I've shot this stuff on 4x5 with my Fujinon lens. I almost couldn't believe what I saw when I inspected the negatives. It was almost as if the grain did not exist, it was extremely sharp, never ever seen something like it before. You could EASILY print this 30 meters wide and have room left.
really good video. 👍 the film is really sharp. wow. partly no longer looks like film. 2:18 is my favorite. I would be interested in the scala developer. maybe that would be a good video idea?
Another good video from you, solid work. I just want to add some additional information, as I am running an independent photography test lab, being active in scientific testing for about 30 years. And these highest-resolution films are one of my regular tools in lens tests, as they are offering the highest performance in detail rendition and highest possible resolution. Excellent tools for testing the best lenses. And ADOX CMS 20 II is surpassing all digital sensors in my lens tests by a huge margin. In former times I have used Kodak Technical Pan, but ADOX CMS 20 II is surpassing Technical Pan in resolution, sharpness and fineness of grain significantly. With ADOX CMS 20 II I have reached the physical resolution limit (diffraction limit) of lots of different lenses. As an example, for f5.6 and white light that is 240-260 linepairs per millimeter (lp/mm). And I’ve got that resolution even at a relatively low object contrast of only 1:4 (two stops). Carl Zeiss did similar tests with the first version of this film, but with a bit higher object contrast. For example they reached with their ZM Biogon 2.8/25 at f4 the diffraction limit of 400 lp/mm (test results published in their ‚Camera Lens News‘ No. 24). You would need a 35mm digital sensor of at least 553 Megapixel to get the same resolution under identical test conditions. Tim Parkin, publisher of the ‚On Landscape‘ photo magazin, has also published very detailed test results: www.onlandscape.co.uk/2014/12/36-megapixels-vs-6x7-velvia/ . I have also tested all imaging chains with this film, from the shot to the final, enlarged and presented image. With scanning you have the biggest loss in detail rendition. No current scanner is able to fully resolve the incredible amount of detail CMS 20 II is recording. Even all drumscanners deliver only resolution values significantly below the real resolution on the film. But the good news is: With classic optical enlarging with APO enlarging lenses you can get much higher resolution compared to the best drumscanners. And so you can exploit the outstanding resolving power of this film to a much higher extent with classic optical enlarging compared to scanning. The same is valid for projection: ADOX CMS 20 II can also be reversal processed in the Scala reversal process, so that you have a BW transparency (slide) as the final picture. I have done several projection tests with the best projection lenses, and was able to project the resolution patterns of 220-230 Lp/mm onto the projection screen. Even on a projected 35mm CMS 20 II transparency of more than 5 meters width I could see the finest details in the picture from just some centimeters distance. You can enlarge 35mm CMS 20 II pictures as big as you want. There is no limit. By the way, the light sensitivity (film speed) of this film is sufficient to use it hand-held outdoor in normal daylight lighting conditions. With EI of 12/12° I have used this film very often that way with aperture values in the f2.8 to f5.6 range and with shutter speeds of 1/60s to1/250s.
I was wandering why my terribly processed CMS photos apparently shows more (much more) resolution than it appears in this video. And is because I enlarged it, of course. This film is absurd: it almost reach the resolution of my 4x5 negatives (not the tonality, sadly, but that would be impossible).
@@LaViejaConsolada mad, if the tonality of 4x5 was reached with this film, I turn mad. I want to try it. I was shooting los sets hi res negs from my beginnings, jumping up in formats, until 4x5, and the tonality is one of the beautiful things large format has...
THANK YOU!! I'm trying this film in my pinhole setup! PS- I can find the film in 35mm on eBay but no developer yet! Film is $50 for 5 36 shot rolls! Seems cheap to me. 120 & 4x5 are available but not till 3 19. One of the suppliers lists this film as no longer in production!
Decades ago, as there was nothing else than film to take photos, I have always tried to avoid any grain and wished to get the finest and sharpes results possible in my small lab. Today, when I take sometimes images on film, beside my digital photography, I try to keep some grain on film, to have the difference and distance to the clean and clear digital world of images. What I don't like is to make digital pictures and finally spend them some grain in PS.
"Monodisperse" is a term usually applied to microfilms. Since the original CMS 20 came out in 2005 or 2006, it's been known that this is effectively a microfilm emulsion. It may be at its best with Adotech IV, but when I used the original CMS 20 I developed in a low contrast variant of Caffenol and, with a 1960s vintage Super Takumar, had more resolution than I could then scan even from an 8x10 wet print. Other similar products are available, however; Kodak Imagelink and Fuji FR and HR, as well as Agfa Copex Rapid (which is now available as such in 35 mm, 120, and 4x5). All have very similar sharpness and resolution, and can provide similar tonal range in similar development (SPUR, H&W Control, low contrast Caffenol variants, even Rodinal 1:100).
What better way than to analyze my favorite film ever. Yes it's difficult to shoot and develop, but when you do... The results are absolutely stunning.
I think you should really upload in 4K, even if you don’t shoot in 4K. RUclips has a pretty good zoom in feature now for its apps and this makes it possible to really go in on details with videos like this.
Usually, I shoot digital (Hasselblad X1D) when I don’t want grain, but I love the look of film grain. Though, this review has made me consider trying this ultra fine grained film. Thanks for another excellent video.
Thanks for this great review! I used Adox CMS 20 a couple of times and it is astonishing. My first roll I shot with the Olympus PEN-FT and was totally blown away by the results. That was back when it was the first version of the film, around 2013 or so? It was a bit on the contrasty side but personally I like that a lot. I had it developed by Studio-13, I am not sure if they still offer the service.
It sure would have been nice to see a comparison of ADOX against a slow film processed in a standard developer ... such as ILFORD PAN F+ in xtol, or other slow film & developer combination. I was intrigued by the clear film base concept some time ago, and I picked up 100ft roll of 35mm Rollei RPX 100 because of this. I will be testing it in xtol of varying dilutions (and possibly varying agitation schemes), and also plan to test in PMK staining developer.
I havent tried CMS20, but I guess if all you do is reasonably sized prints or scans Pan F+ with Perceptol has all the resolution and detail you need. The examples in this vid were cool but not mindboggling, I think.
This Pentaxian thanks you for not using the typical Nikon gear in this video. Pentax retains a niche position in both the analogue and digital communities ... which helps keep prices reasonable for those of us who know the superb quality of cameras such as the LX, the K-1, and the 645N ... and the legacy Takumar glass.
I have a couple of rolls of this film in the fridge I must try out. Probably on my OM-1 with the 55mm lens. It's not really a film for a point and shoot lol :-) Vielen dank! fuer dem video. Sehr toll gemacht!
Your channel is fabulous! I shoot mostly Tri-X because I like the grain however I was so inspired by this episode I just bought the film and the developer. Here in the United States I unfortunately had to purchase both separately from two different outlets but I am excited to try this in my Nikon F3. I would be interested in trying it out in my Mamiya in medium format at some point.
