The past 15 years or so have not been easy for film photographers: Most photo labs have closed their doors, major brands no longer manufacture analog cameras, and the few remaining repair shops are all but out of parts.
The biggest heartbreak of all, though, is the extinction of several film stocks: Infrared, Kodachrome, Ektachrome, Neopan 1600, and Kodak Royal Gold, to name a few. But for those of us sticking it out, we are seeing a renewed interest in analog photography. Our patience is being handsomely rewarded with new and re-released films to enjoy.
Fujifilm Neopan 400 was one of my favourite films, and the stash in my fridge is starting to look bare. So I set out to compare three new ISO 400 black and white films: Japan Camera Hunter Streetpan 400, Bergger Pancro 400 (a completely new film), and Rollei RPX 400, which has been around since about 2011. They join ILFORD HP5 PLUS, ILFORD Delta 400 Professional, Kodak Tri-X 400, and Kodak T-MAX in a very popular film type, where it never hurts to have more choices.
Here’s what I cover in this article:


 
 
 

Methodology

All three rolls were shot through a Canon EOS-3 with an older 28-70 f/2.8 lens, on the same day, in the same two places (Hollywood and Downtown Los Angeles).
As a custom function of the EOS-3, the film can be rewound, leaving some of the leader outside the cartridge. This makes for very easy re-loading of a partially exposed roll. Because of this, I was able to use the exact same camera and lens combination to shoot with all three rolls of film. I shot five frames at a time with each roll and then changed it out. By shooting on the same day, I could be sure the lighting conditions were the same. I managed not to make any unintended double exposures but did have some light leak at the beginning of the roll of JCH Street Pan, a reminder to load film in subdued light in the case of a faulty light trap on the canister.
I shot all rolls at EI 400 and tried to maintain consistent exposures by selecting two shutter speeds—one metered for the shadows, the other for highlights—and switching between the two, keeping the aperture at f/4.0.
They were each developed in a fresh batch of Rodinal. The instructions for Bergger Pancro 400 suggested extra fixing time (6 minutes), but I already fix all film for about 7 minutes to avoid purple negatives.
*Note: While I’d love to say the scratches are an intentional touch of flair, they’re the result of a battle with my metal reels that I clearly lost. In my defense, it was unusually humid during the latest heat wave here in Los Angeles and my hands were very sweaty, making them stick to the inside of my changing bag. It took several tries to get the film loaded, and I expected some scratches, but the film looks like I put it through the wash with a bagful of nails.
 
 

Comparisons

Each of the three sets below is presented as a mini-gallery. To view the images in full screen, click or tap one of the images.
 

Exposed for shadows

The images below were all exposed for the shadow areas to compare highlight retention. I found that JCH Streetpan 400 had the least detail in the highlight areas, while Bergger Pancro 400 still showed plenty of detail on the black speckled terrazzo of the Hollywood Walk of Fame.
Click on the thumbnails for a fullscreen gallery.


 

Backlit

The next set of images below were exposed for the shadows in backlit situations. I tried to include the sun, or a reflection of it, in the frame. Much like the first set, Bergger Pancro 400 seems best at retaining detail in the highlights, in this case the sky. But in general, Pancro looks to be almost a stop underexposed, despite using the same exposure settings as the other two film stocks.


 

Exposing for midtones

This final set of images were exposed for a midtone and were all using the same exposure settings. While the angles are slightly different, they were also taken at the same intersection so that the tones could be compared.


 
 

Closing thoughts

It has became clear to me that Bergger Pancro should probably be shot at ISO 200 or 250, but it appears to have the least contrast.
In a final image it isn’t always desirable to have low contrast, but in this case I think it will provide the most flexibility for adding selective contrast in the printing process.
Japan Camera Hunter’s Streetpan has by far the most contrast of these three films, often losing detail in the brightest areas, but has very nice mid and dark tones. Rollei RPX 400 has a very bright, airy quality, and good, balanced contrast.
My personal favourite of the three is Streetpan 400, as it has a similar contrasty look to Fujifilm Neopan 400.
Thanks for reading.
~ Rebecca
 
 

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11 COMMENTS

  1. I learned the hard way that trying to load film in a bag in the heat never ends well, I fully trashed a 120 film by doing this once. I now do it when it’s as cool as possible, I also clip the corners of the film leader, which makes it considerably easier for loading the film onto reels, especially 120 film. Nice review by the way.

  2. Love the Bergger Pancro 400 shots. I’ve been trying it out as sheet film (4×5), I agree it ought to be shot at 250 or so rather than the box speed.

  3. Hi Rebecca,
    firstly, thanks for your review!
    Regarding your reeling experience. I had a similar experience with my first rolls of home developed 120 films this summer. I could not get the film on my reel for about one hour (until I gave up). My solution was doing this in a dark room instead of a changing bag and I had no such problems since then. It took me quite some time to find out how to get my room dark enough, but it was definately worth it.

  4. I have more than enough hope peoples interest in film will increase as it already seems to be doing so. The vinyl industry is also having a comeback as well… people want real things, and experiences with reality and film gives you that.

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