Select Page

5 Frames With… ILFORD HP5 PLUS (EI 800 / 35mm / Olympus OM-PC) – by James Tollefson5 Frames With… ILFORD HP5 PLUS (EI 800 / 35mm / Olympus OM-PC) – by James Tollefson

5 Frames With… ILFORD HP5 PLUS (EI 800 / 35mm / Olympus OM-PC) – by James Tollefson

About a month and a half ago I dove in head-first into the world of film photography with a rocket strapped to my back. Within weeks I had acquired both a Mamiya C330 and an RB67 Pro SD to satisfy the medium format itch. A week after my wallet left me to be treated better elsewhere, I got an email from family saying they found a small collection of camera gear in my late Father’s possessions.

Enter Olympus.

In his small kit, my Father had a practically unused Olympus OM-PC, an Olympus Zuiko 50mm f,1.8, a mess of Vivitar flashes, and some very dated Cokin filters. I picked up batteries to operate the camera, and a few rolls of ILFORD HP5 PLUS to run through it. I decided to push the film to EI 800 now that I had the power of a shutter speed of 1/1000th of a second vs 1/500th with my Mamiya brick.

Overall, it is a very light body being mostly plastic with a rubberized grip. It’s small and unassuming, which is fantastic since I still haven’t quite figured out how to talk to strangers about why I’m taking photos of office towers downtown yet. The OM-PC does have some fairly interesting metering technology in it that I don’t fully understand enough to review, but having it set to aperture priority made the entire process as easy as could be.

I wasn’t super impressed with the contrast of HP5 shot at box speed, so I hoped that pushing it 1 stop wouldn’t excite the grain too much, but improve the contrast to where I’d like it for dramatic looking photos.

Oh was I ever on the money with that guess.

I burnt through the rest of the roll after I felt like I got the shots I wanted and developed it at home in Kodak D76 at a 1:1 dilution as per box instructions.

They’re crisp, with loads of grain from what I’m used to, but it gives the images these buttery smooth transitions between tones on the reflective glass windows and sheet metal. The metering was accurate, and I feel confident I can trust the camera to make the right choice, or at least give me an accurate idea of where to start adjusting exposure settings from.

I’m unsure of how well these would print in traditional darkroom methods, but scanning with my V600 resulted in clean images with very little need to tweak levels from what the software decided was correct.

For being (as per forums) an unremarkable Olympus camera, I’m beyond tickled with how light and compact this kit is, and with how sharp the glass is! For an everyday black and white film, I think I’ve got a few scenarios to test with HP5 yet, but it’s well on it’s way to winning me over.

~ James



Get involved: submit your 5 Frames With

Getting your 5 frames featured couldn't be simpler: all you need to do is send over 5 frames shot on a single roll of film using the same lens and camera combination. Large format shooter, not a problem! As long as the shots all came from the same film stock, camera and lens, you're good to go.

You can submit your article using this form.

Finally, don't forget that this series is being produced in conjunction with Hamish Gill's excellent Head on over to read the other half of these stories.



Write for EMULSIVE

The driving force behind EMULSIVE is knowledge transfer, specifically creating more of it in the film photography community. You can help by contributing your thoughts, work and ideas to inspire others reading these pages.

Take action and help drive an open, collaborative community: all you need do is read this and then drop me a line.



Lend your support

Like what you see here? You can support EMULSIVE by helping to contribute to the community voice on this website (see above), or by heading on over to the EMULSIVE Patreon page and considering financial support from as little as $2 a month.

As if that’s not enough, there’s also an EMULSIVE print and apparel store over at Society 6, currently showcasing over two dozen t-shirt designs and over a dozen unique prints of photographs made by yours truly

In short, I want to continue building this platform and I’d love your help to make that happen.

About The Author

James Tollefson

From the prairie region of Canada. Portrait photographer first, but quickly falling in love with film photography and abstract cityscape photos.


Comments are welcomed and encouraged on EMULSIVE but there are some instances where comments will deleted, and authors of those comments banned. They are as follows:

  • Comments deemed to be spam or solely promotional in nature will be deleted. Including a link to relevant content is permitted, but comments should be relevant to the topic at hand.
  • Comments including profanity, containing language or concepts that could be deemed offensive will be deleted. Note this may include abusive, threatening, pornographic, offensive, misleading or libelous language.
  • Comments that attack an individual directly will be deleted, as will comments that harass other contributing authors. In short, please be respectful toward others.



  1. stalematephoto

    Thank you!
    The grain is a bit aggressive when viewed large, but I’ve grown to like the look of pushed Ilford stock.

  2. Hello !
    I also have this camera with Vivitar 135mm 2.3. Very light camera very heavy lens. I will try this combination soon.
    I found this strange combo in local Salvation Army store. $30 paid


Add your voice to the discussion

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Find out how you can help support EMULSIVE from as little as $2 a month on Patreon.Learn more