I love the results, but want to find a cheaper developer for it. I’m looking at TD-3 which was designed to tame contrast in technical/document films like tech pan. Have you found any developers that have worked decently well and were more affordable? Also considering POTA, but the Troop and Anchell book recommends TD-3 over POTA (supposedly Troop actually developed the formulation and it’s based on glycin). I’ve ordered some TD-3 (it’s not expensive - one pack makes makes 40 liters or 5 gallons for 30 dollars). If it works, it could make this beautiful film affordable enough to shoot often.
Beautiful! There is so much to like about what film grain brings to a photograph, even with such a fine-grained emulsion. Incidentally, a great advertisment for not using noise reduction in the digital photography work flow (at least for monochrome images).
Remarkable performance; now I will need to try this film/dev for myself. I really like ADOX Silvermax 100 and lament its demise. Thank you for another great video.
Closest I ever came to that was with Agfapan 25 shot with an Olympus OM1n 50Mpmm f1.8 c f5.6 orange filter mounted on a Slik 88 tripod. Cable release and mirror lockup processed in Rodinall Got as far as a grain free 8x10 on Ilford Grade 2 paper . Great fun...
Hey there! Loving ur work and videos! Recently im trying out Spur Acurol N which, according to some of your videos, is a favourite developer of yours. Any plans on a Spur Acurol N video about ur experiences ?
Hi Excellent review. I have been using CMS for competition photos as you are up against digital images at club level. It amazes a lot of people who know that I still shoot film after 30 years, just how stunning images are taken on CMS. I have been accused of using a digi camera on more than one occasion. So much for pixel peepers. My one wish would be that Adox re introduce this in 120 format.
Great work as ever gents. Adox CMS 20 is one of several in the Adox line I just wish would come out in 120! I seldom shoot 35mm except for fun family stuff, and a film like this is too good to mess around with. Can you imagine how it would look in 120 if it looks this good in 35mm?!
Just had a look at Adox's site today and noticed this film. Read their description and went on looking for their Super 8 film, because I just thought what was said there was just the standard "this is the best film ever" kind of spiel... Seeing your test was online, I had a look and was truly impressed. Kind of like medium format results from a 35mm camera. Will get a roll or two to try... with some Adotech developer...
Hi, very useful and well articulated video, thanks! I have a question on "exposure-development" issues. I am an old photo-man (analog of course) and for my art research, I used to use all those low speed ultra-sharp films of the '60 of previous century, i.e. Agfapan 25, rebranded as APX 25, then disappeared... So I was using this film from its first appearence, when developer was a simple "Adotech" then I, II, III and now IV. The problem is that instructions say to expose for @20 iso in full light and @12 in shadows or cloudy etc. This is perplexing to me, since we were saying that the best for full range of tones is to overexpose and underdevelop, so rate at 12 and develop for less time... Then developing instructions are saying that "initial temperature at 23 C°", since it will get colder during development... But in tempered areas of the planet, from 23° it can get HOTTER....! In any developer, times are given for 20 C° , to be mantained. Results: it is very difficult to replicate same development/exposure combination. Do you have any suggestion? Thank you
Thanks for sharing this video! Also, your scans are very high in details and this is the first time I saw the grain of this film stock occur. Personally I do scan 135 film with the Reflecta RPS 10M which can resolve something around 4500dpi. At this resolution, the real grain of the CMS20 II seems to hide somewhere within the pixels... From my own experience this exceptional film stock does offer more challenges than it's very low speed and inherent quite contrasty attributes... 1- The almost non existent grain does expose every(!) focussing / motion blur mistake. Which are plenty when shot handheld, like I did the last time using it (see my last video). 2- It curls like a spring. Even when pressed flat for a week. After a lot of time in my negatives archive folders it likes to stay what I'd consider "flat". 3- Dust. I can't believe how much dust this thin trip of polyester can accumulate. It seems to just love the very tiny one what makes spotting a scan a time consuming task. Luckily, when printed in the darkroom the dust is not that much of a problem. Don't know why that is...
There are a few sample images of this film on the Adox homepage. They were scanned with a resolution of 8000dpi and the grain only just starts to show. Digital cannot resolve this film.
Recently got this film in both 35mm and 4x5 formats.Will have to wait until lockdown restrictions are eased to go out with the tripod. Have shot Technical pan in the past which I believe is similar, in this case I used a Pentax K1000 with an 85mm F2 and got amazing results.
Thanks for the great review ! I’m really surprised how well behaved the contrast in your images is. Up until now I only saw a few samples that showed what I thought would be a very hard to control film, but this really makes me think about buying a few rolls and the developer :)
Looking at the pics, at first, when you don't get in really close they look just the same as digital photos!!! I'll have to look into this film and developer combo.
Thanks for your comment. The developer was the fitting Adox Adotech IV developer. The fixer just needs to be acid-based and shall only be used for about 60 seconds (as mentioned in the video). That's all.
Hi Max. Beautiful video :) since you took bracketed shots: which one looked the best eventually ? slightly under or just as measured by the camera? greetinx
Thanks for your comment. Good point. We eventually scanned the one with one stop of additional light just because it was easier to scan it. The normal exposure would have been fine as well.
@@felixifloresrodriquez3306 well five rolls means you're fully committed. I checked freestyle photo in California in that particular developer is not in stock. I'm not sure if it's something that is primarily sold in Europe. a few weeks ago I did a detailed review of T-Max 100 film on my channel and I said it's the finest Grain 35 I've seen this here is very intriguing, I have to say I've shot lomography Potsdam than medium format and that thing is so clean it does look straight digital and grain is half the beauty of analog ☺️
One of your best reviews, plus one I’ve been looking forward to. I understand using the F6, but why not your Leica M also? I used to use the CMS 100 in 120 for years, and processed in trus Agfa Rodinal 1:50 for 10min. Always beutiful results. Just haven’t gotten around to trying this one yet. I wish Adox would bring back the CMS 100 in 120. Fantastic job, happy you were able to get out & about. Looking forward to your next one.
You probably mean ADOX CHS 100 II, as there has never been a CMS 100 film. ADOX is working on re-introduction of 120 format film. They are improving and modernizing their whole 120 confectioning line. But it is a very difficult and complicated project which takes time.
In 1983 we started using Agfaortho 25 (at iso 12) developed in Tetenal Doku for 13 min for repro work in the museum where I worked. No grain. Amasing film😀
I agree. I used this film in the early 80s with my Leicaflex SL. ISO 6 and a tripod and mirror lock up. The results were amazing, but unfortunately it was an orthochromatic emulsion. I still have 34 meters in my fridge. Thank you for your input. I think we should compare both films next time. Best regards, Greg
Fantastic episode. Thanks for covering this film. Have you tried any other developer with this film - or planning to? I saw some people suggesting Modified Windisch, and H&W Control almost 10 years ago! Both are publicly available formulae. Somewhat related I remember reading on Photrio (when it was called APUG) that Heribert Schinn of SPUR Photochemie had developed this or at least he played a major role in formulation of this developer.
