Classic Car Show photos with my Olympus Pen FT Camera and the Cinestill 50D 35mm film

I am writing this blog especially for Marcus (marcusterrypeddle) who recently read an interview I did with Melvin Mapa and a photo that was featured in the interview appears to have never been blogged about by myself!

I am first of all surprised I never did but I’ve looked through my blogs and cannot find any mention of when I used this film. Perhaps I just forgot at the time as I had a really busy summer in 2018 taking lots of photos.

These photos were taken on my Olympus Pen FT when I first only had one lens for it which was the Zuiko 40mm f 1.4

I visited a classic car show in Stanmer Park along with my friend and we travelled there in her 1965 Mustang.

At the time I posted a lot of the photos on instagram but for anybody not on Instagram, here are some of the photos I took:

I was really pleased with how they had turned out and I was happy that I had chosen the Cinestill 50D Film.

However, I remember at the time feeling frustrated that I only had the 40mm lens as I felt this restricted the amount of car I could really get into each photo. I therefore improvised and did some close up shots of the cars and some of their interiors. I also stood as far back as possible where I was able to, so I could try to fit a whole car into the photo.

It wasn’t long after this that I invested in some other size Zuiko lenses for the camera and I certainly haven’t regretted doing that.

My first attempts at processing film using the Ars-Imago Lab-Box

For anybody who has been following my blog for a while, you may have read about my ‘light leak’ issues I had when I first attempted processing film in a changing bag because the sleeves of the changing bag were too big for my slender arms and ended up letting light in and therefore ruining some of the film I was developing.

Now, I know I’ve had the alternate option of loading the film tanks in the darkroom, since I now have access to one. However, due to current work commitments and the fact the local community darkroom takes me approx 1-2 hours to travel to (since I don’t drive and have to rely on public transport or walk), the very precious time I am currently able to spend in the darkroom, I want to focus solely on making prints, rather than developing film.

I recently saw in the film community that people were getting excited about their Ars-Imago Lab-Boxes arriving in the post that they had backed on Kickstarter in 2017.

I didn’t get back into film photography until last year, so completely missed out on the opportunity of purchasing one via the Kickstarter campaign which seemed much cheaper than what they now retail at.

I really wanted to start doing my own film processing but ideally from home where I can do it around work in the evenings so this lab-box really appealed to me as I wouldn’t have the need for a darkroom or changing bag.

It also looked like a simpler way of loading the film than using a normal developing tank.

I was put off though by the retail price of the lab-box which is around £179.00 plus accessories such as the crank handle cost extra.

Back in August, I was chatting to one of my photography friends about it and they said they had backed the original campaign on Kickstarter and just received theirs in the post. Although, realistically, they didn’t think they currently have time to process their own film.

As luck would have it, my friend agreed to sell his one to me (for a lot less than the current retail price!) and his one came with both 35 and 120 modules plus the crank handle accessory and also a film retriever.

He hadn’t even opened the original postage packaging to look at it so it was all completely brand new and sealed up!

I decided I was going to use the Cinestill DF 96 Monobath since it has both the Developer and Fix in one and I figured it would be the easiest thing for me to try first until I got used to processing film:

Initially, I was going to try developing the 35mm film, as that looked the easiest.

What I didn’t bank on, was not being able to retrieve the film leader out of the canister after shooting. I had initially attempted to only wind the film back in the camera until I felt the slack on the winder but twice in my Olympus Pen FT, I failed to feel when it went slack and it wound all the way back in.

I ended up breaking two film retriever’s trying to get the film out of both canisters and all the other methods (double sided sticky tape etc) didn’t seem to work because I must have worked the film into the canisters tightly which made it impossible to retrieve them without breaking the canisters (so off to the local lab they went for developing)……not a great start so far!

In the meantime, I had taken some black and white photos on my Hasselblad 500 C/M camera so I decided to use the 120 module first instead.

