{"title":"Week 04","description":"","products":[{"product_id":"lucky-color-200","title":"Lucky Color 200","description":"\u003cp\u003eColor 200 marks Lucky’s return to colour film. It might seem to be a new player in the colour film space, but Lucky’s history goes back to the 1950s, when it was producing motion picture and black and white film. Colour film followed in the 80s, and for a time Lucky was part owned by Kodak. Lucky stopped making colour film in 2012, but brought it back in 2025 because of the resurgence of analogue photography. C200 is the first entry.\u003c\/p\u003e\n\u003cp\u003eSo who’s it for? Lucky is pitching this at the consumer end of the market, in the same category as Kodak Gold 200. And they are similar films. It does look similar in scans once its reddish cast is reduced, and has a similar amount of grain. Like Gold, it’s a good film for portraiture, travel and as a general all-rounder. It does have differences: it has lower contrast with brighter shadows, is a little cooler and is less saturated, except on red subjects. Those are noticeably bolder. It also tends to take on a green cast when underexposed.\u003c\/p\u003e\n\u003cp\u003eLucky Color 200 is an easy choice to throw in a bag when you don’t know what you’ll be shooting. It’s at its best in bright light. Under cloud or indoors, its colours turn more muted. It can handle a stop of overexposure well and could easily become your everyday film, at a price point that is hard to argue with.\u003c\/p\u003e","brand":"Lucky","offers":[{"title":"35mm \/ Single","offer_id":46732408914108,"sku":"L-LC200-35-1","price":25.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732408946876,"sku":"L-LC200-120-1","price":25.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/lucky-200-35mm-36exp.png?v=1792956337"},{"product_id":"ilford-pan-f-plus-50","title":"Ilford Pan F Plus 50","description":"\u003cp\u003eIf you're looking for the finest grain in black and white and you have the light for it, Ilford Pan F Plus is where you start. It's been around in some form since 1948 and has long been a favourite for studio and portraiture work. But it's not just a studio film. In 120, grain is essentially invisible. In 35mm, it's finer than anything else in the Ilford range.\u003c\/p\u003e\n\u003cp\u003eThe fine grain is a result of its speed: 50 ISO. And that's the one caveat. Follow the Sunny 16 rule and you're shooting at 1\/50 second at f\/16. That's touch and go for handheld with stiff or sticky shutters. In darker conditions you'll need a wider aperture or a tripod. But in bright light — landscapes, architecture, travel — the detail is hard to rival at any speed.\u003c\/p\u003e\n\u003cp\u003ePan F Plus has more contrast than you might expect from such a fine-grained film. Deep blacks, punchy tones. If you've shot Delta 100 or FP4 Plus you'll notice the difference. It’s in the same ballpark as Tri-X but without the grain.\u003c\/p\u003e\n\u003cp\u003eOne thing to know: Ilford advises developing this film within three months of exposure. It doesn't have the shelf stability of some stocks once it's been through your camera. Shoot it then develop it promptly.\u003c\/p\u003e","brand":"Ilford","offers":[{"title":"35mm \/ Single","offer_id":46732409143484,"sku":"I-PF50-35-1","price":32.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732409176252,"sku":"I-PF50-120-1","price":24.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/ilford-pan-f-plus-50-35mm-36exp.png?v=1780992556"},{"product_id":"ilford-xp2-super-400","title":"Ilford XP2 Super 400","description":"\u003cp\u003eIlford XP2 Super is the odd one out in the Ilford black and white range. It's a chromogenic film, processed in C-41 — the same chemistry as colour negative film. It's the only widely available chromogenic black and white film still in production.\u003c\/p\u003e\n\u003cp\u003eXP2's grain behaves differently from conventional black and white film. Overexpose it and the grain actually gets finer. At box speed the grain is already very fine for an ISO 400 film, and it only improves from there. Ilford rate the film usable from exposure index (EI) 50 to EI 800 on the same roll, all with standard C-41 processing. You can't push XP2 in the traditional sense — extended development doesn't gain you any real speed. The EI 800 end works because the film's latitude absorbs the underexposure, not because development is compensating.