parties back and attempt to get a refund before they could launch an investigation.
I managed to request a refund from United via their website. They have a 24h window during which it’s no-questions-asked.
SkyTrend’s main phone line asked me to select 1 for English in a loop. So I dialled the Texas number they called me from earlier.
SkyTrend used the same playbook on my callback. I just needed a yes/no answer on a refund to proceed with my bank. The other end demanded answers and tried to make the call as stressful as possible, telling me that my bank won’t believe me and that it’s all lawyers who are not on my side.
But the circumstances were different this time. After angrily denying my request over the phone, SkyTrend refunded my money immediately after the call ended.
Kodak Gold and Ultramax are now redesigned and sold directly by the Rochester film factory.
Last month, Kodak made a splash by reintroducing the Kodacolor brand with its ISO 100 and 200 colour-negative films. Today, we’re learning that more Kodak films are getting a design lift, a change in distribution, and, possibly, cheaper prices on the horizon.
Kodacolor? Redesign? What’s this all about?
In last month’s newsletter, I explained the existence of another Kodak brand, Kodak Alaris, which is separate from the Eastman Kodak Company (which owns and operates the Rochester film factory):
The short version is that Kodak was split into two during bankruptcy in 2012, with a piece of it, called Kodak Alaris, ended up responsible for marketing and selling films like Ultramax (review: analog.cafe/r/kodak-ultram…) and Gold (review: analog.cafe/r/kodak-gold-f…). That made Alaris a third-party intermediary between the factory and the distributors.
However, the above arrangement seems to have lapsed, and the OG Kodak factory is now beginning to sell its film directly to distributors. While that does not mean that these films are any different than they were yesterday, there’s a possibility of seeing *better prices* in the near future as Alaris, a third-party, is removed from the equation (at least for some of the films).
What about Kodacolor? Is that new?
Ultramax and Gold are well-known brands that have been filling our camera chambers for years. A slight rebrand and (maybe) a better price is welcome news. But Kodacolor is a lesser-known brand today, as it hasn’t been mentioned on a film box for decades.
According to Eastman Kodak, the renewed Kodacolor brand is used to sell their existing emulsions without any changes.
Last month, I determined that Kodak Kodacolor 200 is the same film as Kodak ColorPlus. To see how I uncovered this truth, see this article: analog.cafe/r/kodak-colorp….
I’ve also just published a piece about Kodak Kodacolor 100, and now it is *not* Kodak Pro Image 100: analog.cafe/r/kodak-kodaco… — which is one of my all-time favourite colour-negative films. As it reveals, Kodak makes more colour film than it may seem at first!
I’ve had another look at this popular article that reviews the smallest fully mechanical 35mm film camera ever made. The Rollei 35 S is also the second-smallest full-frame camera to date (including all modern digital cameras). A very impressive little machine, despite being designed in the 1950s.
Besides being a very portable camera, the Rollei 25 S also features a capable 𝒇2.8 Sonnar lens design that renders sharp images and silky-smooth bokeh.
The update includes a run-through of the text for grammar, spelling, and readability. I’ve also edited all product photos in the article to improve colour accuracy.
Thanks for your support, and please enjoy the read.
A highly anticipated panoramic Widelux recreation and a small avalanche of fake YouTube videos.
SilverBridges, a new camera manufacturer founded by a well-known Hollywood actor and the founders of an analogue photography print magazine, has just unveiled their new camera: WideluxX™ Prototype 0001. The camera is a faithful recreation of the original, highly regarded swing-lens panoramic camera, made with modern materials and tooling in Germany.
The issue with the vintage Widelux cameras is the imprecise manufacturing process, which made them difficult to repair. A factory fire that destroyed all documents and blueprints for the cameras made repairs (which often need documentation) even more difficult, including the job of this company trying to recreate this incredible product.
Thankfully for vintage Widelux owners, SilverBridges aims to make its new camera fully compatible with vintage Wideluxes, including full parts interchangeability for (relatively) easy repairs.
