“According to a contact from Reflx Lab who recently visited Lucky Film’s headquarters in Hebei, China, the new color film is expected to hit the market in Q2 2025. It’s projected to be the most affordable color film available” — reflxlab.com/en-ca/blogs/n…
Lucky Film used to make colour film for Kodak but the new project will be an independent production. Lucky is (assumingly) not the same as Fujifilm’s new facility in China: analog.cafe/r/film-photogr…
Also, there were rumours online that Ferrania was going out of business. But it looks like *they are not,* although they have been difficult to reach recently, the website was down for some time, and their film stock is low. Eventually, someone from Ferrania (it’s a city; look it up!) came back with the good news: the company is still active.
When developing black-and-white film, you may need to calculate the concentrate vs water (dilution) measurements. These measurements change depending on how much solution you’d like to mix.
For example, 300ml or 10oz of developer solution will cover a single 35mm film — but what does that mean for water and concentrate volumes if you’re developing with Rodinal at 1+25 dilution?
To get the exact water and concentrate volumes needed for the 300ml mix, you’ll need to solve this equation:
x = (1/25) × (300 — x)
…Where “x” is the amount of developer needed.
The answer is 11.54ml of developer, which leaves us with 300 — 11.54 = 288.46ml of water. To check the answer, we can divide 288.46 by 11.54, which gives us 25 (one part developer, 25 parts water). This answer should be rounded to the more practical 290ml and 12ml, or it can be converted to 10oz and 12ml for the US/UK beakers.
(Note that the rounding should ideally differ for ounces and millilitres, and it may be prudent to round the concentrate volume up.)
Chemical Dilution Calculator does all of the above. It also automatically switches default measurement units based on your location and lets you see the precise measurements if needed.
The Chemical Dilution Calculator is part of the Chem Log app. To use it, launch this page: analog.cafe/app/chem-log, and click the purple “Dilution Calculator” button.
I’ve added free trials to the GOLD subscriber-only apps and articles on Analog.Cafe to help you decide whether a membership is worth the commitment.
You can try Chem Log (analog.cafe/app/chem-log), Film Price Trends (analog.cafe/app/film-price…), and Bulk Roll Calculator (analog.cafe/app/bulk-roll-…) for 7 days with no limits and no credit card. On top of that, you can try all of the website features and member-only articles, like the latest, “Pushing Ilford HP5+ to ISO 100,000” (analog.cafe/r/pushing-ilfo…), for 14 days with a card. I will remind you a week before the trial runs out.
Memberships helped keep Analog.Cafe ad-free and 97% free for thousands of readers from 201 countries in 2024. Thank you all who have, are currently, or are considering becoming GOLD members in 2025. Your support means a lot to this resource and its full-time staff of one!
Analogue aF-1 is a new, relatively affordable, premium point-and-shoot camera expected to launch this summer.
The project, which has been in development for over two years, came across my radar late last year. Yet, given that the launch page (af1.analogueshop.com/) has only shared renders (i.e., not the actual photos of the product) and team Analogue has admitted that the sample image on that page was not taken with their camera in the comment on Kosmo Foto’s article (kosmofoto.com/2025/01/anal…), I wanted to do a bit more research before publishing this #editorial🔥.
First, the specs: the €399/$412 camera (with pre-launch discount, €339/$349) would feature a six-element 35mm 𝒇2.8 lens with a Lidar autofocus, autoexposure (only), motorized film transport, shutter speed up to 1/1000, flash, and DX-code reader for ISO25-5000.
When I reached out to Analogue, they added that the camera might also feature exposure compensation (+1.5EV) for backlit scenes and a flash override. However, they haven’t yet responded to my request for a chat or an interview (I’ll update this thread if they do).
I did find a video by Analogue Amsterdam, where a short clip featured a physical (dummy model?) of the camera in their customers’ hands: youtube.com/watch?v=SflI-y…
Mania MFZ is a wooden multi-format, multi-focal-length, multi-pinhole camera system.
A new Kickstarter project by a carpenter/photographer, Ralph Man, promises to “expand the boundaries of pinhole camera capabilities many times over.”
Ralph’s wooden pinhole camera system is expensive (as quality woodworking tends to be), and it may not pan out (given that it’s only 10% funded), but there are still 25 days to go. Whatever the case may be, I think you may enjoy learning about the most-featured pinhole camera design, probably ever:
- The camera can expose 6x6, 6x12, and 6x17 medium format frames (presumably panoramic 135 film formats as well with adapters).