\u003c\/p\u003e\n\u003cp\u003eThe images have a medium contrast with good shadow detail and clean highlights. It's a different look from HP5 Plus or Delta 400 — smoother, less gritty. Because the image is dye-based rather than silver grain, it works with Digital ICE dust and scratch removal when scanning. If you scan your own negatives, that's a real time-saver over conventional black and white.\u003c\/p\u003e\n\u003cp\u003eXP2 Super has been around in its current form since 1998. It's not a replacement for your conventional films — if you want the look of Tri-X or the fine grain of Delta 100, those do their own thing. But if you want black and white you can rate anywhere from 50 to 800 in changing light, XP2 is the practical choice. It rewards overexposure rather than punishing it.\u003c\/p\u003e","brand":"Ilford","offers":[{"title":"35mm \/ Single","offer_id":46732409503932,"sku":"I-XP2-35-1","price":26.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732409536700,"sku":"I-XP2-120-1","price":24.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/ilford-xp2-400-35mm-36exp.png?v=1792723912"},{"product_id":"lucky-shd400","title":"Lucky SHD400","description":"\u003cp\u003eLucky started making film in China in the late 1950s, beginning with black and white movie film. SHD400 dates from the early 2000s. It disappeared around 2012 and, like a lot of good things in film photography right now, it's back. You might also see it sold as Luckypan SHD400.\u003c\/p\u003e\n\u003cp\u003eThis is not a quiet film. The blacks go deep, the highlights stay bright and crisp, and there isn't a lot in between. If you've ever pushed HP5 a stop just to get more grit and punch, SHD400 gives you that straight out of the box. Take it for a walk through the city on a grey day, point it at buildings with hard light and deep shadow, or at anything you want to feel a bit dramatic.\u003c\/p\u003e\n\u003cp\u003eIt has grain, and in 35mm you'll see it, but it's not overpowering. It won't flatter every portrait, but on the right face it has real character. If you want softer, more subtle tones, that's fine. HP5 Plus or T-Max 400 will do that better. SHD400 is for when you want a picture with some edge.\u003c\/p\u003e\n\u003cp\u003eIt likes light, so be generous with it. Rate it at 200 or give it a bit more exposure than you normally would, and you'll get more back in the shadows.\u003c\/p\u003e\n\u003cp\u003eIt's also cheaper than Tri-X or BwXX, which makes it an easy roll to try. Shoot one and see if the drama suits you. There's a good chance it will.\u003c\/p\u003e","brand":"Lucky","offers":[{"title":"35mm \/ Single","offer_id":46732544049340,"sku":"L-LP400-35-1","price":25.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/lucky-shd-400-35mm-36exp.png?v=1792956337"},{"product_id":"ilford-sfx-200","title":"Ilford SFX 200","description":"\u003cp\u003eIlford SFX 200 is a black and white film with a twist. It’s more sensitive to red light than most films. Add a deep red filter such as the Tiffen Red 29 and you get the classic infrared look. Bright foliage, dark skies and strong contrast. It’s a look that’s very difficult to replicate in post-processing.\u003c\/p\u003e\n\u003cp\u003eIt isn’t only for trees. Architectural photographers like it for the way it brings out texture. It’s also good for big views on hot, hazy days. Normal film struggles when distant hills fade into the haze. With the filter on, SFX cuts through it. You can get a clear shot of a view you can barely see.\u003c\/p\u003e\n\u003cp\u003eThe infrared look works best with sun and leafy trees. Compose before the filter goes on, because it’s hard to see through. Take a light reading without it, then adjust for your filter.\u003c\/p\u003e\n\u003cp\u003eYou’re not locked into the infrared look for the whole roll. With no filter it behaves like a regular black and white film. Contrast and grain are both moderate. For an ISO 200 film it’s at the grainier end. It has about the same grain as Delta 400, and less than HP5.\u003c\/p\u003e\n\u003cp\u003eSFX 200 isn’t likely to be your default film. But it offers a look and flexibility few other films provide. It’s a good film to keep in the fridge for when you want to do something different.