I met with Charys Schuler, one of the founders of SilverBridges, earlier this year at an event in Vancouver. I wrote about it here: analog.cafe/r/widelux-fake….
Fake YouTube videos.
SilverBridges made an announcement about this prototype on their website earlier this week (silvergrainclassics.com/en…). However, that post had little more information other than a few photos of the camera. The majority of the reveal should be in a video format, to be posted on the WideluxX website later.
Yet the interest in this camera, perhaps even Jeff Bridges’ name, seems to have already caused a small avalanche of fake YouTube videos that are supposed to be Charys and Marwan’s presentation of the camera, but are instead a single static image and an AI-generated voice spilling nonsense. Don’t waste your time on these.
Lomography just launched MC-A, a new premium point-and-shoot¹ 35mm film camera!
Lomo MC-A is Lomography’s first autofocus design. It features a 32mm f/2.8-16 multi-coated Lomo glass lens, a 1/500s top shutter speed, manual controls, and a metal body. The camera is available for *pre-order* at $549 (links below).
¹ — MC-A uses a film advance lever, which may not make it a point-and-shoot camera according to some definitions. However, its autoexposure and autofocus modes, along with a DX code reader and a built-in flash, certainly make it convenient.
MC-A is built to give avid photographers a lot of control. Exposures can be set to aperture-priority or fully manual, and there are up to two stops of exposure compensation. The DX code reader can be overridden with a custom film ISO (12-3200). The built-in flash (GN9) offers creative modes and coloured filters; plus, there’s a PC socket for an external flash. Autofocus can also be bypassed manually via zone focusing. Last but not least: unlimited double-exposures, bulb mode, self-timer, filter thread (30.5mm), and a rechargeable CR2 battery (included; recharges via USB-C).
The camera weighs 332g (11.7oz) without a battery and measures 125.8mm × 69.5mm × 42mm (4.95” × 2.74” × 1.65”). The body is made of metal and comes in all-black or silver-accented.
MC-A features a viewfinder with reflective brightlines (the specs I received don’t specify how it handles parallax error or the magnification factor).
This is yet another fall film photography product surprise (following the earlier Kodacolor releases, see: analog.cafe/r/kodak-colorp…).
This camera appears to be a significant step forward for Lomography in terms of features, materials, and construction quality. Undoubtedly designed to compete with the Pentax 17 half-frame camera (which sells for about the same price), the Rollei 35AF (analog.cafe/r/rollei-35af-…), and cameras that are still in production, such as the Analogue aF-1 (analog.cafe/r/film-photogr…).
Lomography is no stranger to significant investments in lens and camera design. Though they still make and sell cheap plastic toy cameras (which are lovely) without any reservations or discontinuation plans, the company has come a long way in the decades since its founding as a camera, lens, and accessory manufacturer. They’ve even designed their own lines of film (the latest being LomoChrome Classicolor: analog.cafe/comments/c6x3).
I haven’t had the chance to try this camera yet, but I am cautiously optimistic about seeing some substantial competition for the vintage mainstays. Classic point-and-shoot cameras made in the ‘90s and the ‘00s were the pinnacle of miniaturization and automation blended with aerospace technology (just look at the Minolta TC-1: analog.cafe/r/minolta-tc-1…). Unfortunately, these old cameras are not cheap — often fetching well over $1,000 — and are prone to breaking, with very few repair options.
An outstanding modern point-and-shoot film camera at a reasonable price is what many photographers crave today. Can MC-A’s novelty, design, build quality, features, availability, and manufacturer’s warranty finally answer those desires? I guess we’ll see once independent reviews come out and the cameras trickle down into people’s hands.
In this episode, Daren reviews Kodak’s financial statements, explains why its stock price recently tanked, and discusses how the business is doing. We chat about money, a factory explosion, toxic chemicals, the future of film photography, and film prices.
Kodak’s recent decisions, including the upcoming liquidation of its pension plan interests to pay off a maturing loan (a move that has sparked a flurry of negative news about the company). Though likely a necessary move, this also puts Kodak in a tough position, as its sales of print technology, a major part of its business, are under threat from competition.
