Until now, the only Ferrania film that’s come to fruition has been their historic panchromatic 80 ISO black-and-white film known as Ferrania P30 (in 35mm and, most recently, 120 format). But this year on the 29th of March, Ferrania announced its second product. Called Ferrania Orto, the new film is an orthochromatic 50 ISO black-and-white film. 

Not without pride and, dare I say, a pinch of defiance, Ferrania presents its newborn film stock, telling us that “the past century’s problems are today’s features!” To unobtrusively allude to the creative potential of Orto, the company describes it as “P30’s quirky cousin.” A film which simply can’t see red light. So, knowing already the distinctive features of P30, one would expect the new Orto as well to render virtually the same high contrast and low grain images, though with very dark reds.

But what is Orto actually all about?

A Bit of Context

As a matter of fact, orthochromatic film isn’t new. It’s been around since the late 19th century, and introducing a modern orthochromatic emulsion today may seem a bit nostalgic, even anachronistic.

Back in the day, orthochromatic film was the only available option, and it posed a lot of problems for the production of motion pictures. For one thing, due to its reduced sensitivity to the light spectrum, this early blue- and green-sensitive emulsion wasn’t particularly good at rendering skin tones. Thus, only the extension of its spectral sensitivity to the red light enabled a more accurate representation of the colors on the light spectrum. This deficiency of early emulsions may partly explain why there are only a few orthochromatic film stocks still available today. 

Arguably the most popular, or at least the most commonly available orthochromatic film stocks here in Europe, are Ilford Ortho+ 80 and Rollei Ortho 25, making the new Ferrania Orto fit roughly in the middle between them with its declared sensitivity of 50 ISO. The same is also true for the price of Orto, which lies somewhere between Ferrania’s main competitors. Here in Italy you can usually find it for about €11,5. [In the USA it costs $11.99, a dollar more than Ilford Ortho+ and about the same as Rollei’s ortho film.]

However, Ferrania, unlike Ilford and Rollei, is known to be shy about revealing any technical information about their film. Thus, apart from its nominal sensitivity and some published development recommendations, we don’t have much data to consider.

We may however expect Orto to have a similar spectral sensitivity curve, and therefore similar performance to that of Rollei Ortho and Ilford Ortho+. It is an orthochromatic film, after all. But having no experience with either of its competitors, I won’t speculate any further on the possible similarities between them and Ferrania Orto. Instead, I’m going to write about my thoughts on the latter after shooting and developing at home two rolls of this new film stock. 

Dungeness Architecture Shot with a Yashica Mat and Ilford Ortho Plus

"Don't go to Dungeness, it's bleak as hell and everyone lives in sheds." Despite the warning, I went, and shot the place on film...

Before Orto

For the last six months or so I’ve been almost exclusively shooting black-and-white film, mostly Fomapan 100 in 35mm. What started at first as a choice of convenience (on this side of the Atlantic the prices of film have been going crazy) soon became my loyal companion for everyday casual shooting. I’ve gradually grew quite fond of Fomapan’s grainy and unpretentious look, which makes it well suited for taking gritty images on the street. Besides, the low price and widespread availability of Fomapan makes it a great black-and-white film to get started with film photography.

However, I must admit that Fomapan 100 is by no means a perfect film. It is too grainy for such a slow emulsion, it often struggles to accurately record high contrast scenes, and it has a pretty nasty glowing effect around strong light sources. Couple this list of imperfections with the fact that Fomapan is actually a panchromatic film, and you’d be hard-pressed to find a more distinct film stock to Ferrania’s Orto. That’s why, when I my trusted local film store happened to receive a fresh batch of Ferrania Orto, I jumped at the opportunity to take a break from Fomapan and try something completely different.

I haven’t shot all the black-and-white film on the market; not even close. Except for Fomapan, I’ve only shot Agfa APX in both 100 and 400 ISO, and had some rather sporadic experience of shooting the widely praised  and long gone Fuji Acros II, but only in medium format. Needless to say, I’m not going to directly compare Ferrania Orto to the long list of black-and-white films, though I may mention a couple of instances where it stands out. 

