Portra 160 is the “professional” grade average speed color film from Kodak. This one roll of Portra 160 cost me as much as a triple pack of Gold 200, so was it worth it?
Processing and scanning was done at urbanfilmlab in Germany.
Continue reading Analogue Adventures – Part 10: Kodak Portra 160
I already reviewed a few of Miyazaki Sadayasu’s lenses but I had yet to get my hands on his MS-Optics 35mm 1.4 Apoqualia. Thanks to a reader from France I now got the chance and I am very curious what the pictures taken with it will look like and what its quirks are. Let’s discover together in this review.
Lens is being tested on 42mp Sony A7rII and 24mp Leica M10
Kodak Gold 200 is something special these days. I don’t have the feeling it has ever been a highly praised 35mm film, but it is one of the few color films that is affordable and still widely available in 2022.
Processing and scanning was done at urbanfilmlab in Germany.
Continue reading Analogue Adventures – Part 9: Kodak Gold 200
So far TTArtisan mostly released fast yet compact M-mount lenses, the most famous probably being their 50mm 0.95. These lenses often emphasized speed and size over sharpness, but now we are getting something different: the TTArtisan 35mm 2.0 Apo-Aspherical. Going by the specs this is a direct competitor to the Voigtländer VM 35mm 2.0 Apo-Lanthar, but does it also play in the same league? Let’s find out.
This lens will be reviewed on the 42mp Sony A7rII and the 24mp Leica M10.
When looking for a higher ISO color film in 2022 – especially one for shooting under artifical light without the need for additional color correction filters – the Cinestill 800T is pretty much without competition. But there are a few things to be aware of, so let’s have a closer look.
Processing and scanning was done at urbanfilmlab in Germany.
The pictures you see in this article are from 2 rolls.
Continue reading Analogue Adventures – Part 7: Cinestill 800T