The kaleidoscope of “Kolors” that is Revolog

Revolog Kolor on Pentax ME, Zenitar 16mm f2.8 Ultra Wide Fisheye



I took my time to finish all 36 exposures of this roll, and I must say that the results are unpredictable. You’ll never know what rainbow hues you might get on your shots, each frame differ with various light intensity. 

The first set was taken at noon during an overcast afternoon, with the unpredictable Malaysian downpour. I find that you tend to get all 7 color spectrum in slightly shaded areas and especially when shooting directly with the sun in front of you. We revisited an old haunt, the abandoned house just a few turns past the Malaysian National Monument.

This second set was taken somewhere along Jalan Tangsi in Kuala Lumpur, where you can find several heritage buildings, mostly in bad shape and with little or no conservation efforts to secure these crumbling relics of the past.

A shame, really.


The film soup returns!

Agfa CT Precisa (expired 2002) on Pentax ME, Zenitar 16mm f2.8 Ultra Wide Angle Fisheye

Can I be lazy tonight and just post the pictures without any blurbs? Heheh. You can click here for more info on how to make your own film soup roll. 

OK, I’m gonna make things simple for those who are as lazy as me and couldn’t be bothered to read the long long write-ups so this will be in point form and succinct.

  • Film soup recipe: 1 cup detergent + boiling water + 1 tsp silica gel + 1 expired roll of Agfa CT Precisa
  • Location: An abandoned house in Bangsar
  • Film accidentally exposed whilst drying with a hairdryer in the darkroom bag
  • There were tons of mosquitos

A few shots came out totally incomprehensible with blobs of colors like this:


Fujichrome Velvia 50 (E6)

Pentax ME, Zenitar 16mm f2.8 Fisheye

So there I was, all giddy and happy since I’ve finally gotten my fresh Velvia 50 processed E6 when my bubble burst horribly…almost all my shots turned out underexposed!! To make matters worse, the professional E6 lab I sent my roll to criticized me horribly, saying that I don’t know how to properly expose my shots..heh. But it’s true, apparently a lot of photographers have experienced the same problem so it was recommended that the Velvia 50 to be shot at ISO40 and processed normally. Using a polarizing/ND filter will also help.

On exposure times, sticking with the Sunny 16 rule is paramount since apparently you really can’t depend on your built-in light meter (my Pentax has never been serviced before and this was the first roll on my Pentax when I got it from Japan early this year.)

FYI, only pictures 1 & 4 were pure scans, I had corrected the exposures with Lightroom 3 for the other shots to compensate the underexposure. This is my first time shooting Velvia 50 and it’s way more difficult compared to the Velvia 100F which I shot here and here (and cross processed btw). I had better results when I attempted long exposures at night time with this roll, which I will upload later.



Kodak BW400CN

So what’s this whole mystery about shooting at a graveyard? 

Well, last month myself, eleanorrigby236 & JK were really bored and had no idea on where to go for our next photowalk. Then JK was suddenly struck with inspiration, recalled a friend telling him about a hidden mausoleum with a life sized bronze statue smack in the middle of Kuala Lumpur.

After much trepidation, we decided to head down to the place (despite cancelling our plans earlier to shoot at that abandoned house —see here & here; because a friend caught an “entity” on film the last time we went there) to try our luck, lol.

Anyway, it turned out the huge mausoleum belonged to the late Wong Loke Yew (1845-1917) who was a famous businessman & philanthropist at the time. You can read more about him here.

Anyway, the kids who led us to the graveyard warned us to be careful as the week prior to our visit, a boy had wandered off to the place and saw a mysterious “being” squatting on top of Loke Yew’s head. And so the boy went mental, hysterical etc etc…

But we were only there to shoot photos and not desecrate the place and we were very nice and polite (we even “asked” his permission to shoot and thanked him before we left!), lol. Anyway the next time we’re heading there, we’ll be bringing some offerings for him and his “guardians”..heheh. Well, on to the photos!


Pentax ME, Zenitar 16mm f2.8


Pentax ME, Rikenon 35-75mm f3.5 Macro Zoom


Fujichrome Provia 100F

Frankly I’m quite disappointed that most of my open skies shots (especially ones with direct sunlight) turned out dark blue/indigo like the first pic below.

On the other hand, Provia 100F works best indoors/shady areas/night with sufficient illumination of the objects you plan to shoot.

Back to square one I guess..bah.

p/s: Oh, pics 3,5,6 were taken at the graveyard of Wong Loke Yew, and it was damn scary there, even in full sunlight! I’ll write more on the “supernatural” incidents related to the burial ground in my next installment. XD


Pentax ME, Zenitar 16mm Fisheye f2.8

Pentax ME, Rikenon 50mm f2.0

Agfa CT Precisa 100ISO

I rummaged through my old (well, not that old, hahah) scans and found these! 

These giant Kubrick Bears were there at an analogue specialty store, Lokomotiv Checkpoint while we were on one of our neverending film scavenging trips. Do check out their store!

p/s: I love The Stones, and punk rock is life!!


Ricoh KR-10, Zenitar 16mm Fisheye f2.8

Fujichrome T-64 Professional (Tungsten) (Expired)

I’m not sure why my shots didn’t turn out like eleanorrigby236’s with its soft pinkish hue. Maybe you need to have enough brown and yellow tones to make it turn as such? The environment at the time was very green & blue so that could be a reason why. Also, my roll of Tungsten was expired and the one eleanorrigby236 used was fresh if I’m not mistaken. My ISO settings was at 64ISO so I really am a bit baffled by the results. 

