For everyone here after the recent repost, welcome. Things have certainly come a long way. Thanks for your continued support and inspiration.
Film photography amazes me. For me, it’s about latitude and depth, not megapixels and shutter actuations.
The film photography process can be intensely physical and in my opinion, connects the photographer to the image he or she has taken in a much more profound way than digital is able to do (with a few exceptions).
It’s safe to say that film photography is a real passion of mine. It’s one which I want to share and nurture, and it’s a passion that has, for the most part, lead me to create this little website.
I came back to film photography a few years ago, almost by accident. It was this shot from my
second first roll of film that made me fall in love all over again.
This image was captured using a small, cheap plastic camera no larger or more expensive than the price of a six pack of Coke in New York or London. The 36 exposure roll of film (purchase, processing and scanning), cost me less than half of that.
OK, enough. What’s the point of EMULSIVE?
As I’ve delved deeper into the world of film photography, I’ve found myself asking questions for which there’s no definitive answer. In part, this is to do with the nature of the medium, it’s easy to experiment. In addition, there’s very little knowledge transfer and techniques get lost over time.
For the most part, I try and gather opinion but for the really silly questions, I simply go ahead and try for myself.
The result of all of this is that I’ve built up a mental knowledge base of useful and useless information, which may be of interest to those starting off in film photography, or those of you interested in experimenting with kit you already have.
I hope to condense what I’ve learned into a series of articles and features aimed at:
- Breaking down the concept that film photography is hard, fiddly and unpredictable.
- Removing some of the mystery behind film formats and stocks.
- Providing a detailed reference for push-processing, cross-processing and film experimentation, alongside with the direct results of doing so.
In terms of specifics, well I have a few ideas in place. Some of which might take more time to get rolling than others.To start off, I have a couple of film reviews for you to get stuck into here and here, as well as two articles covering Depth of Field and the relationship between your film, the speed of your shutter and the aperture of your lens.
For the newly initiated, I won’t be shying away from using technical terms in articles and reviews but I’ll make sure that those terms have been described either in the article, or the growing glossary of photographic terms. I hope you’ll find it a useful point of will be useful reference.
Looking forward to seeing where this goes,
Write for EMULSIVE
The driving force behind EMULSIVE is knowledge transfer, specifically creating more of it in the film photography community. You can help by contributing your thoughts, work and ideas to inspire others reading these pages.
Take action and help drive an open, collaborative community: all you need do is read this and then drop me a line.
Lend your support
Like what you see here? You can support EMULSIVE by helping to contribute to the community voice on this website (see above), or by heading on over to the EMULSIVE Patreon page and adding financial support from as little as $2 a month.
As if that’s not enough, there’s also an EMULSIVE print and apparel store over at Society 6, currently showcasing over two dozen t-shirt designs and over a dozen unique prints of photographs made by yours truly.