Once I had read the instructions, I found this very simple to do. However, I was a little disappointed on reading to discover that I cannot process 120 films with PET Base which include the following:

JCH 400, Rollei Infrared, Rollei 80s, Rollei Superpan 200, Rollei 400s, Fomapan 100, Fomapan 200, Fomapan 400, Arista Film.

I found this a little frustrating as I quite like using the JCH4 400, Rollei 400s and Fomapan 120 films so I’ll either have to go back to the old way of processing film in the dark with a normal developing tank or get my local lab to process these films.

I decided to use the Crank Handle accessory instead of the standard turning dial (which in my kit is black but there are orange and green options) as I thought this would help with the agitating process.

I used the Ilford FP4 (125) 120 roll film and the temperature of the monobath was 21 degrees so the instructions told me agitate for 6 minutes.

I then rinsed the film inside the tank as per the lab-box instructions then washed the film in a jug with some wetting agent.

I had a slight issue with the Crank Handle mid agitation which I’m not sure if I locked properly into the tank and it promptly came off! Thankfully the film didn’t seem to be affected by this as I was concerned about a light leak.

I took the photos in my local cemetery as I knew I wouldn’t be too annoyed if I messed up and didn’t develop them properly and here are some of the photos I took:

I was really happy with the outcome of my first photos using this box. The main thing was that I actually managed to develop some photos I could scan!

I was determined to test out the 35mm module so I loaded my Pentax K1000 with some Kosmofoto 100 film and I took most of the photos at my local cemetery (again, just in case they didn’t develop very well so I wouldn’t be too disappointed).

This time I managed to wind the film back to the point where I left the leader out! (as it’s really easy to tell in my Pentax K1000 when I’ve wound the film back to this point).

Loading the 35mm film into the lab-box was very easy and it wound into the box so quickly I genuinely thought the film had jammed midway through loading and that I wouldn’t get to develop the full film. I couldn’t pull the film back out so just had to go with it and see what happened at the end. Thankfully, it had actually loaded the whole film and hadn’t jammed as I had initially feared.

I again, agitated the film for 6 minutes as my monobath was 21 degrees. I rinsed as per the instructions and used a wetting agent and here are some of the results:

Once again, I was pleased that there were photos and that I was able to scan them! I was also really happy with the tone and contrast of these photos for a beginners attempt.

I had some drying issues with both sets of negatives. I decided to dry them in my bathroom since I feel my bathroom is the least dusty/fluffiest place to hang them (plus my three extremely fluffy cats don’t tend to go in there).

Even though I had used a wetting agent and wiped down the negatives before hanging to dry, they still managed to attract a lot of dust and fluff whilst they were wet and sticky before they fully dried!

I therefore had to use a film cleaner on them to try and get them as clean as possible before I could scan them.

I could see some water marks on them too, so I’m considering whether to use bottled water next time I rinse them as the tap water where I live is extremely hard and causes a lot of limescale issues on my taps, kettle etc and see if that makes a difference.

Since I’m new to film processing, I know I’ve a lot to learn about using various chemicals and the drying process etc.

With regards to the lab-box, would I recommend it? I would say if you currently process your film using a darkroom/changing bag and the tanks with no problems, then I would continue that way and save your money.

This product is certainly a more costly way of developing your film because of how much it retails at.

However, if you’re wanting to try out processing film and are feeling overwhelmed about doing it in the dark, or using the normal processing tanks, then I’d definitely recommend this box.

It has certainly given me the confidence I needed to process film again after my previous disastrous attempts last year.

I also love the fact I can process them in daylight in the comfort of my home without the need of using a changing bag or darkroom.

I also think once you get to grips with the lab-box, it is a less fiddly way of developing your film than loading it into a normal developing tank but this is only my personal opinion.

Lastly, will I be using the lab-box on a regular basis? then the answer is yes! Just the buzz alone of seeing my film come out of the tank with photos was a massive high for me and felt like a real sense of achievement! I definitely don’t get the same buzz when picking the film up from my local lab.

Since I’ve only developed two rolls of film so far, I’m looking forward to experimenting with different chemical types and also doing colour film too.

