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Plates, films, stars and scenes. I've been following today's fresh interviewee (on social media!) pretty much since EMULSIVE came into existence back...
...and back in love with photography again and again. Warning: the following review of the diminutive Olympus XA is highly biased and totally subjective. I love the darn thing and actually own 2 of them.
It's an absolute pleasure to welcome you all to join me falling into the words and work of a rather rare beast.
Stand alone Shot on ILFORD PAN F PLUS at EI 32 Black and white negative film in 120 format shot as 6x6 Over-developed 2/3 stop Hasselblad 2000FCW / Carl Zeiss Distagon CFi 50mm f/4 Development notes Cinestill Df96 monobath
A huge welcome to Daphne Schnitzer, past 5 Frames With contributor here on EMULSIVE and pinhole aficionado.
What would film photography be without the experimentation aspect? Sticking to box speeds, recommended developers and "the right way" of doing things is boring 10.
Hanging on a prayer Shot on ILFORD PAN F PLUS at EI 50 Black and white negative film in 35mm format
A massive thanks to today's guest for bearing with me over the past few months.
Today's interviewee hails from Portugal and is currently enjoying life in tropical Malaysia.
Having had a lot of very average weather lately, I was delighted to see a weekend of sunshine!
Squidding Shot on ILFORD Pan F+ at EI 50. Black and white negative film in 35mm format.
Welcome, welcome to Adam J White, aka Twitter's @burlapandlight. You may remember Adam from his Return to film piece here on EMULSIVE back in February.
門 / mén / door #01 Ilford Pan F+ shot at EI 32 Black and white negative film in 120 format shot as 6x12 Kodak Aero Ektar 7" (178mm) f/2.5 - Graflex Pacemaker Speed Graphic
Long exposure film photography is a technique central to my currently ongoing photography project, Where We Meet. Capturing the smooth extensions of water movement, contrasted with static elements of the shoreline is the key to this visual narrative.
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