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After playing with Ilford Delta 3200 recently, I now finally got around to finish, get processed and scan a roll of Delta 400 that was sitting in my Yashica Electro 35 GT for months. And what can I say … I’m totally hooked. I think my search for my favourite b&w film is over. And what’s more, it seems like Delta 400 and the beautiful f/1.7 lens in my Yashica were made for each other.
I recently shot through my first roll of Ilford Delta 3200, not knowing what I would have to expect. I had been using Fuji Neopan 1600 as my dedicated fast film before and loved it. Sadly, the film is no longer available. So I bought a roll of Delta 3200 and Kodak T-Max 3200 each, to see which I would go with. To make it short: Delta 3200 is fantastic. Wonderful tonality, great colour sensitivity, and rather unobtrusive grain for such a high speed film (though definitely noticeable.) I will shoot the one roll of TMZ just to see what it’s like, but I have little doubt that I’m going to go with Delta 3200 whenever I need a really fast film. Anyway, I’ve uploaded some samples to flickr, so please take a look by clicking on the image below.
 I think this picture of my little brother is exemplary for the awesomeness of Delta 3200. A little back story: I was shooting the roll of Delta 3200 in my Leica CL over the holidays, mostly on the inside, though I took two pictures in daylight (at f/11 or f/16, I believe, even though it was overcast and dreary). When I shot the last frame, I put a bit too much force on the advance lever (not having looked at the film counter and thus unaware that the film was ending there) and ripped the film out of its canister. I quickly darkened the room and tried to get it back into the canister, without success. So I decided to simply wrap the film around the canister and put it into an opened 120 film wrapping, in which to my surprise it just fit. I sealed it off and sent it to the lab with a not as to what had happened, so they wouldn’t open it up in a lit room. Needless to say, many of the pictures had some minor or major light streaks, but the lab handled it very well and most of the pictures came out somewhat usable. So what did I learn from this experience? 1) Delta 3200 is really sensitive! The smalles amount of unwanted light hitting the film may ruin your pictures! And 2) In the future I will be much more careful when advancing film in my Leica CL — especially when the counter has already hit the ’36’ mark … Just needed a break from work and found this among my scanned negs. I shot this one foggy morning early this year on my way to work.  Pentax ME + Revuenon 50/1.4 on Kodak VR+ 200 These days I’ve been thinking a lot about stuff I’d like to treat myself with for christmas. Alas, the budget for new toys roughly equals zero this year. Still, being the gearhead that I am, here’s a list of what I would have Santa bring me
What would you like Santa to bring you for christmas?  December 12th, 2011, 5:55 pm |  20/1.7, film, leica, micro four thirds, nokton 35/1.2 |  Archived |  2 comments |  My Contax T recently decided to act up, exposing only every other frame properly. The rest of the time the shutter would either not open or not close, yielding overexposed shots or frame not exposed at all. (It needs to be sent in for repair, and I found a small company in Germany who will be able to fix it.) When I put in a roll of that rather expensive Kodak Ektachrome E100G, sometime late October, I wasn’t yet aware of the problem. Only while shooting it I noticed that the sound the shutter made sometimes wasn’t what I was used to hear — only a single “click” instead of two distinct ones. As it turned out — as with the roll of equally expensive Velvia 100 I shot before –, approximately 15 frames were exposed properly, the remaining pictures were either plain transparent or showed a blurred scene due to overexposure. Magically, though, the ghost that had possessed the camera seems to have been aware of the scenes I was shooting — I can’t explain otherwise why exactly these two pictures turned out so nicely, whereas most other “keepers” are of mostly irrelevant content.
 Contax T + Kodak Ektachrome E100G  Contax T + Kodak Ektachrome E100G I like the first one especially, because the light was simply magical, and the wide open aperture of f/2.8 caused a very pleasing blurring of the background. In the second one, I like the light-hearted and natural expression of both my wife and son. Two family moments to remember, captured in two pictures that had a less-than-50% chance of coming into being. As if the camera had known what it was doing. |
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