In Search of Black & White, Appendix 1 – Svema Foto and Derev Pan films from Ukraine

Scott Ferguson replied:

Comment posted: 26/01/2026

Hi Michael, Thanks! As I've relatively recently returned to shooting on film, and never went as far as doing my own processing, I do my processing at a lab in Brooklyn. I believe they use Kodak TMax developer, but I don't know about the times...

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks Charles!

Scott Ferguson replied:

Comment posted: 26/01/2026

Hey Andrew, All good. I'm in an early stage with the Summarit and kind of enjoying seeing how it works at different apertures, bokeh-wise, but I'm not sure I'd always want the full swirly vortex you get shooting wide open with a visually complex background, like those shots of the two women on the bench. I think my reference to being 'the life of the party' had some intentional layers interpretation -- there's a time when being around someone who is the life of the party is fun and exciting, and there's a time when it can be exhausting when all you want is a mellow wind down. That being said, I'm fairly excited about some of the things I'm getting back that were shot on the Summarit, including the portraits here of Maikeru and Donate, which were at f4, as I recall. I've also gotten some recent rolls back from the lab shot at higher f stops (including some color shot on Ektar) and there's a very different feel -- the subject is satisfyingly sharp while the background is soft and a bit creamy and fairly geometrically accurate with solid shapes. I'm intrigued by the Jupiter 8, sounds like a nice lens. 50mm is my favorite focal length, and I have a couple of different Leica lenses of different ages and designs, which I'm thinking of looking at side by side with the Summarit, possibly in a future post here. Best, s

Andrew replied:

Comment posted: 26/01/2026

The L39 mount Jupiter 8 is an inexpensive gem. The design is the pre-war Zeiss Sonnar, given to the Soviets (or taken, depending on your point of view) as war reparations. It comes in 4 generations, and the best are either the very first (used German Schott glass given as war reparations) or the last (better mechanical build and better corrected for Soviet glass.

Scott Ferguson replied:

Comment posted: 26/01/2026

Interesting! I was talking to another photographer I met in NYC who also likes shooting with the Jupiter 8, f2. I'd probably be most interested in the Schott glass version if I had the choice. That postwar Zeiss history is very interesting -- I was looking at a Zeiss Jena 75mm f1.5 that is kind of pricey and has even crazier bokeh when I decided on trying out the Summarit. I'm glad I didn't get that particular Zeiss which isn't easily compatible with an M camera and is a little more gimmicky/party clown know for 'bokeh bubbles' than life of the party. But I really like shooting vintage lenses that have interesting character, so maybe when I'm ready to try branching out from Leica, I might keep an eye out for a Jupiter 8! Thanks!

Andrew replied:

Comment posted: 26/01/2026

You can have fun now. The Jupiter 8 is Leica thread mount and rangefinder couples correctly on screw and m mount Leicas. All you need is the thread to m mount adapter.

Scott Ferguson replied:

Comment posted: 26/01/2026

Hey Andrew, Yes, I actually have a couple of LTM lenses, including a 1949 Summitar and a 21st century Voigtlander Color Skopar 28mm f3.5. I think my hesitation is more about bandwidth/learning curve, as I'm still getting used to some of the 50mms already in my collection, including the Summarit. I think I've raised my levels a bit since I last used one or two of those lenses regularly and my next project might be some side by side shooting to see how the different Leica lenses perform in similar situations. But if I stumble onto a good looking Jupiter 8, I might snap it up, which is a little bit how I ended up with the Summarit when I saw a pretty clean looking copy at one of the NYC camera stores...

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks so much, Curtis! Glad you liked it. It was fun trying out those Ukraine stocks and I really like a number of them a lot!

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks Christopher! Yes, I ordered a roll of Svema FN 64 along with Svema "Blue" ISO 6 as well as a few other FFP stocks when I restocked on Svema 100 & 200. I'm excited to try them out and maybe one of us will show the results in a post. Cool idea shooting Ukrainian film with old Soviet cameras, especially a Fed, which I think was also made in Ukraine. I'd love to see some of your shots on these cameras with Svema films!

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks Paul! Yes, the Dragon film also looks very interesting. Full disclosure, I frequently do some basic 'slider' adjustments in Lightroom after I get things back from the lab, mostly fine tuning exposure, but frequently boosting the blacks a bit. But I think the amount I'm doing those adjustments is more bringing out what is there on the negative and in the scan as opposed to altering it altogether. But I think you'll probably enjoy shooting some of these Ukrainian stocks on your Fed, and I look forward to seeing them!

Kodachromeguy replied:

Comment posted: 26/01/2026

As I recall, a few years ago, Film Photography Project offered expired but frozen original Svema Foto rolls in their original boxes. I do not see these old rolls on their web page any more. I considered trying some, but then the issue would be so what? I might prove that it was viable, but then would need to find another film when the Svema stock ran out. Some ebay sellers in Ukraine still offer the original product from 1992. The 32 might be viable. But again, the question arises, so what?

