Up for this week’s fresh EMULSIVE interview slot is George Quiroga who has been out there catching light for over 50 years — above ground and underwater. There’s some great reading below and suitably fantastic photography to boot. So with that, it’s over to George… Hi George, what’s this picture, then? Under Cover – Canon […]
If you spend any time checking out landscape photographers online – especially if you’ve been eyeing up 6×17 format photography – you will no doubt have come across the work of today’s interviewee, Jeremy Calow.
Updated with additional details, speculation and sample images.
Picked up just a few moments ago is the heart-stopping news that Fujifilm is officially bringing black and white films back to the market in Autumn 2019 with the all-new NEOPAN
Side entrance #02
Shot on Fujifilm NEOPAN 100 ACROS at EI 200Black and white negative film in 120 format shot as 6×61-stop push process
Hasselblad 2000FCW / Carl Zeiss Planar F 80mm f/2.8
Development notesKodak HC-110 1+47 (E
Shot on Fuji NEOPAN 100 ACROS at EI 400
Black and white negative film in 35mm format
Push processed 2 stops
Nikon F100 + Nikkor 85mm f/1.4 AF-D + ISCO Cinemascope Ultra Star Plus 2.1
Life would be boring without experimentation and this fifth article for 2018’s lazy post listicles should help you scratch that itch…or not.
Either way, it’s here.
Comparing Fujifilm Acros to… Fujifilm Acros – READ
Crank Case – Minolta XD7
It’s the fourth article in 2018’s end-of-year lazy post, this time counting down the most popular film reviews here on EMULSIVE over the course of 2018.
Monobath film developers feel like the in thing for 2018.
Today’s interviewee is the man once described as “the man with the silkiest voice you’ll ever hear” (by me), Ted Viera. Trust me, I’m not wrong on this one.
I wanted a few nighttime square images for the final chapter of a book I was just completing on Dublin, a kind of goodnight to the City.
Left on Shot on Fuji NEOPAN 100 ACROS at EI 100 Black and white negative film in 120 format shot as 6×6 Kodak Aero Ektar 178mm f/2.5 / Hasselblad 2000FCW / AEROblad Development notes Kodak HC-110: 1+47(E), 21°C/70°F, 06:15 (N) No presoak, 1-minute initial agitation, 5 inversions/minute, normal stop/fix/rinse
This was the first roll of Acros I ever shot. It came with the bikkuri case I ordered from Japan Camera Hunter. In honor of its discontinuation, I thought I should finally give it a shot.
Shot on Fuji ACROS 100 at EI 50
Black and white negative film in 120 format shot as 6×6
Pull processed one stop
Top to bottom
Shot on Fuji Acros 100 at EI 100
Black and white negative film in 120 format shot as 6×17
The road to this photo book wasn’t paved in roses exactly – more like sea salt!
As a 6×6 format twin lens reflex camera, the Yashica Mat-124 TLR is considered a great entry-level camera for people who are moving up from 35mm to medium format film.
This whole project started when I realized I had been blindly allegiant to certain black and white films for a number of years without any particular rhyme or reason.
If you remember 2017’s Mamiya C220 TLR review, or spend any time at all with the wonderful film photography community on Twitter, then you’ll be more than familiar with today’s interviewee, Ian Bartlett.
I’m looking forward to this!
What would film photography be without the experimentation aspect? Sticking to box speeds, recommended developers and “the right way” of doing things is boring
In the time honoured tradition of lazy posting at the end of each year, here’s the first in a series of top 10 and countdown articles planned for EMULSIVE during this final week of 2017.
First up, time to take