Jiangshi 400 from the FPP

That vampire hopped right into my SLR

Back in late March, the Film Photography Project announced a new b&w film that they called Jiangshi 400, and subsequently reported that it should probably be shot at ISO 200.  Hmm, that sounds an awful lot like the Lucky Pan SHD400 film that I reported on last year.  Of course, we are “Lucky” to be able to have another choice in b&w 35mm film.  I finally got around to shooting a roll of Jiangshi 400 and finished it up today.   I shot my roll in the Minolta X-7A, which is also known as the X-370, an aperture-priority SLR that is actually a nice camera to shoot with.  As per the FPP instructions, I set my ISO to 200.  

After I finished the roll, I developed it in D-76 for 7.5 minutes. Standard fix and rinse. My observations about the film support my initial assumption that it’s the Lucky Pan SHD 400 of recent vintage.  Same PET film base, great tonal range, and same development as the Lucky film.  I like the fact that the FPP has labeled it as a Chinese hopping vampire!  Mythical non-European monsters are a rarity in our popular culture, though I suspect Godzilla and Mothra might disagree.  Maybe the FPP could use Godzilla for a batch of large format film?

Here are some scans (via my Epson V700 scanner) from the roll of the Jiangshi film.  I like it, and I definitely used a shorter developing time than I did with my test of Lucky SHD 400 in 2024.  It’s a really nice film for landscapes and moody scenes. I think it's got great resolution, and really does a wonderful job with greens.  

It's definitely one of those films that you should try before it disappears from the FPP store.  

Kodak HIE - The Best Infrared Film?

I have been working on a photo project revolving around the Kudzu vine -- just one of the invasive plant scourges in the South, and certainly the most infamous.  I wanted to do something a little different, and realized that I still had ONE roll of Kodak’s HIE - High Speed Infrared Film which had an expiration date of 11/2007.  It came from my deceased friend Marc Akemann’s stash of film, and I’d been keeping it in the fridge since 2019.  Hmm, what better use than shooting some Kudzu with it?  

Since 2000, I have shot a few rolls of HIE, and I always felt that for a special project, shooting b&w infrared is something to behold.  Unfortunately, Kodak HIE has been out of production for well over a decade.  What I really like about it is that you don’t need to use a nearly opaque R72 filter to get the “Wood effect” - which is that ghostly glow to leaves that make the IR world so much fun.  All you need with HIE is a red 25A filter.  On top of that, you don’t even have to use a meter - under full sun, set your exposure to 1/60 sec at f/16.   It’s that easy.  You want full sun for the best results, anyway.   My roll of HIE had always been refrigerated, and as an ISO 400 film, that is a good thing.  That’s one of the reasons I like HIE - it’s very simple to use, and you can shoot it without a tripod.  

In comparison, you must use an opaque IR filter with the Rollei IR films, as well as the FPP 200 ISO IR film.  That definitely requires a tripod, because you have to set up your shot without the R72 filter, then attach it and make your exposure, if you are using an SLR.  If I am using the FPP IR film, then it is about 8 stops of filtration, so that makes it basically an ISO 0 .75, or about 1/2 to 1 second exposures at f/16.  Tripod city, for sure. As far as I know, no other IR film comes close to HIE for its versatility, ease of use, and excellent results.  I wish Kodak would make  it once more.

I find it best to use a fully manual camera with any IR film, because the meter is going to be pretty much useless.  I use my Nikon F with a plain prism finder.  It also has a very good sealing back, and no features that would introduce fogging of the IR film.  Load your IR film indoors, if possible.  In the case of HIE, there is no anti-halation layer, and there is light-piping if you are not careful.  Light-piping is where the film base acts something like a piece of fiber-optic, carrying the light into the unexposed sections of film. Something to be avoided, for sure. 

I loaded my Nikon F at home, and used a 25A red filter on a 35mm f/2.8 non-Ai Nikkor lens.  I set my exposures to 1/60 at f/16, as well as 1/30 at f/16, or 1/60 at f/11.  I shot in full sun, and when I developed the film I used Rodinal at 1:25 for 9 minutes at 20°C.