Any ideas?

Location details:

1. Kuala Selangor Nature Park (a mangrove forest to be exact) 

2. Jeram Beach


Pentax ME, Zenitar 16mm Fisheye f2.8

Fujichrome Sensia 100 Expired

More shots with the Sensia on the Pentax ME at the abandoned house. I’m not sure if it’s my ultra wide angle Zenitar lens (it’s a 180 degrees fisheye on a full frame camera that may contribute to excess stray light) or the slightly expired Sensia that caused the wild red shifts in shots with direct sunlight.

The bottom of the spiral staircase were really dark, and to my surprise, the greens of the moss were well preserved with an ever so slight tinge of red. The Sensia also gave shades of yellow & orange with deep green hues when taken in a dimly lit cafe at night. You can compare the results with eleanorrigby236’s shots at an underground train station in Shimokitazawa (they were taken with the new Sensia III 100ISO, this one was the old Sensia 100)

Hmm…I have another roll of this expired Sensia to try on, and I think I’ll use a different lens the next time, probably with a macro zoom or a 50mm.


Pentax ME, Zenitar 16mm Fisheye


Fujichrome Provia 400X

So this time I managed to get my hands on the elusive Provia 400X (expired btw) and tested it on my newly acquired Pentax ME. I’m still not used to the aperture priority ME so excuse my poor colors and exposures. 

Also, when I had it developed today (this was a slide film and since my local lab did not provide E-6 processing so naturally it was cross-processed), I was expecting vibrant colors a’la Provia 100ISO but boy was I wrong.

It turned out that Provia 400X gave natural, faithful color reproduction and since it’s a fast film, shots that were taken under dim light came out as if they were taken under a sunny condition. In fact, all the temple shots were taken at 5pm while it was cloudy and about to rain.

The thing that bugged me was the fact that this film was cross-processed but the colors were so natural that they looked as if they were taken with a color negative film. I wonder if the colors would turn out better if they were processed with E-6.

So for now, all I can say is that Provia 400X is a very stable slide film that stays true to the natural colors, even after cross-processing unlike its 100ISO counterpart which is much more vivid. However if you were to check out our previous Provia 100ISO shots, you can also see that the colors did not dramatically shift, only becoming more pronounced and saturated.


Pentax ME, Zenitar 16mm Fisheye

Agfa CT Precisa 100ISO

As promised, a series of light leaks taken on the same roll of film as the "Urban Decay Chapter 1".

Don’t ask me how I did it as I myself do not know. But if I were to hazard a guess, my dad’s old Ricoh has a faulty shutter and it got stuck while shooting so I removed the Zenitar lens and tapped the shutter and fortunately they opened! So I guess that explained this little accident of mine. 

Time to send this old cam for servicing lest it dies on me again >_<


Ricoh KR-10, Zenitar 16mm Fisheye Pentax K Bayonet Mount Lens

No light leaks here but this was taken on the same day and place and I love the tone so there you go.

Agfa CT Precisa 100ISO

I shot 2 different series of pics on this roll so I’ll be uploading them separately.

I call this the "Urban Decay Chapter 1" as I have another series of this abandoned ruin on another film and camera which I haven’t been able to develop yet, maybe sometime this week.

Anyway these were shot at around 4-5pm so the lighting wasn’t too good, and a lot came out either under or overexposed. I still have trouble using my fully mechanical KR-10…well, it’s only been 2 months since I started shooting film so..heheh, is that a good enough excuse?


Ricoh KR-10, Zenitar 16mm Fisheye Pentax K Bayonet Mount Lens

Kodak Tri-X 400

I still can’t get satisfactory results on black & white shot but I have to say that this film, is the real deal. I find that all my night shots came out quite well, but of course the sharpest images with good contrast were still achieved in broad daylight.

I will definitely be shooting more of this film, just need to practice a bit more on proper exposures.

p/s: the Twin Tower shots were taken in a moving car. As usual.


Ricoh KR-10, Zenitar Fisheye 16mm Pentax K Bayonet Mount

Fujichrome Velvia 100F

I wanted this to be processed in E-6 but due to the boom of digital photography and drop in slide film sales, most photo labs have ceased using this chemical. What they do to cut down the cost is to cross-process the slide films with the C-41 chemical which is meant for the color negative films. Hence, our cross-processed slides.

So why do I want to process the Velvia in E-6 rather than the cheaper C-41 and get some crazy, vivid colors as well?

The answer is, crossed-processed Velvias will turn out all red and orangey, with a brownish cast, something akin to a redscale film. As for uncrossed-processed Velvias, well, just visit this site and you’ll get what I mean.

Anyway, it’s not that I totally hate these crossed-processed shots; in fact now you can really see the difference between a normal redscale color negative films and the super expensive Velvias: the details, the fine grain, the deep saturations! Ahh, no wonder Velvias are the gold standard in professional photography.

Note to self: Must. Find. E-6 labs. Now!! (I’ve got 4 rolls of Velvia 50 left to shoot too…)


Ricoh KR-10, Zenitar 16mm f2.8 Fisheye Pentax K Bayonet Mount Lens