It’s time to take a look back at the month of June 2019 here on EMULSIVE. Two new film announcements, an interview with the one and only Jon Canlas, film simulation research and hooking up old scanning gear are just a few of the topics and articles that appeared right here.
If you missed anything, I start with the highlights below (as decided by you and in order of publication), and finish up with a full list at the end of the page.
When mainstream photography was entangled with the darkroom, the act of printing a photo would show the artist’s hand as much as what was photographed.
I can’t begin to tell you how happy I am to finally bring today’s interviewee to these pages.
Updated with additional details, speculation and sample images.
Picked up just a few moments ago is the heart-stopping news that Fujifilm is officially bringing black and white films back to the market in Autumn 2019 with the all-new NEOPAN
I was recently tempted to get into medium format more seriously and began around looking for the camera that would allow me to do so.
What if you had a scanning solution for color negative and black and white film that enabled you to scan and convert a whole roll of 35mm film in less than 15 minutes and all that in next to
Since I started shooting film 2 years ago, I have wanted to shoot Motion Picture Stock and have it processed in its native ECN-2 chemistry.
To answer this question, I researched the foundations of film and digital photography; and which factors can influence the style of the results for my bachelor thesis.
About a year and a half ago I finally bit the bullet and bought my very first medium format camera, a Mamiya 6 MF.
See the latest updates (2019-06-25) at the foot of this page.
Retailing at just $3.50 per 36 exposure roll, another new film stock for 2019 has been announced in the form of 35mm Shanghai GP3 100, which was made
It’s time to simplify and demystify the dark art of connecting legacy film scanners and other hardware to modern computers.
…and here’s everything in order of publication
Life gets busy, so here’s everything on EMULSIVE in June in one single list!
I had wanted to collaborate with a friend of mine, a very talented performance artist working under the name Roxxie Botoxxie.
On the job Shot on ILFORD Delta 400 Professional at EI 25600Black and white negative film in 120 format shot as 6×6Push processed 6-stops Hasselblad 2000FCW / Carl Zeiss Planar F 80mm f/2.8 Development notesKodak HC-110 1+79 (F): 23°C/73°F, 47: (N+6), no presoak, 1-minute initial agitation, 5 seconds agitation / minute, 1-minute […]
Film can be daunting for some, but I find it is worth the investment of time and money, as long as you understand exactly what your expectations are from the medium.
Welcome to a fresh instalment of my “…this is why I shoot film” series!
In 2018 I stumbled upon a small camera store in Porto, Portugal.
Up and over
Shot on Kodak PROFESSIONAL ELITE Chrome 100 (EB-3) at EI 100.Color reversal (slide) film in
Shot on Kodak Portra 160 at EI 160Color negative film in 35mm format
LondonShot on Kodak Portra 160 at EI 160.Color negative film in 35mm format.
I’ve been looking for a 120 ISO 400 colour film for a pinhole based project that I have in mind and whilst there is a good range of black and white and 35mm, choices are fairly limited for 120
I really believe that to be a complete photographer it is imperative to either hone the skill set of printing within a darkroom environment or be knowledgeable of the process.
Guardians at the door #02
Shot on Fuji Pro 400H at EI 200.
Color negative film in 35mm format.
Nikon F100 / Nikon Nikkor 85mm f1.8 AF-D
Guardians at the door #02Shot on Fuji Pro 400H at EI 200.Color
Shot on Kodak Pro Image 100 at EI 400Color negative film in
Kentmere 100 is a cheap film when you compare it to
Shot on ILFORD HP5 PLUS at EI 3200Black and white negative in 120 format shot as 6x6Push processed 3 stops
Hasselblad 2000FCW / Carl Zeiss Planar F 80mm f/2.8
Development notesKodak HC-110 1+47 (E): 20°C/68°F, 12:45
In mid-December 2018, I released a call for questions for the latest EMULSIVE Community Interview, this time with the folks at CineStill in Los Angeles. You obliged and here are the results.
On the 35th anniversary of her murder British police and the victim’s family have released an appeal for help solving the unsolved 1984 murder of the 33 year-old Shelly Morgan.
Central to the new appeal from Avon and Somerset
“What about Berlin?”, I asked my partner.
We were looking for a city break last October and had no idea where to go.
Lots and lots to cover in this episode, the least of all being crumpets and my current obsession with them.
Side entrance #02
Shot on Fujifilm NEOPAN 100 ACROS at EI 200Black and white negative film in 120 format shot as 6×61-stop push process
Hasselblad 2000FCW / Carl Zeiss Planar F 80mm f/2.8
Development notesKodak HC-110 1+47 (E
Guardians at the door #01
Shot on Fuji Pro 400H at EI 200.Color negative film
Psychedelic Blues Film is a line of experimental rolls of Kodak Ultra Max hand-fogged by photographer Dustin Adams and sold through his online shop. Each batch is unique and every roll contains an element of unpredictability.
You may remember me talking about my plan to build an Ultra Large Format (30×40cm) stereo wet plate camera in my interview here on EMULSIVE.
On the Summer Solstice of 2017, I took these five photographs on one roll of Agfa Precisa CT 100, my Pentax K1000 and SMC Pentax-M 1/2 50mm lens.
WOW. Four years. You might be getting tired listening to me talk about this website as my “labour of love” and yes, I feel your pain but it is what it is.
5 o’clock shadow
Shot on ILFORD HP5 PLUS at EI 400.Black and white negative film in 120 format shot as 6×6.Hasselblad 2000FCW / Carl Zeiss Planar F 80mm f/2.8.
Read the ILFORD HP5 PLUS review.
Development notesKodak HC-110 1+47
Shot on Kodak AEROCHROME III 1443 at EI 400Color infrared aerial surveillance film in 120 format shot as 6×6Shot with #21 orange filterHasselblad 2000FCW / Carl Zeiss Planar F 80mm f/2.8
Read the Kodak AEROCHROME review
Thanks for reading!
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