- It takes 4x5 film holders and Lomo Graflock 4x5.
- It can take side-by-side exposures for panoramic exposures.
- It can make shift exposures.
- It takes gel filters.
- It can switch focal lengths from 35mm to 135mm in 20mm increments.
Year-end sale on film, lenses, and cameras: 25% off + free shipping.
I’ve tested a lot of gear this year, some of which are listed at the Etsy shop I run alongside Analog.Cafe, FilmBase. Every piece is thoroughly tested, and everything has exhaustive descriptions and product images. Cameras, lenses, film, books, and more.
FilmBase is a tiny seller that consistently receives five-star ratings and great reviews. I try to ship things as fast as possible and package everything in either upcycled or plastic-free materials. US and Canada only, unfortunately.
Defective disposable cameras and badly respooled film rolls cause issues at film labs and ruin images.
Fujifilm issued a statement to labs about an offending product that may produce unusable images and even damage the minilab machines. There’s also a growing number of posts on social media by lab technicians sharing various problems with rolls and disposables.
Some of those posts suggest that Kodak’s recent rule-tightening about sales of Vision 3 film (see: analog.cafe/comments/up67) may be related to the rise of improper processing and respooling of that film.
The deffective products aren’t necessarily cheaper than quality film but they are always disappointing to the photographers who use them and are upsetting to the lab technicians who have to deal with the fallout while seeing their potential customers get discouraged about film altogether.
The camera in the photo is an example of a product most labs won’t accept (thanks to Fujifilm’s statement, aparently sent to their minilab machine owners). It’s possible that some technicians may be discouraged from processing any product the brand which they do not recognize.
Smartflex, a lightweight 4x5 SLR, launched and reached its goal on Kickstarter within just a few days.
The camera weighs just over 2kg/4.4lb and uses a segmented mirror system to solve “the major issue of short flange distance lenses while ensuring no light leaks.” It uses a 5x5” horizontal ground-glass viewfinder. It’s also possible to use a mobile device with this camera (to film videos via an enormous LF lens) and Instax Wide film.
Various photos and images of the camera show its creator using it hand-held, which is certainly unique for this format. I wrote about this project earlier this year — see some of that footage here: analog.cafe/comments/kqi9
The Omnar 35mm f/3.5 Pantessa FLB is a premium Yashica T* lens rehousing for Leica M-mount, with an image circle large enough for Fuji GFX 100ii and Hasselblad X2D¹.
“The optical formula has been modified[…] to reposition the glass elements into a continually optimized state[…] we have designed the lens so the position of the optical block subtly moves within the housing as the aperture is adjusted[…] This design feature, which is entirely unique to our rehousing, is the key reason the Pantessa lens maintains such high optical performance and rangefinder accuracy across the entire 0.65m through Infinity RF coupled focus distance.” — Omnar.
The Omnar 35mm f/3.5 Pantessa FLB is available to pre-order off the Omnar Lenses website today for £1950 (~$2,435).
This lens’s first limited production run has just 20 units, which Omnar expects to ship by the end of February 2025.
¹ — With adapter. Some vignetting on Hassy. See samples below.
Rveni Labs made a special holder that adapts a portable laser rangefinder device to film cameras.
Zone focusing isn’t difficult, but if you’d prefer to have *laser focus* with your manual film camera, there’s now an affordable way to do this. Reveni Labs, a Canadian startup that manufactures film camera accessories, made a holder with a mirror that lets you clip a small laser rangefinder tool, AquilaPro, on top of your camera.
AquilaPro, which sells for $30, is very accurate, down to 0.078”. There’s about an inch of discrepancy between the actual and measured distance due to the gap between the rangefinder and the mirror introduced by the holder — which won’t be consequential unless you’re shooting with an extremely narrow depth of field. The rangefinder’s limit is 98’ (30m), which can be assumed as an infinity mark (assuming reasonable DOF).
NONS CAMERA, a startup from Hong Kong/Shenzhen known for its Instax film cameras with high-quality lenses, is teasing the release of a new Hasselblad Instax Square back. youtube.com/shorts/3YK6AJM…
You may’ve noticed in the above video that the photographer mounts a filter on top of the lens and one more on top of the viewfinder. Here’s why it’s important:
The challenge of using the Instax Square format with Hasselblad is that the actual 6x6 frame of a medium format camera is 56mm × 56mm, which is smaller than Instax Square’s 62cm × 62cm by 3mm on each side, producing a black border.