Hi, wonderful review of this film. Could you give us some details of Greg’s setup for copying. After reviewing your previous video on scanning, my budget really doesn’t allow to purchase a single use item but copying using a digital camera with a macro lens seems the right direction. I’m interested in the bellows, extension tubes and holder setup since they can certainly be used for macro work. Thank you!
Hello Dan. My setup was a Pentax K1 full frame DSLR. From the 80ˋs I still have an original Pentax bellows with slide copy adapter (I used it for drawing b&w-negatives from my Kodachromes). The lens that I use is a SMC -TAKUMAR 50mm f 4 macro-lens. Pentax recommends to shut the aperture to f 5,6 and that works quite well. Cheers, Greg
Thank you for the video, guys! Have to check, if I have this Special Adox in my fridge. There are a few, out of a recommendation by a close friend. The question is, what to shoot, that might profit a high resolution film. My wife would kick me, if I take out the 100mm Macro lens and ask her to stay calm LoL. She hates, when I say it and she doesn’t like her portrait taken. These days are over, I guess. This was another fun one
I am using ADOX CMS 20 I / II since the introduction more than a decade ago. It is excellent for landscape, architecture, still-life (studio work), cars, lost places. But I have also used it for jewelry shots (prof. advertizing) and fashion jobs. And also made quite a lot of portraits with it, too. With portraits you have to be a bit more careful with the selection of people you are portraying, but if done right, the results are outstanding and have their own special character.
Fascinating. I would love to have seen a photograph of the building in the distance on one of the pictures. Could you borrow a Leica 50mm APO Summicron?
It’s probably not still available but the sharpest film in 35mm was , at one time , was Kodak Technical Pan. However, it was quite difficult to get a reasonably flat gamma curve with it. I used to mix up a long forgotten ‘soup’ , probably a version of Metol A+B. The fun was that, with a very sharp lens and the right subject , you could pass a photo shot this way of being taken on 4x5.
Totally agree. I still have loads of TP and shoot 35mm and 120 film. Using my Mamiya 1000s 6x4.5, the results are extraordinary. I sometimes shoot on a Rolleiflex but the flexibility of interchangeable lenses on the Mamiya more than compensates for the slightly better performance of the Rollei.
Thank you for another awesome awesome video what a great product that film is I look forward to trying my 1st role. I have not developed my film myself since I was a kid 30 years ago is there a laboratory that specialises in Processing this for us?
Great video. One thing I've found interesting about this film/developer combination on several RUclips videos is that none of the photos featured were shot in low-light. Any reason or reasons for this?
I use Kodak Technical Pan film. (I still have a fridge full of it). To my mind, it's nicer than Adox CMS because the tones are more graded. CMS is too contrasty. (But slightly finer grain than TP). Photographers Formulary make a developer called TD3 and it gives outstanding results and 50asa with T.P. CMS can only be rated at 15-20asa, if you want the contrast to be manageable. I did take a portrait, using CMS and a Canon 85mm F1.8 EF lens. I scanned the negative on my Noritsu HS1800 and a friend printed it to 4ft. x 3ft. At close/normal viewing distances, grain was not visible. (But the picture was a little "harsh"). Technical Pan film would have made a more natural job of the portrait.
Nice demonstration. I am reminded of past years shooting Kodak Tech Pan. Same slow speed,wide latitude, resolution, and special developer. To obtain the benefits, you must shoot with the care and limitations of a large format camera, making your photography slow and laborious. If your goal is an exhibit print, all of that may be worth it. If you are copying the negative with a jury-rigged digital SLR to post on media or make an inkjet print, it's a total waste of time and money.
Thank you for the video. I have been using this film for a year now (besides others, of course). The resolution is incredible - but the downside of 12 ISO, 20 on the wild side, is very limiting for me. And then, I could not really answer my question: why don’t just use my digital ‘full frame’ camera, if high resolution is the Holy Grail?.. On film, compared to CMS 20 or more generally ‘weird films’, I prefer to use Ferrania p30: also very special, but underlines the qualities of film and is at least 80 ISO ;-) Nevertheless, I encourage everybody to try CMS 20 - it’s quite unique!
This ADOX film really requires this ADOX developer. I wish some labs would offer processing this and Rollei 80s in the appropriate developers even at a higher charge and even if they only processed it once a month.
The old Kodak Technical Pan could resolve over 350 lines per mm when processed in several Kodak high resolution developers. I can't help but notice ADOX doesn't even CLAIM a resolution figure, so is it AS SHARP as Kodak Technical Pan (still available as a Special Order item)? Kodak 35mm Kodalith Type 3 is capable of >335 lines per mm when processed in Kodalith Fine Line Developer and both are common as dirt. Since ADOX CMS 20 II Pro and ADOTECH IV STILL (22/03/29) aren't available to me in the US, personal tests aren't possible. The film alone is available to me, but not the requisite developer. I have made THOUSANDS of 48"x 60" "poster prints" from both Kodak Pantomic-X and Agfapan 25 B&W films when I worked for a commercial photo-lab-both grainless.
As a former Kodak Technical Pan user, which is meanwhile using ADOX CMS 20 I / II for over a decade, I can ensure you that CMS 20 II even surpasses Technical Pan in resolution significantly.
Difficult. It depends. I enjoy shooting Ilford FP4 and HP5 but also like the Delta series if I am looking for finer grain. These are my favorite standard black and white films i purchase the most.
@@AnalogInsights merci! totally agree with your filmchoice! i was always left with the impression, that delta adds more grain, but maybe i need to check the lower ISO Deltas first :)
Ich werde dieses Jahr ADOX CMS 20 II ausprobieren mit meiner Contax IIIA und sein Zeiss und Voigtlander SC Objetiven und später weiter verarbeiten in mein Duka auf Fomabrom Papier .
I wish we had an film camera with a sensor that replaced the pentaprism. Then we could pre-evaluate the exposure on a rear screen before comitting the image to film. We could then do tricks like filling the image with light until we were happy with the result, a feature Olympus has in some of their digital cameras. I would call such a camera DSF - Digital Sensor Film camera.
What you want has even been done by sony, but with digital cameras. Early sensors didn't have live view capability, so they designed a pentaprism, really a pentamirror, where one of the five mirrors could open revealing a second smaller sensor that captured what was impressed on the focusing screen and transmitted it to the screen as a live view stream. It has been used with digital cameras only, but it could work with film too, and you would still be able to use a traditional viewfinder too!
@@karellen00 Yes I remember the Sony. I would just put a sensor above the mirror and not complicate things too much. EVFs today are pretty good. Even the one I have attached to my now old Panasonic GX-1 is size-wise on par with any full frame DSLR or SLR. But you could of course just take a digital shot electronically before you slammed up the mirror and exposed the film.
