I thought that it would be cool to see some photos of negatives pushed/pulled to extreme ISO. I’m very curious how negatives turn out, what’s their density etc.
In general it may be a good idea to include pictures or maybe even scan samples of negatives in your future reviews. It could help to better understand how emulsion behaves.
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…
I am looking forward to seeing the photos taken with the Kodak Snapic A1. I shoot 50% of my photos with a RETO Ultra Wide And Slim and about 25 % with the Kodak M38. I have been wanting to get a “nicer” point and shoot film camera.
Really hard to tell from this monitor but I’d be amazed if this had the resolving power of Technical Pan (which also had a bespoke low contrast dev ie Technidol). Plus it also came in 5x4 in sheets…..
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…
Another sample made with Kodak Snapic A1 (courtesy of RETO Production Ltd.). This camera has a built-in double-exposure switch that makes photos like this possible.
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…
I’ve done a fair bit of Kodak Infrared Ektachrome, and so when I upgraded my digital body and had a spare, I converted it to full-spectrum, with the plan to digitally simulate KIE.
I use an internal filter holder that STC Optics kindly sold me, and a 28mm diamond hole saw to make internal filters, such as the #12 that Kodak recommends, as well as other yellow/orange filters. This allows me to change lenses without having to purchase a filter for every lens filter size.
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.
Hey Samu, I presume you’ve read this, thinking of me as a younger person. I’m at the age where this feels flattering — so thanks for that!
That said, C-41 is a standardized process. It’s meant to produce identical results, although temperatures and development times can indeed vary.
If you have evidence of these kits differing in some meaningful way from what you consider a standard, I’d love to publish your findings — or you can post them right here in the comments.
As far as I know, they are all brand-new films. ORWO said that the NC500 is based on old Agfa movie film, but they are making it new.
As to ORWO 200, the company that makes the film isn’t actually selling it yet. But you can find it as KONO Color 200 or OptiColour 200. Not sure if you had a chance to check out my review of this film, but just in case: analog.cafe/r/kono-color-2…
Yeah, I want to try out the new NC200 as well. While NC500 is presumably some old movie stock, the 200 is supposedly a new stock? It’s still not really available here.
BTW, maybe I haven’t emphasised it enough, but I really like the results from NC500. I bought a few extra rolls while it’s still available. And I agree that it needs light! Just like any expired film though ;)
Nice! In hindsight, I feel like ORWO has laid down excellent groundwork for their new ISO 200 film with this one.
Given how (relatively) small that factory is and how complicated it is to make colour-negative film, there’s something special about this particular effort. Especially the part about how they’ve never given up and continued to improve their product for over a decade.
At last I had a chance to shoot a roll of this film. And my conclusion is that it just looks like any other expired but well preserved (refrigerated) 20+ YO film. I got similar results to those from expired Fuji Superia or NPH, including the base fog. ORWO’s mask turns out greenish-brownish just like other expired films I’ve had experience with.
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Robert Pustułka edited on Nov 21, ‘25