Welcome to part five – the penultimate part – of the AEROgraphic project. In this article you will finally be finishing your build.
Welcome to the final stretch. If you’ve made it this far then you’re very close to seeing your AEROgraphic project come together.
Welcome to part three of the AEROgraphic Project!
There’s no time for preamble, as this is where things start to get really interesting (and fun).
Welcome back for part two of the naked Aero Ektar Speed Graphic project.
This is the first of a six-part series in which I will describe the process of creating a “naked” Graflex Pacemaker Speed Graphic 4×5 camera and Kodak Aero Ektar lens combination;
This article covers making and experimenting with redscale film at home.
You might remember that we featured an interview with Robert Marsters some months ago.
We’re incredibly proud to bring you the first in what will hopefully be a new series of articles focused on providing a more educational look at certain aspects of film photography.
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
If you’re a regular reader of EMULSIVE interviews, then you may remember our piece with Michael Jackson and his wonderful work at Poppit Sands back in October last year.
You may also have noticed that most of his output of
Mastering photography is without a doubt a slow and laborious process, regardless of your choice of medium.
Depth of Field (DoF) its use and control in your photography is crucial. When used effectively, Depth of Field can make the difference between a good photograph and a great one.