Daily Photos Taken by Film
| FocalLength | 55 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 160 NS PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
In this section, I will showcase some photos I've taken with film in my daily life, presented in SDR format.
This post will be updated periodically on an ongoing basis.
Why Film​
In this era where digital photography reigns supreme, film photography has experienced a modest resurgence in recent years. This has prompted numerous film manufacturers to resume production and even launch new film products (such as Kodak E100 and Harman's Phoenix 200). Meanwhile, prices for many used film cameras—especially top-tier models—have skyrocketed.
My journey into film photography began in 2018. My choice was straightforward: as a photographer primarily focused on still life with only about 15 shots per month (forgive me, I genuinely had no time back then), I couldn't afford a Nikon D810 (and its potential depreciation rate), but I could afford a Pentax 6x7.
It's quite interesting: If you tell a photographer today that you enjoy shooting film for everyday use, they'll exclaim, “You must be loaded!” Yet not so long ago, film was merely the poor man's alternative to full-frame digital cameras. Sometimes you can't help but marvel at how fate plays its tricks.
Over time, I gradually grew accustomed to film as my primary shooting medium. During this period, I experimented with and tried out many different types of interesting equipment. Along the way, I also tested numerous modern digital cameras with high-quality image sensors (see: Daily Photos Taken by GFX100S). Ultimately, I decided that, whenever circumstances permitted, film would remain my main medium for personal creative work.
I understand that many photographers or outsiders hold a profound disdain for these cumbersome piles of metal and glass—these “antique gadgets.” They dismiss them as the self-indulgent fantasies of antiquarians or as a shell game peddled by vintage equipment dealers. After all, the realm of film photography (more accurately termed “traditional craft photography”) has no shortage of such individuals. But what I wish to convey is this: as a photographic medium, film still possesses many unique characteristics that digital lacks (note I say “characteristics” rather than “advantages,” since how one perceives and ultimately chooses between different mediums is the artist's prerogative). These characteristics may well be the reason some photographers choose it.
None of Us are Purely Rational Beings​
Before diving into this section, I need to establish an important hypothetical premise: none of us are perfectly rational beings.
Why do I say this? What I mean is: as photographers, we actively choose and utilize our equipment. Yet at the same time, that equipment often reacts back to us in unexpected, subtle ways—potentially altering our work and even our overall style.
A simple example: When I shoot with a 135 eye-level viewfinder camera, the resulting photos have a distinctly different style compared to those taken with my 120 waist-level viewfinder camera. Similarly, photos captured with my Hasselblad SLR and Rolleiflex twin-lens reflex—both 120 waist-level viewfinder cameras—exhibit their own unique stylistic differences. Most of these distinctions only became apparent to me after using these cameras for an extended period of creative work.
Therefore, please stop suggesting solutions like “covering the screen with black tape” or “using a 256MB SD card” to simulate film. While the Fujifilm X-Pro 3 and Leica M11-D may be niche cameras with unconventional approaches, their designers are clearly not fools.
Procedure is Important​
In today's society, many people may only focus on the end result. But trust me, in the creative process, the journey is truly what matters most. Like equipment, the process often influences your work in unexpected, subtle ways.
For instance, some insist, “In the digital age, technical cameras are obsolete—especially large-format ones.” Their argument goes: Focus stacking with depth-of-field synthesis plus wide-area matrix stitching can perfectly replace technical cameras. Well, let's set aside the issues of what happens if lighting or subject conditions change during a shoot (which is common) or if the out-of-focus bokeh from front focus while bracketing contaminates the sharp background details—only to discover the problem after packing up and heading home. More importantly, this approach strips the photographer of the ability to perceive and decide the final image on location.
Beyond achieving technically correct perspective and full depth of field, the ground glass of a large format camera (strictly speaking, a “technical camera”) allows you to visualize the entire composition while precisely revealing the exact position of each focal plane. It also previews the final perspective of the framed image (though this feature is limited to well-lit environments).
A common scenario during creative framing and technical execution is this: after meticulously preparing at your envisioned “perfect spot,” you insert the film cartridge and give the viewfinder one final check—only to realize, “Huh, moving the camera two steps left might actually look better.” Without the large-format technical camera's feedback loop, such refinements would be difficult to achieve. (If you opt for focus stacking with depth-of-field synthesis and wide-area matrix stitching instead of a technical camera, you might only discover this better position upon returning home—or never notice it at all, missing an opportunity for self-improvement.) Not to mention the inverted image on ground glass—while admittedly less intuitive, it actually helps photographers abstract the image structure and approach composition with a more rational perspective (a point noted by both Stephen Shore and Ansel Adams).
It is Focus that Matters Most​
Here we must introduce another factual assumption: human focus is limited each day.
