Tuesday, August 18, 2026

Five Below UP-Tech 35mm Camera


Sometimes an inexpensive, no-frills camera is all you need.

I was recently gifted an Up-Tech 35mm point-and-shoot camera sold by Five Below. The camera comes in a simple white box that looks a little like a very inexpensive imitation of an iPhone box. Inside you'll find the all-plastic camera and a very basic instruction pamphlet.

The price? $7.00.

And your $7 buys you about as simple a 35mm camera as you can imagine.

The Up-Tech is a reusable, fixed-focus 35mm film camera with essentially no exposure controls. There is no autofocus, light meter, adjustable shutter speed or aperture. There isn't even a flash.

Its basic specifications are:

  • Lens: 28mm plastic fixed-focus lens
  • Aperture: Fixed at f/8
  • Shutter speed: Approximately 1/100 second
  • Film: Standard 35mm
  • Film advance: Manual
  • Film rewind: Manual
  • Exposure counter: Yes
  • Flash: None
  • Hot shoe: None

Five Below lists the camera at approximately 3.8 × 2.6 × 1.3 inches, so it really is small enough to toss into a pocket, purse or backpack.

That's about it.

And in some ways, that's part of its appeal.

Load the camera with film, advance the film, point the camera at something and press the shutter button. There are no settings to think about and nothing to adjust.

Putting a Roll Through It

Just for fun, I loaded the camera with a test roll of Harman Kentmere 200 to see how it would perform.

Because the aperture and shutter speed are fixed, your choice of film speed and available light become the camera's exposure controls. ISO 100 or 200 film should be usable outdoors in reasonably good light, while faster film may provide a little more flexibility under overcast or darker conditions.

Obviously, none of this is terribly precise. With a camera this simple, you're relying heavily on the exposure latitude of the film.

As expected, the resulting photos were somewhat soft, particularly toward the edges of the frame. That's hardly surprising considering we're dealing with a simple plastic 28mm lens.

My particular camera also produced a noticeable vertical light leak near the center of several images. Whether this is typical of the camera or simply a defect in my copy, I don't know.

Another characteristic worth keeping in mind is the viewfinder. Reports from other users suggest that the viewfinder doesn't show the entire area captured by the wide 28mm lens, so you may end up with considerably more around the edges of the photograph than you expected.

Here are some of the images from my test roll:






cImage showing the occasional light leak 

Better Than I Expected

The photographs were actually not all that bad.

Remember, this is a $7 camera.

Nobody is going to confuse photographs from the Up-Tech with images made using a Leica, Nikon or even a decent 1990s autofocus point-and-shoot. Sharpness is limited, the lens is plastic, exposure is fixed, and quality control may be questionable.

But it does produce recognizable 35mm photographs.

And there's something entertaining about that.

Who Is It For?

Will I use this camera regularly?

Probably not.

But I can think of several situations where a camera like this could be fun.

It might make an interesting first film camera for a beginner or child because there is virtually nothing to learn beyond loading, advancing and rewinding the film.

It could also make a great outdoor party or wedding favor. Load several with inexpensive film, hand them out to guests and let everyone document the event from their own perspective. You might end up with some wonderfully unpredictable photographs.

It would also make a decent little "car camera." Load it with film, throw it in the glove compartment and have it available whenever you unexpectedly want to take a photograph.

Without a flash, however, its usefulness indoors is limited. Even with faster film, I'd consider this primarily a daylight camera.

There's another practical consideration: processing a roll of film can easily cost considerably more than the camera itself. That makes the economics of a $7 film camera somewhat amusing.

Final Thoughts

The Five Below Up-Tech isn't a good camera in the traditional sense.

It's an extremely simple plastic camera with a fixed 28mm lens, fixed aperture, fixed shutter speed and virtually no controls.

But perhaps that's the wrong way to judge it.

For $7, you get a reusable 35mm camera that fits in your pocket and actually takes photographs. It strips film photography down to its absolute basics:

Load. Advance. Point. Shoot.

Sometimes that's enough.

Not bad for $7.

