Adox CHS II is supposed to be Efke 100, using an improved version of the formula. Efke film was vertically dried, which gave the emulsion some interesting characteristics and flaws. Orthopanchromatic, so far as I can tell, emphasized greens a bit more than the standard Panchromatic films of the early 1950's. I've still got some in my freezer. The 120 seems to like Rodinal 1:65 for ~16 minutes at 70F.
I used to shoot this film in the early 1960s when it was one of a trio of similar, slow films from the original (real) Adox. They were known for their fine grain, sharpness and wide, even tonal separation. And here it is again. Back then it was a boutique film, not readily available. It had limited availability because Adox was too small to mount a marketing campaign against the great yellow father. Also, the early 60s was crazy for speed. Tri-X was superseding XX, heading to become everyone's darling. Fuji was unknown, and Ilford was a technical generation behind the times and had almost no market penetration in the US. What I find interesting is that modern Tri=X performs almost on par with this old style and much slower emulsion. I expected the KB-25 to look a lot sharper by comparison. I think he is using D-76 in all of these tests, and that type of high solvency developer does not do a film like this one any favors in the sharpness dept.
i'm looking for a black and white 35mm film that has quite a ''soft'' look, that makes the edges of objects look softer. do you know what best film for this would be that's still in prod?
Fotokenika, from Zagreb, Croatia (former Yugoslavia) that produced Efke films, photographic paper and chemicals, was officially shut down in 2012. Thanks digital photography 😡Films where OK, papers where amazing and easy to work with with huge variety of gradations, and chemicals where atrocious, in my mind at least, especially developers. There was KB 25, 100 and 400 film speeds, and that ISO 400 film was so grainy it was barely usable. Just my two cents...
It's my understanding that EFKE 25 loses speed in artificial light vs daylight, but I've never tested this for myself. I love this film in Pyrocat-HD. Still have about 40 rolls in the freezer bought, like you, shortly after they vanished. Throw this film into a Leica M6 behind that wonderful glass and you've got something pretty special, IMO.
Until the 1970s, pretty much all B&W film came equipped with ASA (ISO) speeds stated separately for daylight and artificial light. Rising to whatever reason, maybe the dumbing down of its user base or the mass shift to use of color film from B&W, Kodak stopped publishing an artificial light film speed for its B&W films. Another reason may have been the total shift in both commercial and consumer artificial light usage from tungsten light to electronic flash light during the 1960s, with the electronic flash light temperatures being a good approximation of daylight.
![[CC] Legendary film EFKE R25 found in the freezer | Rolleiflex 3.5F | Film Photography](http://i.ytimg.com/vi/B9B-uDvtd68/mqdefault.jpg)
Made in my home town. I work with few former fotokemika workers
My heart skipped a beat when I saw Efke 25. I loved this film and thought maybe it had come back for a second.
Adox CHS II is supposed to be Efke 100, using an improved version of the formula. Efke film was vertically dried, which gave the emulsion some interesting characteristics and flaws. Orthopanchromatic, so far as I can tell, emphasized greens a bit more than the standard Panchromatic films of the early 1950's. I've still got some in my freezer. The 120 seems to like Rodinal 1:65 for ~16 minutes at 70F.
I used to shoot this film in the early 1960s when it was one of a trio of similar, slow films from the original (real) Adox. They were known for their fine grain, sharpness and wide, even tonal separation. And here it is again. Back then it was a boutique film, not readily available. It had limited availability because Adox was too small to mount a marketing campaign against the great yellow father. Also, the early 60s was crazy for speed. Tri-X was superseding XX, heading to become everyone's darling. Fuji was unknown, and Ilford was a technical generation behind the times and had almost no market penetration in the US. What I find interesting is that modern Tri=X performs almost on par with this old style and much slower emulsion. I expected the KB-25 to look a lot sharper by comparison. I think he is using D-76 in all of these tests, and that type of high solvency developer does not do a film like this one any favors in the sharpness dept.
i'm looking for a black and white 35mm film that has quite a ''soft'' look, that makes the edges of objects look softer. do you know what best film for this would be that's still in prod?
I've certainly enjoyed this series of Tri-X vs everything else. Will you be doing one for XX vs Tri-X?
This comparison is already made. Cinestill double x
@@ПавелПанин-ф2н Ah! I was searching this channel for Kodak XX. That explains it. Thanks & regards!
Just shot a roll of this! Images came out decent, but not great. Works shot again though.
Did you ever work with Technical Pan 2415?
Maybe a roll or two decades ago
Fotokenika, from Zagreb, Croatia (former Yugoslavia) that produced Efke films, photographic paper and chemicals, was officially shut down in 2012. Thanks digital photography 😡Films where OK, papers where amazing and easy to work with with huge variety of gradations, and chemicals where atrocious, in my mind at least, especially developers. There was KB 25, 100 and 400 film speeds, and that ISO 400 film was so grainy it was barely usable. Just my two cents...
no more discontinued films... too sad
It's my understanding that EFKE 25 loses speed in artificial light vs daylight, but I've never tested this for myself. I love this film in Pyrocat-HD. Still have about 40 rolls in the freezer bought, like you, shortly after they vanished. Throw this film into a Leica M6 behind that wonderful glass and you've got something pretty special, IMO.
Pretty much all film loses speed under tungsten light
Until the 1970s, pretty much all B&W film came equipped with ASA (ISO) speeds stated separately for daylight and artificial light. Rising to whatever reason, maybe the dumbing down of its user base or the mass shift to use of color film from B&W, Kodak stopped publishing an artificial light film speed for its B&W films. Another reason may have been the total shift in both commercial and consumer artificial light usage from tungsten light to electronic flash light during the 1960s, with the electronic flash light temperatures being a good approximation of daylight.
i bet that stuff curled on you