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Month: March 2017

Split – Fomapan R 100 (120)

Split Shot on Fomapan R 100 at EI 100 Black and white negative film in 120 format shot as 6×6     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out....

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Bodie Infrared – Rollei Infrared 400 (4×5)

Bodie infrared Rollei Infrared 400 shot at EI 6 Black and white infrared negative film in 4×5 format Graflex Speed Graphic 1957 – Kodak Anastigmat 161mm f/4.5     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out....

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Building a naked Aero Ektar Speed Graphic: The AEROgraphic project part 5: Focal plane shutter tuning and rangefinder

Welcome to part five – the penultimate part – of the AEROgraphic project. In this article you will finally be finishing your build. Rest easy, as part six is purely to show off some of the photographs I’ve taken with my own. As with the preceding parts of this series, I strongly recommend you visit what’s come before in order to bring yourself up to speed: The AEROgraphic project part 1 – introduction and required materials The AEROgraphic project part 2 – disassembly and strip down The AEROgraphic project part 3 – preparing and finishing the body The AEROgraphic...

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Road hogs – Agfa Precisa CT 100 (35mm)

Road hogs Agfa Precisa CT 100 shot at EI 100 Color reversal (slide) film in 35mm format Cross processed     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something...

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無 / Wú / Nothing – ADOX Silvermax 100 (35mm)

無 / Wú / Nothing ADOX Silvermax 100 shot at EI 200 Black and white negative film in 35mm format Push processed one stop     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out....

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I am EMULSIVE and this is why I shoot film

Welcome to this week’s EMULSIVE interview! Today’s interviewee is someone a few of you may have heard of and to be frank, it’s been a bit of headache to put together. So much so in fact, that I enlisted the help of a few friends in the film photography community to help out with posing some additional questions. Thank you Sandeep, Cody and Ben. Anyway, now you’re here it’s time to hand over for a mildly special extended interview with me…erm, EMULSIVE.     Hi EM, what’s this picture, then? EM: I’ve mentioned this picture a few times here, on...

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Built to last – Fuji 500T 8573 (35mm)

Built to last Fuji 500T 8573 shot at EI 500 Color motion picture film in 35mm format     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out....

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One more coat – Kodak Ektar 100 (35mm)

One more coat Kodak Ektar 100 shot at EI 50 Color negative film in 35mm format Push processed 2-stops     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out....

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Nuthin’ but bokeh – Lomography Lomochrome Purple XR 100-400 (35mm)

Nuthin’ but bokeh Lomography Lomochrome Purple XR 100-400 shot at EI 400 Color negative film in 35mm format     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out.  ...

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Camera Review: Vergleich der Olympus MJU gegen die Canon Prima Mini. Oder: Die 1€ plus porto challenge! – Andreas Zieroth

Letzen Sommer hatten wir in der Firma ein wöchentliches Englisch Training bei einem jungen US-Amerikanischen Lehrer. Als er irgendwann meine ausgeprägte Affinität zur Fotografie erkannte, zeigte er mir nach einer Trainingsstunde stolz ein paar Bilder, die er mit so einer Wegwerfkamera geschossen hatte, die man in jedem Drogeriemarkt kaufen kann. Er erklärte, dass er so ein Plastikteil immer bei sich, trägt, um Erinnerungen aus dem Alltag festzuhalten. Einige werden jetzt darüber schmunzeln. Ich auch. Zuerst. Auf den zweiten Blick waren unter all den persönlichen Erinnerungen aber auch ein paar wirklich gelungene Fotos dabei. „Warum er denn nicht digital oder...

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Spring growth – Ilford Pan F+ (120)

Spring growth Ilford Pan F+ shot at EI 32 Black and white negative film in 120 format shot as 6×12 Kodak Aero Ektar 7″ (178mm) f/2.5 – Graflex Pacemaker Speed Graphic     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out....

