While 35mm film offers fantastic results, 120 film takes it to another level. The larger format delivers richer detail, better dynamic range, and a stunning depth that 35mm struggles to match. At The Darkroom, we love developing 120 film via the dip & dunk process, which keeps the film in optimal condition while producing sharp, vivid negatives. In this blog, we’ll explore the best medium format cameras in various categories, share images taken with each, and discuss why medium format is a must-try for any film photographer.

Why Choose Medium Format?

Before diving into the camera list, let’s talk about why 120 film is worth considering. The key difference lies in the size: the 120 format is significantly larger than 35mm, producing negatives that can be 2.5 to 6 times larger. This translates to higher resolution, better tonality, and more pronounced depth of field. Whether it’s portraits, landscapes, or studio shots, medium format brings an unparalleled level of quality that’s hard to beat.

Our Top Picks for Medium Format Cameras

Now, let’s break down our top choices for medium format cameras, each one tested and loved by our team. For each camera, we’ll include photos of the camera itself, as well as sample images we’ve shot with it. Let’s dive in!

Best Landscape Camera – Mamiya 7

The Mamiya 7 is renowned for its razor-sharp lenses and portability, making it an ideal choice for capturing vast landscapes. Its rangefinder design ensures precise focusing, works well with filters since you don’t view through the lens, and the 6×7 negative size provides stunning detail and clarity.

Why We Love It: With its bright viewfinder, auto aperture priority mode, and compact design, it’s very easy to use and handle. Best of all, the image quality is incredible!

Things to Consider: This 6×7 rangefinder does not meter through the lens, so you’ll need to compensate for filters. Additionally, it only produces 10 frames per roll of 120 film, something to keep in mind for longer shoots. Finally, this camera is far from affordable, costing $2,000 or more for the body alone, which is why we’ve included more budget-friendly options.

Best Studio Camera – Hasselblad 500CM

When it comes to studio work, the Hasselblad 500CM is legendary. Its waist-level finder and leaf shutter offer precise control, while its interchangeable lenses make it versatile for various lighting setups.

Why We Love It: The leaf shutter allows flash sync at any speed, and its fully mechanical design makes it highly reliable, as it doesn’t require a battery. The modular build is a dream for studio photographers, offering a wide selection of lenses, viewfinders, and film backs, allowing for easy switching between different film stocks.

Things to Consider: This fully mechanical camera is also entirely manual, which, combined with the waist-level finder that flips the image, can be intimidating for beginners. Additionally, it produces 12 square (6×6) images per 120 roll, so if square framing isn’t your style, you might want to explore other options in this blog.

Best Beginner Camera – Mamiya 645

The Mamiya 645 is a modular SLR and a fantastic entry point into medium format photography. It’s easy to handle, offers a wide range of lenses, and is budget-friendly compared to other medium format options.

Why We Love It: The 6×4.5 format is the smallest in medium format, allowing for the most frames per 120 roll—15 in total! Despite its smaller size, it’s still much larger than 35mm and delivers quality comparable to larger medium formats.

Things to Consider: Mamiya 645 offers a range of models, from manual to autofocus, with prices that vary accordingly. Our top recommendations are the 1000S and 645 Pro, but honestly, it’s hard to go wrong with any of them!

Best Point & Shoot – FujiFilm GA645Zi

If you’re looking for medium format convenience with point-and-shoot simplicity, the Fujifilm GA645Zi is the perfect choice. It’s fully automatic with exposure compensation, a built-in flash, and a sharp autofocus zoom lens.

Why We Love It: The GA645Zi is ideal for street and travel photography, offering the ease of a point-and-shoot with the quality of medium format. Its 6×4.5 format (depending on the model) produces 15–16 frames per roll, giving you more shots per roll.

Things to Consider: As a fully electronic autofocus camera, it can occasionally miss focus, and its vertical viewfinder differs from the more common horizontal orientation, which may take some getting used to.

Best Travel Camera – FujiFilm GF670

Lightweight, foldable, and featuring a tack-sharp 80mm lens, the Fujifilm GF670 is an ideal choice for travel photographers. Its 6×7 format captures negatives with exceptional detail, perfect for documenting diverse scenes.

Why We Love It: The GF670 combines portability and quality—an unbeatable pair for capturing beautiful scenes on the go.

Things to Consider: As a folding camera, the GF670 has bellows that are delicate and can be prone to damage or light leaks, so it requires careful handling. Additionally, the camera has a fixed 80mm lens (equivalent to about 40mm in 35mm format), so you’ll need to be comfortable with that focal length. Finally, this impressive camera doesn’t come cheap, often costing $2,500 or more.

Best Street Camera – Rolleiflex 2.8

The Rolleiflex 2.8 is a street photography legend. Its quiet operation, stealthy waist-level finder, and exceptional lens quality make it perfect for candid captures.

Why We Love It: This mechanical TLR is discreet and intuitive, allowing for quick shooting in urban settings. With its leaf shutter, it’s capable of sharp handheld shots even at slower speeds, such as 1/15th of a second.

Things to Consider: As a Twin Lens Reflex (TLR) camera, it has a waist-level finder that flips the image, which can take some getting used to. It’s fully manual, and its 6×6 format produces 12 square images per 120 roll. If the 2.8 version is beyond your budget, consider the 3.5 version, which is more compact and still delivers excellent performance.

Best Bargain – Yashica TLR

If you’re looking for a medium format bargain, the Yashica TLR series is a fantastic choice. With models ranging from the Yashica A to the MAT series, these cameras deliver impressive results at a fraction of the cost.

Why We Love It: Yashica TLRs can be found for anywhere from around $500 to as low as $100 or less, while still delivering excellent image quality. They’re also compact, making them perfect for travel and on-the-go photography.

Things to Consider: These fully manual Twin Lens Reflex cameras produce a 6×6 square image and are quite simple, with limited features and mechanical shutters often maxing out below 1/500s. Some MAT models include light meters, though these often no longer function; however, the camera can still be used manually without issue.

Most Underrated – FujiFilm GSW690III

Often dubbed the “Texas Leica,” this fully mechanical rangefinder with a fixed 90mm f/3.5 lens produces stunning 6×9 images, making it a top choice for landscapes, cityscapes, and street photography.

Why We Love It: It’s simple, mechanical, and creates massive negatives that rival large-format quality.

Things to Consider: This camera is fully manual and has no built-in meter, so using an external light meter is recommended. Additionally, it has a fixed 90mm lens, which is roughly equivalent to 40mm in 35mm format, and cannot be swapped out.

Best Portrait Camera – Pentax 67

The Pentax 67 is a 6×7 SLR, and when paired with the legendary 105mm f/2.4 lens, it’s our top choice for portrait work, offering beautiful depth of field and dreamy bokeh. The 105mm lens provides a 50mm equivalent in 35mm terms, but the system also boasts a wide range of other lenses.

Why We Love It: For portraiture, it’s hard to beat an SLR, as you’re looking directly through the lens. The Pentax 67 offers a large, bright viewfinder that’s perfect for precise compositions.

Things to Consider: This camera has a loud and heavy shutter slap, making it less discreet and prone to camera shake. It’s best to keep the shutter speed at 1/60 or higher when shooting handheld. While the Pentax 67 II is pricey, the earlier version is more affordable, and all lenses and viewfinders are compatible!

Best Panoramic Camera – Hasselblad XPAN

While the XPAN shoots 35mm film, it’s often considered a medium format camera due to its panoramic width of 65mm, offering image quality that rivals medium format. With auto-advance, auto-exposure, and a range of sharp lenses from 30mm to 90mm, it’s our top choice for panoramic photography.

Why We Love It: The XPAN captures stunning, cinematic panoramic shots, yet remains compact enough to carry anywhere. It produces 21 frames per roll, making it far more practical than 120 panoramic cameras, and can also be switched to standard 35mm format when desired.

Things to Consider: While the lenses are impressively sharp, they have a slower maximum aperture of f/4 or higher, so this camera isn’t ideal for low light. However, this isn’t a major drawback since the XPAN is most often used for landscapes and outdoor scenes.

The Darkroom’s Commitment to Medium Format Film

At The Darkroom, we’re more than just developers—we’re medium format enthusiasts. Every camera on this list has been tested by our team, and our lab is fully equipped to handle 120 film with the utmost precision. Using the traditional dip & dunk method for development, we ensure your film is treated with care. With three scanning options, your images are uploaded directly to your Darkroom account, where you can edit, download, archive, and even order prints from our wide selection. Whether through our mobile app or website, ordering processing and prints is easy and convenient, allowing you to experience the best of medium format.

Try Medium Format Today!

If you’re looking to achieve better image quality than 35mm, give 120 film a try! The larger format brings exceptional detail, dynamic range, and depth to your images. Curious about what 120 film can do for your work? Send your rolls to The Darkroom, where we’ll handle every step with care. From dip & dunk processing to stunning, high-quality scans, we ensure your medium format negatives look their absolute best.

