Like most large format photographers, I started shooting large format with a 4×5″ monorail camera, but the bulk of my LF work was shot on a wood 8×10″ field camera, and then a 4×10″ panorama camera. The 4×10 is a rather weird format at the best of times — and the subject of this article! […]
Recently I looked at Kentmere Pan 400 made by HARMAN/ILFORD in the UK. I showed 5 Frames shot at box speed with my Leica M6 and 35mm f/2.4 Summarit-M. I was very pleasantly pleased with the prints I made from this film. How about rating the film for a higher EI (aka underexposing it and […]
It was early in 2020, and like many of us, I felt lost… We all have endured every little aspect of the pandemic and it had an impact on all of us… And so it had on me. To be honest, it was the best thing that happened to me and my photographic dream. It […]
Along with NEOPAN 100 ACROS, ILFORD FP4 PLUS was one of the first BW films I tried back in 2004, when I started to take photographs. As a consequence, even today I find myself imagining the scenes I see as fine-grained pictures, with the vast midtones of grays these two film stocks produce. Recently I’ve […]
Mid October is really the time of year that marks the end of summer in Greece, with the first rainy days starting to appear, it was on such a rainy day I visited the new National Gallery of Greece in Athens along with friends. The building that the gallery is housed in was recently renovated, […]
Detail of a component on one of the very few operating steam locomotives in the United States, Oregon Rail Heritage Center, Portland, OR. Hasselblad 503CX, Zeiss Planar f3.5 100 mm. Kodak T-MAX 100 developed in HC-110.
Shortly before Christmas 2020 my friend Erik visited me and we went on a photo trip to Fuhr’s Huette in Idar-Oberstein, a small hut built under a massive fallen rock in 1702. I chose the Rolleiflex SL66 with the Zeiss Distagon 4/50 because of the narrowness at this place. And for film, the well-known ILFORD […]
Storytelling is an essential part of society and shapes the way we experience everything from the obvious mass media in cinema, books, music and advertising, to more subtle things like the way a restaurant might present its menu, or the way a lawyer may present a case. Stories shape us from childhood and become what […]
In this article, I talk about my progress so far on my quest to make art for the living room wall. In this, part 1, I cover making an initial contact print, and through my process of iterating test prints to a “final” outcome. I put “final” in double-quotes because, well, you’ll see! I hope […]
Danger close – Shot on ILFORD Delta 100 Professional at EI 200 (120 Format)
Climate change will force humans to cut their dependency on fossil fuels or the consequences will be catastrophic. But how can we really grasp and put our consumption of oil into a relatable context? Numbers as such millions of oil barrels produced per year don’t seem to make sense to anyone outside of the oil […]
Greetings and welcome to another fresh EMULSIVE interview. today we’re saying hello to Daniel Boklage, who hails from the beautiful north of Bavaria. Readers of 35mmc might recall Daniel’s work from a recent article there. It doesn’t matter if you haven’t you’re in for a treat! Over to you, Daniel! Hi Daniel, what’s this picture, […]
What is the reason that drives a photographer or an analogue lover to use chromogenic black and white film in 2021? Personally, I appreciate them for the almost total absence of grain and the way they surrender detail. I like their characteristics and you feel good using them. Don’t get me wrong, I am a […]
For this shoot, I chose to use the Nikon F2AS mated with my Nikkor 50mm f/1.8 and a roll of Kentmere Pan 100 black and white film. My location was the town of Ampang Jaya, Selangor, Malaysia which is adjacent to the capital city of Kuala Lumpur. All five frames were shot on the same […]
Shot on ILFORD FP4 PLUS at EI 500.Black and white negative film in 35mm format.Push processed 2-stops.Nikon F6 + Nikon 70-200mm f/2.8 VR / Nikon Super Coolscan 4000 ED Read the full ILFORD FP4 PLUS review here. I find this uncomfortable – Shot on ILFORD FP4 PLUS at EI 500 (35mm Format). Black and white […]
I have been using ILFORD HP5 PLUS in ILFOSOL 3 since forever. In fact, my first camera was my father’s Nikon F2 Photomic, which I still own and use. I started taking pictures under his guidance in 1976, when I was still in
The Pentacon looks just like a standard 35mm SLR, although it is a little taller, a little wider and a little deeper. It is also heavier although does not feel particularly unwieldy in use.
When I set out to explore the world of film photography I was immediately infatuated with the process. The mechanical clicks as the film advanced in the camera.
Shot on Kosmo Foto Agent Shadow at EI 400 + #15 yellow filterBlack and white negative film in 35mm FormatLeica M2 and 7Artisans 75mm f/1.25 Development notesILFORD ILFOTEC LC29: 1+29, 20°C/68°F, 11:00 (N)No presoak, 1-minute initial agitation, 5 inversions/minute, normal stop/fix/rinse
When you think about rolling car photography — the art of taking photos of moving vehicles, not just moving cars — while moving, using large format film probably won’t spring to mind as your first choice. Hell, 35mm film probably won’t either, let alone a ponderous format, exposed one sheet at a time into a box weighing 10lbs/4.5kg (without lens).