\u003c\/p\u003e","brand":"Ilford","offers":[{"title":"35mm \/ Single","offer_id":46894720483516,"sku":"I-SFX200-35-1","price":28.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46894720516284,"sku":"I-SFX200-120-1","price":28.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/ilford-sfx-200-35mm-36exp.png?v=1792729529"},{"product_id":"ilford-ortho-plus-80","title":"Ilford Ortho Plus 80","description":"\u003cp\u003eIlford Ortho Plus 80 is unique in Ilford’s line of film. It’s orthochromatic, which means it is less sensitive to reds and oranges. This is typically what silent-era films up to the late 1920s were shot on, which is why skies in those films are bright and reds and oranges (think bricks) are much darker than on the panchromatic film that followed.\u003c\/p\u003e\n\u003cp\u003eIlford’s Ortho started out as a sheet film for large format cameras, designed for high-resolution copy work. It was only released in 35mm and 120 in 2019. That heritage shows: the level of detail is excellent. It’s a film you choose for its look, not one you reach for time and time again. It’s not a beginner film. What it is is a wonderful film for landscape and studio work.\u003c\/p\u003e\n\u003cp\u003eIn the studio the contrast is pretty even. Outside, it depends on the colours in front of you. Skies are often brighter than on panchromatic film and can become featureless quite quickly. Anything red or orange becomes dark. So a brick building with a blue sky behind it heads towards extreme contrast, and that’s where the drama is. This is where a yellow filter becomes an important part of the kit. It knocks down the sky and brings back detail that would otherwise be lost. This isn’t one for orange or red filters, though: they block most of the light it can see.\u003c\/p\u003e\n\u003cp\u003eGrain is more visible than you might expect at ISO 80, but it’s controlled, and less so in 120. Landscapes, architecture and people in the studio can look spectacular. And if you develop at home, there’s a bonus: because it doesn’t see red, you can develop it in a tray under a deep red safelight (not an amber one).\u003c\/p\u003e","brand":"Ilford","offers":[{"title":"35mm \/ Single","offer_id":46894720549052,"sku":"I-ORT-35-1","price":28.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46894720581820,"sku":"I-ORT-120-1","price":28.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/ilford-ortho-80-35mm-36exp.png?v=1792950332"},{"product_id":"kentmere-pan-400","title":"Kentmere Pan 400","description":"\u003cp\u003eKentmere Pan 400 is a versatile, forgiving black and white film made with the same technology as Ilford HP5 Plus. It has the gentlest contrast in the range: less punch than Pan 100 and well short of Pan 200. Tones are even, with detail in both the shadows and the highlights.\u003c\/p\u003e\n\u003cp\u003eIts speed makes it a great all-rounder. It’s well suited to street photography, where you need a faster shutter speed to freeze motion, and to travel and documentary work where the light changes through the day. It handles overcast days and available light indoors, and it pushes well too, so you can keep shooting as the light fades.\u003c\/p\u003e\n\u003cp\u003eThe trade-off is grain. It’s visible, mostly in the shadows and darker tones, and a touch more than HP5 Plus. Highlights can also look a little grey. If you want finer grain and have good light, Pan 100 is the better choice, and if you want a punchier look, choose Pan 200.\u003c\/p\u003e\n\u003cp\u003eAt this price point it’s a good film for beginners. The latitude is wide, so a misjudged exposure usually still gives you a usable negative, and it copes with less-than-perfect development, which helps if you’re learning to develop at home. It’s also well suited to seasoned shooters who want a roll they can shoot a lot of.\u003c\/p\u003e\n\u003cp\u003eWhen the forecast is less certain, choose Pan 400.\u003c\/p\u003e","brand":"Kentmere","offers":[{"title":"35mm \/ Single","offer_id":46894720614588,"sku":"K-P400-35-1","price":18.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kentmere-pan-400-35mm-36exp_11900cfa-fe6d-426e-a686-69bf118e5309.png?v=1792717831"},{"product_id":"kentmere-pan-100","title":"Kentmere Pan 100","description":"\u003cp\u003eKentmere Pan 100 is a fine-grained, sharp black and white film made with the same technology as Ilford FP4 Plus. It has good contrast: not as punchy as Pan 200, but noticeably more than Pan 400. This makes it an excellent choice for a wide range of photography.