The post Top Medium Format Cameras for Every Occasion! appeared first on The Darkroom Photo Lab.

The post Why Disposable Cameras Are Trending Again: The Darkroom’s Role in Processing and Recycling appeared first on The Darkroom Photo Lab.

The Manufacturer of the Iconic Ilford B&W Film, HARMAN Photo, Now Makes Color Film in 35mm & 120!

In late 2022, HARMAN Photo began a secret project to create a new color film at their UK facility. The result? Phoenix 200—the first-ever color film produced entirely at the Mobberley factory, where Ilford’s B&W films are also made. This film represents a new chapter for HARMAN Photo and brings hope to a film community long reliant on a single color film manufacturer.

What Makes Phoenix 200 Unique?

Phoenix 200 stands out with its high contrast, strong saturation, and distinctive color palette. It has no halation layer or orange mask, leading to high contrast, noticeable halation, and lower exposure latitude. This film performs best in even, consistent light. Due to its lower latitude—similar to E-6 slide film—metering for mid-tones is recommended to avoid blown-out highlights.

Now Available in 120!

Originally released in 35mm, Phoenix 200 is now available in 120 format, retaining its signature look while offering smoother contrast and finer grain. Though not ideal for portraits, it excels in urban and minimalist scenes, where its lower exposure latitude isolates mid-tones and highlights, creating dramatic images in high-contrast light.

Some of our 35mm favorites

Some of our 120 favorites

We are proud to be the first lab in the U.S. to develop and scan Phoenix 200, and we’re excited to see what HARMAN Photo creates next. As the only film manufacturer openly discussing the future of film, their commitment to innovation is inspiring.

With Phoenix 200 now available in 120, we look forward to seeing even more of your work in our lab. If you’re looking to purchase Phoenix 200, we highly recommend the Film Photography Project!

The post Harman’s New “Colour” Film: Phoenix 200 review! appeared first on The Darkroom Photo Lab.

September 20th, Friday, 6-9pm

Join us at the Beers & Cameras meet up at Original 40 Brewery in North Park, where we’ll be making a special announcement. This event is officially sold out so if you didn’t get a ticket, the overflow location is North Park Brewery on 3038 University Ave, which is very close to Origional 40 Brewing Co.!

September 21st, Saturday, 1pm-3pm

Join us for a Balboa Park photowalk! We’ll gather at the Bea Evenson Fountain, and once everyone has arrived, we’ll embark on a one-mile walk through the park, stopping at several scenic locations along the way. This photowalk is open to 300 participants, so don’t miss out! For more information and tickets, click the link below.

Tickets & more info here!

September 21st, Saturday, 6pm-9pm

Don’t miss out on this special finale to the weekend at Meraki Restaurant! This isn’t just another meetup—it’s an elevated experience. For just $25, enjoy a pizza buffet, cash bar, and exclusive giveaways, including a Pentax 17 & a Pentax 67 and film bundles from FPP, Kodak, Ilford, Lomography, Moment, and more. With only 200 tickets available, be sure to grab yours before they’re gone—click the link below! Tickets will be scanned before entry, and that’s when you’ll receive your raffle tickets!

Tickets & more info here!

Event Essentials:

As you prepare for the upcoming film photography event in San Diego, here are a few tips to ensure you have a great time:

1. Keep an Eye on the Weather: Late September in San Diego usually brings pleasant weather, with average highs around 75°F and lows around 65°F. However, it’s always smart to check the forecast as the event approaches so you can dress accordingly. Layers are your best friend—bring a light jacket or sweater for the evening.

2. Comfortable Walking Shoes & Sunscreen: This event involves a lot of walking, so make sure to wear comfortable shoes and bring sunscreen. You’ll be exploring some of San Diego’s most photogenic spots, and you’ll want to stay comfortable and protected from the sun.

3. Bring Plenty of Film(duh): There will be countless opportunities to capture stunning images, so bring more film than you think you’ll need. Whether you’re shooting 35mm or 120, it’s always better to have extra on hand and of course, we’d love to see your photos so be sure to tag us, @thedarkroomlab / #thedarkroomlab_SD24!

4. Hotel Recommendations: If you’re coming from out of town, here are some budget-friendly hotel options in San Diego that offer great value:

• Kings Inn San Diego: A retro-inspired hotel with comfortable rooms and easy access to major attractions.
• The Atwood Hotel: Located in Mission Valley, it’s a great central spot with modern amenities.
• Old Town Inn: Situated near Old Town, this cozy hotel offers a quaint stay close to historic sites and restaurants.
• Holiday Inn Express San Diego Downtown: A convenient and affordable choice with easy access to the Gaslamp Quarter and other downtown attractions.
• La Quinta Inn & Suites by Wyndham San Diego SeaWorld/Zoo Area: Offers great value and is a short drive from Balboa Park and other key locations.

Follow @thedarkroomlab & @beersandcameras for updates!

The Darkroom Film Crew:

Caleb Knueven – IG @calebkneven – YT  Bad Flashes

Caleb was born on the fringe of society, destined to explore the abandoned world around, longing for the stories that seep from the peeling painted walls! Photography is exploration, is freedom, is life! He loves long walks on the beach with his M6, a finely crafted cup of coffee, atomic fireball candies and BBQ just to name a few. 

Taylor Pendleton – IG @trmpendleton – YT  graincheck

Taylor is a film and digital photographer based in the USA. She runs a photography YouTube channel and works on various productions with Sunny Sixteen as a director and photographer. Her career has been varied and full of opportunities to shoot different things, in different ways, all around the world. Right now, she’s most interested in black-and-white film and colorful studio portraiture.

Jason Kummerfeldt – IG  @50_shades_of_jason YT  GrainyDays

Beloved by few and hated by most, Jason Kummerfeldt is a California-based YouTuber and “photographer” with almost a decade of film photography under his belt and nothing good to show for it. He also owes me money.

Juan Martinez – IG @beersandcameras

Juan Carlos Martinez is a passionate photographer who rediscovered his love for the craft after the birth of his kids. He founded Beers and Cameras (B&C) along with friend, Pocholo Francisco, after organizing casual meetups with friends at coffee and craft breweries via Instagram. Now with chapters across the U.S., B&C has become a community for photographers who love connecting with like minded individuals, over a beverage and discussing all things photography. Emphasizing the community with a goal of fostering lifelong friendships, B&C welcomes both film and digital photographers. B&C partners with like-minded brands to promote a shared passion for photography and the motto to “shoot every day.”

We’re thrilled about this event and can’t wait to see everyone there! If you can’t make it this time, don’t worry – we regularly host meetups like this and are always on the lookout for new spots. Let us know where you’d like us to host the next one!

The post The Darkroom City Tour: San Diego 2024 appeared first on The Darkroom Photo Lab.

While we don’t typically recommend single use disposable cameras, there is a time and place for them. They often serve as the starting point for many people’s film journey, making them ideal for those new to film photography. Additionally, single-use cameras are perfect for certain situations where you don’t want to worry about exposure settings or damaging your camera, such as parties, travel, beach outings, hiking, and climbing. They are also great for younger kids to learn and use. At The Darkroom, we develop a lot of these cameras and recycle them all, promoting sustainability.

Below in the blog, we have side-by-side comparisons and rankings, but in KingJvpes’ latest video, he reviews the top disposable cameras of 2024. Be sure to check it out for a comprehensive review!

What’s in this article?
Click to jump down to sections

Best uses for Disposable CamerasOverview – GridCamera OverviewImage ComparisonFAQ

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The Best Uses Of Disposable Cameras

Single-use film cameras are incredibly popular for vacation photos. If you find yourself wishing you had your camera from home, you can easily pick up a disposable camera at the nearest drugstore or convenience store for $20 or less.

Disposable cameras also add a fun element to significant events like weddings or parties. Event planners and wedding photographers often buy them in bulk, placing one at each guest table or filling a big glass bowl with them at the bar. This not only provides guests with a fun activity that enhances the event’s happy and lively atmosphere, especially as the drinks start flowing, but it also captures unique moments from different perspectives. Plus, your guests essentially become your photographers!

Another excellent use for single-use cameras is during activities where your primary camera might get damaged, such as hiking, climbing, beach outings, or rainy days. They’re also fantastic for younger kids to use, thanks to their simplicity and straightforward operation.

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We test the top single-use cameras, new and existing, to see which took the best pictures.

