Got to scanning and cleaning up all the negatives I just got back from Ruby at Elm Pro Photo.  My favourite photos from this session are from this roll off the Contax and a few frames from the Hassy. This is why I shoot film…especially for portraits. It just has a look that can’t be replicated digitally and when I look at them, they have a completely different feel. The Contax is the most difficult camera I’ve ever had to shoot with. I’ve been told the 85mm f/1.2 L is difficult to nail focus and the depth of field is shallow…but the 80mm f/2 Zeiss on medium format is something else. It has the most razor thin plane of focus I’ve ever seen and I take quite a bit of time to make sure the focus is correct (ish). I’m worried sometimes that I might not be able to use it for critical shoots since I need to be able to nail the focus…and when I get a roll back where everyone’s eyes are in focus, it gives me hope :) Other than that, it is my favourite camera by a long shot and the negatives always blow me away. It really is a magical setup Fuji Pro 400H shot @ iso 200 metered with my sekonic l-358 and developed at box speed
Zoom Info
Got to scanning and cleaning up all the negatives I just got back from Ruby at Elm Pro Photo.  My favourite photos from this session are from this roll off the Contax and a few frames from the Hassy. This is why I shoot film…especially for portraits. It just has a look that can’t be replicated digitally and when I look at them, they have a completely different feel. The Contax is the most difficult camera I’ve ever had to shoot with. I’ve been told the 85mm f/1.2 L is difficult to nail focus and the depth of field is shallow…but the 80mm f/2 Zeiss on medium format is something else. It has the most razor thin plane of focus I’ve ever seen and I take quite a bit of time to make sure the focus is correct (ish). I’m worried sometimes that I might not be able to use it for critical shoots since I need to be able to nail the focus…and when I get a roll back where everyone’s eyes are in focus, it gives me hope :) Other than that, it is my favourite camera by a long shot and the negatives always blow me away. It really is a magical setup Fuji Pro 400H shot @ iso 200 metered with my sekonic l-358 and developed at box speed
Zoom Info
Got to scanning and cleaning up all the negatives I just got back from Ruby at Elm Pro Photo.  My favourite photos from this session are from this roll off the Contax and a few frames from the Hassy. This is why I shoot film…especially for portraits. It just has a look that can’t be replicated digitally and when I look at them, they have a completely different feel. The Contax is the most difficult camera I’ve ever had to shoot with. I’ve been told the 85mm f/1.2 L is difficult to nail focus and the depth of field is shallow…but the 80mm f/2 Zeiss on medium format is something else. It has the most razor thin plane of focus I’ve ever seen and I take quite a bit of time to make sure the focus is correct (ish). I’m worried sometimes that I might not be able to use it for critical shoots since I need to be able to nail the focus…and when I get a roll back where everyone’s eyes are in focus, it gives me hope :) Other than that, it is my favourite camera by a long shot and the negatives always blow me away. It really is a magical setup Fuji Pro 400H shot @ iso 200 metered with my sekonic l-358 and developed at box speed
Zoom Info
Got to scanning and cleaning up all the negatives I just got back from Ruby at Elm Pro Photo.  My favourite photos from this session are from this roll off the Contax and a few frames from the Hassy. This is why I shoot film…especially for portraits. It just has a look that can’t be replicated digitally and when I look at them, they have a completely different feel. The Contax is the most difficult camera I’ve ever had to shoot with. I’ve been told the 85mm f/1.2 L is difficult to nail focus and the depth of field is shallow…but the 80mm f/2 Zeiss on medium format is something else. It has the most razor thin plane of focus I’ve ever seen and I take quite a bit of time to make sure the focus is correct (ish). I’m worried sometimes that I might not be able to use it for critical shoots since I need to be able to nail the focus…and when I get a roll back where everyone’s eyes are in focus, it gives me hope :) Other than that, it is my favourite camera by a long shot and the negatives always blow me away. It really is a magical setup Fuji Pro 400H shot @ iso 200 metered with my sekonic l-358 and developed at box speed
Zoom Info

Got to scanning and cleaning up all the negatives I just got back from Ruby at Elm Pro Photo. 

My favourite photos from this session are from this roll off the Contax and a few frames from the Hassy. This is why I shoot film…especially for portraits. It just has a look that can’t be replicated digitally and when I look at them, they have a completely different feel.

The Contax is the most difficult camera I’ve ever had to shoot with. I’ve been told the 85mm f/1.2 L is difficult to nail focus and the depth of field is shallow…but the 80mm f/2 Zeiss on medium format is something else. It has the most razor thin plane of focus I’ve ever seen and I take quite a bit of time to make sure the focus is correct (ish).

