Rollei Superpan 200


My Rolleiflex T, Olaf Lengler

5 Frames. Cumulus afternoon with a red filter on Rollei Superpan 200 (EI 200 / 120 format / Rolleiflex T) – by Olaf Lengler

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Once again it was time for a spontaneous photo tour with a fixed theme. Normally I only shoot what comes to my nose. I am …

Read more5 Frames. Cumulus afternoon with a red filter on Rollei Superpan 200 (EI 200 / 120 format / Rolleiflex T) – by Olaf Lengler

EMULSIVE’s most popular film photography experimentation articles of 2018

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Life would be boring without experimentation and this fifth article for 2018’s lazy post listicles should help you scratch that itch…or not.

Either way, it’s here.

Comparing Fujifilm Acros to… Fujifilm Acros – READ

Crank Case – Minolta XD7

Every single film stock still made today – Part 5: Oriental to Rollei (v3)

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Update 02: 2018-09-20

Welcome to part five of this series exploring every single film stock (including instant film, dry plates, etc.), still being made today.

Transition 05 - Shot on Rollei Superpan 200 at EI 200. Black and white negative film shot as 6x6. Hasselblad 2000 + Kodak Aero Ektar 178.

Photography: Transition 05 – Shot on Rollei Superpan 200 at EI 200 (120 format)

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Transition 05

Shot on Rollei Superpan 200 at EI 200
Black and white negative film shot as 6×6
Hasselblad 2000 + Kodak Aero Ektar 178mm f/2.5

Read the Rollei Superpan review and experimentation guide

 

 

 

Transition 04 - Shot on Rollei Superpan 200 at EI 200. Black and white negative film shot as 6x6. Hasselblad 2000 + Kodak Aero Ektar 178.

Photography: Transition 04 – Shot on Rollei Superpan 200 at EI 200 (120 format)

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Transition 04

Shot on Rollei Superpan 200 at EI 200
Black and white negative film shot as 6×6
Hasselblad 2000 + Kodak Aero Ektar 178mm f/2.5

Read the Rollei Superpan review and experimentation guide

 

 

 

Transition 03 - Shot on Rollei Superpan 200 at EI 200. Black and white negative film shot as 6x6. Hasselblad 2000 + Kodak Aero Ektar 178.

Photography: Transition 03 – Shot on Rollei Superpan 200 at EI 200 (120 format)

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Transition 03

Shot on Rollei Superpan 200 at EI 200
Black and white negative film shot as 6×6
Hasselblad 2000 + Kodak Aero Ektar 178mm f/2.5

Read the Rollei Superpan review and experimentation guide

 

 

 

Transition 02 - Shot on Rollei Superpan 200 at EI 200. Black and white negative film shot as 6x6. Hasselblad 2000 + Kodak Aero Ektar 178.

Photography: Transition 02 – Shot on Rollei Superpan 200 at EI 200 (120 format)

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Transition 02

Shot on Rollei Superpan 200 at EI 200
Black and white negative film shot as 6×6
Hasselblad 2000 + Kodak Aero Ektar 178mm f/2.5

Read the Rollei Superpan review and experimentation guide

 

 

 

Transition 01 - Shot on Rollei Superpan 200 at EI 200. Black and white negative film shot as 6x6. Hasselblad 2000 + Kodak Aero Ektar 178.

Photography: Transition 01 – Shot on Rollei Superpan 200 at EI 200 (120 format)

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Transition 01
Shot on Rollei Superpan 200 at EI 200
Black and white negative film shot as 6×6
Hasselblad 2000FCW + Kodak Aero Ektar 178mm f/2.5

Read the Rollei Superpan review and experimentation guide

 

 

Veins 02 - Shot on Rollei Superpan 200 at EI 200. Black and white negative film in 120 format shot as 6x6. Hasselblad 2000 + Kodak Aero Ektar 178

Photography: Veins #02 – Shot on Rollei Superpan 200 at EI 200 (120 format)

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Veins #02

Shot on Rollei Superpan 200 at EI 200
Black and white negative film in 120 format shot as 6×6
Hasselblad 2000 + Kodak Aero Ektar 178mm f/2.5

Read the Rollei Superpan 200 review and experimentation guide.

 

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One down - Shot on Rollei Superpan 200 at EI 200. Black and white negative film in 120 format shot as 6x6. Hasselblad 2000 + Kodak Aero Ektar 178

Photography: One down – Shot on Rollei Superpan 200 at EI 200 (120 format)

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One down

Shot on Rollei Superpan 200 at EI 200
Black and white negative film in 120 format shot as 6×6
Hasselblad 2000 + Kodak Aero Ektar 178mm f/2.5

Read the Rollei Superpan 200 review and experimentation guide.