On the bright side, the part of Kodak that makes and sells film is growing fast. Its brand is incredibly recognizable — and, as we’ve learned recently, Kodak is not afraid to leverage it for gain. Though we haven’t discussed Kodacolor in this podcast, it is an example of the Eastman company going around Alaris to sell more film (see analog.cafe/r/kodak-colorp…).
The differences between those films that some reviews may show could have resulted from automatic or deliberate scanning software adjustments and film expiration dates. Whatever the case may be, those films can not be distinguished on their own if processed the same way.
I know this because I got identical-looking photos on both films (all fresh), having tested them under controlled light and inverted using software I wrote. And if that’s not convincing enough, both films have the same identifying marks in the margins — an ID Kodak, Ilford, and others put on their films. These IDs have been traditionally used to tell films apart.
I could even tell those films were the same by how thick they felt in my hand when I loaded them into my development tank. When I did the test, I compared those films to a third Kodak film in this category: Kodak Gold. Kodak Gold looks nearly identical to ColorPlus (I’ve tested that earlier: analog.cafe/r/kodak-gold-v…), but it has different edge markings and it’s noticeably thicker, whereas both ColorPlus and Kodacolor 200 felt the same.
I wrote about this in my recent article (analog.cafe/r/kodak-colorp…), but the information about the identifying marks in the margins was behind a paywall. Someone has pointed out to me that it may be unfair to keep this hidden, as it could cost money or cause frustration. I thought that was fair, so I’m removing the paywall on this article.
Most of the content on Analog.Cafe is free to read without any ads. Paywalls help me keep this blog sustainable and protect it from being devoured by AI companies. But I would like to balance that with a little more sympathy and respect.
Updated: “The Smallest 35mm Film Camera Ever Made.”
It’s been several years since I’ve written an article about the smallest 35mm film cameras. Of course, the list hasn’t really changed, as the task of building such gadgets is immense — but my understanding of what makes them great and product photos has evolved slightly — this update encompasses all the new things I’ve learned:
This list features over a dozen cameras in various price ranges with distinct feature sets. Some are expensive, titanium-clad instruments, such as the Minolta TC-1; others are very affordable and still incredibly small.
And by the way, all these film cameras are much smaller than today’s most compact full-frame digital cameras! Even the original Rollei 35, designed in the 1950s, is still lighter and more compact than any full-frame digital camera made today.
So if you want that pocket-friendly full-frame experience or are wondering what your next travel shooter should be, check out this freshly updated list!
This blog has been around since 2017. Even though ColorPlus, the film, hasn’t changed much since (other than the packaging), I’ve shot a lot more of it, and my understanding of photography has changed, hopefully for the better, in these eight-plus years. This update features new photos, fresh insights, and a new product shot of a redesigned box for this article:
I’m also incorporating some of the things I’m learning about the new Kodacolor films, including better ways to scan and invert colour negatives, as well as new sources to learn more about photography.
Thanks so much for your support, and enjoy the new read!
Two new film cameras are being built right now in Japan and China.
It’s been an exciting week for film photographers with the launch of two new Kodak films and Lomography’s first ISO 200 colour-negative 35mm film. But it appears that we aren’t done yet, as Leica Rumours has just shared leaked photos of Light Lens Lab’s progress on their Barnack-based replica film camera and the ongoing work on a handmade “finest mechanical 35mm film camera” by a Japanese maker (pictured).
LLL is a Chinese manufacturer that’s close to bringing a totally new black-and-white film to the market (here’s the latest from them: analog.cafe/comments/b7gh). But the ambitions of their outfit stretch beyond film for still cameras — they’ve expressed interest in manufacturing reels for motion picture studios, and now it appears they are also working on a Leica clone. See the Leica Rumours post for photos: leicarumors.com/2025/10/03…
Suzuki Handmade Camera Factory is a new-to-me small camera maker that’s working on a brand-new mechanical machined-metal camera. The maker documents his progress on their website, handmadecamera.com, and Instagram, instagram.com/suzuki_handm….
Though both projects are still far from completion, it’s something to look out for.
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