Tag: ILFORD
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EMULSIVE interview #69: I am Niccolò Bianchi and this is why I shoot film
It’s that time of the week again and today we’re sitting down with Italian Niccolò Bianchi (no, not the heir to the bicycle manufacturer…I think). Niccolò’s been shooting film for around 5 years and is now firmly entrenched in
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EMULSIVE interview #67: I am Pierluigi Tolu and this is why I shoot film
Well then, who do we have here? I’m incredibly pleased to welcome today’s interviewee and new (re)entrant to the film photography world.
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Photography: Gated entry – Ilford XP2 Super
Ilford XP2 Super shot at EI 200 Black and white negative film in 120 format shot as 6×6
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EMULSIVE interview #66: I am Jon Wilkening and this is why I shoot film
Grab a tall drink and make yourself comfortable. It’s time for a little look into the journey of Jon Wilkening, producer and purveyor of the strangest and most mesmerizing pinhole photography I’ve ever been lucky enough to see – this
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Camera review: the Olympus MJU-II (Olympus Stylus Epic)
I’d been scouring eBay for an Olympus MJU-II cameras for ages.
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EMULSIVE interview #65: I am Bob St. Cyr and this is why I shoot film
Today I’m sitting down with native Saskatchewanian, Bob St. Cyr.
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Photography: Tranquillity – Shot on ILFORD HP5 PLUS at EI 400 (35mm format)
Tranquillity Shot on ILFORD HP5 PLUS at EI 400 Black and white negative film in 35mm format
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Photography: The Godfather? – Ilford Pan F+
Ilford Pan F+ shot at EI 50 Black and white negative film in 120 format shot as 6×6
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How to get started with pushing (and pulling) film
We’ve roped the very agreeable Michael Bitaxi into putting together a guest post for us covering everything you need to get started with pushing and pulling film. It’s a great read for those of you who are thinking about dipping
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Competition results – #PrintItForward
Thanks to everyone who lent their support to the PrintItForward competition we kicked off a back at the end of January.
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EMULSIVE 52 Rolls 2016 – Week 06-09 update
Time for a look at the latest frames from week 06-09 2016 of my 52 Rolls project (not 06-10, as I incorrectly tweeted). The over/under exposure and push/pull/XPRO theme covered in my first update of 2016 continues unabated
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EMULSIVE interview #61: I am Chris Wood and this is why I shoot film
Welcome to this week’s EMULSIVE interview, featuring the thoughts and photography of Chris Wood, recent convert (is that the right phrase?), to film photography. Over to you, Chris What’s this picture, then? Jellyfish It’s one of my happiest
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Moment of impact: don’t kill yourself to take a photograph
One Saturday in mid-October 2015 I decided to take a walk over to my preferred film lab and put some freshly developed black and white negatives in for scanning.
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Camera Review: Pentax 6×7 – by Daniel J Schneider
I added the Pentax 6×7 by to my collection in mid-2015, an addition so embarrassingly large that I kept the addition hidden from my girlfriend for a couple of weeks.
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EMULSIVE interview #59: I am Duncan Waldron and this is why I shoot film
Today I’m sitting down with Duncan Waldron, life-long photographer both at work and play.
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Black and white film high EI shootout part 2: Kodak Tri-X 400, T-MAX 400 and ILFORD HP5 PLUS, Delta 400 at EI 25600
The high EI shootout is back for part two: the pushening. Poorly executed references to the terrible sequel that was Highlander 2 aside, I’m hoping that you’ll find this extension of part one just as informative as the first and
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Photography: Wax apple light study #02 – Ilford Pan F Plus
Wax apple light study #02 Ilford Pan F Plus shot at EI 50 Black and white negative film in 120 format shot as 6×6 32E extension tube
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Photography: Wax apple light study #02 – Ilford Pan F Plus
Wax apple light study #02 Ilford Pan F Plus shot at EI 50 Black and white negative film in 120 format shot as 6×6 32E extension tube
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EMULSIVE interview #58: I am David Lingham and this is why I shoot film
We grabbed some time to have a chat with David Lingham, Wales-based darkroom purist and ex-litho industry stripper (not THAT kind). David’s got some beautiful images to share, as well as some insight into his photographic journey and why