\u003c\/p\u003e\n\u003cp\u003eIt’s great for landscape work where there’s good light. It also captures people well due to its fine grain and restrained contrast. And like other films rated around ISO 100, it’s an exceptional choice for architecture, with excellent detail.\u003c\/p\u003e\n\u003cp\u003eIt’s not well suited to street photography unless you like to capture motion. Pan 200 and 400 would be better choices here. Likewise, when shooting at dawn and dusk you may opt for a faster film, as exposures over one second will need compensation.\u003c\/p\u003e\n\u003cp\u003eAt this price point it’s a good film for beginners to learn about film and their camera. It’s also well suited to seasoned shooters who want a versatile roll to throw into their camera for a day around town or a weekend away.\u003c\/p\u003e\n\u003cp\u003eIf there’s good light in the forecast, Pan 100 is an easy roll to reach for.\u003c\/p\u003e","brand":"Kentmere","offers":[{"title":"35mm \/ Single","offer_id":46894720647356,"sku":"K-P100-35-1","price":18.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kentmere-pan-100-35mm-36exp_b6544d83-1312-447f-a31f-09416d83060f.png?v=1792717854"},{"product_id":"fujifilm-acros-100-ii","title":"Fujifilm Acros 100 II","description":"\u003cp\u003eAcros II is the last remaining black and white film Fujifilm makes. It was first released in 2000 and was widely available until 2018, when Fujifilm discontinued it because of decreased demand and difficulty sourcing the raw materials. It came back soon after with revised materials, because of increased demand from younger shooters.\u003c\/p\u003e\n\u003cp\u003eFujifilm says the new version is an improvement: finer grain, more sharpness and better highlight gradation. It does this without losing what sets Acros apart from other black and white film: low reciprocity failure. In plain language: no correction to exposure times is needed on exposures up to two minutes. Up to 16 minutes it needs half a stop. That is remarkable. A 15-minute exposure with Acros requires 21 minutes with compensation; other films would need between 80 minutes and nearly five hours. For exposures over ten minutes it really is the only choice.\u003c\/p\u003e\n\u003cp\u003eThat said, it’s not a one-trick pony. It’s a wonderful film for architecture, portraiture and studio work with strobes. Bright sunny days? Tick. Long night exposures? Tick. Its grain and contrast are comparable to T-Max\/Ektapan 100 and Delta 100.\u003c\/p\u003e\n\u003cp\u003eIt’s a film every photographer should try at least once. There’s nothing like it.\u003c\/p\u003e","brand":"Fujifilm","offers":[{"title":"120 \/ Single","offer_id":46896115908796,"sku":"FU-ACROS100-120-1","price":37.0,"currency_code":"NZD","in_stock":true},{"title":"35mm \/ Single","offer_id":46900295565500,"sku":"FU-ACROS100-35-1","price":37.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/fujifilm-acros-100-35mm.png?v=1792956369"},{"product_id":"ilford-delta-400-collectors-edition","title":"Ilford Delta 400 Collector's Edition","description":"\u003cp\u003eIlford Delta 400 is a ‘professional’ grade film and sits between Delta 100 and 3200. It’s a film with good contrast, nice detail and fine grain. At ISO 400 it’s a versatile film — exposed correctly it can be shot on cloudy and clear days, at midday or dawn\/dusk. Its versatility is not limited to light — it is a jack of all trades suitable for people, landscapes and street photography.\u003c\/p\u003e\n\u003cp\u003eThis is the limited edition. Same emulsion, but Ilford has put it on the clearer base with anti-halation backing it normally uses for 120 format. This is the first time it has done that with a 35mm black and white film. This means less glow and cleaner shadows in scans. Ilford says it’s “subtle”.\u003c\/p\u003e\n\u003cp\u003eIts contrast doesn’t scream at you. T-Max 400 has more contrast but in prints held side by side it can be hard to see the difference. It can be pushed and pulled but results tend to be better when shot at box speed. If you under or over expose you should be ok a stop either side. HP5 definitely has more latitude so if you’re unsure about your light meter then HP5 is a safer choice.