I would love to know if anybody else has got one of these and has tried it? It would be great to read your opinions of what you thought of it.

Also, if anyone who already processes their own film has any advice they would like to share with me going forward, I’m always grateful for any help since I’m a complete beginner and have much to learn!

Using the Cinestill 50D 120mm film with my Hasselblad 500 C/M camera

This was the only colour film I ended up using in my Hasselblad camera whilst I was away on holiday.

I had previously used this film in the 35mm format on my Olympus Pen FT Camera at a car show which I blogged about last year and was impressed with the results so was interested to try out the 120mm format in my Hasselblad.

It was one of the last films I used during my visit to Dalyan in Turkey so half of the film is of that. I used it during a visit to a hotel which had a beautiful enchanted garden where I ate a yummy local turkish breakfast and here are the photos I took:

Although I used a lens shade, there is unfortunately a slight red flare (from the sun) in a couple of the photos which I think makes it look like I’m using one of those experimental colour films. Also I’m not sure if there was a fault with this particular film? as there is a black line going through some of the photos on the left hand side.

Anyway faults aside, I really hope I managed to capture the magical feel of this place. I could easily have spent all day there but I was on an excursion for the day so this was only the first stop (to have our traditional turkish breakfast).

The second part of the film was used during a trip to Le Havre in France. I literally got back from Turkey, was home for one day before my husband and I set sail to Le Havre for my second holiday of the year.

It was thankfully a pleasant sail as the sea was nice and calm and it was also our first trip to France on our boat which was quite exciting.

I took some photos in the harbour that we moored at in Le Havre:

Overall, I wasn’t particularly impressed with the photos as I had previously been with the car show ones and I question whether I would have had better results if I’d used this film again at another car show.

However, I’m pleased I tried it out with a different subject matter but know in future if taking similar photos, I would most likely use a cheaper colour 120mm film which I think would have just as good (if not better) results.

My Olympus Pen FT Camera and Cinestill BwXX film

I’ve been a fan of the Cinestill film ever since I tried the Cinestill 50D colour film using my Olympus Pen FT and got some great photos at a car show.

I’d also used the Cinestill 800 colour film with my Pentax K1000 and had managed to take some nice evening shots.

In a nutshell Cinestill film is a motion picture film for still photographers.

I’m fortunate enough to have a shop in Brighton called Zoing Image which stock Cinestill 50D and Cinestill 800 colour film.

However, when I discovered the Cinestill BwXX black and white film, they unfortunately didn’t have any in stock for me to buy. I therefore had to look online and bought the film through Analogue Wonderland  as there were a couple of other creative style films I wanted to try that they sold so I bought them altogether.

I already knew that I wanted to use my Olympus Pen FT camera for this film because I love the high quality lenses this camera has and I also knew I mainly wanted to take architectural style shots. Also, the size of the photo taken on a half frame camera is very similar to cinematic style photos.

The Cinestill BwXX is a high speed, classic black and white film emulsion with a recommended ISO 250 under daylight.

What I also love about this film is the fact it’s a classic black and white film stock left relatively unchanged since it’s release in 1959 for still and motion picture use so this really adds to that vintage film feel of a photo.

I’ve read that it’s a classic film stock to fill the void left by the discontinuation of it’s sister films, Kodak Plus-X (which was discontinued in 2010) and TXP320.

The film produces 36 exposures (or 72 on a half frame camera) and is a 35mm film format. It’s not the cheapest of films and retails at around £10 per roll.

Here are some photos I took whilst out and about in Brighton


Since I had architectural photo’s in mind for this film I also visited the Barbican in London and took some photos:


I got the film developed at my local lab and I scanned the images using my Epson V600 scanner.

One thing I did notice when the negatives were developed was the high quality negatives produced. They were really thick and not flimsy and the images on the negative were very bright and clear to the naked eye.

As I expected, the photos have a real grainy, cinematic look about them which I do think has worked well with the architectural shots.

Going forward I would definitely use this film again if I had a black and white vintage style photography project in mind as i think the film would work well with that.