Fuji Velvia 50 is my favourite colour film. The colours, saturation and contrast are unique. It's especially good for golden hour colours around dawn and sunset.
This article covers making and experimenting with redscale film at home.
Long exposure film photography is a technique central to my currently ongoing photography project, Where We Meet. Capturing the smooth extensions of water movement, contrasted with static elements of the shoreline is the key to this visual narrative.
Before I jump into the guide, allow me a few moments to tell you the story of how I began shooting and developing slide film. Many years ago, while working as an employee of a transport and delivery company, I
Iceland. Winter. You're standing at the base of a waterfall, semi-numb fingers fumbling a new roll of 35mm into the back of your ice-cold SLR.
Over the years I've built up a large bank of development times and schemes for many black and white films, old and new;
Preface This article originally appeared over at Addicted2light in November 2012 and has been kindly updated by author Gianluca Bevacqua. Gianluca's taken a bit of time to update his initial findings with his updated DSLR "scanner", a Sony A7r.
You’ve heard of GAS?
English version here: https://emulsive.org/experiments/black-and-white-fuji-instax-photographic-experiments Mi chiamo WhatsBehindThat e faccio foto. La mia prima foto e’ stata fatta con una Yashica, dopo che mio fratello mi spiego’ come leggere la tabella dei valori dietro al flash e come impostare
Versione in Italiano e qui: https://emulsive.org/experiments/esperimenti-fotografici-con-fuji-instanx-in-bianco-e-nero My name is WhatsBehindThat and I make photos. I took my first shots with a Yashica film camera (after my brother explained me how to read the table of values behind the
Film photography, or analog photography - to use a term that better encompasses other media and processes - really is a fascinating world. To those relatively new to the world outside what is considered traditional film photography (such as myself
Snatched from the streets of San Diego in late March 2016 by a group of masked assailants, Diz has been spending some time at EMULSIVE HQ (voluntarily) working on a guest post covering his process for developing motion picture film
In June 2015 I was lucky enough to source a fresh 300ft short-end of Kodak's 250D (Vision 3 5207) motion picture stock in 65mm format.
We've roped the very agreeable Michael Bitaxi into putting together a guest post for us covering everything you need to get started with pushing and pulling film. It's a great read for those of you who are thinking about dipping
The high EI shootout is back for part two: the pushening. Poorly executed references to the terrible sequel that was Highlander 2 aside, I'm hoping that you'll find this extension of part one just as informative as the first and
A few months ago I wrote a post about experimenting with pushing Kodak Tri-X from ISO 800 to 12800.
As regular readers will know, I've been doing #FILMSWAPs for close to six months now and things are going great guns. Since it all started back in July, I've been lucky enough to swap over 150 rolls (and reels) of
Picking up from my original Provia 100F review, I'm going to talk about how we can experiment with this film and the kinds of results you can expect. In this article, we'll be talking about pushing, cross processing and
Today I've decided to give you all a look at the kind of results you can expect from Rollei's Superpan 200 black and white film in 120 format.