At this point in my film career, I own my fair share of cameras. I’ve bought a Mamiya RB67 and some lenses. I splurged on a Plaubel Makina 67. I even found a Mamiya 7 II for half street value courtesy of a kind old man on craigslist. And I’ve shot with all of these […]
Before we begin, I just wanted to mention a couple of things. In the interest of the flow of the article, links to websites, Instagram pages, and YouTube videos will all be found at the end of the review (but I do hope you’ll read the whole thing, and not just skip to the end!). […]
My girlfriend, four of our friends, and I recently planned a backpacking trip to the scenic Lake Aloha in California’s Desolation Wilderness, not far from Lake Tahoe. I knew I wanted to capture the three-day, two-night trip on film, but had a difficult time deciding between my 13oz (0.36kg) point-and-shoot camera, or my 3lb (1.36kg) […]
There are so many articles extolling the virtues of the Hasselblad XPan that when I was recently offered the chance to borrow one for a few days I leapt at the opportunity. There were plenty of 35mm panoramic cameras made, some mask part of the frame, like Ricoh R1 (I’ve got one, bought it new […]
Hitchcock’s California is a photographic tribute to Alfred Hitchcock by Aimee Sinclair and myself, along with an essay by Hitchcock film historian Dan Auiler. The book features a portfolio of eighty panoramic photographs — shot on the Hasselblad XPan system — that revisit locations from the Golden State the legendary director used in filming many […]
Welcome to 2020 here on EMULSIVE! I hope you all had a peaceful ringing in of the new year. For my part, I was in bed ten minutes after the fireworks finished. I’m pleased to be able to kick off the year off with my first film photographer interview of 2020: number 210 to be […]
In this article, I’ll be showing you how to very simply modify your Fuji medium format rangefinder to shoot wide-format 35mm film (aka make your own TEXPan).
Although I’ve been experimenting with a few different films, using ILFORD Delta 3200 Professional at LFW, some Fuji Neopan for Street, and some CineStill for low light nights, I am yet to find a film stock I am consistently
It has been a couple of months since my first post, on Why I Shoot Film, and I thought that now would be a great time to provide an update.
If you’ve not come across today’s interviewee before, you’re in for a treat.
A big welcome to Walter Rothwell! Well travelled and widely exhibited, it’s a real pleasure to be able to share the work of such a relented and experienced photographer on these pages.
Describing himself as, “barely removed from being a baby-boomer”, I got to know of Robert and his work through the previously featured, Aimee Lower.
Have you ever seen an image that stopped you dead in your tracks?
It last happened to me about a year ago, maybe more, maybe less.
I was browsing an online gallery of desktop wallpapers, looking for something a little