My Experience with Ferrania Orto 

Bearing in mind all the peculiarities and quirks of Orto, I thought it would be interesting to see how it performs in a number of different settings. Most importantly, I was curious to see how it renders reds compared to other colors. So, I waited for a sunny day to feed a fresh roll of Ferrania Orto into my trusty Nikon FM2, and set off on the quest for red-colored subjects. 

Even though Ferrania doesn’t recommend using Orto for street photography because of its relatively slow speed, I found out that with enough light and reasonably steady hands I could still make rather decent pictures on the move. It applies not only to still objects like road signs, buildings and flowers on a windless day, but also to such erratic subjects as dogs. I could even freeze a flying bird’s wings right in the air.

Moving on to colors, the reds, as expected, turned out pretty dark. For instance, they are almost indistinguishable from originally black lettering on the road signs. I even attempted to take a picture of a red flower on a kitchen table using my tripod to avoid any camera shake. Even being hit with a strong beam of light, the red flower’s petals are still rendered by Orto almost like their own deep black shadow. 

The blues and greens, on the other hand, tend to be over-exposed, and I should’ve considered it before photographing seascapes. Unfortunately, since I was going to develop both of my rolls at once after I had shot them, I couldn’t see the negatives beforehand and correct my exposure accordingly. As a result, it’s almost impossible to see the horizon line between the sky and the water in the seascape shot that I made. Overall, skies on Orto are lacking tonal gradation, and are often rendered as very bright blank spaces. 

Finally, being aware of the limits of Orto, I took only a couple of portraits to see how it renders caucasian skin tones. I wasn’t expecting too much from those photos, but I kind of liked the results, since they have that early-cinema look to them. That being said, I don’t think I will take portraits on Orto if I ever get my hands on it again. Instead, I’d rather go shoot some more landscapes where this film could really shine.

[Words and images in this article are kindly provided by Daler Fergani, whose photography can be seen here.]

Ferrania P30 Alpha Film Profile, plus we chat with FILM Ferrania US Director David Bias

FILM Ferrania is a unique company with a unique product. The Italian cinema film maker reached their peak of influence in the mid-twentieth century, and their first new product since a 2014 resurrection is a 35mm stills film with roots in a hand-written formula dating to 1958. Ferrania P30 Alpha is a fine grain, ISO […]

Development charts

Although for the time being there’s no datasheet available for Orto, Ferrania was kind enough to provide us with some recommended development practices for this film stock. As a side note, they are virtually the same of P30, to which Orto “is chemically similar.”

After consulting the chart, I decided to develop both rolls at once in Rodinal 1:50 diluition at 20°C for 14 minutes. Then, I digitized all the negatives using my mirrorless Fujifilm camera and an adapted lens, the same Voigtländer 40mm f/2 with which I took almost all the photos for this article.

What is there for a Casual Photographer?

Felix Bielser, CEO of an Italian film retailer Punto Foto Group, told in his recent interview that bringing back an old orthochromatic film is to offer something different, something that stands out from the rest of the film photography industry. And I have to admit it, he’s got a point. The reduced light sensitivity to the red spectrum of Ferrania Orto does offer us a distinct new / old look. I believe that many of us would go for this different look. You may like it or not, but Ferrania Orto has its own character, and as far as I’m concerned, it’s definitely worth a try.

But even more importantly, and I guess it may sound a bit odd, for me the experience of shooting Orto was more about learning to care about colors. The knowledge about this film’s blindness to the red color prompted me to deliberately look out for it while I was shooting. The awareness of the idiosyncrasies of Orto made me slow down and opt for a more mindful shooting workflow. 

