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.
Continue reading Analogue Adventures – Part 7: Cinestill 800T
Even though most smartphone’s main camera features a 28mm equivalent lens, when it comes to fullframe lenses this focal length has been a bit neglected lately.
One of the few recent additions to the 28mm line up has been the updated Voigtländer VM 28mm 2.0 Ultron. The predecessor was the first lens I reviewed on this blog, so I am very curious about this updated version 6 years later.
This lens will be reviewed on the 42mp Sony A7rII and the 24mp Leica M10.
Continue reading Review: Voigtlander VM 28mm 2.0 Ultron Type I
For many people shooting film is all about the grainy look and distinct colours, but do you really need to shoot film to get that? Let’s see what we can achieve with a few bucks for presets and a little effort in Lightroom.
Continue reading Analogue Adventures – Part 6: Emulating Filmlook
A small company with the name of Silbersalz35 from Stuttgart is offering repacked Kodak Vision 3 cinema film to be used in ordinary still photography 35mm cameras. They offer four different films: 50D, 200T, 250D and 500T which I all tried. There are some quirks – but also a lot to like – so let’s have a closer look.
Continue reading Analogue Adventures – Part 5: Silbersalz35 Films
Luckily the Leica M6 had been fixed just in time for the trip to Barcelona, so I was finally able to shoot some film. Let’s have a look how the pictures turned out and what got in the way.
