Author: EM
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Photography: Roofline – Shot on ADOX Silvermax 100 at EI 200 (35mm format)
Roofline Shot on ADOX Silvermax 100 at EI 200 Black and white negative film in 35mm format Push processed one stop Development notes: ADOX Silvermax developer: 1+24, 20°C/68°F, 12:15 (N+1) No presoak, 1-minute initial agitation, 5 inversions/minute, normal
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Photography: Scratching post – Shot on ADOX Silvermax 100 at EI 200 (35mm format)
Scratching post Shot on ADOX Silvermax 100 at EI 200 Black and white negative film in 35mm format Push processed one stop Development notes: ADOX Silvermax developer: 1+24, 20°C/68°F, 12:15 (N+1) No presoak, 1-minute initial agitation, 5 inversions/minute
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Photography: Skewed – Shot on ADOX Silvermax 100 at EI 200 (35mm format)
Skewed Shot on ADOX Silvermax 100 at EI 200 Black and white negative film in 35mm format Push processed one stop Development notes: ADOX Silvermax developer: 1+24, 20°C/68°F, 12:15 (N+1) No presoak, 1-minute initial agitation, 5 inversions/minute, normal
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Photography: Waiting time – Shot on Tri-X 400 at EI 800 (120 format)
Waiting time Shot on Kodak Tri-X 400 at EI 800 Black and white negative film in 120 format shot as 6×6
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Photography: Zero – Shot on Kodak ColorPlus 200 at EI 200 (35mm format)
Zero Shot on Kodak ColorPlus 200 at EI 200 Color negative film in 35mm format
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EMULSIVE interview #182: I am Yan Wang Preston and this is why I shoot film
Regular readers will remember reading about Yan’s current project, Mother River here on EMULSIVE a couple of weeks ago and I’m, please to be able to finally bring more of her words and work to you in today’s fresh EMULSIVE
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Photography: Top to bottom – Shot on Fuji Acros 100 at EI 100 (120 format)
Top to bottom Shot on Fuji Acros 100 at EI 100 Black and white negative film in 120 format shot as 6×17
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Photography: Chop chop – Shot on Kodak Ektar 100 at EI 800 (120 format)
Chop chop Shot on Kodak Ektar 100 at EI 800 Color negative film in 120 format shot as 6×6 Push processed three stops
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Photography: Threading the needle – Shot on Shanghai GP3 100 at EI 100 (120 format)
Threading the needle Shot on Shanghai GP3 100 at EI 100 Black and white negative film in 120 format shot as 6×6
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Photography: Transition 05 – Shot on Rollei Superpan 200 at EI 200 (120 format)
Transition 05 Shot on Rollei Superpan 200 at EI 200 Black and white negative film shot as 6×6 Hasselblad 2000 + Kodak Aero Ektar 178mm f/2.5 Read the Rollei Superpan review and experimentation guide
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Photography: Transition 04 – Shot on Rollei Superpan 200 at EI 200 (120 format)
Transition 04 Shot on Rollei Superpan 200 at EI 200 Black and white negative film shot as 6×6 Hasselblad 2000 + Kodak Aero Ektar 178mm f/2.5 Read the Rollei Superpan review and experimentation guide
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The Hasselblad V-System master guide: CF, CF FLE and IHI lenses
I kicked off the previous article in this series by stating that in its V-System, Hasselblad created one of, if not the world’s most comprehensive and flexible medium format camera system.
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Photography: Transition 03 – Shot on Rollei Superpan 200 at EI 200 (120 format)
Transition 03 Shot on Rollei Superpan 200 at EI 200 Black and white negative film shot as 6×6 Hasselblad 2000 + Kodak Aero Ektar 178mm f/2.5 Read the Rollei Superpan review and experimentation guide
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Photography: Transition 02 – Shot on Rollei Superpan 200 at EI 200 (120 format)
Transition 02 Shot on Rollei Superpan 200 at EI 200 Black and white negative film shot as 6×6 Hasselblad 2000 + Kodak Aero Ektar 178mm f/2.5 Read the Rollei Superpan review and experimentation guide
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Announcing: CineStill Df96 “DEVELOPER&FIX” Monobath
Hot off the press: there’s a new black and white monobath developer from the Brothers Wright over at CineStill – CineStill Df96 Monobath – and it’s available to buy this very minute on their website as a 1-Liter kit at
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![Introducing the pixl-latr: democratising the digitisation of film [with exclusive creator Q&A]](https://emulsive.org/wp-content/uploads/2018/06/pixl-latr-Cover.jpg)
Introducing the pixl-latr: democratising the digitisation of film [with exclusive creator Q&A]
Innovative solutions for digitising film abound, from homegrown solutions using copy stands, digital cameras and scanning masks, to Nikon’s endlessly delayed ES-2 35mm film digitising adapter.
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Photography: Transition 01 – Shot on Rollei Superpan 200 at EI 200 (120 format)
Transition 01 Shot on Rollei Superpan 200 at EI 200 Black and white negative film shot as 6×6 Hasselblad 2000FCW + Kodak Aero Ektar 178mm f/2.5 Read the Rollei Superpan review and experimentation guide
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EMULSIVE May 2018: month in review
Welcome to the month that was May 2018, all 31 days, 22 daily photos and 32 articles of it – here on EMULSIVE at least.
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Photography: Mirror finish – Shot on Lomography Lomochrome Purple XR 100-400 at EI 400 (35mm format)
Mirror finish Shot on Lomography Lomochrome Purple XR 100-400 at EI 400 Color negative film in 35mm format
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Photography: Half mast – Shot on ILFORD XP2 Super at EI 400 (120 format)
Half mast Shot on ILFORD XP2 Super at EI 320 Black and white negative film in 120 format shot as 6×6 Orange #21 filter
Recently published
- Ultreia: Making pilgrimage to Santiago de Compostela
- 5 Frames… In the pits at Brands Hatch motor racing circuit on FP4 PLUS (35mm format / EI 125 / Nikon L35AF) – by Nik Stanbridge
- 5 Frames… Of my boy (skeleton) Jeffrey on Polaroid Color SX-70 film
- New film day! Say hello to HARMAN Phoenix 200, a brand new mid-speed colour film
- My First Roll… With a Yashica Mat 124G
- The Contax 645: Not just a wedding camera
