31 days and 38 articles. Here’s everything you missed on EMULSIVE in August, starting with a list of the “top ten” as decided by you.
When it comes to autofocusing manual lenses on film cameras there is really only one option: the unique and relatively short-lived CONTAX AX. Chunky sibling of the CONTAX RX and…
After a year of hard work and detailed design, Steve Lloyd of Chroma Camera and I are pleased to announce that the Kickstarter campaign for the ChromaGraphica Double Dry Plate Holder (and sheet film holder!) in 4×5, 5×7, and 8×10 […]
Plates, films, stars and scenes. I’ve been following today’s fresh interviewee (on social media!) pretty much since EMULSIVE came into existence back in June 2015 and I’m so, so happy to have finally been able to get him on for […]
Let’s start with the elephant in the room – this camera comes with some serious bling. It is in fact, a special gold-dipped version officially called the “Rolleiflex 2.8GX Expression 75 years edition”.
The Contax T2 is the world’s most fashionable camera, apparently. Kendall Jenner uses the T2. Chris Hemsworth uses the T2. Various other celebrities I don’t know use the T2.
The Contax T3 is so cute and desirable! The problem is that the T3 is crazy-expensive. If you are not wealthy, look away now.
When it comes to medium format cameras we’re spoilt for choice. This is not surprising considering that 120 film was the main format used by professionals and enthusiasts alike for a good chunk of the 20th century before 35mm film took over.
In March of 2018, I was heading to Oakland and San Francisco for a photo work assignment and decided to do some street photography on my time off while I was up there.
This is my ever-changing long-term photo essay about Israel and the Palestinian territories. A place so complex and beautiful at the same time. It isn’t always easy or straightforward to put into words but I have done my best to paint
…and here’s everything in order of publication
Life gets busy. Here’s everything from August in one single list.
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Imagine the scene: one night in Tokyo, some Konica employees are drinking in a hostess bar. One of them looks through the bottom of his glass and has a brainwave. ‘Hey!’, he exclaims, ‘Let’s make a camera with a clear lens cover!’
I had purchased a couple of rolls of JCH Streetpan 400 in 35mm but held off shooting the film until I had an opportunity I felt was worthy of its Streetpan name. That opportunity came in…
After shooting strictly with a point and shoot camera, I was gifted a Minolta XG-M and Minolta MD Rokkor 50mm f/1.7 kit by a friend. I found myself reaching for film instead of digital for my personal work more and more after that. Digital was beginning to bore me, editing […]
If you spend any time checking out landscape photographers online – especially if you’ve been eyeing up 6×17 format photography – you will no doubt have come across the work of today’s interviewee, Jeremy Calow.
Over the past two years, I’ve been pouring everything I had emotionally, physically, and financially into a staged photography series I call “Buffalo Soldier”. My project is…
Fujifilm made some nice mid-range compacts, but inexplicably, they are priced like premium compacts. I couldn’t bring myself to pay the prices being demanded for a Natura Classica or a Klasse.
The Contax T2 is hot property, the compact de jour, if you will. The Contax Tvs III is basically a T2 with a zoom lens. It’s also much cheaper, so the Tvs III should also be hot property, right?
I love the Lomography Diana Mini and I’ll stand by this little plastic gal with all my heart, even when nobody else wants to.
A lot of my early digital work was rooted in colour theory, and as a result (despite wanting to limit my film photography to black and white) I have shot through as many different colour films as I could find.
Whenever I go out shooting with film, which seems to be a lot these days, I take my trusty Nikon F2 and the 50mm F/1.4 AI-S. Can I just say that this camera is a bit of a beast?
I’ve always been a little scared of the 28mm focal length (on 135 film/full frame digital). Although perhaps I should say, a little scared and intrigued by it.
For this roll of Kodak Portra, I set out to shoot a series of self-portraits featuring flowers and foliage with my new (to me) Nikon FM and a Nikon Nikkor 50mm f/1.8 lens.
A couple of weeks ago, stuck with no gigs for the week and suffering through the anxiety-filled boredom that freelancing can suddenly bring, I decided to fly to New York (only an hour from Toronto) to shoot some street shots.
Combining two recent trends, namely de-cluttering and a revival of mid-century technology, I rediscovered a beloved family camera, the Yashica Mat and some expired and now discontinued Kodak Plus X 120 film.
To take you on this journey, I’m sharing with you my contact sheets and pulling out a few of the finished photographs from each.
After all the roads and film stocks I’ve shot with over the last couple of months, all have lead to Eastman Kodak Double-X 5222. I’ve been searching for that go-to film by trying pretty much everything out there.
I’ve been hanging these off my Billinghams for years. For the uninitiated, Billingham’s AVEA end pockets are small add-on packs which clip onto either…
Decked out Shot on Kodak Portra 800 at EI 200Color negative film in 120 format shot as 6×6 Hasselblad 2000FCW / Carl Zeiss Planar F 80mm f/2.8
In April, I wrote a comparison of three bellows cameras from the 1950s I had bought on eBay: Agfa Record III, Voigtländer Perkeo, and…
When I came back to film photography in early 2018, very soon I wanted to try medium format film. Not being sure if I would like it with its lesser number of photos per roll compared to a 35mm film…
The second day of sunshine… What bliss… It has been dark and grey for a couple of weeks. A huge contrast to the nice and warm temperatures of southern Vietnam where I had been.
Jazz has a special place in my heart. It’s a musical language that somehow, I can understand by simply feeing my mind and letting the music run through my soul.
First, let me say that the Nikon F4 gets no respect. I am just going to lay that out there. Okay, so now on to the film. All of my film problems can be traced back to The FPP…
British camera manufacturer Barnet Ross Ensign boldly advertised in the post-Second World War period that photographic development had now moved from Europe to Great Britain.
All these frames were shot at the white sands national monument while on a road trip in the States (my family are all American – this road trip happens bi-annually). We were driving the length of Route 66…
Halfway through… six months in already? How did that happen… didn’t we just start? Actually, we are settling into our routine but the bloom is off the rose…
Some time ago I combined two new-for-me techniques in one batch of the film developing process – semi-stand and processing C-41 film in B&W chemistry.
Thanks for reading!
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