I have used Technical Pan in the past, and I am using ADOX CMS 20 (first version) and now CMS 20 II regularly. ADOX CMS 20 II offers much higher resolution, better sharpness and significantly finer grain than Kodak Technical Pan. But Kodak TP had a higher sensitivity (higher speed). Another difference is spectral sensitivity: Kodak TP was super-panchromatic (higher sensitivity for red), and ADOX CMS 20 II is ortho-panchromatic (lower sensitivity for red, red is rendered darker in the final picture).
Great timing! I was just digging into this in an effort to determine the limits of 35mm print sizes. You may find this interesting - google "More Ultra High-Resolution MTF Experiments Roger Cicala". That will give you the lens list that can truly produce the best results with ADOX. For example, the highest resolution "normal" lens is the 40mm Sigma Art, which achieves over 200lp/mm, and the highest resolution portrait lens is the Sigma 105mm Art, just barely making it to 240lp/mm. If ADOX really goes to 600 or 800lp/mm, these lenses are the best currently to push that. I am wondering what an ADOX negative shot with one of these lenses and scanned with a Sony A7r4 pixel shift 240mpx image would look like. If you google "2007-04-vitale-filmgrain_resolution", that will get you to an excellent research paper covering the resolution of many still available films such as Portra 160 and Tri-X, what they can resolve, what they typically resolve with good glass, and the impact of grain on resolution. Great video and thanks!
Regarding your last reference (2007): The math is good but the measuring is deficient. Very common in small scale/newbie/amateur science. It’s been proven imperically over and over that films real attainable resolutions is higher than the numbers cited. Just do a casual Google. As usual in these kinds of tests they commit the mistake of thinking the scanner tells the truth or that you can somehow glean the truth even through a bad scan. Low res/bad scans are exceptionally deceptive. They “somehow” have a way of bewitching the people doing them into thinking they are “good enough”.
@@Frisenette While I don't disagree, the document does provide relevant information on several films regarding what the manufacturer states as the resolution the film is capable of. My conclusion was that the limiting factor will be the lens. I'd rather carry a Pentax 645N if I need the larger print sizes than carry around a 40mm Sigma Art.
@@jw48335 the data sheet can be very misleading partly because it’s too honest (in a way digital manufacturers has long since given up on (have you ever seen the MTF chart for a sensor for instance?) and partly because it takes experience and knowledge to read. For instance negative film was never meant as an end medium, but merely as a data transfer medium to another substrate. As such micro contrast and ultimate resolution is made for that.
I am running an independent photography test lab. And over the last 30 years I have tested almost all films on the market, and the current digital sensors. By far the highest resolution I have ever got in my numerous tests is with ADOX CMS 20 I / II. With that film I have reached the diffraction limit (physical resolution limit) of my best lenses, e.g. for f5.6 that is 240-260 Lp/mm. Impossible with digital. Carl Zeiss has used this film for their resolution tests as well.They have got at f4 the diffraction limit of their test lens of 400 Lp/mm.
I have tested both films side-by-side under absolutely identical conditions in my test lab: Resolution values of CMS 20 II are almost double of T-Max 100. CMS 20 II is much much sharper, and also much much finer grained. You really see it immediately with optical prints. Here you are of course facing are the digital limitations (resolution loss because of scanning, extremely low resolution of computer monitors). It is impossible to demonstrate the real outstanding performance of this film in total online. You have to see it live and directly!
I used to use a lot of the old Kodak Tech-Pan 2415 and the Technidol LC developer in the mid 80s. Now, Tech Pan was a process film, when combined with Technidol LC it yielded a BW panchromatic film with about 7 stops of useful dynamic range and around 200 lpmm of resolution, way above most average camera lenses of the time. With regret I doubt very much if Adox film is anything but a copy/process film with perhaps similar scale to Tech-Pan. I also doubt very much, if a conventional high res/fine grain film such as Ilford Pan F Plus or even their newish Ortho plus 80 , would not yield similar results to Adox if metered and processed correctly. After all I have yet to hear of a commercially available lens that is capable of resolving more than 240 lpmm, so all that claimed resolving power of 800 lpmm ( no doubt obtained in an extremely high contrast environment ) is really of no use. Thank you for a very entertaining video, and some lovely photographs.
One can shoot this film with gorgeous results by rating it at ISO 60 to 80 by developing the film in the H&W developer, a formula that you can get on the web!
Check out: Antonioni movie: Blow up! Nikon camera with Kodak BW film .. For me a ORWO NP15 film with Carl Zeiss Jena Tessar 28./50 lens gave the best results so far. It would be a shame to underestimate the GDR technique because it also competed with the best Japanese technique in this field. But for civilians, the best lens is the Pentax Super Takumar, and Ilford FP4 Plus film
I've shot this stuff on 4x5 with my Fujinon lens. I almost couldn't believe what I saw when I inspected the negatives. It was almost as if the grain did not exist, it was extremely sharp, never ever seen something like it before. You could EASILY print this 30 meters wide and have room left.
Must be Hell in the darkroom trying to use a grain focuser!
@@dylangergutierrez That's the thing, i couldn't see it at all
That is an eye watering amount of detail.
I often look at your programs several times. Thank you. Canada.
This is another very, very professional presentation. I have learned a great deal of new information. Thank you very much. RS. Canada
A new video from Analog Insights. Is there a better way to begin my Sunday? I don't think so.😄👍
I want to try some in my Minox subminiature cameras. Adox HR-50 is excellent, so CMS 20 should be Stellar!
really good video. 👍 the film is really sharp. wow. partly no longer looks like film. 2:18 is my favorite. I would be interested in the scala developer. maybe that would be a good video idea?
Another good video from you, solid work. I just want to add some additional information, as I am running an independent photography test lab, being active in scientific testing for about 30 years. And these highest-resolution films are one of my regular tools in lens tests, as they are offering the highest performance in detail rendition and highest possible resolution. Excellent tools for testing the best lenses. And ADOX CMS 20 II is surpassing all digital sensors in my lens tests by a huge margin. In former times I have used Kodak Technical Pan, but ADOX CMS 20 II is surpassing Technical Pan in resolution, sharpness and fineness of grain significantly. With ADOX CMS 20 II I have reached the physical resolution limit (diffraction limit) of lots of different lenses. As an example, for f5.6 and white light that is 240-260 linepairs per millimeter (lp/mm). And I’ve got that resolution even at a relatively low object contrast of only 1:4 (two stops). Carl Zeiss did similar tests with the first version of this film, but with a bit higher object contrast. For example they reached with their ZM Biogon 2.8/25 at f4 the diffraction limit of 400 lp/mm (test results published in their ‚Camera Lens News‘ No. 24). You would need a 35mm digital sensor of at least 553 Megapixel to get the same resolution under identical test conditions. Tim Parkin, publisher of the ‚On Landscape‘ photo magazin, has also published very detailed test results: www.onlandscape.co.uk/2014/12/36-megapixels-vs-6x7-velvia/ .
