If you’re reading this guide, you’re probably new to RA-4 colour printing. Don’t worry, until recently, so was I. Over the past few months, I have spent a lot of time finding information about and practically learning the process. Since what I needed was scattered around the internet in small bits on different websites, forums […]
I’ve been developing film at home for a while now, and I’ve done everything that I can to get my money’s worth from my chemicals. Using the recommended 2% per roll time extension methods from Cinestill, I’ve been able to extend my chemistry’s life to the point where I’m spending just a couple of bucks […]
The call came in on the afternoon of Monday 7th October. Shane Balkowitsch would have little under 24 hours to plan a 15-minute wet plate photoshoot with Greta Thunberg at Standing Rock. Naturally, the first thing he did after getting off the phone was to start packing his studio up into the back of his truck — including his portable darkroom.
I’ve been a street photographer and black and white darkroom worker since back when bulk film loaders boasted of “Penny a Frame” – that’s right, $.36 a roll of film.
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.
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.
“Oh sure, it may not look like much, but it’s going to be my new photo darkroom.”
I said this, with a touch of nostalgia, a bit of a whim, and the driving force of practicality around the return
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.