I understand that our film community hasn’t been pampered lately by film manufacturers, and some of us may have become a bit impatient, especially when having to deal with all the inconvenience of this odd hobby of ours. I’m sure that we’ve all been there, trying to be patient and not give up hope in the future of film photography. But the fact that after all these years a small company such as Ferrania has managed to make available another film emulsion should help us to be a little bit more hopeful and to keep making pictures.

If there’s something at all that I’ve learned since I got into film photography, it’s that it takes a hell lot of time to see the results of your work, and it defenitely leaves no room for impatience. So, if I have to wait for another three years to try out a new film emulsion, I’ll do it. Because, in the meantime, I’ll still be able to shoot my good old Fomapan.

Buy Film Ferrania Orto from B&H Photo

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Daler Fergani is a full time shutterbug and a language fiend who never leaves home without a film camera and a good old paper book. In between photographic escapades, Daler tries to work on PhD research in Linguistics. To enjoy more of Daler’s images, please visit Instagram here.

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Unfortunately, my enthusiasm is checked based on Ferrania’s prior struggles and the opacity in their communication.

Ferrania has a history of announcing and then not releasing products. Their initial Kickstarter promised a color film, and we all know how that went. And then last year we heard that their ISO 80 black and white film, P30, was soon to come in 120 format. That has yet to materialize. Quite frankly, the company has seemed to vacillate between existing, and not, for the past several years.

Granted, the last couple of years have been notoriously challenging for all businesses. It’s no real surprise that a smaller film manufacturer is struggling. And granted, too, that after months of virtually no updates, Ferrania thankfully seems resurgent. Ferrania P30 is once again in stock, and the company recently rolled out a fairly interesting QR code system to track production information on individual rolls. That’s genuinely unique in the industry (at least from a consumer facing standpoint).

Getting back to Orto and the announcement, Ferrania pointedly waited until April 2nd to announce Orto, so I do think this is a legitimate product announcement as opposed to an April Fool’s stunt. Let’s be clear. Orto is real, and I’m not claiming otherwise.

But is the new Orto any different than Ferrania P30? Sure, the boxes say that one is pan-chromatic and ISO 80 (P30) and one is ortho-chromatic and ISO 50 (Orto). But are they?

As part of his excellent deep dive into film stocks, the Naked Photographer illustrated that Ferrani P30 showed an ortho-chromatic response, in that it didn’t seem to respond to red light (or green for that matter). That’s kind of a big deal since the film’s box proudly declares itself “Panchro,” as in pan-chromatic.

The skepticism and confusion isn’t helped by the fact that Film Ferrania has never released proper data sheets for P30, and that it doesn’t have one posted for Orto at this time. Maybe P30 has a more limited spectral response but isn’t “technically” ortho-chromatic. But given the testing by Naked Photographer and my own shooting, it looks to be pretty darn close. And I can’t help but notice that even Film Ferrania recognizes the similarities between P30 and the new Orto. It calls the two films “cousins,” they share the same development recommendations (Film Ferrania doesn’t actually publish official development times, again frustrating), and Orto shares P30’s general contrast and low-grain. Even the ISO of 50 seems strangely similar, given that many recommend shooting P30 at ISO 50 anyway, to get a little more latitude from the finicky stock. Ferrania’s own recommendations even point to this.

The real issue here is the lack of data sheets from Film Ferrania, both with Ferrania’s earlier film, P30, and with the new Orto. If you’re new to film, these sheets might seem like inscrutable technical documents, but they actually contain a wealth of information. Using filters is one of the great creative tools in black and white photography. Data sheets show what your options exist. Night shooting means you need to understand how a film responds to extremely low light (i.e. reciprocity failure), data sheets tell you how to convert your exposure times. Does your film need to be exposed differently under Tungsten lights? Data sheets.

It was somewhat excusable for Ferrania to not provide documentation when P30 was in an alpha state. After all, an alpha of a film emulsion indicates the final formula might change, so you don’t want to put all that in writing if it’s going to need revision a year later. But P30 is years old at this point, and we still get nothing more than the ISO from Film Ferrania.

