B&W,  Daily photo,  Rome,  Spring,  Streets&Squares

5 frames with the (much awaited) Ferrania P33, a Nikon F3 and a Nikkor 50 F2

I managed to grab a few rolls of the very first batch of Ferrania’s brand new P33 film, so I wasted no time in putting it to work with a Nikon F3 and the glorious Nikkor 50 f2. I won’t go into the technical details of this film, firstly because I can’t claim to be an authority on the subject, and secondly because Ferrania’s website has plenty of information. There is only one thing to know: the canister is not DX-coded, so shooting is only possible in full manual mode. This may change in the future, but for now this is the state of the art. Finally, a transparency note: I bought the P33 by myself, I was not asked to write this post,  and I am not affiliated with Ferrania, although some of my pictures have appeared on its website.

The P33 is presented as a double ISO P30. In fact, it is a 160 ISO, whereas the P30 is 80. Having shot with both films, I can say that to my eye there is no visible difference in grain, and pretty much all the characteristics of the P30 have been retained.

Pizza San Silvestro, Rome

In tight spaces, a Fifty is not always the most effective lens to use. Perhaps a step back would have given a better frame for the horse’s head.

Ready to leave, but for different duties. Piazza dei Crociferi, Rome

Again, perhaps a 35mm would have been a better choice, allowing the cap of the man in the background to be fully captured. It is a minor flaw, but one that I find disturbing. However, beggars can’t be choosers.

A street artist in Via delle Muratte, Rome

As for the camera and lens, I have no complaints. The F3 is still a beautiful and reliable camera, and the Nikkor 50 f2 gives pleasant results even at full aperture.

A tourist guide in Via del Corso, Rome

It was just a coincidence, but when I saw the symbol of the man on the traffic light, I made an immediate connection with the two mannequins and felt compelled to take the shot.

The Armani Exchange at Via del Corso, Rome

A note on post-processing: I still scan the negatives with a Pentax K1 and a Pentax FA100 2.8 Macro at F8, convert them to positives with Darktable’s Negadoctor module and refine the image with Pixelmator Pro. The results are improving, but I think there is still room for much better tones. Perhaps I should give the Nikon LS4000 another go.