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EMULSIVE x Kodak Alaris Community Interview: results time

Back in October 2016, we invited you all to submit your questions to Kodak Alaris for the third #EMULSIVE community interview. Well, we’re finally ready to share the results!     Thank you’s and introductions First of all, a massive thanks to everyone who got involved in the final Q&A presented below. We chopped, diced and spliced as many of your questions as we could for a totally packed submission to the team over at Kodak Alaris. I’d like to extend a huge thank you to David Toman, Erik Gould and Ribnar Mazumdar for taking the helm on this community interview. Your insight, advice and feedback was invaluable in shaping the direction of...

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門 / mén / door #02 – Fuji Provia 100F RDP III (120)

門 / mén / door #02 Fuji Provia 100F (RDP III) shot at EI 100 Color reversal (slide) film in 4×5 format Kodak Aero Ektar 7″ (178mm) f/2.5 – Graflex Pacemaker Speed Graphic     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out....

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I am Jessica Hobbs and this is why I shoot film

This week’s interview is with talented Montrealian (Montrealite?) Jessica Hobbs. It’s been a busy 12 months for Jessica, she’s recently finished her Montreal Festival project – 225 festivals in Montreal in 12 months…I’m guessing she’s in need of a bit of a rest. Anyway, enough from me. It’s over to you, Jessica!     Hi Jessica, what’s this picture, then? JH: Sometimes the best photographs are the ones you almost don’t take. This was taken a few years ago in the woods surrounding my fiancé’s farm, my favourite place to shoot. It was a hot, late August afternoon and...

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On edge – Ilford Pan F+ (120)

On edge Ilford Pan F+ shot at EI 32 Black and white negative film in 120 format shot as 6×12 Schneider Super Angulon 90mm f/8 MC – Graflex Pacemaker Speed Graphic     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out....

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Travelogue: Australia part three – Tasmania

Today we’re welcoming Sarah Arnoff back with part three of her Australian travelogue. We’re following on from part one, which covered Sydney and part two, which took a look at Brisbane. Welcome to part three, the beautiful island of Tasmania. Over to you, Sarah.   If you only have six days on the rugged and rural island of Tasmania, do whatever you can to procure more time there. Our not-quite-a-week was not quite enough time to explore our road trip route from Hobart, west to skim the edge of Franklin-Gordon Wild Rivers National Park, north to Cradle Mountain National Park and...

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Bougainvillea bonsai – Fuji Provia 100F – RDP III (4×5)

Bougainvillea bonsai Fuji Provia 100F (RDP III) shot at EI 100 Color reversal (slide) film in 4×5 format Kodak Aero Ektar 7″ (178mm) f/2.5 – Graflex Pacemaker Speed Graphic     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out....

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Working with Paper Negatives – Part 3: At work in the Red Light District

Welcome to part three of my series on photography using paper negatives aka photographic paper! If you’re new to the series, please take a moment to read the preceding parts before diving in. Part one introduces the concept of paper negatives and what to expect from this medium. Part two jumps into shooting paper negatives, experimentation, determining ISO and more! In this article I’ll be talking almost exclusively about developing your paper negatives and covering some lessons I’ve learned while working out my own workflow.     Buying More Stuff Ugh, right! I’m already into this whole film photography thing...

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門 / mén / door #01 – Ilford Pan F+ (120)

門 / mén / door #01 Ilford Pan F+ shot at EI 32 Black and white negative film in 120 format shot as 6×12 Kodak Aero Ektar 7″ (178mm) f/2.5 – Graflex Pacemaker Speed Graphic     Contribute to EMULSIVE EMULSIVE NEEDS YOU. The driving force behind EMULSIVE is knowledge transfer, specifically engendering more of it in the film photography community. You can help by contributing your thoughts, work and ideas.Help drive an open, collaborative community - all you need do is drop us a line and we'll work something out....

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Building a naked Aero Ektar Speed Graphic: The AEROgraphic project part 4 – reassembly

Welcome to the final stretch. If you’ve made it this far then you’re very close to seeing your AEROgraphic project come together. By the time you’ve completed the steps described in this article you’ll have a fully functioning 4×5 camera, so don’t lose heart. But…we don’t want to stop there. In part five, I’ll be showing you how to calibrate your rangefinder to your lens, and set your focal plane shutter for accurate speeds. Finally, In part six, I will be showing you some of the photographs I’ve taken with my own AEROgraphic and inviting you to share your own....

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