Fuji Acros 100

5 Frames in Jelgava with Neopan 100 Acros II and Nikon FM – by Felix I Flores Rodriguez

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The images in this article come from a town forty-one kilometer southwest of Riga, the capital of the Republic of Latvia, with a population of 55,972 inhabitants. The word Jelgava in the opinion of the linguist Jānis Endzelīna, denotes a city. This university town is home to many of my favorite items, which I will …

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Tokyo in Monochrome – Part 1 – by John Paul Menez

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Maybe it’s the weather mixed from the winds breaking against Mt Fuji.  Maybe it’s the mist rising off of Tokyo Bay in the mornings.  Or maybe it’s the elegant wardrobes of the sleek Edokko who all could pass for ballerinas and boxers, but as many photographers have said – the light in Tokyo falls on the streets and paints the Japanese with a unique brush.  COVID canceled a planned trip to Japan for the Olympics in 2020, but now a window of only a week from the reopening of the country to the start of a new job offered itself in October.  I’ve traveled all over the World, but never as a solo tourist in such a culturally foreign setting.  Thankfully, Tokyo is the safest place on Earth with the most gracious people.  If there was anywhere to be lost as a photographer, Tokyo is it.

5 Frames with a 35mm Summicron-R Lens at the Botanical Garden – by Christian Schroeder

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It began with a new purchase, a 35mm Summicron lens for my Leica SLR cameras. This lens focuses down to 30cm. So, what’s the deal with that? Normally I have to maintain a ‘safety distance’ of one meter. Thus, 3 cm felt like I was entering macro-territory. So many new options – finally, I could tackle the small things in life! Although this had been the essential argument to convince myself I desperately needed that lens, I couldn’t imagine an appropriate use case as I liberated the thing from its packaging material.

5 Frames with Fujifilm Neopan Acros 100 II, Minolta CLE & Leica Summicron-C 40mm f/2 – Steven Bleistein

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Neopan Acros 100 had always been one of my favourite film stocks, right up until it was discontinued about two years ago. Acros 100 was contrasty, rendering rich blacks and accentuating the dramatic and the moody in photographs. It is a tabular grain film like Kodak T-Max 100. Like Kodak’s T-Max films, Acros 100 was eminently pushable, and its grain is so fine as to make images almost indistinguishable from digital without looking close. When Fujifilm announced it was going to release Acros 100 II, my expectations were high.

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