Anyone Using Forte or Fomapan Films?

[brian steinberger]

I'm curious about trying out some off brand films. Forte and Foma look most promising, as they produce films in both 120 and 4x5 in both 200 and 400 speeds. Does anyone have any good experience with either film, and if so, in what situations, and what film developer.

[Jim MacKenzie]

I've used Fomapan 100, 200 and 400 in 135. I'm not sure if my experiences will be directly relevant to the sheet emulsions but I can tell you this much: I really love Fomapan 100. I will definitely be trying some in 4x5. (The used system I bought came with a ton of film so it might be awhile. )

I develop Fomapan 100 in good old D-76 1:1. For now I'm using Foma's recommended time and it works well.

I plan to try it in PMK, my favourite developer for non-T-grain emulsions.

The tonality is really beautiful. It is slightly grainy for a 100-speed film, but for large format work, that is an issue of minimal importance.

[Jay DeFehr]

I've used a lot of the Forte films in all speeds, and the Foma in 200 speed. Of the bunch, the Foma 200 is my favorite. I develop in 510-Pyro or Hypercat with consistently excellent results. Foma 200 is a designer grain film, with a short toe, and very long, straight curve, like TMY, but a stop slower. This film stains very well, with excellent expansion/contraction potential, and is among my favorite films.

I've never used Foma 100, but I've seen some impressive work done with it. Andre' R. de Avillez develops his in 510-Pyro 1:500 with truly beautiful results. The Foma films seem to be manufacutred to a higher standard than the Forte films, which are also capable of excellent results, but show occassional manufacturing defects.

The images posted here were all shot on 35mm Foma 200, at box speed, and each was developed in a different developer; the first in Hypercat, the second in 510-Pyro, and the last in MC 2-Bath.

Jay

[Donald Qualls]

Forte (as Classic or Arista .EDU) and Foma (under its own name, or as .EDU Ultra) are my standard films in all formats larger than 16 mm (except 9x12 cm, where I'm still using up some Tri-X I picked up a while back). Far from "off brand," IMO, they're first-line films. Curlier than Kodak or Ilford offerings, but I haven't seen anything I want from ISO 100 that Fomapan 100 can't do.

[Joseph O'Neil]

I've been using the Forte Pan 400, 4x5 a lot over the past few years, but not the 200. * Elm Camera in Toronto has been stocking it a lot over the past few years, but for whatever reason, the 200 has proven unpopular. I htink I tried it once, and didn't much care for it myself, but that was only one box.

As for Forte Pan 400, a couple of notes. First, I find it's really a 200 ASA/ISO speed film. Secondly, it needs a little longer development than say HP5+ or Tri-X. Average about 10% more.

Because of it's extended red sensitivity, I have found it a nice film to use whent he sun is high overhead if you want a good range of greys, but it doesn't have the long toe of Tri-X. It took me a box or two of the stuff to "learn it". Another advantage is it's a realtively inexpensive film too.

If you want to stroke my ego , I have some forte-pan picutres on my web site here
http://www.start.ca/users/joneil/bw6/

joe

[Steve H]

I use fomapan 100 almost exclusively. I was an APX fan, and it is the closest thing that I can find to it. Works great in Rodinal.

[Gary L. Quay]

I've used Foma 100 and 200, and Forte 100. I found the Foma to have a rich, almost creamy look, I'm assuming due to the fineness of the grain. I developed it in D-76, but I'm going to try PMK-Pyro next. I've been impressed with Foma's films and papers.

[Jiri Vasina]

I do use Fomapan 100 both in 120 and 9x12cm and like them both. I develop in Rodinal (or more exactly in the Foma R09 equivalent), the roll film with semi-stand development 1+60 for around 11 to 12mins (inverting for 30s continuosly, then one inversion every 2nd minute). The sheet film came out wonderfully well when developed (in tray) for 4,5min (@24°C, it's really hot here these days) in 1+20 sollution, with semi-stand development.

The negatives are wonderful (btw. just yesterday I contact-printed my first bw negatives and although they're not presentable at all, I can't wait to get back into the darkroom. So far I've been scanning all my negatives :-)

Jiri