*Prices are just for reference

Color Disposable Cameras	Rating (1-5)		Price*
Kodak Fun Saver	★★★★★	Color	$13
Lomo 400 Simple Use	★★★★☆	Color	$22
LomoChrome Purple Simple Use	★★★★☆	Color	$22
Fujifilm Quick Snap	★★★☆☆	Color	$15
Black & White Disposable Cameras
Ilford Single HP5 Use	★★★★★	B&W	$11
Ilford Single XP2 Use	★★★★☆	B&W	$11
Kodak 400TX	Under Review	B&W	$13
Rollei Inferno Ragazzi	★★★☆☆	B&W	$23
Lomo B&W 400 Simple Use	★★★☆☆	B&W	$19
JCH StreetPan Kassha	★☆☆☆☆	B&W	$10
Waterproof Disposable Cameras
FujiFilm Waterproof Quick Snap [Waterproof Cameras Compared]	★★★☆☆	Color	$8
Kodak Water & Sport Waterproof [Waterproof Cameras Compared]	★★☆☆☆	Color	$11

Don’t forget, The Darkroom does Film Developing for disposable cameras

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Kodak Fun Saver

Despite being the most common and cheapest of the 8, overall, the Kodak FunSaver performed best.  Its 800 iso color negative film has great exposure latitude making it much more versatile – it could shoot in open sunlight without blowing out the highlights but also did very well in low light.  Its grain is very subtle and has very pleasant warm tones.  All 8 cameras have plastic optics but the Kodak FunSave seemed to be sharper than the rest.  If you’re looking for cheap disposable cameras that produce great results, this might be the best choice. See image comparisons below

See Images shot with this Kodak Fun Saver

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Kodak 400TX

When a behemoth like Kodak updates a hugely popular single use camera, it grabs people’s attention. Sporting a dual-lens setup and the iconic Tri-X 400 film inside, we had the opportunity to test out this black and white single use camera in both outdoor and indoor settings. And, as we develop a lot of single use cameras as a traditional dip and dunk lab, we’re excited to see the iconic Tri-X black and white film in Kodak’s clever little power flash camera.

See Images shot with this Kodak 400TX

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Fujifilm Quick Snap  

Of all 8, the Quick Snap is the easiest to use.  It’s the smallest and has a practical flash switch that allows you to keep the flash on.  For all the other cameras you need to press the button to charge the flash for every shot but for this camera, you can keep the flash constantly on by pushing the flash up which will glow red when ready.  Having a good flash is important for this camera because has finer grain 400iso film which means needs the flash for the lower lit scene, unlike the 800 iso cameras.  The Quick Snap is best used in open daylight with no flash or in low light with flash.  Its colors are nearly as pleasant as the rest – it often goes magenta for skin tones and whites.  If you’re looking for a cheap daylight camera that excels for landscapes this camera would be a great choice.

See images shot with the FujiFilm Quick Snap

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Lomo 400 Simple Use 

This camera, along with the rest of the Simple Use cameras has some major differences from common disposable cameras- they can be reloaded with film and used multiple times which is super cool, they also have 36 exposure compared to the rest which is only 27 exposures, and they have flash gels which can give you a wide range of unique flash effects.  The Lomo 400 cold comes with Lomography’s 400 color negative film has decent exposure latitude, relatively fine grain, and very pleasant tones.  The plastic optics produce a slightly softer image but a much more unique look than the traditional Kodak & Fuji cameras.  It also costs more than most disposable cameras but if you plan on reloading it will be much more cost-effective than buying a bunch of single-use cameras. See image comparisons below

See images shot with the Lomo 400 Simple Use 

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Rollei Inferno Ragazzi

New to our lineup for 2020, the Rollei disposable camera comes pre-loaded with the Rollei RPX 400 27 exp. B&W film is which is a great film stock with very good exposure latitude. The camera has an identical design as the JCH Kassha but produced better and more consistent results. It has a 31mm f/9 at a 125th lens that’s pretty sharp from 3-5ft and gets pretty soft after 15ft. Like the other disposable cameras, it performs best on bright sunny days or close shots using the flash. The flash is reliable and if you’re in anything other than bright light, it’s highly recommended to use the flash. This camera did create some interesting distortion which is most-likely from the film being a little loose inside of the camera. Overall it’s a fun camera to shoot with – we liked the look of the Rollei RPX 400 but if we had to choose, we’d still pick the Ilford Single HP5 which seems to be sharper and have less image distortion.

See images shot with the Rollei Inferno Ragazzi

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JCH StreetPan Kassha

We were excited to shoot with the new Kassha disposable camera loaded with 27 exposure Japan Camera Hunter StreetPan 400 film. This film is known for its’ contrast and punchy tones that can look really good when properly exposed which is the major flaw with this camera… This camera has a fixed aperture of f/9 with a shutter around 125th of second which would be fine for daylight shooting but since this film seems to be darker/needs to be overexposed it produced many dark images. Even with the flash, it produced dark images on occasion. And on top of that, its 31mm lens doesn’t have a wide depth of field which produces blurry images from roughly 15ft to infinity (fixed focus 31mm lens). It’s the sweet spot for focus and its fast is 3-5 feet. If you’re looking to shoot a B&W disposable camera, we recommend the Ilford & Lomography cameras over this one. We’ve included some images below that show the good and the bad.

See images shot with the JCH StreetPan Kassha

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LomoChrome Purple Simple Use

This camera is physically the same as the Lomo color 400 but is packed with a unique film, LomoChrome Purple 400 which mimics color infrared film in some ways.  The photos this camera produces are other-worldly.  It’s a fun camera and of all the Simple Use cameras this is the one we recommend most because LomoChrome Purple isn’t a cheap film to buy so it’s fun to shoot once then once the roll is done, take it out and load another 400 iso color negative film in the camera. See image comparisons below

See images shot with LomoChrome Purple Simple Use

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Lomo B&W 400 Simple Use

This is the only black and white camera of the Lomo Simple Use cameras.  It’s packed with Lady Grey 400 which is a black & white film that has very noticeable but pleasant grain and decent tones but it falls short of the quality B&W film the Ilford cameras are packing so if you don’t plan on reusing this camera and you want black & white we highly recommend the Ilford disposables. See image comparisons below

See Images Lomo B&W 400 Simple Use

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Ilford XP2 Single-Use 

This 400iso B&W disposable camera is surpassingly sharp and is great for open daylight shooting but not in low light.  The XP2 film has a very fine grain, great contrast, beautiful tones, and can be developed as C-41.  It’s a great camera for classic nature landscapes and cityscapes, as well as natural light portraits. See image comparisons below

See images Ilford XP2 Single Use

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Ilford B&W HP5 Single-Use

This camera is truly unique due to the fact that it has the classic true b&w HP5 Plus 400 iso film in it.  White the HP5 has more noticeable grain than XP2 the tones, contrast, grain, and exposure latitude are far superior – just look at the details in the shadows!  This b&w disposable camera is a great overall shoot that performs well in open daylight, low light without flash, and in low light with flash.  Of all 3 B&W disposables, this the one recommend most.  Even though you could reload HP5 film in a Lomo Simple Use, the Ilford plastic optics are still sharper. See image comparisons below

See images shot with the Ilford B&W HP5 Single Use

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FujiFilm Waterproof Quick Snap

This is the only waterproof disposable camera we tested.  With its 800iso grain film and no flash, you’ll only want to shoot it in daylight or underwater that’s being hit by light.  It produces better slightly better skin tones than the Fuji Quick Snap and does better in low light due to its 800iso film.  It’s obviously the best of the 8 cameras if you plan on getting wet but if you don’t plan on getting wet, we don’t recommend this camera.

What’s the Best Waterproof Camera? Click to find out.
The DarkRoom tests the top waterproof cameras with a side-by-side photo comparison.

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Kodak Water & Sport Waterproof

Loaded with Kodak Max 800 which is a stop faster than the Kodak Fun Saver 400 – this allows it to be more versatile in lower light areas like underwater. Its’ rugged build and waterproof down 50ft make it ideal for winter water and extreme outdoor activities. If you don’t plan on shoot underwater though we highly recommend the Kodak Fun Saver which produces higher quality images. Wine this camera is encased with a plastic cover it seems to be less sharp and due to no flash, it’s not ideal for indoor use. Of the two underwater single-use camera, the Fuji Waterproof Quick Snap and this, we definitely recommend the Kodak which produced slightly sharper images and more consistent image quality.

What’s the Best Waterproof Camera? Click to find out.
The DarkRoom tests the top waterproof cameras with a side-by-side photo comparison.

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What’s the Best Film?
The most comprehensive index of film types; characteristics, examples, and reviews.