I’m worried sometimes that I might not be able to use it for critical shoots since I need to be able to nail the focus…and when I get a roll back where everyone’s eyes are in focus, it gives me hope :)

Other than that, it is my favourite camera by a long shot and the negatives always blow me away. It really is a magical setup

Fuji Pro 400H shot @ iso 200 metered with my sekonic l-358 and developed at box speed

A couple of weeks ago, Josh handed me a mysterious red wooden box with “Rollei” printed in sliver across the front. To my surprise, it was filled with 12 rolls of Rollei Digibase CN 200 Pro 120 format film! Since he doesn’t have a medium format camera anymore, he gifted the box to me and I was happy to oblige! I’m always interested in trying out a new film stock…especially colour since I stick with Portra 400 or ProH 400 these days. I did some quick reading up online since I had never heard of this film in my life before! I’ve seen Rollei Retro which is a somewhat popular black and white film, but never digibase 200. I found out that it was a rebranded Agfa film: RSX II 200 (which I’ve never heard of either haha). The peculiar characteristics of the film are that it lacks an orange mask, which makes it ideal to make a black and white print from the colour negative and it also plays nice with being cross processed (c-41 being developed as e-6). While those sound fine and dandy, the downside to all of this is that the film is incredibly sensitive to light leaks and the paper doesn’t do a great job of protecting the negatives. I was warned to load and unload it in a dark area, but I treated it like any other film…and paid for it in the end :P I metered all the shots for iso 100 (it being a iso 200 film) but I like to overexpose all my colour negatives. It’s quite grainy for such a low iso film, but when converted to black and white, has a retro and very pleasing effect. Scanning it was very easy! Even though it lacked the orange mask, the colours turned out very neutral (in a good way) and I really enjoy the look. The reason all of the photos in this set are converted to b+w is because the last 3 frames suffered from massive red bleed across the negative due to what I said above haha. Some of the frames (like the first one) also suffered from not getting a complete exposure throughout the entire frame, so the bottom ended up vignetting (not because of the lens). This might also be due to the fact that the film expired last year, who knows. All in all, I am very pleased with the film and will be posting more actual colour photos and that red leak I’m talking about…and of course putting more of it through the blad :D
Zoom Info
A couple of weeks ago, Josh handed me a mysterious red wooden box with “Rollei” printed in sliver across the front. To my surprise, it was filled with 12 rolls of Rollei Digibase CN 200 Pro 120 format film! Since he doesn’t have a medium format camera anymore, he gifted the box to me and I was happy to oblige! I’m always interested in trying out a new film stock…especially colour since I stick with Portra 400 or ProH 400 these days. I did some quick reading up online since I had never heard of this film in my life before! I’ve seen Rollei Retro which is a somewhat popular black and white film, but never digibase 200. I found out that it was a rebranded Agfa film: RSX II 200 (which I’ve never heard of either haha). The peculiar characteristics of the film are that it lacks an orange mask, which makes it ideal to make a black and white print from the colour negative and it also plays nice with being cross processed (c-41 being developed as e-6). While those sound fine and dandy, the downside to all of this is that the film is incredibly sensitive to light leaks and the paper doesn’t do a great job of protecting the negatives. I was warned to load and unload it in a dark area, but I treated it like any other film…and paid for it in the end :P I metered all the shots for iso 100 (it being a iso 200 film) but I like to overexpose all my colour negatives. It’s quite grainy for such a low iso film, but when converted to black and white, has a retro and very pleasing effect. Scanning it was very easy! Even though it lacked the orange mask, the colours turned out very neutral (in a good way) and I really enjoy the look. The reason all of the photos in this set are converted to b+w is because the last 3 frames suffered from massive red bleed across the negative due to what I said above haha. Some of the frames (like the first one) also suffered from not getting a complete exposure throughout the entire frame, so the bottom ended up vignetting (not because of the lens). This might also be due to the fact that the film expired last year, who knows. All in all, I am very pleased with the film and will be posting more actual colour photos and that red leak I’m talking about…and of course putting more of it through the blad :D
Zoom Info
A couple of weeks ago, Josh handed me a mysterious red wooden box with “Rollei” printed in sliver across the front. To my surprise, it was filled with 12 rolls of Rollei Digibase CN 200 Pro 120 format film! Since he doesn’t have a medium format camera anymore, he gifted the box to me and I was happy to oblige! I’m always interested in trying out a new film stock…especially colour since I stick with Portra 400 or ProH 400 these days. I did some quick reading up online since I had never heard of this film in my life before! I’ve seen Rollei Retro which is a somewhat popular black and white film, but never digibase 200. I found out that it was a rebranded Agfa film: RSX II 200 (which I’ve never heard of either haha). The peculiar characteristics of the film are that it lacks an orange mask, which makes it ideal to make a black and white print from the colour negative and it also plays nice with being cross processed (c-41 being developed as e-6). While those sound fine and dandy, the downside to all of this is that the film is incredibly sensitive to light leaks and the paper doesn’t do a great job of protecting the negatives. I was warned to load and unload it in a dark area, but I treated it like any other film…and paid for it in the end :P I metered all the shots for iso 100 (it being a iso 200 film) but I like to overexpose all my colour negatives. It’s quite grainy for such a low iso film, but when converted to black and white, has a retro and very pleasing effect. Scanning it was very easy! Even though it lacked the orange mask, the colours turned out very neutral (in a good way) and I really enjoy the look. The reason all of the photos in this set are converted to b+w is because the last 3 frames suffered from massive red bleed across the negative due to what I said above haha. Some of the frames (like the first one) also suffered from not getting a complete exposure throughout the entire frame, so the bottom ended up vignetting (not because of the lens). This might also be due to the fact that the film expired last year, who knows. All in all, I am very pleased with the film and will be posting more actual colour photos and that red leak I’m talking about…and of course putting more of it through the blad :D
Zoom Info
A couple of weeks ago, Josh handed me a mysterious red wooden box with “Rollei” printed in sliver across the front. To my surprise, it was filled with 12 rolls of Rollei Digibase CN 200 Pro 120 format film! Since he doesn’t have a medium format camera anymore, he gifted the box to me and I was happy to oblige! I’m always interested in trying out a new film stock…especially colour since I stick with Portra 400 or ProH 400 these days. I did some quick reading up online since I had never heard of this film in my life before! I’ve seen Rollei Retro which is a somewhat popular black and white film, but never digibase 200. I found out that it was a rebranded Agfa film: RSX II 200 (which I’ve never heard of either haha). The peculiar characteristics of the film are that it lacks an orange mask, which makes it ideal to make a black and white print from the colour negative and it also plays nice with being cross processed (c-41 being developed as e-6). While those sound fine and dandy, the downside to all of this is that the film is incredibly sensitive to light leaks and the paper doesn’t do a great job of protecting the negatives. I was warned to load and unload it in a dark area, but I treated it like any other film…and paid for it in the end :P I metered all the shots for iso 100 (it being a iso 200 film) but I like to overexpose all my colour negatives. It’s quite grainy for such a low iso film, but when converted to black and white, has a retro and very pleasing effect. Scanning it was very easy! Even though it lacked the orange mask, the colours turned out very neutral (in a good way) and I really enjoy the look. The reason all of the photos in this set are converted to b+w is because the last 3 frames suffered from massive red bleed across the negative due to what I said above haha. Some of the frames (like the first one) also suffered from not getting a complete exposure throughout the entire frame, so the bottom ended up vignetting (not because of the lens). This might also be due to the fact that the film expired last year, who knows. All in all, I am very pleased with the film and will be posting more actual colour photos and that red leak I’m talking about…and of course putting more of it through the blad :D
Zoom Info