Saturday, August 15, 2026

Film Negatives - Flat or Curl (Updated August 27, 2026)

Flat Negatives Are Your Friends

Photographic film negative curling can be an issue if you develop film yourself. During the digitizing or printing workflow your negatives will need to be scanned, photographed or used in a darkroom enlarger. Having film negatives "flat" is important. Even the slightest curling / cupping of the negative can make the film difficult to put into a scanner holder, keep flat on the scanner glass or keeping the entire photo in focus. You WANT your negatives to be as flat as possible for good results.

Different film stocks "curl" / "cup" to various amounts or remain flat while drying. How you dry your negatives (i.e., hanging with a weighted clip on the bottom) or your drying conditions (i.e., humidity level) will also impact how much a negative does or does not dry flat.

Here are a couple examples of flat and slightly curled negatives. Your results may be similar or much more cupping / curling.

Fomapan 400 dries flat

Fujicolor Superia X-TRA 400 has a moderate curl. This negative has been back-rolled

There are DIY ways to flatten curled negatives. You can cut your negatives, sleeve them and put them under a weight (like a book) for several hours. You can back-roll the negative before cutting and keep it back-rolled for a few hours until flat, etc.

Again, what ever process you use, the simplest is to use film (WHEN POSSIBLE) that dries flat.

To help you decide, here is a list of films I've used / developed and how they "typically" end up when dried.  Please note, this list covers just 35mm film. 120 film curls more or less the same but if it curls it tends to curl more than 35mm. AGAIN AS A CAVEAT, your experience may vary.

  • Aerocolor 100 - flat
  • ADOX HR50 - flat
  • Agfa APX 100 - flat
  • Agfa APX 400 - slight curl
  • Arista EDU 100 / 200 / 400 - flat
  • Arista EDU 100 DX - flat
  • Arista EDU 400 DX - flat
  • Berger Pancro 400 - slight curl
  • Camera Film Photo (CFP) 500T The Film - flat
  • Candido 200 - flat (Vision2 200T remjet removed)
  • Candido 400 - slight curl (Vision3 250D remjet removed)
  • CFP Kiki Pan 320 - flat
  • CineStill BWXX - slight curl
  • Dubblefilm Jelly - flat
  • Eastman Double-X (5222) - flat
  • EFKE 100 - curls
  • Fomapan 100 - flat
  • Fomapan 200 - flat
  • Fomapan 400 - flat
  • FPP Mummy - flat
  • FPP RetroChrome 320 - curls
  • FPP Wolfman 100 - flat
  • Fujicolor Pro400H - light curl
  • Fujifilm Provia 100 - curls
  • Fujifilm 200 - slight curl
  • Fujifilm Fujicolor Superia X-TRA 400 - curls
  • Fujifilm Fujicolor Superia 800 - flat
  • Harman AZURE - slight curl
  • Harman Kentmere 200 - flat
  • Harman Kentmere 400 - flat
  • Holga 400 - flat
  • Ilford Delta 100 - flat
  • Ilford Delta 400 - flat
  • Ilford FP4 - flat
  • Ilford HP5 - flat
  • Ilford Ortho 80 - flat
  • Ilford PanF Plus 50 - flat
  • Ilford PAN 400 - flat
  • Ilford SPX 200 - flat
  • Ilford XP2 400 - flat
  • JCH Streetpan 400 - flat
  • Kiki Pan 320 - slight curl
  • Kodak Double-X - slight curl
  • Kodak Ektar 100 - flat
  • Kodak Ektachrome 100 - flat
  • Kodak EliteChrome 100 - curls
  • Kodak EliteChrome 200 - curls
  • Kodak Ektapan 100 (T-Max 100) - flat / very slight curl
  • Kodak Ektapan 400 (T-Max 400) - flat
  • Kodak Gold 200 - slight curl
  • Kodak Gold 200 in 120 - curls
  • Kodak Kodalith 6556 - flat
  • Kodak MAX 400 - curls
  • Kodak Plus X 125 - slight curl
  • Kodak Portra 160/400 - flat
  • Kodak Portra 800 - flat
  • Kodak T-Max 400 - flat / slight curl
  • Kodak T-Max 3200 - flat / slight curl
  • Kodak Tri-X - curls
  • Kodak Ultramax 400 - flat
  • Kodak Vision3 250D - flat
  • Kodak Vision3 500T - flat
  • Kodak X-Pan 125 - slight curl / flat
  • Kono Moonstruck - flat
  • Kosmo Foto Agent Shadow - slight curl
  • Leica Monopan 50 - flat
  • Lucky SHD50 - flat
  • Lucky SHD100 Pro - flat
  • Lucky SHD400 - flat
  • LuckyPan 400 (old formula) - flat
  • ORWO UN54 - flat
  • Rollei Infrared 400 (AGFA Aviphot Pan 200) - flat
  • Rollei Retro 80s (AGFA Aviphot Pan 80) - flat
  • Rollei Retro 400s (AGFA Aviphot Pan 200) - flat 
  • Rollei RPX25 (AGFA Aviphot Pan 80) - flat
  • Secret Sauce Color 100 (Aerocolor 100) - flat
  • Shanghai GP3 - curls
  • Street Candy 400 - slight curl
  • Silberra Ultima - flat
  • Ultrafine 100 - flat
  • Ultrafine Finesse 100 - flat
  • Ultrafine Finesse 400 - flat