View Index

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Disposable Cameras Color Photo Comparison – Side by Side

A. Kodak Fun Saver – 27 exposure 800 iso film with flash

B. Fujifilm Quick Snap  – 27 exposure 400 iso film with flash

C. FujiFilm WaterProof Quick Snap – 27 exposure 800 iso film no flash

D. Lomo 400 Simple Use  – 36 exposure Lomo color negative 400 iso with flash

E. LomoChrome Purple Simple Use – 36 exposure with color negative 400 iso film with flash

     Kodak Water & Sport Waterproof (Not included in comparison)

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Disposable Cameras B&W Photo Comparison – Side by Side

F. Ilford XP2 Single Use – 27 exposure C-41 XP2 black & White 400 iso film with flash

G. Ilford HP5 Single Use – 27 exposure  b&w HP5 400 iso film with flash

H. Lomo B&W 400 Simple Use – 36 explore with Lady Grey 400 iso film with flash

     JCH StreetPan Kassha – 27 exposure JCH StreetPan 400 film with flash (Not included in comparison)
     Rollei Inferno Ragazzi 35mm – 27 exposure (Not included in comparison)

What is Lomography – Lomography is the style of pop photography based on the quirky cameras by the Austrian camera manufacturer known as Lomo

Other Disposable Camera Information

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How much does it cost to develop film for a disposable camera?

It’s about $16 to have the film in your disposable camera developed. With over 40 years of experience, you can trust The Darkroom with your valued memories… just place your order online and mail us your cameras. Start your order.

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Can you still buy a disposable camera?

Yes, depending on where you live, you can find them at a local pharmacy, Walgreens, CVS or stores like Costco, Target or Walmart. Of course, there are many online options for finding good deals and Amazon has options to buy in bulk… which is great for big events such as weddings, reunions, and parties… in fact, our lab will frequently get a box of cameras to develop from such events.

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How do disposable cameras work and how is the film developed?

Coming soon

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What is the best disposable underwater camera?

Fujifilm FUJICOLOR QuickSnap Marine vs Kodak MAX Underwater 800 – Which One Is Better?

By far, the Fujifilm is the better camera out of the two. The first two things you’ll notice are color and sharpness. In both areas, the Kodak is underwhelming. There’s a sense of muddiness and blur. Finer details are lost, and the edges of subjects seem to mold into each other without definition. Fuji, on the other hand, is like chalk and cheese in comparison.

See the waterproof camera photo comparisons

The post The Best Single Use Cameras of 2024 appeared first on The Darkroom Photo Lab.

The Pentax 17 is a zone-focus, half-frame compact camera with auto exposure, exposure compensation, and manual film advance. While it gets its lens from an older Ricoh Auto Half camera, the lens has modern-day coatings which, despite it being half-frame, produce very good results! We have been shooting with this camera for the past two months, putting a wide variety of film through it, and have been very impressed with the results, which you can see below!

Zone focus might seem intimidating at first, but halfway through our first roll, it started to become second nature, and after a few rolls, we rarely missed. Speaking of rarely missing, the Pentax 17’s meter is very accurate and offers multiple exposure modes, including Auto, non-flash modes, and flash modes. The Auto mode will pop the flash if needed but will not work in macro mode, which is why we mainly used the program modes. The flash mode features program and a night mode, which goes up to 4 seconds if needed. For the non-flash modes, there is program, a night mode, bulb, and “Bokeh.” The Bokeh mode allows it to shoot at its fastest aperture, which is f/3.5 on its 25mm lens (a 37mm equivalent). The bulb mode will enable you to keep the shutter open for long exposures, for which we recommend a sturdy tripod and the Pentax shutter release, as there is no self-timer for this camera.

We had the pleasure of meeting the Pentax team, including the lead designer TKO, and were amazed by all the thought that went into making this camera, which we talk more about in the video below!

Here at The Darkroom, we develop a wide variety of formats, including half-frame film, which produces double the amount of frames that normal 35mm film does. This is why we offer the option for 1-up scans or 2-up scans, something you can select when making your order. The 1-up scans will give you the full-res individual frame, and the 2-up option will provide two frames per scan.

The Pentax 17 is a camera we’d recommend to beginners as well as seasoned film photographers. While zone focusing might have a slight learning curve, it is pretty easy to master. Once you get the hang of zone focus, everything else is straightforward as it is fully auto except for the ISO selection and the film advance. If you are interested in buying one of these cameras, our good friends over at FilmPhotographyStore.com will be selling them, along with many other places!

The post The Pentax 17: A Brand New Film Camera! appeared first on The Darkroom Photo Lab.

Today, we’re diving into the world of affordable 35mm film, where quality meets affordability. When it comes to scoring the best deals on film, it pays to shop around. While big-name retailers might overcharge, we’ve discovered a gem in the form of filmphotographystore.com. With their commitment to fair pricing, they’re our go-to for stocking up on film without breaking the bank.

In our latest blog post, we’re thrilled to share our top 10 favorite films available for under $10, all courtesy of the Film Photography Project. From vibrant color to classic black and white, there’s something for every shooting style.

But that’s not all, here’s all the 35mm film options for $10 or less at the FilmPhotographyStore.com!

So whether you’re a seasoned pro or just starting your film journey, we invite you to explore the magic of affordable 35mm film. Let’s capture memories, one frame at a time!

The post 10 Under $10: Affordable 35mm Film Picks! appeared first on The Darkroom Photo Lab.

The post Film Photography Meetup 2024: Columbus Ohio appeared first on The Darkroom Photo Lab.

1. Newer Technology: The Nikon FA boasts four exposure modes; manual, aperture priority, shutter priority, and program compared to the Nikon F3’s two modes; manual and aperture probity.
2. Max Shutter Speed: The Nikon FA boasts a fast 1/4000th of a second max shutter as well as 250th flash sync compared to the F3’s 1/2000th max shutter and 60th flash sync.
3. Advanced Metering: The FA features a matrix meter and an optional spot meter, providing photographers with more control over exposure.
4. Built-in Hotshoe: A built-in hotshoe simplifies the process of attaching external flashes, making the Nikon FA a versatile choice compared to the Nikon F3 which doesn’t have built in hotshoe meaning you’ll need the relatively rare hot shoe adapter or a flash sync cable.
5. Weight and Size: The Nikon FA is lighter than the Nikon F3 and since the Fa doesn’t have a removable viewfinder, it is also slightly smaller and more compact.
6. Bright Viewfinder: Both have bright and very big viewfinders and while the Nikon F3 has a variety of interchangeable viewfinders, we find that we rarely use that feature and the removable viewfinder often results in much ore dust in the finder compared to the Nikon FA’s sealed viewfinder which doesn’t allow nearly as much dust to get in.

Below are some images from a roll of Portra 400 taken with the auto program mode on the Nikon FA which shows how accurate the matrix meter is!

AI-S Lenses Compatibility: The Nikon FA is one of only four cameras truly utilizes AI-S lenses, offering matrix metering capabilities. This feature distinguishes it from the Nikon F3 which can use AI-S lenses but since the F3 doesn’t have matrix metering there is no point in getting AI-S as AI and AI-S lenses are basically the same – the only difference is that they allow for matrix metering on certain Nikon cameras.

Affordability: The Nikon FA proves to be a cost-effective alternative, often available at half the price of the Nikon F3. If the F3 is beyond your budget, the FA, along with the Nikon FM and FE, presents compelling alternatives.

Nikon Film System Advantages: Nikon cameras are reliable, built well, and offer extensive lens options. Nikon’s commitment to the F mount lenses over the years means a wide selection of lenses choose from, both from Nikon and third-party manufacturers.

Recommended Platform for Used Gear: Explore KEH.com for your used camera gear needs. As a trusted source, they offer a variety of Nikon bodies and lenses, providing quality options for film enthusiasts.

In Conclusion

The Nikon FA is defiantly a hidden gem, not only in the realm of Nikon but all film cameras. Its advanced features, affordability, and compatibility with a wide variety of F mount Nikkor lenses make it a worthy companion for photographers of all levels.

The post Nikon FA Review: A Hidden Gem for Film Enthusiasts appeared first on The Darkroom Photo Lab.

Italian film manufacturer, Film Ferrania, has released a brand new film, P33, which is a 160iso panchromatic black and white film. Ferrania states that P33, is “a leap forward in black and white photography that seamlessly combines innovation and tradition for outstanding results.” and the results are in fact, outstanding! P33 retains the fine grain and well punchy tones of Ferrania’s P30 80iso B&W film but has a higher sensitivity of 160iso as well a lower contrast, making it more versatile and forgiving than P30.

As you will see the comparison below, P33 has more subtle tones and lower contrast than Cinestill BWXX which is known for it;s punky tones and more noticeable gain. P33 in comparison to Ilford’s FP4 Plus 125, are a much closer look but we find the P33 has slightly better shadow detail and despite being a high iso than FP4, it has finer grain which is very sharp!

Ferrania P33’s 160iso makes it ideal for daylight photography and with its medium contrast and high exposure latitude it’s a great option for landscapes, architecture, and street photography. Its beautiful tones and smooth tonal transitions make it a great for portraiture as well. In comparison to P30, Ferrinia’s 80iso B&W film, it haves less contrast and much more forgiving when it comes under or overexposure. If you like shooting with fine grain B&W film, like: Kodak TMAX 100, Ilford Delta 100 or FP4 Plus 125 but want to try something new, we highlight recommend this film as it has some of the smoothest tones we’ve seen and it truly produces beautiful results. Cinestill is the official North America distributor for this film and will have it for sale February 29th for $11.99.