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks Omar, I thought I had read somewhere that they were making Svema in the old Soviet plant(s), but now don't see that post and perhaps it was a bit of a cleverly worded article or post that used sleight of hand, perhaps making the spooling sound like actual manufacturing. It won't be the first or likely last time I end up shooting the same film under a different lable. If true, and you seem quite well-informed, It's a little disappointing. But I'm pleased with a lot of the photos and I still hope some of my film dollars are making it to Ukraine!

Scott Ferguson replied:

Comment posted: 26/01/2026

Hey Omar, I reached out to Michael Raso at FFP, and he had the following comment, regarding the Svema films: "I can confirm that our Svema films are manufactured in Ukraine. Additionally, the Tasma film we carry (NK-II BW) is also manufactured by Svema in Ukraine." He did not expand beyond that, and I am not trying to do an expose on how some film emulsions are marketed under different labels which can be a bit of a thicket when you try to get solid information. For this post I was sharing my experiences with some emulsions I liked with other analog film enthusiasts on 35mmc, which I think is legit for anyone who might consider trying some Svema Foto or Derev Pan. That being said, I would have revised the piece if I learned that these films were not actually manufactured in Ukraine. And I probably will try the Tasma NK2! All best, s

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks Kodakchrome Guy! Yes, my enthusiasm for Svema was more about supporting the people of Ukraine now, not about some Soviet era film that has been in cold storage for decades. I might reach out to the people at FFP for comment... Cheers, s

Walter Reumkens replied:

Comment posted: 26/01/2026

Hey Scott, hey Omar, I just contacted a long-standing, reputable camera and film dealer in Ukraine about this matter. He sells a number of Svema films in his shop, and when I asked him whether Astrum Ltd., which owns the trademark rights to Svema (Svema no longer exists), manufactures the film itself, I received the following reply very promptly. Here is the original: "Hello! I know for sure that Astrum has its own technology for cutting and packaging film. But they source the film rolls themselves from somewhere. I'm in direct contact with the Astrum director, but he won't disclose this information. So, no one can say for sure; these are all assumptions; people compare the film to other samples and draw their own subjective conclusions." I also know of several reputable sources that say the same thing Omar described. I'll leave it at that and have thought about it myself.

Kodachromeguy replied:

Comment posted: 26/01/2026

Update: many of the pre-1992 Svema films came wrapped in a black paper sleeve within the cardboard outer box. You would need to load the film into a reloadable cassette, like the Leitz IXMOO or FILCA. So, a bit inconvenient for many photographers.

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks Walter, Very interesting. Your friend in Ukraine sounds like a clever and thoughtful person. I wish him the best in a trying time for his country and the world. I forgot to mention in my response above to Omar that Michael Raso at FFP also wrote " I can confirm that Svema film is NOT rebranded Kodak, Agfa and Tasma film." in an earlier email. As noted, he also asserted that FFP's Svema films are manufactured in Ukraine, presumably by Astrum. If some of the FFP money is getting to Astrum/Ukraine, and I like the emulsions, I'm happy enough to take Michael's word for it and plan to try some more Svema films including the 64 and 6 ISO's as well as more Svema Foto 100 & 200, which I liked very much. Thanks for reaching out to your friend!

Scott Ferguson replied:

Comment posted: 26/01/2026

That's some interesting history, Kodachromeguy! That might have been appealing to some Barnack enthusiasts, but probably not for the average photographer or someone who likes to shoot a lot quickly.

Walter Reumkens replied:

Comment posted: 26/01/2026

It wasn't a friend I was talking to, but a long-standing Ukrainian dealer in analogue cameras, lenses and accessories who sells the full "current Svema range" worldwide. A Ukrainian who should know and whose statements correspond with many statements in reputable blogs and on Wikipedia. Perhaps it is a Kodak product; according to the website, Astrum works with Kodak.

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks Walter, Appreciate the clarification on your relationship with the Ukrainian camera & film dealer, and my best wishes for him and everyone in Ukraine remain, including to the people at Astrum! And again, I'm not trying to do some kind of investigative piece on Svema. I think both MIchael Raso and the Astrum rep who discussed this with your Ukrainian acquaintance are speaking somewhat carefully as it relates to privileged business information related to the Svema line of films. I don't think the US distributor would actually lie if Svema films were simply rebranded Kodak lines, like TMax or Tri-X spooled straight onto Svema cassettes, but you are correct, It does appear that there is a business relationship between Astrum and Kodak, based on the Astrum website. So I think it's probably safe to say that Kodak is in the supply chain for Astrum/Svema films, and I suppose the word "manufactured" is elastic enough to cover whatever part of the process happens in Ukraine. All that being said, I like the Svema films I've shot, and remain happy to send some of my film dollars to Ukraine! Best, s