 

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Bathed in light - Shot on Rollei Superpan 200 at EI 3. Black and white negative film in 120 format shot as 6x6. R72 filter.

Photography: Bathed in light – Shot on Rollei Superpan 200 at EI 3 (120 format)

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Bathed in light

Shot on Rollei Superpan 200 at EI 3
Black and white negative film in 120 format shot as 6×6
R72 filter

Read the Rollei Superpan 200 review and experimentation guide.

 

 

 

 

 

EMULSIVE's most popular film photography experimentation articles of 2017

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What would film photography be without the experimentation aspect? Sticking to box speeds, recommended developers and “the right way” of doing things is boring
 
 
10.

Venn Shot on Rollei Superpan 200 at EI 200. Black and white negative film in 120 format shot as 6x6. Black and white reversal development.

Photography: Venn – Shot on Rollei Superpan 200 at EI 200 (120 format)

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Venn

Shot on Rollei Superpan 200 at EI 200
Black and white negative film in 120 format shot as 6×6
Black and white reversal development

Read the full Rollei Superpan 200 review here…and don’t forget the experimentation guide!

 

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Madison Falls, Yellowstone National Park - Kodak AEROCHROME III 1443 shot at EI 400. Color infrared aerial surveillance film in 120 format shot as 6x12. Shot with #21 orange filter.

EMULSIVE interview #132: I am #EMULSIVE and this is why I shoot film

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Welcome to this week’s EMULSIVE interview!

Today’s interviewee is someone a few of you may have heard of and to be frank, it’s been a bit of headache to put together.

Creep - Rollei Superpan 200 shot at EI 3 with R72 filter. Black and white film in 120 format shot as 6x6.

Photography: Creep – Shot on Rollei Superpan 200 at EI 3 (120 format)

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Creep
Rollei Superpan 200 shot at EI 3
Black and white film in 120 format shot as 6×6
R72 filter

Read the full Rollei Superpan 200 review here…and don’t forget the experimentation guide!

 

 

Mannequin parade - Rollei Superpan 200 shot at EI 3 with R72 filter. Black and white film in 120 format shot as 6x6.

Photography: Mannequin parade – Shot on Rollei Superpan 200 at EI 3 (120 format)

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Mannequin parade

Rollei Superpan 200 shot at EI 3
Black and white film in 120 format shot as 6×6
R72 720mn infrared filter

Read the full Rollei Superpan 200 review here…and don’t forget the experimentation guide!

 

 

 

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Waiting zone - Rollei Superpan 200 shot at ISO3. Black and white negative film in 120 format shot as 6x4.5. R72 720mn infrared filter.

Photography: Waiting zone – Shot on Rollei Superpan 200 at EI 3 (120 format)

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Waiting zone Rollei Superpan 200 shot at ISO3 Black and white negative film in 120 format shot as 6×4.5 R72 720mn infrared filter Read the …

Read morePhotography: Waiting zone – Shot on Rollei Superpan 200 at EI 3 (120 format)

Infra-shroom - Rollei Superpan 200 shot at ISO3. Black and white negative film in 120 format shot as 6x4.5. R72 720mn infrared filter.

Photography: Infra-shroom – Shot on Rollei Superpan 200 at EI 3 (120 format)

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Infra-shroom Rollei Superpan 200 shot at EI 3 Black and white negative film in 120 format shot as 6×4.5 R72 720mn infrared filter Read the …

Read morePhotography: Infra-shroom – Shot on Rollei Superpan 200 at EI 3 (120 format)

Given the elbow - Rollei Superpan 200 shot at ISO400 Black and white negative film in 120 format shot as 6x6 Zodiak-B 30/3.5 fisheye

Photography: Given the elbow – Shot on Rollei Superpan 200 at EI 3 (120 format)

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Given the elbow

Shot on Rollei Superpan 200 at EI 400
Black and white negative film in 120 format shot as 6×6
Hasselblad 2000 + Zodiak-B 30/3.5 fisheye

Read the full Rollei Superpan 200 review here…and don’t forget the experimentation

On the meter - Rollei Superpan 200

Photography: On the meter – Shot on Rollei Superpan 200 at EI 400 (120 format)

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On the meter
Rollei Superpan 200 shot at EI 400
Black and white negative film in 120 format shot at 6×6
Read the full Rollei Superpan 200 review here…and don’t forget the experimentation guide!