The post Ferrania P33 Review: A New B&W Film! appeared first on The Darkroom Photo Lab.

Pushing & Pulling is a technique used to compensate for an under or overexposure. Because the process can be confusing or be intimidating to start, this article outlines reasons to push or pull and instructions for shooting and developing push/pulled film. We’ve also included tips, photo samples and recommend film types to help you be successful in the pushing and pulling process.

The post Pushing and Pulling Film appeared first on The Darkroom Photo Lab.

As a traditional dip & dunk film lab, we have extensive experience working with both these films, allowing us to provide valuable insights into their unique characteristics and how they can elevate your photographic endeavors.

Development Considerations

At TheDarkroom.com, we have extensive experience developing both Portra 800 and Cinestill 800T. While Portra 800 is generally preferred at box speed for optimal results, Cinestill 800T’s can be shot from 400-6400iso. With the ability to handle pushes up to +3 stops, reaching an impressive ISO 6400, Cinestill 800T becomes an excellent choice for low-light situations, expanding its range and adaptability.

Choosing Between the Two

The decision between Kodak Portra 800 and Cinestill 800T ultimately boils down to your shooting preferences and lighting conditions. If you gravitate towards portraiture and predominantly shoot in natural light, Kodak Portra 800 is the recommended choice. Its warm tones and fine grain make it a reliable option for capturing the essence of your subjects. On the other hand, if your photography ventures into night scenes and low-light environments frequently, Cinestill 800T’s exceptional pushing capabilities make it a formidable companion, ensuring stunning results even in challenging lighting conditions.

The post Portra 800 vs. Cinestill 800T: the two best high speed color films! appeared first on The Darkroom Photo Lab.

• 120 Medium Format: Medium format film, on the other hand, provides fewer exposures, usually ranging from 8 to 16 frames per roll. This limitation encourages a more thoughtful and deliberate approach to each shot. Below at the number of frames you get with various 120 format.
  • 6×4.5 – 15-16 frames depending ion the camera.
  • 6×6 – 12 frames
  • 6×7 – 10 frames
  • 6×8 – 9 frames
  • 6×9 – 8 frames

Depth of Field

• 35mm: Due to its smaller negative size, 35mm film generally exhibits a broader depth of field. This can be advantageous for capturing a broader range of subjects in focus, especially in street or documentary photography as you don’t need to stop down in aperture as much to accomplish a wider depth of field.
• 120 Medium Format: The larger negative size of medium format film contributes to a shallower depth of field, offering a more pronounced background blur. This characteristic is often sought after by portrait for creating a distinct visual separation between the subject and the background.

Grain and Sharpness

• 35mm: Film grain is more noticeable in 35mm due to the smaller negative size(24mm x 36mm). While this might be considered a drawback for some, it can add a unique aesthetic to the images. Sharpness may be perceived as slightly lower compared to medium format.
• 120 Medium Format: Larger negatives result in finer grain and higher perceived sharpness. Medium format film is favored by photographers who prioritize image detail and clarity, especially in commercial and studio work.

Convenience and Portability

• 35mm: Compact and widely available, 35mm film cameras are convenient for everyday use and spontaneous shooting. The smaller size makes them portable and easy to carry, making them ideal for travel and street photography.
• 120 Medium Format: Medium format cameras are bulkier and less discreet. They may not be as practical for on-the-go shooting but excel in controlled environments where image quality and creative control are paramount.

Choosing The Right Format

• Photography Style: Consider your preferred genres. If you love street or documentary photography and value portability, 35mm might be the go-to choice. For portrait, landscape, and studio work, where image quality and depth of field control are crucial, medium format could be the better fit.
• Budget: 35mm film and cameras are generally more affordable and widely available. Medium format equipment tends to be pricier, both in terms of cameras and film, but the investment can be justified for those prioritizing image quality.

35mm vs. 120 side by side comparison

In Conclusion

At The Darkroom, we understand the unique characteristics of both 35mm and 120 medium format film. Our services, including traditional dip & dunk development, precise scanning options, and easy online ordering, cater to photographers with diverse preferences. Whether you choose the convenience of 35mm or the artistic possibilities of medium format, we are here to bring your film visions to life with uncompromising quality and expertise. Explore our three scan sizes to find the perfect balance between convenience and the highest resolution for your images.

The post 35mm vs. 120 – Which format is best for you? appeared first on The Darkroom Photo Lab.

Where do you develop film?

Did you know retail and drugstores are no longer returning your original film?

Big-name drugstores like Walmart, CVS, and Walgreens still develop film, but the days of 1-hour photo processing are long gone. Today, nearly all the big box stores send the film to third-party labs, with turnaround time ranging from three to five days at Walgreens and two to three weeks at CVS. Even more important, they no longer return the negatives, only providing your images as scans on a CD. Discarding negatives may be okay for the person with disposable cameras, but is a major drawback for the film enthusiast or the “found film” people.

Found film is actually a pretty big market for The Darkroom and its people finding an undeveloped roll of film in a drawer or the attic. These mystery time capsules can potentially contain images with huge sentimental value. Negatives are the foundation of shooting film and an important part of the traditional printing process. A low-quality scan of something sentimental or of an important subject is not an adequate replacement to the original film or “file”.

Retailers Who Develop Film and Who Returns Negatives

What’s in this article
Click to jump down to section

Costco Film Developing | Walgreens Film Developing | Walmart Film Developing | Target Film Developing | Sam’s Club Film Developing | CVS Film Developing

Old & expired film

With over 45 years of developing film, The Darkroom will professionally develop your old film and color, contrast and density adjust every frame

Learn More

Costco film developing

More on Costco Photo Lab

In visiting our local Costco, we discovered that they’re no longer developing film. We were told by a photo lab employee that “we recently pulled their film processing equipment out of every building”.  Costco doesn’t even develop film online through their Costco Photo Center website.

Over a year ago, Kelvin Wang started a petition for Costco to start developing film again, but it hasn’t gotten much support.

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WalMart film developing

More on Walmart Photo Lab

Walmart is no longer returning negatives to save on postage costs and only providing customers scanned images on a CD. In researching, Walmart film developing services vary from each store or region and this may not be company-wide policy. Many of the stores have completely stopped processing film and, like Costco, maybe in the process of phasing out film processing entirely.

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 Sam’s Club film developing

More on Sam’s Club Photo Lab

In nearly all the stores, Sam’s Club stopped developing film in late 2013. Additionally, they don’t have in-store photo mailers and film development cannot be ordered or purchased online.

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Walgreens film developing

More on Walgreens Photo Lab

Over 800 people a month Google “does Walgreens develop film“. It’s been reported that Walgreens stopped film processing on April 16th of 2015 and is using a 3rd party service. Using this service, Walgreens doesn’t return your negatives and it’s likely this 3rd party service destroys your negatives after scanning them. Walgreens film development cannot be ordered or purchased online.

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Target film developing

More on Target Photo Labs

Target removed the Kodak processing machines from many of its stores and now offers a print-only photo center for those with digital files. This is true with our local Target, but may not be true with all stores.

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CVS Pharmacy film developing

More on CVS Photo Center

Not all CVS stores develop film and the ones that do are sending directly to 3rd party services. Negatives aren’t returned and orders take about 3 weeks.  Additionally, CVS has stopped online film developing.

CVS Pharmacy processes film but doesn’t return film negatives

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If you choose not to develop with The Darkroom, we suggest that you verify with the individual store, whether it’s Costco, Walgreens, Walmart, Target, Sam’s Club, CVS, or any other large retailer to confirm the send-out processing service returns your negatives.

Have an update or something to contribute? Please let us know!

The post Retail and Drugstore Film Developing appeared first on The Darkroom Photo Lab.

We are excited to announce a special opportunity to connect with the film community in our hometown of San Clemente, CA as we welcome HARMAN Photo, who will be joining us all the way from the UK to make a special announcement.

This event will feature two public meetups: a Beers & Cameras gathering and a San Clemente photowalk, followed by a pub crawl. Both events have a limited amount of tickets so be sure to register below!

December 1st, Friday, 6-9pm

This event is now sold out but there are still spot left for our photowalk! Beers & Cameras meetup at Lost Winds Brewery. This event will feature a special announcement from HARMAN Photo as well as a giveaway!

Tickets & more info here!

December 2nd, Saturday, 11am-2pm

San Clemente Pier Photowalk + Pub crawl. We’ll meet at the pier and once everyone is gathered, we can all hangout and take photos in the pier/beach area – then, around noon we’ll begin the photowalk to downtown San Clemente for a pub crawl.

Tickets & more info here!