I have also tested all imaging chains with this film, from the shot to the final, enlarged and presented image. With scanning you have the biggest loss in detail rendition. No current scanner is able to fully resolve the incredible amount of detail CMS 20 II is recording. Even all drumscanners deliver only resolution values significantly below the real resolution on the film. But the good news is: With classic optical enlarging with APO enlarging lenses you can get much higher resolution compared to the best drumscanners. And so you can exploit the outstanding resolving power of this film to a much higher extent with classic optical enlarging compared to scanning. The same is valid for projection: ADOX CMS 20 II can also be reversal processed in the Scala reversal process, so that you have a BW transparency (slide) as the final picture. I have done several projection tests with the best projection lenses, and was able to project the resolution patterns of 220-230 Lp/mm onto the projection screen. Even on a projected 35mm CMS 20 II transparency of more than 5 meters width I could see the finest details in the picture from just some centimeters distance. You can enlarge 35mm CMS 20 II pictures as big as you want. There is no limit. By the way, the light sensitivity (film speed) of this film is sufficient to use it hand-held outdoor in normal daylight lighting conditions. With EI of 12/12° I have used this film very often that way with aperture values in the f2.8 to f5.6 range and with shutter speeds of 1/60s to1/250s.
I was wandering why my terribly processed CMS photos apparently shows more (much more) resolution than it appears in this video. And is because I enlarged it, of course.
This film is absurd: it almost reach the resolution of my 4x5 negatives (not the tonality, sadly, but that would be impossible).
Hi, thanks for your post, very informative!
@@LaViejaConsolada mad, if the tonality of 4x5 was reached with this film, I turn mad. I want to try it. I was shooting los sets hi res negs from my beginnings, jumping up in formats, until 4x5, and the tonality is one of the beautiful things large format has...
THANK YOU!! I'm trying this film in my pinhole setup! PS- I can find the film in 35mm on eBay but no developer yet! Film is $50 for 5 36 shot rolls! Seems cheap to me. 120 & 4x5 are available but not till 3 19. One of the suppliers lists this film as no longer in production!
Very interesting. Remarkable detail achieved with the film. I may try it. Thank you for producing such interesting and professional reviews.
Decades ago, as there was nothing else than film to take photos, I have always tried to avoid any grain and wished to get the finest and sharpes results possible in my small lab. Today, when I take sometimes images on film, beside my digital photography, I try to keep some grain on film, to have the difference and distance to the clean and clear digital world of images. What I don't like is to make digital pictures and finally spend them some grain in PS.
"Monodisperse" is a term usually applied to microfilms. Since the original CMS 20 came out in 2005 or 2006, it's been known that this is effectively a microfilm emulsion. It may be at its best with Adotech IV, but when I used the original CMS 20 I developed in a low contrast variant of Caffenol and, with a 1960s vintage Super Takumar, had more resolution than I could then scan even from an 8x10 wet print. Other similar products are available, however; Kodak Imagelink and Fuji FR and HR, as well as Agfa Copex Rapid (which is now available as such in 35 mm, 120, and 4x5). All have very similar sharpness and resolution, and can provide similar tonal range in similar development (SPUR, H&W Control, low contrast Caffenol variants, even Rodinal 1:100).
What better way than to analyze my favorite film ever. Yes it's difficult to shoot and develop, but when you do... The results are absolutely stunning.
I think you should really upload in 4K, even if you don’t shoot in 4K. RUclips has a pretty good zoom in feature now for its apps and this makes it possible to really go in on details with videos like this.
WOW! So much detail! I would love to try this out
Usually, I shoot digital (Hasselblad X1D) when I don’t want grain, but I love the look of film grain. Though, this review has made me consider trying this ultra fine grained film. Thanks for another excellent video.
Thanks for this great review! I used Adox CMS 20 a couple of times and it is astonishing. My first roll I shot with the Olympus PEN-FT and was totally blown away by the results. That was back when it was the first version of the film, around 2013 or so? It was a bit on the contrasty side but personally I like that a lot. I had it developed by Studio-13, I am not sure if they still offer the service.
It sure would have been nice to see a comparison of ADOX against a slow film processed in a standard developer ... such as ILFORD PAN F+ in xtol, or other slow film & developer combination.
I was intrigued by the clear film base concept some time ago, and I picked up 100ft roll of 35mm Rollei RPX 100 because of this. I will be testing it in xtol of varying dilutions (and possibly varying agitation schemes), and also plan to test in PMK staining developer.
I havent tried CMS20, but I guess if all you do is reasonably sized prints or scans Pan F+ with Perceptol has all the resolution and detail you need. The examples in this vid were cool but not mindboggling, I think.
Steve O'nions does a more satisfying comparison here: ruclips.net/video/mDNxfD25CIA/видео.html
This Pentaxian thanks you for not using the typical Nikon gear in this video. Pentax retains a niche position in both the analogue and digital communities ... which helps keep prices reasonable for those of us who know the superb quality of cameras such as the LX, the K-1, and the 645N ... and the legacy Takumar glass.
Thanks, very interesting. Will try it for sure.
another really great video lads. Cheers from Ireland
Love the informative videos. Keep them coming 👍
Thanks for the video , is this really my analog version of my M monochrome. Can’t wait to try
I have a couple of rolls of this film in the fridge I must try out. Probably on my OM-1 with the 55mm lens. It's not really a film for a point and shoot lol :-) Vielen dank! fuer dem video. Sehr toll gemacht!
Your channel is fabulous! I shoot mostly Tri-X because I like the grain however I was so inspired by this episode I just bought the film and the developer. Here in the United States I unfortunately had to purchase both separately from two different outlets but I am excited to try this in my Nikon F3. I would be interested in trying it out in my Mamiya in medium format at some point.
Very nice. I’ve been interested in this film.
Thanks for making this video. Very informative. Can you please share the reciprocity factors used for your tests?
I love the results, but want to find a cheaper developer for it. I’m looking at TD-3 which was designed to tame contrast in technical/document films like tech pan. Have you found any developers that have worked decently well and were more affordable? Also considering POTA, but the Troop and Anchell book recommends TD-3 over POTA (supposedly Troop actually developed the formulation and it’s based on glycin). I’ve ordered some TD-3 (it’s not expensive - one pack makes makes 40 liters or 5 gallons for 30 dollars). If it works, it could make this beautiful film affordable enough to shoot often.
Beautiful! There is so much to like about what film grain brings to a photograph, even with such a fine-grained emulsion. Incidentally, a great advertisment for not using noise reduction in the digital photography work flow (at least for monochrome images).
Remarkable performance; now I will need to try this film/dev for myself. I really like ADOX Silvermax 100 and lament its demise. Thank you for another great video.
a dream for an open noctilux in daylight! Adotech delivers truly the best result.
Nice review. Love these videos.
Yes, great videos Max. RS Canada
Closest I ever came to that was with Agfapan 25 shot with an Olympus OM1n 50Mpmm f1.8 c f5.6 orange filter mounted on a Slik 88 tripod. Cable release and mirror lockup processed in Rodinall Got as far as a grain free 8x10 on Ilford Grade 2 paper . Great fun...
