I want to spread the idea that a photographic enlarger is fundamentally a very simple thing.
Wet plate collodion doesn't spring to mind as either the most practical or in fact, legal approach to creating passport photographs but that didn't stop EMULSIVE interviewee #196 Markus Hofstaetter from giving it a shot. Markus isn't a stranger
Back over the summer of 2018, my beloved Bronica SQ-A became gravely ill, and I sent it off to the camera spa for some TLC.
Welcome to the second appendix to the Technical Field Guide for the Discerning Analog Photographer.
I originally wrote the full "Technical Field Guide for the Discerning Analog Photographer" as a quick reference for technical photographers in the field.
Welcome to the final (?) part of this three-part series exploring the use of motion picture film in still photography.
In part two of this series we are going to go delve into the technical side of motion picture film: color temperature, print vs motion picture film stocks and finally start to get into what ECN-2 is all about.
This three-part series explores motion picture film for use in still camera and covers the theory behind motion picture film, currently available film stocks, the importance of correct development and the development process itself. Through this article and the
In this article, I will go over the steps you need to take and the decisions you need to make to enter the wonderful world of film 35mm photography. I recommend starting with the 35mm format as the cameras
I developed my first black and white film at school and have enjoyed developing black and white films ever since.
Monobath film developers feel like the in thing for 2018.
A new film from Fuji?
A few months ago, I wrote about the results of my tests on FERRANIA P30 Alpha in various developers.
I hope that through this article, I’ll be able to convince you that cyanotypes can be done on a tight budget and without access to sunlight.
Anyone who knows me knows that I am a fierce advocate for film.
I wanted a few nighttime square images for the final chapter of a book I was just completing on Dublin, a kind of goodnight to the City.
Probably the most awkward aspect of developing films at home is getting your exposed film onto a reel and into a developing tank.
In 2009 I bought my third digital camera, a little Panasonic Lumix LX3 to complement my somewhat chunkier DSLR. In 2012 I sold it, partly to fund its replacement, a Sony RX100.
And this is where my journey of home developing begins! After a couple of disappointments - in rapid succession - of the work of some photo labs, it was time to take full responsibility for all the loosely cut last
Since beginning large format photography I’ve been developing my 4x5* sheet film in trays. This is not a process for the faint hearted and takes more than a modicum of skill.