HARMAN Photo, who produces the much loved Ilford B&W film, paper, and chemistry will be announcing a new product December 1st and this event will be the official launch party. Not only will it feature two meetups but you will get to meet and hear from the HARMAN Photo team, as well as win some great prizes during the Friday night B&C giveaway!

Follow @thedarkroomlab & @HarmanPhoto for updates!

Featured guests:

Taylor Pendleton – IG @trmpendleton – YT  graincheck

Taylor is a film and digital photographer based in the USA. She runs a photography YouTube channel and works on various productions with Sunny Sixteen as a director and photographer. Her career has been varied and full of opportunities to shoot different things, in different ways, all around the world. Right now, she’s most interested in black-and-white film and colorful studio portraiture.

Caleb Knueven – IG @calebkneven – YT  Bad Flashes

Caleb was born on the fringe of society, destined to explore the abandoned world around, longing for the stories that seep from the peeling painted walls! Photography is exploration, is freedom, is life! He loves long walks on the beach with his M6, a finely crafted cup of coffee, atomic fireball candies and BBQ just to name a few. 

Jonathan Paragas – IG @kingjvpes – YT KingJvpes

Jonathan is a street photographer/ Film photographer based in the San Francisco Bay Area. Jonathan sets out to capture the serendipitous moments of every day life that gets washed away with time. With an emphasis on shooting film he also runs the YouTube channel, KingJvpes a resource for film photography tips, gear review videos and POV on location videos. Give Jonathan a latte and he will be your friend. Show him your Minolta and be prepared to get initiated into the largest gang of smelly 20 year olds on the planet. #Minoltagang

Chris Bartolucci – IG @chrisbphoto – Analog Talk Podcast

Chris is a portrait and unit-still photographer, podcaster and YouTuber from Los Angeles. She graduated from Hallmark Institute of Photography in 2004 and has been working as professional photographer and avid film shooter ever since. She co-hosts the popular film photography podcast Analog Talk and runs a YouTube channel dedicated to film photography. She’s currently working as the stills/set photographer on the ABC Soap Opera “General Hospital”

Jason Kummerfeldt – IG  @50_shades_of_jason YT  GrainyDays

“Jason is probably the most humble person you will ever meet – an aspiring photographer who runs a powerful global empire of online videos, but believe it or not his life wasn’t always this way. Before becoming a youtube god, jason led an entirely different life altogether:

Young and fresh out of boot camp, Jason joined the navy seals, got totally ripped, and learned how to do like 300 pushups in one hour. Unfortunately Jason was kicked out of the seals for going rogue on assignment. With nothing else to do, he entered law enforcement academy as a young recruit, eager to earn his stripes. Jason rose up through the ranks very quickly as he demonstrated a passion for justice, even if occasionally he got too emotionally involved in the cases, and still continued to go rogue.

Jason now hides under disguise as a low life youtuber who makes dumb little film photography videos as a cover while he continues his search for justice and the truth behind who framed him and why.”

The post HARMAN Photo Meetup Dec. 1-2, 2023 appeared first on The Darkroom Photo Lab.

LomoChrome Color ‘92 film pays homage to Lomo’s founding year 1992

Inspired by the 90s, when the Lomographic Society International was born, this new color negative film aims to recreate the iconic colors of that golden age for the modern film shooter. As part of Lomography’s mission to make analogue photography accessible to everyone, this new emulsion will be available in three formats: 35 mm, 120 and 110. This is the next step in Lomography’s film production journey, a completely NEW Color Negative film formula since the reveal of the successful LomoChrome Metropolis film in 2019.

Our thoughts on this film.

With its’ 400 iso and good exposure latitude, this C-41 color negative film is very versatile and forgiving. LomoChrome Color ’92 has noticeable but beautiful grain, cool undertones, and faithful color that produces a burst of retro charm with a nostalgic analog look. Due to its unique look, it stands out from most normal color film stocks on the current market which is why we think it will be well received by the film community.

Results from our first roll!

Conclusion

If you enjoy color film and are looking for something different, something that doesn’t look like, say: Portra, Gold, or Untramax but don’t want something as extreme as the other LomoChrome film, then we highly recommend this film! To more examples of this film, be sure to watch the video below!

The post A New Color Film: LomoChrome Color ‘92 appeared first on The Darkroom Photo Lab.

Since 1976, we’ve specialized in developing a wide variety of 35mm black and white film. Our expert team takes great pride in processing and delivering high-quality results to our customers. Over time, we’ve noticed some standout favorites among photographers who trust us with their film development. Here’s a list of the top three most popular 35mm black and white films passing through our lab… and an honorable mention gaining traction.

The post Top 3 B&W films developed in our lab. appeared first on The Darkroom Photo Lab.

The post Flying with Film: Results from 3x TSA X-Ray appeared first on The Darkroom Photo Lab.

Ilford’s most affordable 120 film!

Ilford’s Kentmere Pan 100 & 400, have always yielded surprisingly good results considering how affordable they are. But, because Ilford offers many reasonably priced professional grade options, both Kentmere Pan 100 & Kentmere Pan 400 are often overlooked.

As of today, Ilford released both film stocks in 120! Since 120 typically produces higher quality images than 35mm due to its larger negatives, we have a feeling Kentmere Pan 100 & 400 will see a surge in popularity over its 35mm counterpart.

Kentmere Pan 100 & Kentmere Pan 400 are not considered to be ‘professional’ film, but can still produce professional level results. We shot three rolls of each to get a feel for Ilford’s newest, budget friendly 120.

Kentmere Pan 100

This film has very fine grain that rivals the sharpness of Ilford Delta 100 and is comparable to FP4 Plus 125. It has a broad tonal range with medium contrast and wide exposure latitude, making it very forgiving. It’s ideal for daylight photography and performs well in both bright direct sunlight and even overcast light. If you enjoy Delta 100 and want to save a few dollars per roll, Kentmere Pan 100 is a great alternative!

Kentmere Pan 400

On top of its subtle tones and pleasing contrast, this film has classic looking grain with good sharpness comparable to HP5 Plus 400. It also has a wide and forgiving exposure latitude, allowing it to be pushed up to +3 stops if needed.

Due to its higher iso and ability to be pushed, this film is ideal for lower light. It also comes in handy for high contrast scenes because its high exposure latitude and lower contrast helps retain shadow and highlight detail in very high contrast scenes.

In summary: compared to Kentmere Pan 100, Kentmere Pan 400 is a faster film with more noticeable grain, lower contrast and better latitude for pushing.

We shot the first roll at box speed, the second roll at 800 with a +1 stop push, and the third roll at 3200 with a +3 stop push.

Conclusion

Kentmere film is essentially Ilford film in every way other than name. It’s even made in the same way as all other Ilford film stocks – at the same factory, following the same quality control processes, and delivers the same consistency of performance.

Bonus: Kentmere film is cheaper and will sell for under $6 before tax which is $1 to $2 cheaper than HP5 / FP4. At the moment, the Film Photography Project is selling it for $4.99 per roll! So if you’re wanting to save some money and still get great results, we highly recommend giving this film a try.

Also, to learn more about this film, as well as be thoroughly entertained, check out our good friend, Jason Kummerfeldt’s Kentmere video!

The post The Best Budget 120 Film: New Kentmere Pan 100 & 400 appeared first on The Darkroom Photo Lab.

A New Color Negative Film

Cinestill’s new 400Dynamic film is now available after years of development with Cinestill’s manufacturing partners worldwide. Available in 35mm and 120, 400Dynamic is a completely new film–not repackaged motion picture film. Unlike Cinestill 50D & 800T, motion picture films with the remjet layer removed, 400D is a motion picture film that was produced without a remjet layer entirely, allowing it to be developed as C-41 color negative film. 

More Versatile than 50D

With its higher iso of 400, the new 400D is daylight balanced like Cinestill 50D, but adds more versatility to the current Cinestill color lineup. Cinestill 400D has a very unique soft color palette with natural saturation and very warm tones. Like most color negative film, it has incredible exposure latitude, meaning that it does very well with overexposure. For this reason, we recommend erring on overexposure when shooting this film. When exposed well, it has very fine grain for 400 iso and, like 50D and 800T, it has noticeable halation, which occurs at in-focus, overexposed highlights. Learn more about halation.

Cinestill 400D in Low Light Settings

400Dynamic not only performs well in daylight but, due to its ability to be pushed 3 stops, it performs well in low light too. It can be shot at a whopping 3200iso, a 3 stop push, for easy handheld shooting in very low light. Keep in mind: pushing will increase contrast, reduce shadow detail, and make the grain more noticeable. Like most film, 400D performs best at box speed, so we only recommend pushing when necessary.

