ILFORD SFX 200


5 Frames… Of ILFORD SFX 200 Developed in Cinestill's Df96 monobath with a Fuji GS645S and a red filter - by Ed Steinerts

5 Frames… Of ILFORD SFX 200 Developed in Cinestill’s Df96 monobath with a Fuji GS645S and a red filter – by Ed Steinerts

The Fuji GS645S Professional was a camera I had an interest in ever since it was introduced back in 1984. It was a nice medium …

Read more5 Frames… Of ILFORD SFX 200 Developed in Cinestill’s Df96 monobath with a Fuji GS645S and a red filter – by Ed Steinerts

Zenza Bronica ETRS: Not exactly the poor man’s Hasselblad

Zenza Bronica ETRS: Not exactly the poor man’s Hasselblad

The Bronica has been described as the poor man’s Hasselblad. That is just wrong, as I hope to demonstrate through this article. When I began …

Read moreZenza Bronica ETRS: Not exactly the poor man’s Hasselblad

The East African Savannah on medium format film: Twice the weight for black and white? Any time.

I hate travelling light. Truth be told, I always surprise myself with the amount of gear I consider necessary on a trip. That’s better. You …

Read moreThe East African Savannah on medium format film: Twice the weight for black and white? Any time.

Embracing winter conditions in my film photography workflow

Embracing winter conditions in my film photography workflow

Winter 2018 was when I really buckled down and took black and white photography seriously, as a response to a few uninspiring grey-feeling colour rolls. …

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Camera review: 14 years with the invisible Nikon FM3a

Camera review: 14 years with the “invisible” Nikon FM3a

In January 2006, after 5 or so years of film photography with a combination of cheaper cameras (e.g., a Minolta SRT-101, a Fed-3 and an …

Read moreCamera review: 14 years with the “invisible” Nikon FM3a

Rainbow Lifeguard Tower, Venice, California. Leica M3, Kodak Portra 160

EMULSIVE Interview #206: I am Amol Parikh and this is why I shoot film

Split between continents and cultures, today’s fresh interviewee Amol Parikh takes us on a trip into his photographic story, from the US East Coast to …

Read moreEMULSIVE Interview #206: I am Amol Parikh and this is why I shoot film

Reviewing the CONTAX AX: autofocusing manual focus lenses

An early swansong? Reviewing the CONTAX AX: autofocusing manual lenses

When it comes to autofocusing manual lenses on film cameras there is really only one option: the unique and relatively short-lived CONTAX AX. Chunky sibling of the CONTAX RX and…

EMULSIVE's most popular film photography experimentation articles of 2017

What would film photography be without the experimentation aspect? Sticking to box speeds, recommended developers and “the right way” of doing things is boring
 
 
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Double Exposure Self Portrait With Olympus 35RC - October 2017. Hasselblad 500C with Agfa MCRC paper. Two bursts of four full power flashes from a Nikon SB800.

EMULSIVE interview #159: I am Toby Van de Velde and this is why I shoot film

Hello and welcome to another fresh EMULSIVE interview, today with Toby Van de Velde, freelance photographer based in the south of England.

Red Sisters - Fuji GW690III, Kodak Aerochrome

EMULSIVE interview #128: I am Gareth Buckett and this is why I shoot film

I’m pleased to be able to bring you the words and photography of Gareth Buckett, Australian-based film and digital photographer;

Monte Sella di Fanes - Mamiya 7ii - Ilford Delta 100 Professional

EMULSIVE interview #78: I am Johann Bottos and this is why I shoot film

We’re here today with landscape photographer Johann Bottos, Italian native but (for the time being), settled in Austria

Not to diminish the wonderful images and narrative below but Johan is what one might call a little nutty about mountains.

Over

County Fair

EMULSIVE interview #49: I am Aimee Lower and this is why I shoot film

We’re finishing off this year’s interviews with the wonderful Aimee Lower. Aside from being one of the very first people we engaged with on Twitter, Aimee also knows Nils Karlson, this week’s other interviewee.