This is my favorite film, I usually shoot it at ISO20 handheld with 1/30-1/60s
Hey there! Loving ur work and videos! Recently im trying out Spur Acurol N which, according to some of your videos, is a favourite developer of yours. Any plans on a Spur Acurol N video about ur experiences ?
Hi Excellent review. I have been using CMS for competition photos as you are up against digital images at club level. It amazes a lot of people who know that I still shoot film after 30 years, just how stunning images are taken on CMS. I have been accused of using a digi camera on more than one occasion. So much for pixel peepers. My one wish would be that Adox re introduce this in 120 format.
Great work as ever gents. Adox CMS 20 is one of several in the Adox line I just wish would come out in 120! I seldom shoot 35mm except for fun family stuff, and a film like this is too good to mess around with. Can you imagine how it would look in 120 if it looks this good in 35mm?!
Just had a look at Adox's site today and noticed this film. Read their description and went on looking for their Super 8 film, because I just thought what was said there was just the standard "this is the best film ever" kind of spiel...
Seeing your test was online, I had a look and was truly impressed. Kind of like medium format results from a 35mm camera. Will get a roll or two to try... with some Adotech developer...
Outstanding detailed and well presented review as always 👌
i must try this started to develop my own #C41 and #e6 so would love to try these combination
Hi, very useful and well articulated video, thanks!
I have a question on "exposure-development" issues.
I am an old photo-man (analog of course) and for my art research, I used to use all those low speed ultra-sharp films of the '60 of previous century, i.e. Agfapan 25, rebranded as APX 25, then disappeared...
So I was using this film from its first appearence, when developer was a simple "Adotech" then I, II, III and now IV.
The problem is that instructions say to expose for @20 iso in full light and @12 in shadows or cloudy etc.
This is perplexing to me, since we were saying that the best for full range of tones is to overexpose and underdevelop, so rate at 12 and develop for less time...
Then developing instructions are saying that "initial temperature at 23 C°", since it will get colder during development...
But in tempered areas of the planet, from 23° it can get HOTTER....!
In any developer, times are given for 20 C° , to be mantained.
Results: it is very difficult to replicate same development/exposure combination.
Do you have any suggestion?
Thank you
Thanks for sharing this video!
Also, your scans are very high in details and this is the first time I saw the grain of this film stock occur. Personally I do scan 135 film with the Reflecta RPS 10M which can resolve something
around 4500dpi. At this resolution, the real grain of the CMS20 II seems to hide somewhere within the pixels...
From my own experience this exceptional film stock does offer more challenges than it's very low speed and inherent quite contrasty attributes...
1- The almost non existent grain does expose every(!) focussing / motion blur mistake. Which are plenty when shot handheld, like I did the last time using it (see my last video).
2- It curls like a spring. Even when pressed flat for a week. After a lot of time in my negatives archive folders it likes to stay what I'd consider "flat".
3- Dust. I can't believe how much dust this thin trip of polyester can accumulate. It seems to just love the very tiny one what makes spotting a scan a time consuming task.
Luckily, when printed in the darkroom the dust is not that much of a problem. Don't know why that is...
There are a few sample images of this film on the Adox homepage. They were scanned with a resolution of 8000dpi and the grain only just starts to show. Digital cannot resolve this film.
Recently got this film in both 35mm and 4x5 formats.Will have to wait until lockdown restrictions are eased to go out with the tripod. Have shot Technical pan in the past which I believe is similar, in this case I used a Pentax K1000 with an 85mm F2 and got amazing results.
Thanks for the great review !
I’m really surprised how well behaved the contrast in your images is. Up until now I only saw a few samples that showed what I thought would be a very hard to control film, but this really makes me think about buying a few rolls and the developer :)
Looking at the pics, at first, when you don't get in really close they look just the same as digital photos!!! I'll have to look into this film and developer combo.
I just love this film. it´s a really shame that Adox is in so a long back order on the 120 format. Thank you guys for this one!
Thanks for this video. Could you provide more detail on the developer/fix you used?
Thanks for your comment. The developer was the fitting Adox Adotech IV developer. The fixer just needs to be acid-based and shall only be used for about 60 seconds (as mentioned in the video). That's all.
Hi Max. Beautiful video :) since you took bracketed shots: which one looked the best eventually ? slightly under or just as measured by the camera? greetinx
Thanks for your comment. Good point. We eventually scanned the one with one stop of additional light just because it was easier to scan it. The normal exposure would have been fine as well.
Good job guys.
Ray I just ordered 5 rolls now need the formula to develop my first roll
@@felixifloresrodriquez3306 well five rolls means you're fully committed. I checked freestyle photo in California in that particular developer is not in stock. I'm not sure if it's something that is primarily sold in Europe. a few weeks ago I did a detailed review of T-Max 100 film on my channel and I said it's the finest Grain 35 I've seen this here is very intriguing, I have to say I've shot lomography Potsdam than medium format and that thing is so clean it does look straight digital and grain is half the beauty of analog ☺️
@@Raychristofer let me know if you want one roll. Is a lot of them in Berlin ADOX shop
One of your best reviews, plus one I’ve been looking forward to. I understand using the F6, but why not your Leica M also? I used to use the CMS 100 in 120 for years, and processed in trus Agfa Rodinal 1:50 for 10min. Always beutiful results. Just haven’t gotten around to trying this one yet. I wish Adox would bring back the CMS 100 in 120. Fantastic job, happy you were able to get out & about. Looking forward to your next one.
You probably mean ADOX CHS 100 II, as there has never been a CMS 100 film. ADOX is working on re-introduction of 120 format film. They are improving and modernizing their whole 120 confectioning line. But it is a very difficult and complicated project which takes time.
@@henningserger7150 great, thanks!
Do it as a positive film - how does it do? Excellent video a lot of work -thanks!
In 1983 we started using Agfaortho 25 (at iso 12) developed in Tetenal Doku for 13 min for repro work in the museum where I worked. No grain. Amasing film😀
I agree. I used this film in the early 80s with my Leicaflex SL. ISO 6 and a tripod and mirror lock up. The results were amazing, but unfortunately it was an orthochromatic emulsion. I still have 34 meters in my fridge.
Thank you for your input. I think we should compare both films next time.
Best regards, Greg
Fantastic episode. Thanks for covering this film. Have you tried any other developer with this film - or planning to? I saw some people suggesting Modified Windisch, and H&W Control almost 10 years ago! Both are publicly available formulae.
Somewhat related I remember reading on Photrio (when it was called APUG) that Heribert Schinn of SPUR Photochemie had developed this or at least he played a major role in formulation of this developer.
Hi, wonderful review of this film. Could you give us some details of Greg’s setup for copying. After reviewing your previous video on scanning, my budget really doesn’t allow to purchase a single use item but copying using a digital camera with a macro lens seems the right direction. I’m interested in the bellows, extension tubes and holder setup since they can certainly be used for macro work. Thank you!