Results

It had been enough years since I have used this film that I was actually worried that I might not get good results, but damn, that film came through, and I was not disappointed with a single shot.  I scanned the negatives on my Epson V700, and here are some of the results below.

My friend Bill Pivetta took the Nikon F from me and shot a couple of shots of me with it, and talk about a striking image...

That was taken outside of the Highland Brewery in Asheville, and I shot these there, too.

On my quest for Kudzu, I found a nice patch of it along Riverside Rd. between Asheville and Woodfin.  

The French Broad River with the tree-covered hills made for some contrasty images.

Lastly, all vines look interesting in IR, as these grapes and background vegetation appear with a dark sky.

Yes, you can use digital to get an IR image, and I have done it. However, I love the way films render subjects under IR, and especially Kodak HIE.  I love how easy it is to get the Wood effect with HIE, and the ease of developing the film.  

One of my sources of information on Infrared photography has been the book, “The Art of Infrared Photography” by Joseph Paduano.  ISBN #0-936262-03-6.  His simplified chart of exposing Kodak HIE is as follows:

Approximate outdoor exposures with a No. 25 red filter

• Direct Sunlight - 1/60 sec  at f/16
• Hazy, barely discernable shadows- 1/30 at f/16
• Light cloud cover - 1/30 at f/11
• Moderate rain - 1/15 at f/8

If you set your aperture to f/16 and are using a wide-angle lens, you really don’t need to use the IR mark on your lens barrel for the IR focus point.   While recently-expired HIE is hard to find, I see some of it on eBay - but it’s usually from the late 1980s, and at crazy prices.  I’d stay away from those sales - it’s likely to be fogged from age, and probably not refrigerated.  

If you want to give black and white infrared film a try, here are a few alternatives that will work pretty well, but probably not as easily as Kodak HIE.

SFX 200 with a variable IR filter (2016)

All of the films listed below will give you best results with an R72 filter. That being said, I highly recommend using a camera that isn't an SLR, so that you can compose through the viewfinder.  You aren't going to be using a TTL meter anyway, so a fully manual camera is preferred.  For 35mm, a rangefinder camera or zone-focus such a Rollei 35 will do, so long as you are able to have B exposure, or at least 1 second shutter speed.  For 120, I highly recommend a TLR, or if you have a rangefinder medium format, that'll work too.  Some folks have even used Holgas with an R72 filter.  You'll be able to find R72 filters in most sizes, but you can also get adapter rings to fit whatever you need.  

Ilford SFX 200 is a near-IR film that with a dark red filter, will give somewhat of a Wood Effect.  Some people use an R72 filter for better results.  Again, you’ll need to use the filter factor with any dark red or R72 filter to see what your exposure will be on a sunny day.   SFX 200 is available in 120 and 35mm

Film Photography Project BW IR.  This 200 ISO film requires a R72 filter in full sunlight for the best effect.  You can also use a deep-red filter for less dramatic effect. 35mm only. 

Rollei Infrared 400 - needs a R72 IR filter for the full effect.  It’s available in 120 and 35mm, and also in 4x5 sheets.

Rollei Retro 80s - I have seen examples with an R72 filter, and I am impressed.  With an R72 filter, try 1/2 to 1 sec at f/16 on a full sun day. Available in 120 and 35mm.

Rollei Retro 400s - I have it on good authority that this film will also produce the Wood Effect with a deep red or R72 filter.  It’s available in 120 and 35mm.  

JCH Street Pan 400 - An R72 filter makes this a very interesting IR film to try out. 35mm only.

CatLABS X 320 Pro - From the CatLABS site - "Unique IR capabilities with extended sensitivity in the 750nm range: use an R72 type IR filter and use ISO 3-5 on your light meter for best results. IR photography can "see through" rain/mist and provide a unique rendering of plant life and leaves. "  The film is available in 35mm and 120.

Thanks to those of you have reached out to me regarding this post, and I have updated the information because of your suggestions.  