RECOMMENDED ACCEPTABLE EXPOSURE FOR PUSH PROCESSING:

• No push – EI 200-800
• 1 stop push – EI 400-1000   
• 2 stop push – EI 800-1600   
• 3 stop push – EI 1000-2000

Cinestill 400D vs. 800T

Though both a part of Cinestill’s color films family, 400D is daylight balanced and 800T is tungsten balanced, meaning they can produce very different results. 400D is much warmer, more saturated, and performs best in natural light. 800T is ideal for artificial light, performs well in low light, and produces very cool tones when shot in natural light. If you mainly shoot in natural light and prefer more neutral tones, we recommend 400D but if you often shoot in lower light with an artificial light source, you may want to go with 800T.

The side-by-side comparisons below were shot with the same cameras and lenses: Canon Elan 7 + 50mm f/1.2 & 40mm F/2.8. Both the 400D & 800T were shot at box speed and developed normally.  

800T-E7-11

400D-EO-30-11

800T-E7-10

400D-EO-30-10

800T-E7-09

400D-EO-30-09

800T-E7-06

400D-EO-30-06

800T-E7-07

400D-EO-30-07

800T-E7-08

400D-EO-30-08

800T-E7-05

400D-EO-30-05

800T-E7-04

400D-EO-30-04

800T-E7-03

400D-EO-30-03

800T-E7-02

400D-EO-30-02

800T-E7-01

400D-EO-30-01

800T-E7-13

400D-EO-30-13

800T-E7-12

400D-EO-30-12

Conclusion

When it comes to film stocks, we’re always excited to see variety. The more options, the better! Cinestill 400D’s release marks another great addition to color negative film stocks across the board. We love that it’s a high-quality option like Portra 400, Ultramax 400, Lomo 400, and Superia X-TRA 400, but it’s unique enough to stand out and offer photographers something different. 

The post 400Dynamic, Cinestill’s New Color Film. appeared first on The Darkroom Photo Lab.

Halation is the effect that occurs when the bright areas of an image appear to softly bleed around the edges of dark areas. This is caused by light going through the emulsion layer, bouncing off the base of the film and exposing the adjacent emulsion. Some film is manufactured with a black anti-halation coating on the base side.

Halation is the reflection of bright points of light off of the film base and pressure plate causing a “glow” in the strong highlights on some images. This is most evident when light sources are in focus in the photograph. Halation is a common characteristic of classic black and white photography and in some aerial photographic emulsions.

Halation Examples with CineStill 800Tungsten

The post What is Halation? appeared first on The Darkroom Photo Lab.

Those just starting in film photography usually work with 35mm. It’s cheap, easy to find, and is an excellent medium for photography with all styles of film cameras. Before long, the temptation to try something new and exciting sets in. While 35mm film cameras are a great starting point, it’s well worth moving into medium format. Medium format cameras capture stunning image resolution and are just as intuitive to use and work with as their small format cousins.

What’s more, medium format film cameras are probably more popular now than they’ve ever been. But before you make the leap from 35mm film to the richer image experience of medium format, there are a few things to learn. In this article, we aim to unravel the medium format mystery.

We’ll guide you through:

• Medium format terminology
• Understanding medium format
• Knowing what 120 films are best, and
• Discovering the different styles of medium format cameras.
• Plus the differences between Single Lens Reflex (SLR), Twin Lens Reflex (TLR), and Rangefinder medium format film cameras.

What Is Medium Format Film?

In the heady days of film photography, film frames were broken down into three categories. These included small format, medium format, and large format. These then broke down further into sub-categories of film depending on the camera’s frame size. Small format film has a standard frame size of 36x24mm and is most commonly referred to as 35mm film stock. It is also referred to as 135 film – but less so these days.

Before we get into medium format, let’s look at large-format films. Large format cameras typically have a frame size equal to or larger than 4×5 inches. However, large format film can include frame sizes such as 5×7″. 8×10″, and 11×14″. Kodak Portra 400 is still readily available in large format and includes 4×5″ and 8×10″. Given the larger size of this film, it doesn’t come in a roll like 35mm and 120. Instead, it is available in single sheets, with each sheet used as a single frame.

As for medium format, it is a film frame size that uses 120 roll film. All medium format film is 6cm wide and, depending on the frame of the camera, has varying lengths, including 6×4.5, 6×6, 6×7, 6×9, and even a panoramic 6×17. The length of the frame determines how many individual frames are available on a 120 roll of film. Typically, a 6×4.5cm roll of 120 medium format film fits 16 frames. The greater the length, the fewer frames fit on the roll.

The Best Film For Medium Format Film Cameras

Everyone who knows anything about cameras and photography knows that 35mm film is the mainstay of film photography. For those of us that grew up around film cameras, having a couple of rolls of Kodak 35mm sitting in the refrigerator was common. With the resurgence in film photography as a serious content medium, the range of 35mm film stock has grown. Fortunately, the same can be said for the medium format film stock range.

Medium format film photography is still just as important and popular as ever, with a growing range of film stock from big and small brands. Be sure to check out The Darkroom Film Index for a complete list of available 120 C-41, Slide, and Black and White films from brands including Kodak, Fujifilm, Lomography, Ilford, and Cinestill. Some of our favorites include the Kodak Tri-X 400, Fujifilm Velvia 50, and the Black and White Ilford Delta 3200.

If you’re looking for a range of medium format film stock to have a lot of fun with, there are a lot of boutique 120 rolls available. We highly recommend getting your hands on a handful of unique 120-roll films, including Lomography Kino 400, Lomography LomoChrome Purple, Bergger Pancro 400, and the Rollei Ortho 25 Plus.

Medium Format SLR Cameras

Medium format cameras are much larger than many popular 35mm film cameras. They take a much larger roll of film and feature a larger frame size. While they are much larger, they are still just as portable and versatile to use in the studio out in the field. The most popular style of medium format camera is the SLR – Single Lens Reflex. The ever-popular digital SLR is based on this clever design that hasn’t changed in decades.

An SLR medium format camera utilizes a mirror and a prism to transmit or bounce light through the lens and up to the camera viewfinder. How a medium format SLR is designed allows the photographer to see exactly what the lens is capturing without misalignment or distortion. As a result, what you see is what you get – including a proper view of the depth of field and composition framing.

On the flip side, medium format SLR cameras are a little loud and clunky due to the use of a larger internal mirror that flips out of the way to expose the film to light. When shooting at a much slower shutter speed(60th or below), the motion of the mirror can result in a camera shake, especially when shooting handheld.

A medium format SLR’s most common frame sizes are 6×4.5″ and 6×7″. A very popular choice for medium format SLRs is the Pentax 67 – named after the 6×7″ frame size. A prototype of the 67 appeared in 1965 with a commercial release as the Asahi Pentax 6×7 in Japan and Honeywell Pentax 6×7 in North America in 1969. While it retained a conventional 35mm SLR film camera aesthetic, it was a bit of a beast weighing in at 5.1lb. The Pentax relies on battery power to manage shutter timing, mirror movement, and the mechanical cloth shutter.

Today, The Pentax 67 can be found on most second-hand marketplaces and start from around $500 for a body-only version. Of course, the better the condition and the inclusion of quality glass can push the price up into the thousands.

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The Darkroom’s Recommendations for SLR Cameras

Pentax 67 | Hasselblad 500cm | Mamiya 645 s1000 | Bronica SQ | Pentax 645

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Medium Format TLR Cameras

Compared to the familiar-looking medium format SLRs, the Twin Lens Reflex (TLR) film cameras are boxy and more primitive-looking medium format film cameras. Thanks to their rectangle box appearance, TLRs are recognizable, along with the fixed twin lenses protruding from the front of the camera body. Thanks to their form, TLRs were considerably more compact than their SLR counterparts. However, their popularity has never diminished and is sought after today.

Unlike the SLR, the TLR did not feature a moving mirror that flipped out of the way to expose the film to the light. Instead, a medium format TLR used one of the objective lenses to take the photo, while the second provided the photographer with a view of the composition and possible frame. The viewfinder relies on a fixed mirror set at a 45-degree angle. The photographer holds the camera at waist height and looks down at the camera to see the viewfinder, focus, and capture the frame.

One of the most significant advantages of a medium format TLR camera is shooting discreetly. Since photographers hold the camera at waist height, they engage differently with a subject – especially when holding a larger SLR up to the eye. The downsides of TLR medium format cameras include the lack of prism resulting in backward images. Almost all TLRs feature a 6×6″ frame, and very few have the option for interchangeable lenses. It also takes some getting used to waist-level shooting as your perspective will be lower.

Popular choices for medium format TLR film cameras include Yashica MAT 124G and the Rolleiflex 2.8. Both are relatively compact, discreet, and quiet to operate. The Rolleiflex 2.8 was almost half the weight of the Pentax 67 at 2.8lb. Given the fixed lenses, lack of prism, and no moving mirror, the Rolleiflex was intuitive to operate yet delivered stunningly rich image quality. The Rolleiflex 2.8 is available in several versions and lens configurations. A Rolleiflex 2.8 starts at around $1,000 on the pre-owned market.