Small film producers like Adox put out industry standard data sheets. Rollei uses modern graphic design to make their sheets not just informative, but engaging to a more casual reader. Even little Film Washi, which is run by one guy, puts out datasheets with meaningful information.

Of course Ferrania is not the only offender. Lomography also has fairly light documentation. They look quite nice (they even give you photo examples with different developers) but good luck finding much in the way of technical details. I give Lomography more of a pass, since they are rebranding other film stocks and their whole vibe is experimental. But it’s still not great for consumers and we’d be better off with that information.

But Film Ferrania is making their films, that’s their whole thing. They clearly have done extensive testing and they have the information. They must, to make the film. The only conceivable reason not to share technical documentation is that it would show the new Orto and the old Ferrania P30 to be extraordinarily similar.

To be clear, I believe Ferrania that these are distinct offerings. I do not believe this is simply an exercise in branding. But a total lack of technical documentation, given that Ferrania itself recommends the same development times between the two, indicates to me that information would only serve to further conflate these already very similar products.

Ferrania P30 80 ISO Film (35mm, 36 Exposures)

Buy Ferrania P30 80 ISO Film (35mm, 36 Exposures) featuring Panchromatic Black & White Negative Film, ISO 80/21° in Standard Process, High Contrast and Fine Grain, Rich, Deep Shadows, DX-Coded 35mm Canister. Review Ferrania P30

Chinatown is Empty - Shot by Yameen on Lomography and Ferrania Film

Yameen, today's guest writer, brings us along to photograph San Francisco's Chinatown with Lomography film, a Mamiya 7 and a Nikon L35AF.

All that being said, Ferrania P30 is the most distinctive black and white film I’ve ever shot. I truly love the look of the film and it feels completely unique in today’s film ecosystem. Seeing Ferrania go dark with production truly bummed me out. As a community, we are better with Film Ferrania in the market. It’s just that given the lack of information Ferrania historically puts out about its films, I’m forced to question how distinct of an offering we’re really getting here, with the new Orto.

I think of a company like Adox, which is making similar low-speed, fairly specialized offerings with a small team. Not only are their products much more differentiated, but we get the same technical specifications we’d expect from Kodak, FujiFilm, or Foma.

Once Ferrania’s Orto gets into the hands of testers, I hope we see lab and real world use meaningfully differentiate these two films. I truly hope we see this company continue production and keep introducing new ideas into the analog world. It cannot be understated how difficult making a film emulsion is, and the fact that Ferrania came through pandemic lock-downs and a period of hideous global supply chain constrictions to resume production is a minor miracle that I am grateful for.

I will keep shooting P30, because it is a beautiful and unique film. But I can’t help but find Ferrania’s latest release, and it’s lack of documentation, a little frustrating.

Buy Ferrania film from B&H Photo Here

Ferrania P30 80 ISO Film (35mm, 36 Exposures)

Buy Ferrania P30 80 ISO Film (35mm, 36 Exposures) featuring Panchromatic Black & White Negative Film, ISO 80/21° in Standard Process, High Contrast and Fine Grain, Rich, Deep Shadows, DX-Coded 35mm Canister. Review Ferrania P30

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The post Opinion – What is going on with Ferrania’s new film Orto?  appeared first on Casual Photophile.

Nestled in San Francisco’s downtown, Chinatown is one of the oldest parts of the city. Encompassing a distinctive twenty-four square blocks, it’s typically filled with the hustle-and-bustle mix of local residents, office workers hunting for a meal or libation, and tourists wandering about marveling at all of the sights, sounds, and shops. All types of automobiles pack its modest one-way streets: city buses, delivery trucks, Ubers and Lyfts more recently. Or so it was before Covid.

