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Author: EMULSIVE

Cornered – LomoChrome Purple XR 100-400 (120)

Cornered – 2015-07-07 LomoChrome Purple XR 100-400 shot at EI 200 Color 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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Field notes – Ilford FP4+ 125

Following on from our recent review, here’s a quick reference for Ilford’s fine detail, old school contrast monster, FP4+. Here’s what they have to say: For high quality black and white photography, ILFORD FP4 PLUS is unrivalled. Its very fine grain, outstanding sharpness and high acutance make it the film of choice whenever a job demands great enlargement or the subject contains a wealth of fine detail. Nominally rated at ISO 125/22, ILFORD FP4 PLUS has become the benchmark against which other medium speed films are judged. With enormous latitude for exposure error above and below its ISO 125,...

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Pockmarked – Maco Eagle AQS 400 / Rollei Retro 400S (35mm)

Pockmarked – 2015-07-06 Maco Eagle AQS 400 at EI 6400 (Rollei Retro 400S) Black and white 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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Dry dock – Fuji 64D 8552 (35mm)

Dry dock – 2015-07-05 Fuji 64D 8552 at ISO64 Color negative motion picture film in 35mm format. There’s more from this roll of Fuji 64D 8552 motion picture film at the EMULSIVE Archives. Like this photo? Digital and physical media are available on request. Please share this image if you like it, or leave a message in the comments....

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Lotus-es – Wittner Chrome 200 / Agfa RSX (35mm)

Lotus-es – 2015-07-04 Wittner Chrome 200 (Agfa RSX 200) at EI 200. Color slide film in 35mm format. There’s more from this roll of Wittner Chrome 200 (Agfa RSX 200) color slide film at the EMULSIVE Archives. Like this photo? Digital and physical media are available on request. Please share this image if you like it, or leave a message in the comments....

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Experimenting with Rollei Superpan 200 (with bonus infrared!)

Today we’ve decided to give you all a look at what kind of results you can expect from Rollei’s Superpan 200 black and white film in 120 format. Before we get started, you might want to check out the original review. If you’re ready, let’s get started…   Never satisfied I’m never satisfied with shooting film at it’s box speed.  I’m simply not happy until I’ve pushed, pulled, or cross processed a film stock and seen first hand what can (or can’t) be achieved. Ultimately an aerial reference / reconnaissance film at heart, Rollei Superpan 200 supposedly handles haze, poor light...

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春福 / chūn fú / spring blessing – Kodak PROFESSIONAL ELITE Chrome 100 – EB-3 (35mm)

春福 / chūn fú / spring blessing Shot on Kodak PROFESSIONAL ELITE Chrome 100 (EB-3) 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 out.  ...

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I am Emericus Durden and this is why I shoot film

Welcome to the first in a new series of interviews here at EMULSIVE I think you’ll find the format rather refreshing, if possibly a little strange. Trust me, you’ll get used to it. I’m hoping that you’ll be inspired to put yourselves in the shoes and mindsets of our guests, and explore and expand your own photographic boundaries as a result. To kick the series off, I had originally hoped to interview myself as part of a weird quasi-meta line of thought. After discussing things (at length) with myself, I decided it would probably be best for everyone that I actually interviewed a...

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Archive: June 2015

Here are all of the daily photos posted at EMULSIVE in June 2015.  You can view all these images on one page at the EMULSIVE archives. All links open in a new window and we’re aware of how much of a pain it can be.  Fear not, we’re working on a better viewer, bear with...

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Recap #1: June 2015 – a massive thanks

We’re incredibly tribal, us humans. When we find people who share the same interests and values as us, we tend form collectives, stick together and move as a herd. Whether the film photography community would like to be called a tribe, or described as a herd remains to be seem but what I think I can say without risk of Twitter-geddon is that it’s a real honour and joy to be a part of it. EMULSIVE launched one month ago and to date, your response has been beyond anything I could have imagined. I want to give my heartfelt thanks...

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Surf’s out – LomoChrome XPRO 200 (35mm)

Surf’s out – 2015-07-01 LomoChrome XPRO 200 shot at EI 200. Color slide film in 35mm format. There’s more from this roll of Lomo Chrome XPRO 200 at the EMULSIVE Archives. Like this photo? Digital and physical media are available on request. Please share this image if you like it, or leave a message in the comments....

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Fixed motion – Rollei Superpan 200 (120)

Fixed motion – 2015-06-30 Rollei Superpan 200 shot at EI 400. Black and white negative film in 120 format shot as 6×6. 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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Film review – Ilford FP4+ 125

If I want to shoot a film with buckets of character and great, deep contrast at a moderate box speed, then more often than not, I’ll be packing Ilford FP4+. It’s not my everyday ISO100-200 film, primarily because it’s not always easy to come by (more on that later!) but if I’m in the mood to capture something a little special in black and white, then this is the stock for me, no questions asked. Perhaps its something to do with plucky Brit mentality, or that they seem to be able to produce stuff that’s greater than the sum of its parts…I’m...

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Let there be light – Fuji Provia 100F – RDP III (120)

Let there be light – 2015-06-29 Fuji Provia 100F shot at EI 100. Color slide 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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Gone fisheye-ing – Kodak Portra 400 (120)

Gone fisheye-ing – 2015-06-28 Kodak Portra 400 at EI 400. Color negative film in 120 format shot as 6×6. 30mm fisheye.   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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SPRUNG! – Kodak Tri-X 400 (120)

SPRUNG! – 2015-06-27 Shot on Kodak Tri-X 400 at EI 400. 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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Guarded dog – Kodak EKTACHROME E100VS (120)

Guarded dog – 2015-06-26 Kodak EKTACHROME E100VS shot at EI 200 Color reversal (slide) film in 120 format shot as 6×4.5 Push processed one stop and cross processed Today’s shot also forms part of our review of Kodak’s E100VS in 120 format.  Check it out! 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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Experimenting with Kodak TRI-X from EI 800 to 12800

This article picks up from our original Kodak Tri-X 400 review and will show you single-stop pushes from ISO400 all the way up to ISO12800. It’s also recently been supplemented with part one of the High EI Shootout, which takes Kodak Tri-X 400, Kodak T-MAX 400, Ilford HP5+ and Ilford Delta 400 to EI12800 and part two, which takes the same films to EI25600! All the images featured in this test were metered with the same Sekonic L-308S light meter using a reflective or incident reading, as required.   Got a few hours? There’s almost to too much to talk about here. I shoot...

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Lotus – Fuji Provia 100F – RDP III (120)

Lotus – 2015-06-25 Shot on Fuji Provia 100F (RDP III) at EI 100. Color slide film in 120 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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