NONS modified the projection focus via an additional lens element further back, which made it larger. This allowed them to “enlarge” Hasselblad photos to snuggly fit in an Instax Square.
NONS’ earlier Hasselblad back (reg: $279) produced a thin black border inside Instax Square exposures. The new version does not.
The new back is expected to launch in Q1 2025, according to their Instagram announcement: instagram.com/p/DDeO1-iS0c…. NONS also confirmed (in the link above) that they do not intend to discontinue their earlier back (one that produces borders), and the new version will have film ejection and darkslide operation similar to that of the classic Hasselblad backs (i.e., “less awkward,” according to some commenters’ implied feedback).
Filmomat, a German premium lab tool maker, has released the 135 Autocarrier, a $1,500 automatic film scanning rig for digital cameras.
135 Autocarrier can scan and advance film up to three frames per second (!) via an automatic frame detection system. It uses twenty full-spectrum LEDs (5000K) for accurate scanning colour, and it’s compatible with uncut film and precut strips that are as short as three frames. The rig also triggers your camera’s shutter button automatically.
Filmomat sells beautiful, elaborate, and expensive tools for those who like to develop film at home. This rig even seems suitable for a small lab.
Film frame edge detection (built into 135 Autocarrier and attempted by other manufacturers) is tricky as film cameras may have a slight variance in spacing, frames can overlap, and they do not necessarily have edges (if there’s a dark shadow on the side of an image, for example). These are complex problems to solve, which may make the price of this tool understandable (but I am curious how/how well it solves these challenges).
A high-quality scanner can significantly impact the sharpness of your images (see: analog.cafe/r/how-to-make-…) more than a fancy lens. So, if you’re wielding something pricey, this rig may be the next step to improving your scans and cutting your scanning time down.
“2024 Film Wrapped”: See your film usage stats with the Film Log app!
This year, I shot 86 rolls of film, and my most active month for archiving it was November. But my most active month of all time was December last year: 17 rolls. How about you?
If you’d like to see a graph like that rendering *your stats*, check out Film Log: analog.cafe/app/film-log
Film Log is a free web app that helps you track film across your cameras and throughout its lifecycle — from packaging to the archive. See the overview of Film Log on 35mmc: 35mmc.com/07/05/2022/film-…
I’ve just added a card to the app that shows the number of rolls archived every month and a summary of total usage. You would need to have used the app to see your stats.
If you aren’t using Film Log to track your film, this may be a good time to start!
Most of the articles on this blog take hours, days, or weeks to create. But the news of a new film, a new camera, or something else happens much faster than that.
This is why I started sharing time-sensitive write-ups and shorter pieces as comments (rather than full articles) and tagged them as #editorial🔥.
Editorial comments are part of this blog’s RSS feed, and I also share them on Mastodon, Bluesky, and Threads to inform the community. But until today, they were off to the side of the main blog content if you visited the website.
This new update (v3.25.76) adds the top three newest Editorial pieces at the top of the News page (analog.cafe/news). You can now get a glance at what’s new in the world of film photography just by visiting that page.
I try not to bother readers who come here for film photography-related stuff with software updates. This one, however, took days to get just right (animation, data transforms, layout) — which is why I wanted to flaunt it a little.
Better support for international readers on Analog.Cafe.
Even though I mostly read, write, and speak English here, film photographers are an international community. This blog was developed and first published out of Chiang Mai (Thailand), a small city with perhaps the most labs per capita in the world (see analog.cafe/r/where-to-dev…). I also get comments and emails in other languages, which is easy as translation tools are pretty good these days.
But because I still live in my anglophone bubble, some international readers (about 1% of you) have had a bad experience on this blog. It blew up with an error message suddenly and unexpectely, simply because of a translation plugin.
The issue is finally fixed. It was a challenging bug to track down and rectify (if you’re technical, you may find this github.com/vercel/next.js/… and this martijnhols.nl/gists/every… helpful). And it would’ve never gotten fixed if no one had told me it was happening (since I don’t use translation tools for English pages).
So thank you all for giving me feedback and reporting bugs over the years!
Please let me know if you ever have issues on this blog, would like to chat about film, or would like to submit an article of your own — nearly half of the submissions I publish here are written by non-native English speakers!
Paname Paper is a Parisian street photography print newspaper — shot entirely on film.
Photography books are tons of fun to explore. I reviewed a few of them here (analog.cafe/books-zines) and even made a couple. But a newspaper feels new.
My high school and early college days involved daily subway travel, where there was no reception. Lots of people, including me, read local papers on the train. I miss the feeling of thin, crispy pages.