For the first year of the pandemic, I avoided traveling to San Francisco’s busy downtown; the last place I wanted to be was among a lot of people. But in March of 2021 with a national vaccine rollout just around the corner and a daily routine of face-masks and precaution, I felt safe enough to pack my cameras and head downtown. And frankly, it was about damn time: I missed this massive part of San Francisco that I had been abstaining from visiting. Somewhat shockingly as a photographer, I’d never taken pictures of Chinatown in any meaningful way before, so I was excited and inspired to finally return. But when I arrived, I found that Chinatown had changed in a mid-pandemic world: It was eerily vacant.

Reduced foot traffic due to stay-at-home orders and high rents forced many storefronts to shut-down; hopefully only temporarily, but possibly forever. I was saddened to see so many shops closed, gated, or boarded up. The downturn is tragic by any account, but I find a selfish silver lining: Seeing Chinatown so oddly barren, with only its native residents going about their normal routines, was cathartic. This is Chinatown in a new light, stripped of outsiders (well, myself excluded) and distilled to an everyday “normal” that I’d never experienced before. Even the historically busy open markets of Stockton Street were sparsely populated.

I unpacked my cameras.

Gear-wise, I was well-covered: I brought my trusty Mamiya 7 with a fairly new (at the time) 50mm lens to explore. The wide angle proved beneficial in hindsight, as it allowed me to capture much of the space above Chinatown, such as buildings that stretch high, as well as icons of the San Francisco skyline like the pointed Transamerica Pyramid. For more intimate street-style photography I brought my Nikon L35AF point-and-shoot, a camera I cherish for its on-the-draw autofocus and quality optics. I shot exclusively on color Lomography film (100 ISO for the Nikon, 400 for the Mamiya), with the exception of a single roll of Ferrania P30 black and white that I eagerly loaded into the 35mm camera as soon as I arrived.

Even though I’m a San Francisco resident, I feel comfortably out of place in Chinatown. No one paid me any mind as I began to take pictures. A man sat and read his newspaper on a park bench, never once lifting his head even as I crouched in front of him to compose a shot. Patrons ordered breakfast pastries, either oblivious to my presence or too carefree to acknowledge it. Elsewhere in a public square, students practiced in an ornately-decorated lion costume as I, the only “tourist” present, snapped away, delighted to watch my own personal show. My apparent invisibility allowed me to take the extra time to be more precise with my focusing. I could disregard my typical zone focus approach to street photography and ensure I properly lined up my rangefinder patch.

For what few pockets of people I encountered during my late morning in Chinatown, each scene was full of life and energy. After a year’s worth of pandemic-induced seclusion, re-experiencing Chinatown and embedding myself among its enduring community, safely and with a mask, was exactly what I needed. I found inspiration in shooting Chinatown once again, for the first time.

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Today’s Guest Post was submitted by…

Yameen, a photographer and sifter in the land of fun. Based in San Francisco, California, he is always looking to capture the beautiful, the gritty, the absurd and the unexpected. See Yameen’s portfolio on their website here, and on Instagram here.

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I’ve been a fan of the film since I first shot it back in 2017, so I promptly ordered ten rolls. I then reached out to FILM Ferrania Sales and Marketing Director David Bias, who was kind enough to take a phone call and answer some questions about this new production of Ferrania P30. I also asked about FILM Ferrania’s production delays of the recent past and their expectations of the immediate future. Here’s what he had to say.

CP / JAMES – Thanks for taking a moment to chat, Dave. Tell me what’s going on with FILM Ferrania today.

DAVE – We’re making film. We spent the last 18 months fixing every last little thing at the factory – still a lot to do of course, but the focus was on getting to a point where we can produce film every day of the week. Despite what people might think, getting to that was a big deal for us, internally. Ferrania P30 Alpha [the original production run of Ferrania P30 which released in 2017] was being made by hand, essentially.

I mean, not really by hand. I’m simplifying a lot. But compared to how P30 is being made today it was almost like it was being made by hand in 2017. We’ve now set up the factory in a way that the consistency, and the quality, and the production capability is way ahead of what we were doing back then. That said, there are still a number of issues we have to chase down over the next few months in order to increase the volume of the film we make.

