Contax G2 & Kodak Gold -VS- Olympus Mju ii & Hillvale Sunny 16

Here is a quick CRAZY comparison, Jeremy was out shooting and ripped of these two shots from 2 different camera & film set ups.

  • Olympus Mju ii & Hillvale Sunny 16 (35mm)
  • Contax G2 & Kodak Gold  (28mm lens)

Olympus Mju ii & Hillvale Sunny 16

So the Olumpus Mju ii is one HOT camera. It really is worth every cent. You could pick one up for about $60-$80 about a year ago, now expect to pay $150- $250. Still a hell of a lot cheaper than a Contax T2 or Nikon 28/35 Ti and with a razor sharp 35 f/2.8 lens in a weather sealed plastic clam-shell body, whats not to love (other than you need to switch the flash off every time you go to take a I love the Nion 28Ti). There is a lot to like about this camera. The image above proves it is a sharp little fella built to please.

Contax G2 & Kodak Gold 

Contax G2 & Kodak Gold 

Now the Contax G2 is like a DEMEGOD as far as I am concerned, lightning fast auto-focus razor sharp lenses which rival any of my Leica glass and one of the sexiest looking cameras evvvvver. I still have nightmares about "why did I sell my 4 lens kit and flash" chills seriously. Jeremy has provided a great example of the 28mm f/2.8's lens deadly sin 'direct sunlight' ..... ooouch.  Jeremy scanned these using our newly acquired Fugi Frontier SP3000 scanner we could not be happier. We are feeling like 'BIG men on Campus' at the moment and are happy to add it to the clubs arsenal obviously.  We love this scanner so expect to get more mindless and not so mindless random posts on scanning stuff over the next few months. 

I realize this was a crazy comparison as one has a 35mm, the other a 28 buuuuut look at the capabilities of that little Olympus & Hillvale's Sunny 16... sweeeetttttttt.

Point and Shoot cameras all the way


For a long while, I've been an avid user of film emulation presets. So far I've only ever used VSCO's range of film packs, and as amazing as they are, it's always good to see what else is out there, so I jumped at the chance to try out Really Nice Images' Films 4 PRO pack. It's been recently updated from version 3 and provides a whopping 64 base film emulations along with a vast array of variations to taylor the look of your images.

They add a tonality and texture to photographs that would be difficult to achieve manually, as there is more than just slider pushing going on. I wouldn't be at home without my Kodak Portra emulation from VSCO, for example. Just like RNI Films' version, it adds a soft portrait friendly tone and grain structure to images that is night and day compared to a standard SOOC JPEG (or Straight Out Of Lightroom in my case).

Film Pack & SOOC Comparisons

While I've only provided the comparisons for two popular film emulations, Kodak Portra 400 and Tri-X 400, I thought it would be good to see these two popular films compared to VSCO and also the difference against a standard JPEG with no settings changed.

Below this set of slideshows, you'll find a single image processed with a variety of different RNI Films 4 PRO emulations in particular to show just how varied the gamut of options is.

Running through the gamut...

I don't want to post all 64 different film emulation presets as that would take down the internet, but suffice it to say that there's plenty where this came from.

I chose this particular image because it was bright and included a range of textures and all three primary colours, blue, green and red as well as grayscale tones and high contrast lighting. This will give you an idea of what is available to choose from.

While I would never use it in a regular fashion, RNI's attempt at Technicolor is fantastic and I love it!

Fujifilm X100T + RNI Kodak Portra 160 Samples

Photographer and fellow member of the club, Morgan Roberts, also supplied these two images for before and after comparison using the Kodak Portra 160 preset in RNI Films 4 PRO.

Leica Q + RNI 

Images by Simon Johnsion before and after comparison using the Fuji Natura 1600 HC preset in RNI Films 4 PRO.

Ricoh GR (1) + RNI

Before and after comparison using various presets from RNI Films 4 PRO. Images by Simon Johnson


While I tend to err on the side of subtlety, typically going with a professional modern film emulation like Kodak Portra, I love the way RNI Films (and VSCO in their own way) make my images look more full of life and memory. The price can be a limiting factor, but RNI also has a Lite version of their Films pack for those just looking for a subset of films to choose from.

You can find more about Really Nice Images and their Films packs at their website.

From The Battleground | Volume Three HOT RINSE by Trent Mitchell

HOT RINSE is a visual diary of culture, tones, and showering techniques that I will never forget. The zine was created from a five day family road trip around Israel with a quick journey into Jordan. 

Limited edition of 15 copies

Paperback & perfect bound
A5 landscape & 100 pgs
300gsm recycled cover stock
115gsm recycled body stock
Digital four colour print
98 colour + bw photographs




n May 2015, Dutch photographer Robin de Puy set out to create a new body of personal work on the open roads of America. Travelling alone on a Harley Davidson, de Puy clocked over 10,000 kilometres; going through countless towns and cities in the American Midwest, she put everyday people, unaccustomed to the spotlight, in front of her camera. In this interview, she talks about the ‘urge’ of wanting to photograph somebody, what makes a good portrait, and how it’s not a bad thing to let your guard down.

The American Road Trip has been done by a lot of artists and photographers. Why did you choose to drive through America, and not through Europe, for example?

I felt that America was the best place to do this kind of trip for the first time, because it’s far enough that I can’t just be back home in a few hours, but it’s not completely unknown to me. I’m also fascinated by countries in Asia and Africa, but to me that seemed as too big of a leap to make - especially as a woman that was travelling alone. I knew that, in the beginning, it would be really difficult for me to actually go out and photograph, and I didn’t want to make it easy to give up and return back home with nothing. So, in a way, it was kind of like I gave myself a challenge, as well as an extra push to go and do something.


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