A couple of weeks ago, Josh handed me a mysterious red wooden box with “Rollei” printed in sliver across the front. To my surprise, it was filled with 12 rolls of Rollei Digibase CN 200 Pro 120 format film!

Since he doesn’t have a medium format camera anymore, he gifted the box to me and I was happy to oblige! I’m always interested in trying out a new film stock…especially colour since I stick with Portra 400 or ProH 400 these days.

I did some quick reading up online since I had never heard of this film in my life before! I’ve seen Rollei Retro which is a somewhat popular black and white film, but never digibase 200. I found out that it was a rebranded Agfa film: RSX II 200 (which I’ve never heard of either haha).

The peculiar characteristics of the film are that it lacks an orange mask, which makes it ideal to make a black and white print from the colour negative and it also plays nice with being cross processed (c-41 being developed as e-6).

While those sound fine and dandy, the downside to all of this is that the film is incredibly sensitive to light leaks and the paper doesn’t do a great job of protecting the negatives. I was warned to load and unload it in a dark area, but I treated it like any other film…and paid for it in the end :P

I metered all the shots for iso 100 (it being a iso 200 film) but I like to overexpose all my colour negatives. It’s quite grainy for such a low iso film, but when converted to black and white, has a retro and very pleasing effect.

Scanning it was very easy! Even though it lacked the orange mask, the colours turned out very neutral (in a good way) and I really enjoy the look. The reason all of the photos in this set are converted to b+w is because the last 3 frames suffered from massive red bleed across the negative due to what I said above haha. Some of the frames (like the first one) also suffered from not getting a complete exposure throughout the entire frame, so the bottom ended up vignetting (not because of the lens). This might also be due to the fact that the film expired last year, who knows.

All in all, I am very pleased with the film and will be posting more actual colour photos and that red leak I’m talking about…and of course putting more of it through the blad :D

Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C
Zoom Info
Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C
Zoom Info
Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C
Zoom Info
Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C
Zoom Info
Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C
Zoom Info
Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C
Zoom Info
Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C
Zoom Info
Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C
Zoom Info
Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C
Zoom Info
Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C
Zoom Info

Some older street shots when I was hanging out with Eric downtown that I never got around to posting. The highlight of the day was spotting those ridiculous vanity plates on the lamborghinis…the owner was even wearing a matching lime green “Unemployed Millionaire” shirt in giant gold print…should’ve snapped one of him and his car haha. We also had the best nachos ever at Tacos El Asador in Koreatown of all places

TMax 400 pushed to 1600 and developed in TMax Dev (1+4) for 9 minutes at 20°C

Load more posts

Loading