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The Darkroom’s Recommendations for TLR Cameras

Rolleiflex 2.8 | Yashica MAT 124G | Mamiya C30 | Minolta Autocord | Rolleicord

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Medium Format Rangefinders

The final style of medium format film camera is the rangefinder. Much like classic and modern 35mm rangefinder film and digital cameras, medium format RF cameras boast a see-through viewfinder that delivers a separate view to that seen by the lens. Most medium format rangefinder film cameras feature a lens mount to accommodate interchangeable lenses and lens adaptors. Rangefinder cameras come in a wide variety of frame sizes ranging from 6×4.5″ up to 6×9″.

As with most rangefinder cameras (film and digital), the medium format rangefinders are hugely popular amongst photojournalists and street photographers. The ability to frame up a composition through the viewfinder allows you to apply color filters when shooting with black and white film stock – especially if the camera has TTL metering. However, not seeing Through The Lens (TTL) makes it tricky to know if a flare or obstruction impacts the composition. As a result, rangefinder medium format cameras are not ideal for fine art and portrait shoots.

The Fujifilm GW 690 III Pro is popular for street photographers seeking a medium format rangefinder film camera. Another popular option is the Mamiya 7 – it is ideal for slower shutter speeds and handheld shooting thanks to its quiet operation. It weighed only 2 pounds for the body plus the weight of the chosen lens. A stand-out feature of the Mamiya 7 is the 6×7″ format and the delivery of stunning image quality and ultra-rich detail.

While second-hand copies of the Mamiya 7 are available, they are super pricey. Being a more recent model, a Mamiya 7 in excellent condition starts at around $2,500 for the body only. A Mamiya 7 with a lens like the popular 80mm f/4 sells for about $5,000 or more.

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The Darkroom’s Recommendations for Rangefinders

Mamiya 7 | Mamiya 6 | FujiFilm GF670 | FujiFilm GW690III | FujiFIlm GA645

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Don’t Be Intimidated By Medium Format

While it’s true that professional photographers typically use medium format film cameras, that doesn’t make these amazing analog cameras their sole domain. Any photographer with a thirst for analog photography should consider working with 35mm and 120 films. The jump in image quality and print resolution will astound you when shooting with a medium format film camera.

It’s also important to point out that while some rangefinder film cameras are expensive, plenty of affordable Single Lens Reflex (SLR) and Twin Lens Reflex (TLR) options are available at highly affordable prices. What’s more, the pre-owned medium format camera market shows no signs of drying up anytime soon.

Nor does the range of medium format 120 films have a shortage of exciting options to suit a range of shooting conditions and genres. Be sure to check out the Film Index over on The Darkroom site, and as always, you can rely on us to process, develop and print your medium format masterpieces every time.

The post Medium Format Guide: Unveiling Mystery appeared first on The Darkroom Photo Lab.

My personal favorite black and white film for 120 is Delta 3200. That might sound like a weird selection, but I love it because I like shooting low-light and window-lit portraits which this film is ideal for it. It’s medium contrast and has beautiful grain, especially in 120. It’s a really versatile film if you like shooting in lower light.

When it comes to my second favorite black and white film for 120, it’s a toss-up. There are a lot of film stocks that I like and I often shoot with HP5 and Tri-X, however, my favorite fine grain black and white film for 120, is easily the TMAX 100, which has the finest grain I have ever seen of any black and white.

We would love to hear what your favorites are.

Related:

• Ilford Delta 3200 – 35mm vs 120 Comparison
• T-MAX P3200 vs Delta 3200 – Side by Side Comparisons

The post My personal favorite black and white film for 120 is Delta 3200 appeared first on The Darkroom Photo Lab.

In our latest The Darkroom blog, we decided to compare the Contax T2 and the Canon Rebel T2. It may seem like an odd comparison to make, but you’ll see the method to our madness in just a moment.

We’ve all come to understand the power of hype, especially in a world dominated by influencers, special media, and online marketing. Hype can be a powerful form of persuasion, especially when it comes to deciding on the best camera to take your analog experience to the next level. However, the hype is not all it is made up to be – it can often lead you astray and result in disappointing experiences. To provide a clear example of film camera hype, we decided to look at a pair of cameras. The first is the much-hyped and expensive Contax T2. The second is a relatively inexpensive, quiet achiever, the Canon Rebel T2.

Why All The Hype?

The Contax T2 has become one of the most talked-about, blogged about, Tweeted about 35mm film point-n-shoots of all time. It has a cult following similar to the Leica M6. That kind of attention begs what all the hype is about, and is it warranted? While the Contax T2 is a great camera and certainly deserved the attention it received back in the ’90s, it’s priced at a point that pushes it beyond the reach of many analog shooters. At over $1,000 for a 35mm point and shoot Contax T2 in excellent condition, it’s a lot of cash, especially when the great image quality is at the same standard as many other cheaper options.

Contax T2 Specifications

Let’s look at some of the specifications for the titanium body Contax T2. The second-generation Contax T was released to the world in 1990, marking an updated version of the pro-grade compact 35mm film camera. Aside from its compact form, the most significant selling point of the Contax T2 was the Carl Zeiss T* Sonnar 38mm f/2.8 lens. It featured a lens assembly with five multi-coated elements in four groups and delivered sharp and bright images.

The Contax T2 was also notable due to being available in a range of finishes, including champagne silver, black, and gold. Beyond that, the user-friendly Contax T2 provided film shooters with automated functions such as Autofocus and Program AE. When it comes to performance, it’s worth pointing out that the Contax only has a 1/500 second fastest shutter speed.

How About The Quiet Achiever?

We have the larger, bulker, and goofy-looking Canon EOS Rebel T2 at the other end of the spectrum. Our second T2 doesn’t have the sleek looks and charms of a point-and-shoot Contax. But what it offers is a budget-friendly alternative that packs in many features, performance, and exceptional image outcomes. Where the Contax option costs over $1,000, the Canon T2 with a 40mm pancake lens will only set you back around $150. Imagine all the fantastic film, processing, and printing you can afford with the savings alone? 

Canon Rebel T2 Specifications

Where the Contax T2 was released in 1990, the Canon EOS Rebel T2 is a much younger SLR. Launched in 2004 with far superior technology onboard, the Canon Rebel T2 was known as the EOS Kiss 7 in Japan and the EOS 300X everywhere else. The Rebel T2 is a 35mm film SLR that (at the time) achieved the fastest AF speed in its class. Add to that seven controllable focus points compared to the single one in the Contax. Thanks to its 2.5fps continuous shooting performance in AI Servo AF Mode, it was a delight amongst sport and wildlife photographers. Not bad for a film camera! 

Attached to our Canon EOS Rebel T2 is the Canon EF 40mm f/2.8 STM lens with manual and full autofocus options. Aside from brilliant AF performance, the Rebel T2 cranked out a maximum shutter speed of 1/4000 of a second and an X-sync speed of 1/125 second via the internal flash unit. The final standout feature of the Canon EOS Rebel T2 was the rear backlit display to monitor camera settings. Another neat trick that the Rebel T2 has is the ability to shoot multiple exposures for creative outcomes. 

What’s The Point… And Shoot?

It may seem a little silly to compare a compact point-and-shoot 35mm film camera such as the Contax T2 against the younger and more advanced Canon Rebel T2. And yet here we are doing just that! The point of this exercise is to demonstrate that hype, popularity, and celebrity endorsements are not always what they appear. Granted, there’s a lot to be said for loving a particular era of film camera design. However, when it comes down to dollars and cents, it’s hard to argue that the Contax T2 is a better pick than the cheaper Canon Rebel T2. You can pick up a great 35mm film camera that features an impressive number of bells and whistles at a fraction of the cost. Plus, it’s an interchangeable lens camera that can be used as a point and shoot with the 40mm pancake or drop a pro-grade 85mm f/1.2 on and capture stunning portraits. 

Remember that the Canon Rebel T2 launched 14 years after the Contax T2, so you would expect the features and technology to be more advanced. It’s also important to keep in mind that investing in a high-quality 35mm camera is more than the up-front cost of the camera. You need to have funds for film, developing, and printing and the moments you drop into The Darkroom for your film fix. Be sure to check out our latest YouTube video over at TheDarkroomLab channel, where we go into much more detail comparing these two film cameras. Plus, you’ll get to see the results of shooting with each T2 camera and how the Canon Rebel T2 with the 40mm pancake nailed it every time!

Below are the side-by-side FujiFilm C200 examples.

Canon Rebel T2

Contax T2

Canon Rebel T2

Contax T2

Canon Rebel T2

Contax T2

Canon Rebel T2

Contax T2

Canon Rebel T2

Contax T2

Canon Rebel T2

Contax T2

Canon Rebel T2

Contax T2

Canon Rebel T2

Contax T2

The post T2 Shootout! Canon Rebel T2 vs. the Contax T2 appeared first on The Darkroom Photo Lab.