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks Christopher! I LOVE Pan F Plus -- it's one of my favorite emulsions, so I think you'll have a blast shooting it in Colorado! I think Svema Foto 100 might be in the same general 'zip code' as a relatively slow fine grained film with high contrast, so if you like that look, I'd try that as well. I don't know about Ferrania, so will have to do some research. Thanks so much! s

Scott Ferguson replied:

Comment posted: 26/01/2026

Hey Art! Thanks so much! Yes, the Summarit is a really interesting lens, and acknowledging it might be a little strong for some readers tastes, I so happy you like it too! I'll be very interested to see how things go with the Contax 1.5 Sonnar. Is that one of those lenses without a focus ring because that was part of the camera as opposed to the lens in that era of Contax design? I've been kind of nosing around vintage Zeiss glass to see if there is anything I want to try with the M3, but more in a 'maybe some day' than 'must find now' approach, since I'm still on the learning curve with the Summarit as well as some of the other lenses I have in my collection. Yes, street photography is a wonderful way to connect with people, and in NYC you meet all kinds of switched on and interesting people from all over the world and all over the city. I was nervous about approaching people about a photo as recently as May/June, 2025, and it's only gotten easier and more natural the more I do it. I love it! Best, s

Art Meripol replied:

Comment posted: 26/01/2026

The ability to quickly put people at ease is true skill, one that can be learned but like any skill some will find it easy to master and others won't. The nice portrait of you in the story above I think captures that needed empathy or openness. I am excited about testing that old Sonnar when the adaptor arrives. You're right about it not being a focusing lens. I picked up a Contax Zeiss Ikon II that had it attached. The focus is indeed part of the camera's body. So the adaptor has to have a helicoid which does increase cost. Searching on line there were a lot of cheap adaptors without the helicoid. And there were a few relatively expensive ones with. I'll do a post here when it all comes together. I also have a one-shot coming up here I did with my new-to-me M3 and the Summicron f2. Seeing your post here I now realize I didn't dive very deep in the post about the look of the lens. I have a small file of previous 35mmc posts I am keeping for reference and your film tests are all at the top of the collection.

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks so much Art! Engaging with strangers on the street is an acquired skill, but also doesn't happen for me all of the time, even now. Some days I just don't have it, and on others it kind of gushes from one encounter to the next. Some of it is probably internal to me, like my general mood and confidence, and some of it is probably external conditions like the frigid weather in Montreal, or the collective 'mood' at certain times due to circumstances beyond our control. I will be excited to see your one shot post and whatever comes when you get that Sonnar working! That day doing the photowalk with the Summarit was kind of fascinating because you can see how the quality images shift over time as the sun moves across the sky (or more accurately, as the earth rotates). The early portraits of Mirro and Dan look like another optical world from the portraits of Maikeru, Donate and the two writers. It's especially interesting over the last hour of daylight as things moved quickly from an f5.6 to f1.5. I kind of realized the importance of this from doing an earlier post comparing Leica R to Leica M glass, where I was mostly shooting in bright at f8 or higher, which doesn't really reveal that much about the personality of a lens compared to f2. I'm glad you like that series, I suspect this won't be my last appendix!

Art Meripol replied:

Comment posted: 26/01/2026

Thanks for sharing your work with the subjects of your shots. It's a great thing to do and though maybe just a small kindness it is a big deal for those that follow you down the street the next time.

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks so much Jeffery! Yes, you do have to 'read the room' when going up to total strangers on the street or in a park or any public place, and I think I usually get a sense of how approachable someone will be non-verbally well before I say a word. As I noted with Art, there is also a hard to predict mood/vibe that happens with me, where some days I just won't have it and can't engage because I'm feeling a little more introverted, and then other days where I can't stop it and I roll from one cool encounter to the next. It's a marvelous way to connect with people, and often I've had the nicest encounters with people I normally would have had little or nothing to say to without a camera to connect us. Perhaps its because I live in NYC, but I tend to avoid asking for or sharing personal private contact information like phone numbers or email, but I've made many many Instagram friends, and always try to tag the subject of a photo that I post. It is interesting when you encounter someone who truly has no idea about photochemical film -- people generally seem to find my vintage cameras quite interesting, especially the Hasselblad, when I take it out. Hasselblads are big cameras, but they don't seem to be intimidating like a 'paparrazi' DSLR set up with a giant zoom lens feels. I think the elegance of the Swedish design also makes people feel comfortable with having their photo taken, at least that's been my experience. A Leica M is reassuringly small, and the gear I use from the 1950's & 60's has a reassuringly nerdy Eisenhower era "engineer on vacation" look. I've never tried a folding camera -- it seems like it would be fun! Do you have a recommendation?? Best, s

Scott Ferguson replied:

Comment posted: 26/01/2026

Thanks Eric! Yes, the post is only a part of the experience here on 35mmc! I've really enjoyed all of the great wisdom and insights I've gotten in the comments here. It's a terrific community of photographers!