Therefore, conserving focus expands a photographer's creative possibilities, allowing them to direct their limited attention to the most critical elements. For example: contemplating the subject and lighting, moving through and sensitively perceiving spatial structures, considering the optimal angle and direction, lens focal length, how to arrange perspective, and how to organize planes of sharpness.
Modern digital cameras are incredibly advanced, packed with all sorts of technology and assistive features designed to ensure you capture photos that satisfy your clients. But for personal creative work, these assistive features often feel excessive. I frequently find that every time I look through the EVF of a modern digital camera, it's like a whole crowd is screaming at me through the viewfinder ("This part's overexposed!" "How about ISO 400?" "There's a person here—I've focused on his eyes for you." "The horizon isn't level!"). This severely drains my concentration.
One thing I adore about cameras like the Pentax 67II and Nikon F4S is that their viewfinders embody a certain “minimalist” philosophy: the entire image area within the viewfinder remains completely unobstructed, free from any intrusive additional information (like shutter speed or aperture settings), allowing me to fully immerse myself in composing the shot. Outside the image area of the viewfinder displays only the most essential information, avoiding that overwhelming feeling of “all sorts of indicator lights flashing constantly.” The minimalist philosophy of viewfinder helps photographers conserve their attention, allowing them to focus on what truly matters.
Alright, I know 99% of these assistive features in modern digital cameras can be turned off (in fact, that's how I have my GFX100S set up). But here's the age-old problem: digital sensors require aggressive “highlight protection” when encountering scenes with extensive highlight transitions. This often demands an excessive amount of your attention, forcing you to nervously stare at the far right of the histogram while carefully adjusting the exposure compensation dial. Moreover, you frequently have to compose your shot while peering into a pitch-black viewfinder caused by underexposure—further draining your focus! With color negative film, in such situations, you simply use matrix metering and press the shutter—that's all there is to it. This significantly reduces the mental effort required.
Tonality​
Film is often prized for its distinctive tonality, where a gentle S-shaped response curve preserves midtone detail while giving images a natural sense of depth; its micro-contrast arises from the interaction of light with silver halide grains, producing subtle local tonal separations that render textures and three-dimensional form with richness rather than harsh sharpness; and its highlight roll-off is smooth and forgiving, as the chemical “shoulder” of film compresses bright values gradually instead of clipping abruptly, resulting in luminous, organic transitions that many find more pleasing and lifelike than digital’s harder edges.
Color Palette​
Film has organic color palette that comes from its layered emulsions and dye couplers, which respond to light in nonlinear, interdependent ways that create subtle hue shifts, softer saturation in highlights, and pleasing biases in skin tones, skies, and foliage; unlike the linear RGB capture of digital sensors, film renders color with gentle imperfections, micro-variations from grain and dye distribution, and stock-specific signatures, giving images a warmth and richness that feel tactile, cohesive, and alive rather than clinically precise.
Why not Stimulation?​
My answer to this question stems less from technical considerations and more from philosophy and ideology. I believe that as technology advances, digital sensors will inevitably be able to simulate any film stock after digitization—yes, even Kodachrome.
The crucial question is: Why stimulate?
Why play with fake boobs when you can have the real thing? —From the film Kodachrome
Since film hasn't been completely discontinued, why go to such lengths to emulate it? If you love film's look, choose film.
The purpose of any medium or art form is never to imitate another medium or art form.
Just as photography faced when it first emerged alongside painting, photography's significance lies not in mimicking painting—it has its own path to follow. Similarly, the purpose of digital photography isn't to emulate film; digital has its own distinct journey, and so does film.
So What is the Price?​
Of course, I'm not a film fanboy. The fact that film has reached its current market share today must mean it has serious flaws. Film’s beauty comes with trade-offs that explain why most of the industry went digital:
-
Slower workflow:
I believe this is the most fatal flaw of film. Limited exposures per roll, manual loading/unloading, waiting for development, and no instant feedback make film much slower than digital — both for shooting and for seeing results. Imagine this: you return home after a long-distance photography trip, only to discover major defects in your camera or lens after developing the film. The resulting loss is immeasurable—after all, film has a price, but data, time, and opportunities are priceless.
-
Cost and availability:
Every roll costs money to buy, process, and scan/print. Certain emulsions are discontinued or expensive, and processing labs can be scarce depending on location ( I'm talking about you, Fuji! Get those RDP3 and RVP50 supply shortages resolved immediately! ).
-
Less flexibility:
You’re locked into a film stock’s ISO, color balance, and look once loaded. Changing speed or palette mid-roll isn’t practical.
-
Technical constraints:
Film ( specifically referring to negative film ) struggles particularly when rendering large areas of low-key scenes. This is the exact opposite of digital photography. Film has finite dynamic range (often around 10–13 stops for color negative, less for slide) and lower shadow recovery flexibility compared to RAW digital files. Grain is part of the aesthetic, but it can limit enlargement or fine detail in small formats.
