Just posted a few examples in the Technical Gallery. All shot in two days, one sunny, one overcast, in Montreal. Shot at ISO 200, souped in XTOL (stock).
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(Sorry about the boring photos)
Thanks Alex! The shot with the "neighborhood couch" looks like Philly. 
If I can take anything out of you photos Alex it would be that in overcast light at 200 there seems to be reasonable detail in the shadows but in bright sunlit scenes it may struggle at 200 with dark shadows
pentaxuser
pentaxuser
Did not do portraits. Tried both high and low contrast situations.
An interesting film, all in all. I prefer it in low to medium contrast situations, but with good range of tonalities — the phone booth is a good example, shot in pretty low light ; the sofa pick is also shows a nice range of tonalities.
Works fine for street at 200 ISO. Not very forgiving in terms of exposure, though — I did bracket a lot, and my general feeling is you better be right on. One stop too high or one stop too low doesn't seem to give you much room to work on (but then, haven't been in the darkroom with these, so it's more of a feeling than actual experience). High contrast, if not careful, you risk blown highlights if you don't meter perfectly — see post #759: did not have my spot meter, and it was a tough scene to meter with an incident meter ; could have went down a stop, but I would have lost the little detail I had on the wood in the shadows. This said, many films would have had problems with this, especially in XTOL stock ; 1:3, or D23 at 1:3 might have saved the highlights here.
It is advertised (somewhat) as a street photography film @ 200, but it does test your knowledge and sense of light and contrast. In other words, not sure it's a "Sunny 16" kind of film, more one for which it may be best to rely on a meter.
Grain is surprisingly small. I generally don't like that — yeah, I'm THAT guy —, but it works here. I'd be curious to try it in 120 for landscape, but I think it would work even better for still life.
An interesting film, all in all. I prefer it in low to medium contrast situations, but with good range of tonalities — the phone booth is a good example, shot in pretty low light ; the sofa pick is also shows a nice range of tonalities.
Works fine for street at 200 ISO. Not very forgiving in terms of exposure, though — I did bracket a lot, and my general feeling is you better be right on. One stop too high or one stop too low doesn't seem to give you much room to work on (but then, haven't been in the darkroom with these, so it's more of a feeling than actual experience). High contrast, if not careful, you risk blown highlights if you don't meter perfectly — see post #759: did not have my spot meter, and it was a tough scene to meter with an incident meter ; could have went down a stop, but I would have lost the little detail I had on the wood in the shadows. This said, many films would have had problems with this, especially in XTOL stock ; 1:3, or D23 at 1:3 might have saved the highlights here.
It is advertised (somewhat) as a street photography film @ 200, but it does test your knowledge and sense of light and contrast. In other words, not sure it's a "Sunny 16" kind of film, more one for which it may be best to rely on a meter.
Grain is surprisingly small. I generally don't like that — yeah, I'm THAT guy —, but it works here. I'd be curious to try it in 120 for landscape, but I think it would work even better for still life.
First of all, no need to patronize! Secondly, yes you process to your liking and it shows, I prefer al dente.
Then you should shoot a roll and process al dente. Post the results here! The more feedback, the better.
Good stuff Alex.
Indeed, although whether or not it's a "struggle" becomes a matter of personal choice and esthetics.
House in #755 is a good example. No details in the shadows, and if I had wanted some, the front steps would have been overexposed and tough to work with. But would this be a more interesting photograph, I wouldn't mind it, because here, I do like the effect and ambiguity it brings, and it is faithful not to what I saw (the door) but to what the film saw. In other words, and to be less esoteric, it's a film I would use if I want what it can give me specifically (rather than generically, as many modern films).
Are you really being honest here? I mean cocky Catlabs CEO, inferior product... why on earth would I shoot a roll when I have so much more to choose from? Feedback to a bunch of grumpy unimportant outsiders? Really? At least this is the label we got! I wish them (Catlabs) all the best as I truly love film photography, and I mean it (sure you can doubt me, no bad feelings) but I will not waste my time with this film - printing in a darkroom is quite a bit different to scanning.
I've posted some samples in the other CatLabs thread (in the B&W Darkroom part of Photrio).
I like the film - it is contrasty for sure, and I think the recommended development times, at least for Rodinal, are a bit too long, so you end up with that crispness that seems to drive some here crazy. At the recommended time, I think it is a 400-ish speed film.
I will try reducing the development time a bit, and maybe shoot it at 320, and see if it is possible to eek out a bit wider tonal range.
But not too much - otherwise I could just shoot Delta 400.
It is a nice film for a certain look and vibe. Ralph Gibson might like this film (although maybe its not grainy enough for him).
I like the film - it is contrasty for sure, and I think the recommended development times, at least for Rodinal, are a bit too long, so you end up with that crispness that seems to drive some here crazy. At the recommended time, I think it is a 400-ish speed film.
I will try reducing the development time a bit, and maybe shoot it at 320, and see if it is possible to eek out a bit wider tonal range.
But not too much - otherwise I could just shoot Delta 400.
It is a nice film for a certain look and vibe. Ralph Gibson might like this film (although maybe its not grainy enough for him).
And the reveal is complete.
Underdeveloping and underexposing it brings out the grain.
It‘s good that this film does have a certain look, otherwise why get it?
This + 1 000 000 
There are times when you struggle with a project and suddenly realize "OMG, what this needs is film *** souped in developer ***!"
It's the reason I'll try this one, as I do with others, at least once in a solvent developer, a non-solvent developer, and in a pyro developer. It'll give me a general picture.
There are times when you struggle with a project and suddenly realize "OMG, what this needs is film *** souped in developer ***!"
It's the reason I'll try this one, as I do with others, at least once in a solvent developer, a non-solvent developer, and in a pyro developer. It'll give me a general picture.
Because it’s $6.99?
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Brings up an interesting question, what is the "box speed" of Kodak Professional T-Max P3200 and Ilford Delta 3200 Professional?
The box speed of P3200 is 3200, but far more information about how to use the film is in their documentation, along with curves, etc.
"The nominal speed is EI 1000 when the film is processed in KODAK PROFESSIONAL T-MAX Developer or KODAK PROFESSIONAL T-MAX RS Developer and Replenisher, or EI 800 when it is processed in other KODAK black-and-white developers. It was determined in a manner published in ISO standards. For ease in calculating exposure and for consistency with the commonly used scale of film-speed numbers, the nominal speed has been rounded to EI 800."
in other words, 3200 unless you use ISO testing protocols… then a buttload less.
Yep. Ilford and Kodak both offer films that perform well with your camera set at ISO3200 so that's how they market them. But both companies are honest about what speed the films actually are.
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