Ferrania P33 - Smooth as velvet

 

While we have seen a lot of “new” films being introduced in the past few years, many of them have been nothing more than rebranding an existing emulsion..  However, Ferrania has introduced a new b&w film, which they call P33, and it’s based upon an older formulation that was used many years ago. This new film was announced without a lot of fanfare, unlike the Harman Phoenix color film. It’s also not easy to find at the moment, but I was able to buy a couple of rolls from Freestyle Photo. Please note that the film is not DX coded, so use it in a camera that allows you to manually set the ISO.  

From the Film Ferrania site:

"With a sensitivity of 160 ASA, the P33 ensures a simpler and more versatile photographic experience compared to the past. Designed to overcome the processing and printing challenges faced by enthusiasts of the P30, the P33 offers distinctive features such as fine grain and defined contrast. This film not only meets the needs of professionals but also makes analog photography accessible to less experienced enthusiasts. Remaining true to the tradition of Film Ferrania, the P33 combines innovation and tradition, demonstrating the company's ongoing evolution in the industry."

To see their best practices for this film,  go to  their site.

So what does this mean, exactly? It’s a better film than P30, for sure. I’ve previously posted in 2018 about the first emulsion that Ferrania produced, and while I had good results from it, I have since felt that P30 doesn't do as well in high contrast situations.

P33 is a different film altogether, with fine grain, velvety tonality, and easy to develop with D-76. I put my first roll in my trusty Nikon FM3A with a 50mm f/1.2 Nikkor lens and shot the roll while on an Asheville Camera Club outing in Marshall, NC. The ISO of 160 was used, though I suspect that you could set the ISO dial to 200, and be happy with the results. Some of the roll was indoors, open shade, and in bright sun. I developed the roll in D076 1:1 for 11 minutes, agitating only every 60 seconds, as indicated by the online developing instructions. Then, it was a water stop, and I fixed for 8 minutes, followed by the rinse.

When I hung the film to dry, I thought the results looked good. When I scanned the negatives on my Epson V700 scanner the next day, I was amazed at the luscious smooth tones and fine grain. This is an EXCELLENT film.

It’s fair to compare this film with the P30. I think P33 is far better under all conditions, is easier to process, and of course, it’s a faster emulsion. Given the choice between the two, P33 is the clear winner. I think that it could be a great film for portraits, and there would certainly be a demand if it were also available as 120 film.

Twenty Years of Holgas

 

Yes, this is a pitch for my latest issue of Monochrome Mania!  First of all, when I started Monochrome Mania in 2020, I had no idea that I would be publishing a 12th issue just a few years later.  Yes, for me, it's my creative outlet, and more importantly, I'm able to reach many more people with a zine than with a gallery showing.  

Twenty Years of Holgas actually started in about 2001, when I got my first Holga.  But, it really was not until 2003 that I was using one to create memorable images.  I don't care what camera that you use, but it takes some time before you are really proficient with it. With a Holga, that means accepting its limitations, but also knowing when you can push it beyond the "snapshot" with technique, choice of film, and subject choice.

In preparing this issue, I reviewed many hundreds of negatives from my Holgas. Luckily, I had almost all of them scanned in previously when I was working on the medium format toy cameras for MM No. 3, which is now out of print.  Still, reducing 20+ years of photos down to less than 50 images is a feat.   It's not like I have shot with a Holga every day every year, either. I was most prolific with the Holga between 2007-2010, and there are a few years that I hardly shot with it.  Nevertheless, the Holga  is still a camera that gives me wonderful results in certain situations, and I continue to use it.   Could this be a prelude to a larger work?  Maybe.  I still have many stories to tell with toy cameras, and the Holga hasn't been the only instrument for that.

Here are a few samples from this latest issue.

Twenty Years of  Holgas is 48 pages, including the covers, and measures 8,5 x 8.5 inches. It's a quality print publication, done by Mixam.  

I have changed my shipping to USA-only.  International shipping now costs almost as much as the zine, and to be honest, it's a pain in the butt to ship internationally, as Etsy does not handle that aspect very well.  