-
Learning curve:
Proper exposure, focusing, and handling require discipline — mistakes are expensive and only discovered after the fact.
Jinshanwei, Shanghai​
| FocalLength | 72 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 80 |
| Make | Linhof |
| Model | Technikardan S45 |
| LensModel | Schneider 72mm f/5.6 Super-Angulon XL |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 72 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 80 |
| Make | Linhof |
| Model | Technikardan S45 |
| LensModel | Schneider 72mm f/5.6 Super-Angulon XL |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 72 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 80 |
| Make | Linhof |
| Model | Technikardan S45 |
| LensModel | Schneider 72mm f/5.6 Super-Angulon XL |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 72 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 50 |
| Make | Linhof |
| Model | Technikardan S45 |
| LensModel | Schneider 72mm f/5.6 Super-Angulon XL |
| Film | FOMAPAN 100 Classic |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 72 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 50 |
| Make | Linhof |
| Model | Technikardan S45 |
| LensModel | Schneider 72mm f/5.6 Super-Angulon XL |
| Film | FOMAPAN 100 Classic |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Minhang District, Shanghai​
| FocalLength | 72 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 400 |
| Make | Chamonix |
| Model | 45H-1 |
| LensModel | Schneider 72mm f/5.6 Super-Angulon XL |
| Film | Ilford HP5 Plus |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Jing'an District, Shanghai​
| FocalLength | 72 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 50 |
| Make | Linhof |
| Model | Technikardan S45 |
| LensModel | Schneider 72mm f/5.6 Super-Angulon XL |
| Film | FOMAPAN 100 Classic |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Pudong New Area, Shanghai​
| FocalLength | 72 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 50 |
| Make | Linhof |
| Model | Technikardan S45 |
| LensModel | Schneider 72mm f/5.6 Super-Angulon XL |
| Film | FOMAPAN 100 Classic |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Songjiang District, Shanghai​
| FocalLength | 45 |
| FNumber | ? |
| ExposureTime | 30s |
| ISO | 80 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 45mm F4 |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 45 |
| FNumber | ? |
| ExposureTime | 30s |
| ISO | 80 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 45mm F4 |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | 1s |
| ISO | 80 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 55 |
| FNumber | ? |
| ExposureTime | 1s |
| ISO | 80 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | 1s |
| ISO | 80 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | 1s |
| ISO | 80 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Minhang District, Shanghai​
| FocalLength | 45 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 80 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 45mm F4 |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 55 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 80 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 45 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 80 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 45mm F4 |
| Film | Kodak Ektar 100 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Pudong New Area, Shanghai​
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 160 NS PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 55 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 160 NS PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 160 NS PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 160 NS PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 55 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 160 NS PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 160 NS PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Huangpu District, Shanghai​
| FocalLength | 75 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 200 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 400H PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 55 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 200 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 400H PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 55 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 200 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 400H PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 75 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 200 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 400H PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 200 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | FUJICOLOR PRO 400H PROFESSIONAL |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 100 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | HARMAN technology Phoenix 200 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 75 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | HARMAN technology Phoenix 200 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | HARMAN technology Phoenix 200 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 55 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | HARMAN technology Phoenix 200 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Jing'an District, Shanghai​
| FocalLength | 55 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | HARMAN technology Phoenix 200 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Yangpu District, Shanghai​
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 100 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | ILFORD DELTA 100 PROFESSIONAL |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 250 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | Kodak Eastman Double-X Black-and-White Negative Film 5222 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 100 |
| FNumber | 4 |
| ExposureTime | ? |
| ISO | 250 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 100mm F4 Macro |
| Film | Kodak Eastman Double-X Black-and-White Negative Film 5222 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 100 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 250 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 100mm F4 Macro |
