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Fomapan 200 Creative In Toronto's Olde Town

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I always use Rollei Supergrain developer with Fomapan film stocks,  there were three rolls of Fomapan 200 Creative to be processed, let's roll with 510 Pyro and see what we get. With the 1+100 dilution, this developer was a no brainer for three rolls of 35mm film, or two rolls of 120 in one of the bigger Patterson Tanks.  Um, wow, a really nice set of sharp negatives with a fine grain structure. I think I found the sweet sauce for Fomapan 200 Creative. Now, I exposed the film at 125 ISO, overexposing delibrately and using the time recommended by Zone Imaging, 510 Pyro's manufacturer. This particular pyro staining developer is much easier than pyrocat more traditional staining developers than can be quite toxic to handle, 510 Pyro is much safer and there's only one dillution 1+100, the variable is the developing time.  Camera: Olympus OM-1n, MC Zuiko 50 F1.8 lens.  Film: Fomapan 200 developed in 510 Pyro 1+100.  ...
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Around the Neighbourd in Early June

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 I haven't shot with my Minolta XE-7 since my move to Toronto two years ago. It was between the SRT series of cameras Minolta had in their line up, fully mechanical with CLC metering which was quite advanced for the day and above it, the far ahead of its time pro body XK/M while a brilliant pro body, was a sales failure. The XE-7 however had a market with advanced amateurs and professional photographers who needed an SLR for quiet environments like courtrooms.  My XE-7 has been with me for 20 years, and yes,  Rokkor glass is the reason why I have this system, Minolta had their own glass factory for lens blanks, hence the strategic partnership with Leica during the 1970s and '80s. I personally love shooting colour film through the XE-7. The camera in the end was on the market for five years between 1973 and 1977 when it got replaced by the XD system.  Camera: Minolta XE-7, MC Rokkor 50 F1.4 Lens mostly.  Film: Kodak Gold 200.  ...
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