  Here are a few images that did not make the zine issue.

  

Single Roll Review - Orwo Wolfen NP100

In the past, I have felt that ORWO was not very good at their marketing.  They have a suite of very decent 35mm film stocks - most are cine-oriented,  and all were black and white emulsions.  The purchasing of their film in the US was complicated by the rather obtuse distribution methods.  That appears to have changed in the past year or so, with the release of their color film stock NC500, and the Wolfen NP100 films.  I’ve shot with both, and will deal with the C-41 film in a separate post.  

The box, but my roll was from the unboxed first run
(image from Orwo site)

Orwo’s film naming has of course,  been one of their odd quirks.  I’m sure people on the cine side of things know what films they are buying and their characteristics -- that’s not the case for a lot of 35mm still photography people.  A lot of photography hobbyists are swayed in their purchase decision by how cool the naming/packaging is, and there is ample evidence for that. Orwo, however, has kept on with their stodgy naming until the past year.  If you go to their site, it’s a big improvement over what I saw several years ago.  They are taking 35mm still photography more seriously, and have released some updated films as well as “new” ones.  If you look at the four Lomography branded kino films as well as the - ISO 13 and ISO 8 -  those are all Orwo cine stocks, which I have previously reviewed here.

So, I think the folks at Orwo finally realized that with the proper branding, their unique cine stocks were getting sales that they were not when it was just plain old Orwo branding, which was like no branding at all.   Now, with their Wolfen brand, they are making their way onto the shelves of stores (both brick and mortar and online) for enthusiasts to try out. That’s a good step forward.  From the promotional information - “Wolfen NP100 100 ISO 35mm x 36exp. Black and White Film from ORWO is an exceptionally fine grain 100 ASA film. This is one of the first brand new and professionally finished photo films launched by the company in decades, proudly still produced in Bitterfeld-Wolfen on the original site where film manufacture has been a tradition since 1910. 

NP100 differs from WOLFEN UN54 in that it has an additional dyed antihalation layer. This layer is positioned between the base material and the emulsion layer and has the task of preventing the formation of a reflection halo. This improves image sharpness.”  

The initial run of this film was said to be 36,000 36 exposure cassettes.

I purchased this film in February from the Freestyle Photo online store, and I finally got around to shooting with it in early May on our trip to Murrells Inlet, SC.  Loaded into my F3HP, I shot the roll late in the day along the beach at Huntington Beach State Park.  I mostly used the 35mm f/2 Nikkor, but also the 28mm f/3.5 Nikkor, and as the results show, there was a bit of vignetting with the polarizing filter attached to the 28mm. 

Developing  

It was a definite adventure finding out what developer to use for this film, compounded by the relative newness of the film and that Orwo hasn’t fully embraced the non-German speaking world, as attested by the online documentation.  Somewhere, I saw D-96 mentioned, so as a big fan of that developer, that was good news.  I developed it in D-96 for 8.5 min at 20°C, and the results are excellent.  It’s a fine-grained film on a polyester base - which is great news as the film lies completely flat for scanning.  

Results

Overall, it’s certainly a good 100 ISO black and white film.  As indicated above, the main difference from the NP100 and the UN54 (also ISO 100, and sold by Lomography as Potsdam 100) is the addition of another anti-halation layer.  It may be more than that, but whatever the changes, I liked the results from this film.  With more users, I am sure there will be more reviews with different developers.

The scans from my Epson V700 speak for themselves.  Ultimately, it’s best to shoot this film and decide for yourself whether it fits your style of photography.  There are a plethora of ISO 100 black and white film stocks as I have previously posted here, and over the years, my favorite has been Kentmere 100.  Now, if Orwo were to sell the NP 100 in 100 ft bulk rolls at a reasonable price, I would likely use more of it.  While it’s currently selling for $11/roll, it’s among the more expensive b&w films. Still, I applaud Orwo for now promoting their films in a more crowded field of 35mm black and white films (imagine that!).