| Film | Kodak Eastman Double-X Black-and-White Negative Film 5222 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 100 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | Svema NK2-SH |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 100 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | Svema NK2-SH |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Fengxian District, Shanghai​
| FocalLength | 55 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 125 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | ILFORD FP4 PLUS |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 100 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 55-100mm F4.5 |
| Film | ILFORD DELTA 100 PROFESSIONAL |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 45 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 100 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Pentax |
| Model | 67II |
| LensModel | SMC Pentax 67 45mm F4 |
| Film | ILFORD DELTA 100 PROFESSIONAL |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Pudong New Area, Shanghai​
| FocalLength | 45 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 25 |
| MeteringMode | Center-weighted |
| ExposureProgram | Aperture priority |
| ExposureCompensation | ? |
| Make | CONTAX |
| Model | G2 |
| LensModel | CARL ZEISS PLANAR T* 45MM F/2 |
| Film | Kodak Vision3 50D Color Negative Film 5203 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Minhang District, Shanghai​
| FocalLength | 90 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 25 |
| MeteringMode | Center-weighted |
| ExposureProgram | Aperture priority |
| ExposureCompensation | ? |
| Make | CONTAX |
| Model | G2 |
| LensModel | CARL ZEISS SONNAR T* 90MM F/2.8 |
| Film | Kodak Vision3 50D Color Negative Film 5203 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 28 |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 400 |
| MeteringMode | Center-weighted |
| ExposureProgram | Aperture priority |
| ExposureCompensation | ? |
| Make | CONTAX |
| Model | G1 |
| LensModel | CARL ZEISS BIOGON T* 28MM F/2.8 |
| Film | AgfaPhoto APX 400 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | 11 |
| ExposureTime | 0.002 |
| ISO | 400 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Nikon |
| Model | F4S |
| LensModel | Nikon AF-S NIKKOR 24-70mm f/2.8G ED |
| Film | AgfaPhoto APX 400 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | ? |
| ExposureTime | ? |
| ISO | 400 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Nikon |
| Model | F4S |
| LensModel | Nikon AF-S NIKKOR 24-70mm f/2.8G ED |
| Film | AgfaPhoto APX 400 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | KODAK PROFESSIONAL T-MAX 100 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | KODAK PROFESSIONAL T-MAX 100 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash fired |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Fujifilm |
| Model | Natura Classica |
| LensModel | SUPER-EBC FUJINON ZOOM 28-56mm F2.8-5.4 |
| Film | Kodak Vision3 250D Color Negative Film 5207 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Huangpu District, Shanghai​
| FocalLength | 24 |
| FNumber | 5.6 |
| ExposureTime | 0.008 |
| ISO | 400 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Nikon |
| Model | F4S |
| LensModel | Nikon AF-S NIKKOR 24-70mm f/2.8G ED |
| Film | AgfaPhoto APX 400 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | 3.3 |
| ExposureTime | 0.02222222222 |
| ISO | 400 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Nikon |
| Model | F4S |
| LensModel | Nikon AF-S NIKKOR 24-70mm f/2.8G ED |
| Film | AgfaPhoto APX 400 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 24 |
| FNumber | 16 |
| ExposureTime | 0.008 |
| ISO | 200 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Nikon |
| Model | F4S |
| LensModel | Nikon AF-S NIKKOR 24-70mm f/2.8G ED |
| Film | Kodak ColorPlus 200 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Jing'an District, Shanghai​
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | KODAK PROFESSIONAL T-MAX 100 |
| WhiteBalance | Panchromatic |
| Flash | Flash fired |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Changning District, Shanghai​
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | ILFORD XP2 SUPER |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Chongming District, Shanghai​
| Make | Fujifilm |
| Model | Natura Classica |
| LensModel | SUPER-EBC FUJINON ZOOM 28-56mm F2.8-5.4 |
| Film | Kodak Vision3 250D Color Negative Film 5207 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Kunshan City, Suzhou, Jiangsu Province​
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | KODAK PROFESSIONAL T-MAX 100 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Jianye District, Nanjing City, Jiangsu Province​
| FocalLength | 50 |
| FNumber | 1.4 |
| ExposureTime | 0.02222222222 |
| ISO | 400 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Nikon |
| Model | F4S |
| LensModel | Nikon AF NIKKOR 50mm f/1.4D |
| Film | AgfaPhoto APX 400 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | ? |
| FNumber | 4.8 |
| ExposureTime | 0.01111111111 |
| ISO | 400 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Nikon |
| Model | F4S |
| LensModel | Nikon AF-S NIKKOR 24-70mm f/2.8G ED |
| Film | AgfaPhoto APX 400 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| FocalLength | 50 |
| FNumber | 1.4 |
| ExposureTime | 0.01666666667 |
| ISO | 400 |
| MeteringMode | Pattern |
| ExposureProgram | Aperture priority |
| ExposureCompensation | 0 |
| Make | Nikon |
| Model | F4S |
| LensModel | Nikon AF NIKKOR 50mm f/1.4D |
| Film | AgfaPhoto APX 400 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
| Make | Fujifilm |
| Model | Natura Classica |
| LensModel | SUPER-EBC FUJINON ZOOM 28-56mm F2.8-5.4 |
| Film | Kodak Vision3 250D Color Negative Film 5207 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Xuanwu District, Nanjing City, Jiangsu Province​
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | KODAK PROFESSIONAL T-MAX 100 |
| WhiteBalance | Panchromatic |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
Putuo District, Zhoushan City, Zhejiang Province​
| Make | Konica |
| Model | GENBAKANTOKU ZOOM |
| LensModel | 28-56mm F3.5-6.7 |
| Film | Kodak ColorPlus 200 |
| WhiteBalance | Daylight |
| Flash | Flash did not fire |
| Artist | Alexandar Gu |
| Copyright | Alexander Gu |
