My year on film in 115 photos: A 2019 retrospective or, my not-a-365-project
What follows is my 2019 in film photography, a 365 photography project that was absolutely not a 365 project. In this article, I share the …
EMULSIVE’s most popular film stock reviews of 2019
There are a few days left for 2019 but fingers crossed, it’s the first year for quite some time where we haven’t seen one or …
5 Frames… With Kodak VISION3 250D 5207 (EI 250 / 35mm format / Olympus OM-1) – by Khandker Montasir
I remember the last time I shot on film was in 2008. After which, I switched to digital. There was a long break but I …
5 Frames… With Kodak VISION3 250D 5207 (EI 200 / 120 format / Pentax 645N) – by Sergey Dozhdikov
I got a sample roll of Kodak VISION3 250D (5207) as a roll of “SFL K250D”.
Cinematic storytelling part 3: developing motion picture film
Welcome to the final (?) part of this three-part series exploring the use of motion picture film in still photography.
Cinematic storytelling part 2: motion picture film, print film and chemistry
In part two of this series we are going to go delve into the technical side of motion picture film: color temperature, print vs motion picture film stocks and finally start to get into what ECN-2 is all about.
Cinematic storytelling part 1: an overview of motion picture film and still photography
This three-part series explores motion picture film for use in still camera and covers the theory behind motion picture film, currently available film stocks, the importance of correct development and the development process itself.
Through this article and the
Photography: Last breath – Shot on Kodak VISION3 250D 5207 at EI 250 (35mm format)
Last breath
Shot on Kodak VISION3 250D 5207 at EI 250
Color motion picture film in 35mm format
Read the Kodak VISION3 250D review
Bulk load your own 120 film
Photography: School’s out – Shot on Kodak VISION3 250D 5207 (35mm format)
School’s out
Shot on Kodak VISION3 250D 5207 at EI 250
Color motion picture film in 35mm format
Read the Kodak VISION3 250D review
Bulk load your own 120 film
Photography: On the edge – Shot on Kodak VISION3 250D 5207 (35mm format)
On the edge
Shot on Kodak VISION3 250D 5207 at EI 250
Color motion picture film in 35mm format
Read the Kodak VISION3 250D review
Bulk load your own 120 film
Photography: Rusticle – Shot on Kodak 250D VISION3 5207 at EI 250 (35mm format)
Rusticle
Shot on Kodak 250D (VISION3 5207) at EI 250
Color motion picture film in 35mm format
Read the Kodak VISION3 250D review
Bulk load your own 120 film
Every single film stock still made today – Part 4: Kodak to Maco Direct (v4)
Update 03: 2018-11-20
Welcome to part four of this series exploring every single film stock (including instant film, dry plates, etc.), still being made today.
Photography: Saw – Shot on Kodak VISION3 250D 5207 at EI 500 (35mm format)
Saw
Shot on Kodak VISION3 250D (5207) at EI 500
Color negative motion picture film in 35mm format
Push processed one stop
EMULSIVE's most popular film stock reviews of 2017
Welcome to the fourth lazy-post of the end of year season here at EMULSIVE.
Photography: Wall Lords – Shot on Kodak VISION3 250D 5207 at EI 250 (35mm format)
Wall Lords
Shot on Kodak VISION3 250D (5207) at EI 250
Color negative motion picture film in 35mm format
EMULSIVE interview #132: I am #EMULSIVE and this is why I shoot film
Welcome to this week’s EMULSIVE interview!
Today’s interviewee is someone a few of you may have heard of and to be frank, it’s been a bit of headache to put together.
Photography: Twin Peaks – Shot on Kodak VISION3 250D 5207 at EI 250 (35mm format)
Twin Peaks
Shot on Kodak 250D VISION3 5207 at EI 250
Color negative motion picture film in 35mm format
Hasselblad Distagon C 50/4 with adapter
Read the Kodak VISION3 250D review
Bulk load your own 120 film
 
Photography: Red or Dead – Shot on Kodak VISION3 250D 5207 at EI 250 (35mm format)
Red or Dead
Kodak Vision3 250D 5207 shot at EI 25
Color motion picture film in 35mm format
Shot as redscale
Developing motion picture film in your own darkroom by Mr. D Cow Esquire
Snatched from the streets of San Diego in late March 2016 by a group of masked assailants, Diz has been spending some time at EMULSIVE HQ (voluntarily) working on a guest post covering his process for developing motion picture film
