Grant Mayer (@grantmeyerphoto) offered five rolls of Ferrania P30 that he wasn’t able to use a few weeks ago. I jumped at the chance to try this new high contrast film. I thought it would really suit me. I’ve noticed a few of the sample images from Film Ferrania in the early testing and a sample from fellow film photographers. People shoot and process film differently so there was a wide set of looks from low contrast to high. But I know what Ferrania intends for this film so I felt confident I could make it work.
I took a roll to Cruising Grand last Friday night, what could be better than a classic black and white film shooting classic cars? I actually got 39 images from the roll which is a generous amount of film from Ferrania.
Ferrania recommends shooting at the ISO80 box speed so that’s how I shot it. For development, I used HC110(b) at a dilution of 31:1 for five minutes. Agitation for one minute and then three agitations at each minute thereafter. My tap water comes out at 22 degrees Celsius so I went with that temperature. That’s a bit higher than the recommended 20 degrees but I didn’t think it would be enough to affect it much. I used an Ilford stop and fixer. This was all done in a 600ml Patterson tank.
The following sample of images were all shot on my Leica MP with a Zeiss Sonnar f/1.5 and have not been retouched or post processed in any way. They came out very clean with no scratches to speak of. The images were scanned on an EPSON V850 using Silverfast 8 on the Delta 100 preset since there is no setting built in for Ferrania P30. I hope the folks at Silverfast issue an update, this is a film that’s sure to be around for a while.
I have to say that I really like this film. The contrast is it’s biggest selling point, including the very deep blacks, for the most part without compromising the wide ranging tonal qualities that remain in these images. I’m showing you all of the images from the first roll just to give you an idea of my first experience with P30. Some of the exposures aren’t the best but there are still lessons to be taken from how these were shot. The film doesn’t seem too forgiving in some images with the highlights when exposed for the shadows although the dynamic range is wide ranging in a few of these scenes. It’s late afternoon light in Southern California so it can be very harsh at times. But overall, I think I can work with this film understanding how it responds, with only one roll of experience.
Let me know what you think and as always thanks for reading!