I'll update this list as I get feedback from others or have personal experience with other films.




Wednesday, August 5, 2026

Lucky Black-and-White 35mm Film


China Lucky Film is a Chinese manufacturer that produces a range of affordable black-and-white photographic films (also produce color films). I have been using Lucky film regularly as one of my everyday 35mm black-and-white options.

I purchase Lucky film online from REFLX Lab in Shenzhen, China, usually in 100-foot bulk rolls. The three Lucky films I have used are:

  • Lucky SHD 400
  • Lucky SHD 100
  • Lucky SHD 50, sold under the Kangsong SHD 50 name

Lucky SHD 400 and SHD 100 are available from REFLX Lab in 35mm cartridges, 120 rolls, and 100-foot bulk rolls. Both films can also be found in 35mm cartridges through a limited number of other retailers. Other retailers I've used as reference include:

  • Bellows Film Lab
  • Brooklyn Film Lab
  • Midwest Photo
  • Tuttles Camera
  • Legacy Photo Lab

Lucky SHD 50 appears to have more limited availability. I have only found it in 100-foot bulk rolls from REFLX Lab, where it is sold as Kangsong SHD 50. It appears that the film is no longer manufactured nor commonly available in individual 35mm cartridges.

Why I Use Lucky Film

The primary attraction of Lucky black-and-white film is its price. It is particularly economical when purchased in bulk and loaded into reusable 35mm cartridges.

As an example, based on current bulk prices from REFLX Lab a 36 exposure roll equals:

  • Lucky SHD 400 = $3.61
  • Lucky SHD 100 = $3.61
  • Lucky SHD 50 = $2.78
I've found only Arista films in bulk have a price in the same range.

I would describe the overall image quality as acceptable to good, although not exceptional. For me, that makes Lucky a useful everyday film—something I can shoot regularly without worrying about the cost of each frame. It is also a practical choice when testing a camera (short rolls), experimenting with a developer, or photographing subjects that may not justify using a more expensive film.

Despite its affordability, Lucky film does have several drawbacks:

  • Quality control can be inconsistent, particularly with SHD 400 in my experience.
  • The 100-foot bulk rolls I have found are primarily available through REFLX Lab in Shenzhen. Shipping costs are currently very affordable.
  • The film can exhibit a noticeable amount of light piping.
  • I find that Lucky SHD 400 is best at 200 ISO and Lucky SHD 50 at 25 ISO

The quality-control problems I have encountered with SHD 400 have included occasional black spots and lines appearing on the negatives. These defects have not appeared on every frame, but I have seen them across several bulk rolls, making them more than an isolated occurrence.

Light piping can also affect the first few frames of a roll. This is especially important when bulk-loading the film, since light entering through the film base can travel farther into the cartridge than it would with some other black-and-white films. Advancing several extra frames after loading can help reduce the likelihood of losing an important photograph.

Even with these limitations, I continue to use Lucky black-and-white film regularly. Its low price makes it an appealing everyday option, and when the film is free of defects, it is capable of producing pleasing photographs.

In future posts, I’ll post a closer look at Lucky SHD 50, SHD 100, and SHD 400 individually, including how I expose and develop each film and the results I have experienced.

Sample Images

The following photographs are examples taken with the different Lucky black-and-white films I have used.

Lucky SHD 400 at 200 ISO








Lucky SHD 100










Lucky SHD 50 at 25 ISO