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Kodak 5222 B&W Cinema Film

Leica M7; Leica 18mm Super-Elmar-M; Kodak 5222 Film

Recently I picked up some spools of Cinema film and Kodak 5222 was one of them. I’ve been eyeballing this film for a while but all my “sources” didn’t seem to stock it. I finally managed to luck out when I purchased some film from Reel Good Film in California. Thanks Guys!! I have to say I’m quite impressed. It’s exactly what I hoped for. It’s essentially Tri-X 400, but with it’s own unique contrast and highlight ratio. This

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Another Purge

A while ago I wrote about purging some social media accounts. Titled “Goodbye Tumblr”. I got rid of, obviously Tumblr, Facebook, Eyeem and at the time I was debating getting rid of Ello. Remember that social network? It’s been a bit of a weird year, since I thought at one point that going back to Flickr and Eyeem might be a good idea. But honestly, it’s just making me worry about posting on it. I keep forgetting. Then I

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Rant: A Monumental Screw Up

Leica M7; Leica 18mm Super-Elmar-M; Kodak 5219 500T

This happens to the best of us. We shoot film. We get comfortable with how we shoot and develop. Then we forget. How long have those chemicals been sitting there? Can’t be that long. Don’t think I processed to many rolls through it. Then you take the dive. Develop two rolls and realize you screwed up! When you pull the negatives out of the tank. Queue Wah Wah sound! This is what happened to me. Two rolls of cinema

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Annoyed with Leica Support

Image issue with M9.

Frankly I’m a bit annoyed about the process of dealing with Leica repair. I posted this image a while ago asking if anyone has seen an error as seen above. In response I was linked to a whole swath of posts which pertained to the M8 and this glitch. Well apparently the issue was supposed to have been resolved with the M9. Leica reached out to me a few days later saying “The sensor is defect, please contact the

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Kodak 5207 250D

Leica M7; Leica 18mm Super-Elmar-M; Kodak Vision3 250D (5207)

Ever since I started shooting Cinema film I’ve enjoyed the colour tones it gives me. I use Tungsten balanced film primarily and Kodak 5230 500T is by far my favourite. Which apparently now is discontinued. When it comes to daylight balanced film I’ve always struggled a little. Whenever I shot it at 200ASA I’ve found that the images tended to sway too much into the yellow/red and even after post processing, I was never really happy with the palette

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UPDATE: Howto Develop Motion Picture Film

Directly scanned, ungraded image of Kodak Vision3 5207 250D developed at 30C versus 40C

I’ve been experimenting with development temperatures for Kodak Vision3 films lately. My original write-up, found here, was using the standard C-41 development temperatures which worked well for Kodak 5230 500T. Kodak 5230 inherently has a lower contrast and saturation value compared to the newer Vision3 films. Vision3 films tend to mimic digital contrast and colour saturation, which doesn’t lend well to the development times for C-41. In my opinion. Over the weekend I developed a couple batches at 35C

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Why we do, What we do

Kodak_TriX_400_VK4_05_05_2015_017 (2)

Here I was… the middle of spring and the beginning of Vikings filming. Here we were in the fourth season of the show and finally getting hit with true Irish weather. Mud that was ankle deep and torrential rain over the course of two days. We were on the last scene of the day, the rain finally stopped and gave way to this gorgeous sunset. The warm glow of light pouring through the artificial mist, warming the crew and

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