Scott Ferguson replied:

Comment posted: 27/01/2026

Thanks Alexander, That's my feeling too! I'm excited to try more Svema films and hopefully will get some more shots like the ones I took the day of that long photowalk!

Scott Ferguson replied:

Comment posted: 27/01/2026

Thanks David! That means a lot to me from someone whose shots on 35mmc are never throwaways, and even seemingly mundane content like a house with a dumpster in the front yard or a view out of the rear window of a car on a rainy day takes on a weight of meaning that's hard to describe but easy to feel. This article kind of morphed into three overlapping narratives -- an emulsion demo that overlapped a lens demo that settled into a special photo walk as the sun went down. I love that it felt like all of the talk about gear and film stocks was in service of the images themselves for you -- I don't think I could ask for more. But I think it's the humanity of those wonderful people I met that provides the glow, perhaps along with the historic glass -- but I'm happy to have been there to snap the shutter to try to capture it. Best, s

Scott Ferguson replied:

Comment posted: 28/01/2026

Thanks Gary! I'm sorry the Fomapan didn't work out with the 4x5. I certainly would feel out of my league trying to shoot with a view camera. I have made Instagram friends with a couple of NYC guys who shoot quickie portraits with a Linhof using a Polaroid back, but what I've seen them doing is mainly setting the camera up in a single position with some famous background like the Washington Square Arch or Manhattan Bridge framing the Empire State Building, and inviting tourists to get souvenir shots for a fee. On a good day, I think they can do a decent business, but my style of portraits is more spontaneous and I've never felt that confident doing architecture or abstract compositions. I think I'm a bit of a 'restless' shooter', at least at this stage, more suited to getting into a 'flow state' where I'll try different things, including a wide variety stocks. When I started the B&W survey, I was looking for 'the one' stock, now I'm happy to try a decent variety for different conditions and or different creative looks depending on my mood at the time. There will be days when I don't pick well, but generally it has been working for me so far. Best, s

Scott Ferguson replied:

Comment posted: 28/01/2026

Hey MIchael, Yes, I think the portraits are my favorites too and probably the thing that gets me out of the house to shoot these days. And the Summarit has been really fun to try out, and a handful of shots here feel kind of special. Interesting ideas here about closer focus and stopping down. Your comment has made me think a bit about how close or far I am getting to the people I'm photographing when I do street portraits with strangers. I think there are a few factors in play, one is the fact that I'm engaging with people I've never met on the streets and parks of NYC, and there is a bit of a zone/perimeter of how close it feels comfortable to get to someone under those circumstances, the other factor that I'm kind of realizing as I think about it, is that I generally shoot with a 1.4x magnifier on the M3 and so I might be 'fooled' by the magnification in the viewfinder into thinking I'm shooting a closer shot than I actually am. It's a bit of a tradeoff, as I've noticed my focus accuracy has improved fairly dramatically since I got the magnifier. I was quite frustrated when I splurged on a Summilux, by far the most expensive piece of glass in my collection, and very few of my early attempts at shooting at 1.4 came out in focus. I haven't had that to nearly the same degree on the Summarit. But it's quite likely that the magnifier is giving me a slightly false impression of how close I am. Interesting to think about how to overcome that.... I'll be thinking of that the next time I go out doing street portraits...

Scott Ferguson replied:

Comment posted: 30/01/2026

Hi David, Thanks so much, especially for taking a look at those scans. I do love that portrait of Nadya -- her pensive look as well as the graphic composition with the big bold "Police State" title of her book reading loud and clear in the frame. It's definitely a favorite. Interesting about the highlights -- I noticed a big drop between the roll of Svema Foto 200 and the Derev Pan 200, but attributed that to the falling day as opposed to the film & developing. I didn't notice it as much in the others, but maybe see it a bit now that you mention it, except maybe on the Coney Island shots which were in very bright conditions... Most of the other days or situations were a bit more flat light. A vegemite lens! ha! I can see that and have gotten strong reactions up and down with the Summarit. I'm enjoying seeing how it performs in different lights and times and film stocks -- it has a pretty different look in the middle apertures that is closer to a conventional norm, but its definitely got personality to spare. I have a funny relationship with technical perfection -- when something looks too crisp/clean/'digital' it's a bit of a turn off for me, and I like things a little more 'expressive' and 'filmic' -- which is part of why I like using vintage glass and different film stocks. At the same time, I'm envious when I see people getting super sharp and clean results on film cameras and would like to be able to get a similar level of quality with mine. When I want to... It's fun to learn how to get different moods and feels and a long journey ahead. Thanks David!