Hello Dan.
My setup was a Pentax K1 full frame DSLR. From the 80ˋs I still have an original Pentax bellows with slide copy adapter (I used it for drawing b&w-negatives from my Kodachromes). The lens that I use is a SMC -TAKUMAR 50mm f 4 macro-lens. Pentax recommends to shut the aperture to f 5,6 and that works quite well.
Cheers, Greg
insane amount of sharpness
Thank you for the video, guys!
Have to check, if I have this Special Adox in my fridge. There are a few, out of a recommendation by a close friend.
The question is, what to shoot, that might profit a high resolution film. My wife would kick me, if I take out the 100mm Macro lens and ask her to stay calm LoL. She hates, when I say it and she doesn’t like her portrait taken. These days are over, I guess.
This was another fun one
I am using ADOX CMS 20 I / II since the introduction more than a decade ago. It is excellent for landscape, architecture, still-life (studio work), cars, lost places. But I have also used it for jewelry shots (prof. advertizing) and fashion jobs. And also made quite a lot of portraits with it, too. With portraits you have to be a bit more careful with the selection of people you are portraying, but if done right, the results are outstanding and have their own special character.
@@henningserger7150 thank you Henning!
@@MartinLeschinski You are welcome!
Great video, I was suprised you didn't make a large print, which would take advantage of a very fine grained film.
Thanks for your comment. We might do that a bit later. Very good idea. :)
I guess is Munich outskirts. Looking forwardto buy one roll and shoot with this film.
Fascinating.
I would love to have seen a photograph of the building in the distance on one of the pictures.
Could you borrow a Leica 50mm APO Summicron?
It’s probably not still available but the sharpest film in 35mm was , at one time , was Kodak Technical Pan. However, it was quite difficult to get a reasonably flat gamma curve with it. I used to mix up a long forgotten ‘soup’ , probably a version of Metol A+B. The fun was that, with a very sharp lens and the right subject , you could pass a photo shot this way of being taken on 4x5.
Totally agree. I still have loads of TP and shoot 35mm and 120 film. Using my Mamiya 1000s 6x4.5, the results are extraordinary. I sometimes shoot on a Rolleiflex but the flexibility of interchangeable lenses on the Mamiya more than compensates for the slightly better performance of the Rollei.
Thank you, very interesting.
It’s nice seeing some espresso machines on a film photography channel/video!
Thank you 😁. best regards, Greg
Thank you for another awesome awesome video what a great product that film is I look forward to trying my 1st role.
I have not developed my film myself since I was a kid 30 years ago is there a laboratory that specialises in Processing this for us?
You can send the film to the Fotoimpex lab and the JOBO artisan lab.
Great video. One thing I've found interesting about this film/developer combination on several RUclips videos is that none of the photos featured were shot in low-light. Any reason or reasons for this?
I use Kodak Technical Pan film. (I still have a fridge full of it). To my mind, it's nicer than Adox CMS because the tones are more graded. CMS is too contrasty. (But slightly finer grain than TP). Photographers Formulary make a developer called TD3 and it gives outstanding results and 50asa with T.P. CMS can only be rated at 15-20asa, if you want the contrast to be manageable. I did take a portrait, using CMS and a Canon 85mm F1.8 EF lens. I scanned the negative on my Noritsu HS1800 and a friend printed it to 4ft. x 3ft. At close/normal viewing distances, grain was not visible. (But the picture was a little "harsh"). Technical Pan film would have made a more natural job of the portrait.
Nice demonstration. I am reminded of past years shooting Kodak Tech Pan. Same slow speed,wide latitude, resolution, and special developer. To obtain the benefits, you must shoot with the care and limitations of a large format camera, making your photography slow and laborious. If your goal is an exhibit print, all of that may be worth it. If you are copying the negative with a jury-rigged digital SLR to post on media or make an inkjet print, it's a total waste of time and money.
Nice to see a Pentax LX in action...
Thank you for the video. I have been using this film for a year now (besides others, of course). The resolution is incredible - but the downside of 12 ISO, 20 on the wild side, is very limiting for me. And then, I could not really answer my question: why don’t just use my digital ‘full frame’ camera, if high resolution is the Holy Grail?.. On film, compared to CMS 20 or more generally ‘weird films’, I prefer to use Ferrania p30: also very special, but underlines the qualities of film and is at least 80 ISO ;-)
Nevertheless, I encourage everybody to try CMS 20 - it’s quite unique!
"why don’t just use my digital ‘full frame’ camera"; because we love analog photography.
I love the Ferrania P30. It's an awesome film if you know how to use it 👌
P30 is it. If they sold it in an affordable format (100ft or 400ft etc) it might be my one and only.
What fixer and stop bath did you use with the adox developer? Did you rinse in between steps?
This ADOX film really requires this ADOX developer. I wish some labs would offer processing this and Rollei 80s in the appropriate developers even at a higher charge and even if they only processed it once a month.
Good film for using in Leica M film cameras whit the Noctilux 50mm lenses.
nice review . . . . .
The old Kodak Technical Pan could resolve over 350 lines per mm when processed in several Kodak high resolution developers. I can't help but notice ADOX doesn't even CLAIM a resolution figure, so is it AS SHARP as Kodak Technical Pan (still available as a Special Order item)? Kodak 35mm Kodalith Type 3 is capable of >335 lines per mm when processed in Kodalith Fine Line Developer and both are common as dirt. Since ADOX CMS 20 II Pro and ADOTECH IV STILL (22/03/29) aren't available to me in the US, personal tests aren't possible. The film alone is available to me, but not the requisite developer. I have made THOUSANDS of 48"x 60" "poster prints" from both Kodak Pantomic-X and Agfapan 25 B&W films when I worked for a commercial photo-lab-both grainless.
-Kodak Technical Pan is the highest resolution film I’ve ever used. It is truly amazing. Pity Kodak don’t make it anymore.
As a former Kodak Technical Pan user, which is meanwhile using ADOX CMS 20 I / II for over a decade, I can ensure you that CMS 20 II even surpasses Technical Pan in resolution significantly.
great video
Mirror lockup would also help sharpness
Max, what is your Go-To-/Favourite-BW-Film? What love to hear your opinion :)
Difficult. It depends. I enjoy shooting Ilford FP4 and HP5 but also like the Delta series if I am looking for finer grain. These are my favorite standard black and white films i purchase the most.
@@AnalogInsights merci! totally agree with your filmchoice! i was always left with the impression, that delta adds more grain, but maybe i need to check the lower ISO Deltas first :)
Grain/Pixel peepers heaven:)
great video. thx
Ich werde dieses Jahr ADOX CMS 20 II ausprobieren mit meiner Contax IIIA und sein Zeiss und Voigtlander SC Objetiven und später weiter verarbeiten in mein Duka auf Fomabrom Papier .