I’ve seen and read a few thin magazines about photography, but I don’t think I’ve held a newspaper that featured a topic I care about a lot — film photography — so prominently on every page.
Grégoire Huret’s new project is just that:
Paname Paper, produced and entirely photographed by Grégoire Huret, explores a theme deeply rooted in Parisian identity: “Modes de Vie”. The name Paname Paper—combining Paname, the slang term for Paris, and Paper, symbolizing the journal—perfectly reflects the spirit of this visual project. It captures urban life in all its diversity, in a style that navigates between street photography and documentary photography.”
The first issue is 10€, 36 pages, and 260 x 370 mm. It’s printed in France on 60 g/m² newsprint sustainable paper and solvent-free ink. It’s available on Grégoire’s website:
Kosmo Foto just shared price updates from Kodak — some of it is good news!
Stephen writes, “Kodak Alaris has announced a price increase to its range of films and single-use cameras which will take effect on 1 January 2025” (kosmofoto.com/2024/11/koda…)
These announcements happen every year, which makes film photography consumption feel different. In a healthy economy, the force of inflation raises prices of all goods by about 3%, but sellers and retailers do their darndest to hide those increases. Yet, Kodak (and Ilford) tell us exactly how much we could expect to pay more next year.
Of course, the trick is that these price increases are not for the consumer — they are for the retailers and distributors. Unless you’re a motion picture studio, there’s no way to buy film directly from Kodak (see: analog.cafe/comments/up67) — thus, those price fluctuations won’t affect you directly. Some sellers and distributors will eat the price difference or improve their tactics, while others will update the prices significantly.
Lomourette is Lomography’s new half-frame camera with a flash that looks like Diana Mini.
Diana Mini was my second film camera (the first one was Super Sampler). I took that little green plastic box with me on many trips; I loved its look and how light it was. It could switch between a half-frame and a square exposure format mid-roll!
Lomography’s new Lomourette resembles Diana Mini in looks and functionality. While Lomourette can not switch the format mid-roll, it comes with a mountable flash (my Diana Mini did not, although newer versions did, too).
My Diana died after about two years of use (the shutter ceased when I was hiking up Huangshan). It’s possible that the added complexity of switching the frame mask and film advance steps accelerated its demise. Presumably, decades of additional production experience and simplified design make Lomourette a more reliable camera. Lomography sells its new cameras with a two-year limited warranty.
The new Lomourette uses a zone-focused 𝒇8 24mm plastic lens (.6m/2’ closest focus) with a fixed 1/60th shutter (no cable release). It’s available in three colours on Lomography’s website: shop.lomography.com/ca/cat…
I’ve got three new curated film packs on sale at the Analog.Cafe’s Etsy shop, FilmBase: filmbase.etsy.com
There’s a four-pack of Lomography films, including their wild Turquoise and Purple emulsions. A two-pack of Polaroid film, including a Round Frame edition pack and a brand-new Black and White pack that features major improvements to the film’s dynamic range. And an Ilford medium format 4-pack with two rolls of Harman Phoenix and rolls of their professional Delta films.
All prices include free shipping to the US & Canada.
Thanks so much for your support and happy Wednesday!
How the Canada Post strike is affecting Analog.Cafe and other small Canadian businesses: update.
Canada Post isn’t the only courier service available here. Of course, there is DHL, UPS, and FedEx, all of which are significantly more expensive than EMS (and not necessarily better). There are also smaller, localized couriers, like Chit Chats, which I’ve been using to fulfill orders at my Etsy store (FilmBase).
Unfortunately, shipments via EMS that started before the strike are in limbo.
(This includes my customers expecting a film camera in the mail… My apologies, and thank you so much for your patience! This will eventually be resolved, but please feel free to contact me regarding your order anytime at [email protected].)
EMS is a network of local mail services, such as Canada Post, USPS, and Royal Mail, that allows us to ship using cheap, reliable, and familiar services. ems.post/en
Many shipments can’t come to Canada because the seller is shipping via EMS, blocked by Canada Post, where I live.
This means I may not get new cameras and gear for review for a long time. I’m also waiting for a component for making an instant film camera from scratch — which is suck in EMS as well. Similar issues may affect others like Flic Film, Camera Traders, Downtown Camera, and Beau.
But the good news is that there are no problems with outgoing shipments or returns. A whole bunch of gear is on sale at FilmBase until December 3: filmbase.etsy.com/ 😉
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