\u003c\/p\u003e\n\u003cp\u003eDelta 400 is a nice film to keep in the fridge ready for a day when you’re after a more refined image than HP5. They complement each other well at 400 ISO.\u003c\/p\u003e\n\u003cp\u003eThe Collectors Edition comes in a black cassette and a black box in a limited run.\u003c\/p\u003e","brand":"Ilford","offers":[{"title":"35mm \/ Single","offer_id":48407565009084,"sku":"IL-D400CE-35-1","price":28.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/ilford-delta-400-collectors-35mm-36exp.png?v=1791167761"},{"product_id":"fujifilm-velvia-50","title":"Fujifilm Velvia 50","description":"\u003cp\u003eFujifilm Velvia 50 is a hard-to-find colour reversal (slide) film that is only produced a few times a year. First released in 1990, it has been hard to find since 2005 because of issues with raw materials and changing priorities within Fujifilm. The raw materials have changed and when it becomes available (typically twice a year) outside New Zealand it sells out in minutes. In New Zealand it’s almost impossible to source.\u003c\/p\u003e\n\u003cp\u003eSo why does it sell out in minutes? Many landscape photographers prefer Velvia to other reversal and negative film because it is super sharp, has some of the finest grain of any colour film and is high in colour saturation.\u003c\/p\u003e\n\u003cp\u003eThis is not a beginner’s film. It requires accurate metering. Overexposure quickly leads to blown-out skies, underexposure can render dark areas muddy. Bracketing one or even two stops either side is sound technique when you’re not sure of the light.\u003c\/p\u003e\n\u003cp\u003eIt’s not well suited to long exposures. Over four seconds will require compensation owing to its reciprocity failure and colour shifts are common. That isn’t to say long exposures are not possible — just be aware of the challenges and mitigate with longer exposure times and a magenta colour-compensating filter if colour shifts are not wanted.\u003c\/p\u003e\n\u003cp\u003eVelvia is a one-of-a-kind film. Colour reversal film is no longer common, and within that small group, Velvia 50 stands apart. Super fine grain, super sharp and heavily saturated. That’s why photographers love it and why it’s hard to find.\u003c\/p\u003e","brand":"Fujifilm","offers":[{"title":"35mm \/ Single","offer_id":48459836686524,"sku":"FU-VEL50-35-1","price":68.0,"currency_code":"NZD","in_stock":false},{"title":"120 \/ Single","offer_id":48459836719292,"sku":"FU-VEL50-120-1","price":47.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/fujifilm-velva-50-35mm-36exp.png?v=1792372451"},{"product_id":"fujifilm-superia-premium-400","title":"Fujifilm Superia Premium 400","description":"\u003cp\u003eSuperia Premium 400 is a colour film that Fujifilm says is better suited to Japanese skin tones. And it stacks up. Better than that, skin tones across the spectrum look better shot on Superia Premium 400 than other Fujifilm stocks.\u003c\/p\u003e\n\u003cp\u003eIt’s a daylight-balanced film and it is a better outdoor film than it is indoors. Indoors is fine, but better with flash. If you shoot nature, landscapes or people, Superia Premium 400 is an excellent choice. It’s the closest the Fujifilm range gets to Kodak’s Portra\/Ektacolor Pro line. That makes it possibly the most versatile film in the Fujifilm range. The grain is fine, contrast moderate and it offers more saturation than Portra\/Ektacolor Pro 400.\u003c\/p\u003e\n\u003cp\u003eLike all colour negative film, it is better to overexpose than underexpose. When underexposed, contrast is the first to go. In some scans photographers observe colour shifts but this depends on the scanner — all scanners are different.\u003c\/p\u003e\n\u003cp\u003eSuperia Premium has been developed for the Japanese market and is hard to source outside Japan. When it is available outside Japan it tends to sell quickly.\u003c\/p\u003e","brand":"Fujifilm","offers":[{"title":"35mm \/ Single","offer_id":48465455677628,"sku":"FU-SPR400-35-1","price":75.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/fujifilm-superia-400-35mm-36exp_816fd4ae-d0e8-47c8-8bb7-fd31f21fb7e8.png?v=1792533239"}],"url":"https:\/\/filmco.nz\/collections\/week-04.oembed","provider":"Nelson Film Co","version":"1.0","type":"link"}