It took us a lot longer than any of us anticipated to get to this point, but it was necessary for a number of reasons. But primarily it was necessary to ensure uniformity and consistency, so that if you buy a roll of film today it will be the same quality product that you buy six months from now.

CP / JAMES – I was surprised to see that the shop had reopened today, after more than a year. What enabled this?

DAVE – Today was the first step to getting our film out in the world continuously. We opened the shop quietly, sort of on purpose because if we’re to get a sudden flood of buyers, that’s when problems become crises. And doing things slowly allows us to squash any bugs before they become problems. We’ve limited how many units per order because we want as many people as possible to be able to experience the film. 

CP / JAMES – Is the new production version of Ferrania P30 different to the 2017 Ferrania P30 Alpha? If so, in what ways?

DAVE – The reaction [to the 2017 Ferrania P30 Alpha film] was fantastic. And even though we called it Alpha, it was very much a final product. So the film [Ferrania P30] that we have today is very similar. There were some chemical changes that were made to allow us to produce the film easier and more consistently, but we were very careful not to change anything that would alter the look of the images the film makes. We were very proud of the [2017] product and we didn’t want to change that at all. Visually there’s no difference between our Alpha product and the current production Ferrania P30.

If there’s any difference it’s that the new stuff is a little more forgiving when processing. Everyone who’s tested the new film so far has said it’s generally easier to use than our 2017 product.

CP / JAMES – When Ferrania P30 Alpha was available for purchase in 2017, it sold out within days, after which the store was closed until today. Can we expect the same thing to happen this time, or will Ferrania P30 now be available continuously? 

DAVE – In 2017 when we first released Ferrania P30 Alpha, we sold out in four days. And then it took us several months of painstaking production (and a lot of waste) to produce those rolls that we pre-sold. And it became clear very quickly that that was not a sustainable way to run a shop.

Since 2017 we’ve improved every part of the production chain. We’ve ramped up production twice in the last six months, as far as how many master rolls we can produce each week. We’ve doubled production from our first small run which we produced in August, 2019 [these rolls were shipped to Italian camera shops]. But we want to be very careful about doubling our production capacity each time we do it, as we don’t want to introduce any flaws or compromise the quality of the film.

So we might sell out of films a few days at a time, here or there, but we have regular stock being produced now, and we’ve already established internally that we can produce and distribute a certain amount of film every week. As production increases in January and then again in February and again following every month next year, the chance that we sell out of our stock will naturally become less and less of an issue.

CP / JAMES – Orders are currently limited to the USA and Canada. Will this change, and do you have any idea when customers in other parts of the world will be able to buy Ferrania P30?

DAVE – We are intending to be a global company, but we are still extremely small in terms of the staff, and we want to take things slow. We want to make an EU store as soon as we can, but we don’t want to do that until we can cover the continuous orders we’ll receive in a way that we’re not over-reaching. We want to make sure that everyone who buys film from us can get the support that they might need. 

CP / JAMES – Some Kickstarter backers will see the availablitity of Ferrania P30 and ask “Where’s the color film?” We know that there’s an ongoing video series available to Kickstarter backers that directly addresses this question. But I wanted to get your take on this, and give you a chance to respond. 

DAVE – The truth of the matter is that over the last few years we’ve learned a lot, both inside the factory in Italy but also we’ve learned a lot about what we can do right now, as opposed to what we’re excited about doing in the future. Of course it’s not the case that we can do everything from day one. So we’ve decided to be a little bit silent the past few months because we want to be very careful about what we say so that we don’t create an expectation that we can’t deliver on. We’re committed to giving our Kickstarter backers something useful and worthwhile. But how this will shape up exactly will be addressed in the future.

For more on Ferrania P30 Alpha, including development information and an earlier interview with Dave, see our film profile here. We’ll have more articles on this new version of Ferrania P30 coming soon.

If you’d like to buy Ferrania P30, you can do so via their shop here.

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