Nikon F6 ❤️👌
It is an amazing film. Comes at a fairly low price. I definitely recommend shooting it. Portrait results are very interesting as well. :)
Very cruel no doubt!
I wish we had an film camera with a sensor that replaced the pentaprism. Then we could pre-evaluate the exposure on a rear screen before comitting the image to film. We could then do tricks like filling the image with light until we were happy with the result, a feature Olympus has in some of their digital cameras.
I would call such a camera DSF - Digital Sensor Film camera.
What you want has even been done by sony, but with digital cameras. Early sensors didn't have live view capability, so they designed a pentaprism, really a pentamirror, where one of the five mirrors could open revealing a second smaller sensor that captured what was impressed on the focusing screen and transmitted it to the screen as a live view stream. It has been used with digital cameras only, but it could work with film too, and you would still be able to use a traditional viewfinder too!
@@karellen00 Yes I remember the Sony. I would just put a sensor above the mirror and not complicate things too much. EVFs today are pretty good. Even the one I have attached to my now old Panasonic GX-1 is size-wise on par with any full frame DSLR or SLR. But you could of course just take a digital shot electronically before you slammed up the mirror and exposed the film.
How does it compare to TP2415@25 ISO + technidol ? I still have my FM2...
I have used Technical Pan in the past, and I am using ADOX CMS 20 (first version) and now CMS 20 II regularly. ADOX CMS 20 II offers much higher resolution, better sharpness and significantly finer grain than Kodak Technical Pan. But Kodak TP had a higher sensitivity (higher speed). Another difference is spectral sensitivity: Kodak TP was super-panchromatic (higher sensitivity for red), and ADOX CMS 20 II is ortho-panchromatic (lower sensitivity for red, red is rendered darker in the final picture).
wow!!!!!! awesome!!!!!!
Great timing! I was just digging into this in an effort to determine the limits of 35mm print sizes. You may find this interesting - google "More Ultra High-Resolution MTF Experiments Roger Cicala". That will give you the lens list that can truly produce the best results with ADOX. For example, the highest resolution "normal" lens is the 40mm Sigma Art, which achieves over 200lp/mm, and the highest resolution portrait lens is the Sigma 105mm Art, just barely making it to 240lp/mm. If ADOX really goes to 600 or 800lp/mm, these lenses are the best currently to push that. I am wondering what an ADOX negative shot with one of these lenses and scanned with a Sony A7r4 pixel shift 240mpx image would look like. If you google "2007-04-vitale-filmgrain_resolution", that will get you to an excellent research paper covering the resolution of many still available films such as Portra 160 and Tri-X, what they can resolve, what they typically resolve with good glass, and the impact of grain on resolution. Great video and thanks!
Regarding your last reference (2007): The math is good but the measuring is deficient.
Very common in small scale/newbie/amateur science.
It’s been proven imperically over and over that films real attainable resolutions is higher than the numbers cited.
Just do a casual Google.
As usual in these kinds of tests they commit the mistake of thinking the scanner tells the truth or that you can somehow glean the truth even through a bad scan.
Low res/bad scans are exceptionally deceptive.
They “somehow” have a way of bewitching the people doing them into thinking they are “good enough”.
@@Frisenette While I don't disagree, the document does provide relevant information on several films regarding what the manufacturer states as the resolution the film is capable of. My conclusion was that the limiting factor will be the lens. I'd rather carry a Pentax 645N if I need the larger print sizes than carry around a 40mm Sigma Art.
@@jw48335 the data sheet can be very misleading partly because it’s too honest (in a way digital manufacturers has long since given up on (have you ever seen the MTF chart for a sensor for instance?) and partly because it takes experience and knowledge to read.
For instance negative film was never meant as an end medium, but merely as a data transfer medium to another substrate.
As such micro contrast and ultimate resolution is made for that.
I am running an independent photography test lab. And over the last 30 years I have tested almost all films on the market, and the current digital sensors. By far the highest resolution I have ever got in my numerous tests is with ADOX CMS 20 I / II. With that film I have reached the diffraction limit (physical resolution limit) of my best lenses, e.g. for f5.6 that is 240-260 Lp/mm. Impossible with digital. Carl Zeiss has used this film for their resolution tests as well.They have got at f4 the diffraction limit of their test lens of 400 Lp/mm.
@@henningserger7150 Interesting. I recognized your name from the reading I'd been doing :) Thanks for sharing!
Thats sharp! not enough pixel for scanner!
Please make a review of the nikon f6!
INCREIBLE¡¡¡
Chronologie eines Zuschauers:
Video liken
Bereit machen für 12 Minuten Genuss
(Kommentar verfassen)
Video schauen.
The sharpness and grain remind me a lot of tmax100 for some reason, the sharpness of which looks comparable to my eyes,
I have tested both films side-by-side under absolutely identical conditions in my test lab: Resolution values of CMS 20 II are almost double of T-Max 100. CMS 20 II is much much sharper, and also much much finer grained. You really see it immediately with optical prints. Here you are of course facing are the digital limitations (resolution loss because of scanning, extremely low resolution of computer monitors). It is impossible to demonstrate the real outstanding performance of this film in total online. You have to see it live and directly!
That is really a fine grain almost look like digital image
I used to use a lot of the old Kodak Tech-Pan 2415 and the Technidol LC developer in the mid 80s. Now, Tech Pan was a process film, when combined with Technidol LC it yielded a BW panchromatic film with about 7 stops of useful dynamic range and around 200 lpmm of resolution, way above most average camera lenses of the time. With regret I doubt very much if Adox film is anything but a copy/process film with perhaps similar scale to Tech-Pan. I also doubt very much, if a conventional high res/fine grain film such as Ilford Pan F Plus or even their newish Ortho plus 80 , would not yield similar results to Adox if metered and processed correctly. After all I have yet to hear of a commercially available lens that is capable of resolving more than 240 lpmm, so all that claimed resolving power of 800 lpmm ( no doubt obtained in an extremely high contrast environment ) is really of no use. Thank you for a very entertaining video, and some lovely photographs.
Very interesting comments RS
Wait wait: The Minox Complan is often reported at resolutions of 330 to 350 lm/mm, about half again better than the 240 lp/mm you state.
How is the shelf life of the developer?
120 film I think is coming ?
One can shoot this film with gorgeous results by rating it at ISO 60 to 80 by developing the film in the H&W developer, a formula that you can get on the web!
Is this Stadt Essen? I lived there for 4 years
No. This was in Munich. :)
Check out: Antonioni movie: Blow up! Nikon camera with Kodak BW film ..
For me a ORWO NP15 film with Carl Zeiss Jena Tessar 28./50 lens gave the best results so far. It would be a shame to underestimate the GDR technique because it also competed with the best Japanese technique in this field. But for civilians, the best lens is the Pentax Super Takumar, and Ilford FP4 Plus film
Does anyone has samples photos of ADOTECH IV and Spur Ultra R 800 Film combination?