I have been documenting sports, specifically Muaythai, for over a decade. During this time, I have earned wonderful opportunities to document some of the best athletes from around the world, and watch high-level contests in the history of the sport. I have also had the privilege to witness this small sport expand globally to Europe, […]
Tag: Kodak VISION 3 500T (5219)
Posted in5 Frames...
5 Frames… Of Querétaro at dawn on Kodak VISION3 500T 5219 and a Hasselblad 503CX (120 Format / EI 500 / Distagon C 50mm f/4)
For a long time I wanted to use motion picture film, I found myself buying Cinestill 800T for the convenience of developing but after doing some research I found that it is not difficult to develop motion picture film with C-41 chemistry. So I bought some rolls of medium format Kodak VISION3 500T (5219) for […]
Posted inFilm Photographer Interviews
EMULSIVE Interview #226: I am Brian Dubois and this is why I shoot film
For those of you not familiar with him, I’d like to take a moment and introduce you all to Brian Dubois, better known as Twitter’s Film Dad. That’s film photography, not film movies, although thinking about it, the latter might be a nice niche to slide into, Brian. Over to you! Hi Brian, what’s this […]
Posted in5 Frames..., Articles
5 Frames of Kodak VISION3 500T 5219 developed in RA-4 chemistry (35mm Format / EI 500 / Lomography Sprocket Rocket)
5 Frames of Kodak VISION3 500T 5219 developed in RA-4 chemistry (35mm Format / EI 500 / Lomography Sprocket Rocket) – by Steve Jones Like many analogue fans the Coronavirus lockdowns and restrictions, which started here in the UK in March, have both created time to fill and the means of filling it. I have […]
Posted inArticles
Embracing accidents: An unexpected double exposure collaboration
Since my return to film photography, I made the decision that I wanted to document what life uncovered for me in terms of experiences, memories and moments and store them on a medium that lasts forever. In Summer 2019 I met Lynn, a junior colorist for one of my projects who turned out to be […]
Posted in5 Frames..., Articles
5 Frames… At sunset in Cologne with Kodak VISION3 5213 (35mm / EI / EI 125 / Minolta Hi-Matic 7s)
Earlier in 2019, I ordered the mixed-film-pack from Silbersalz, containing one roll of each of the four Kodak VISION3 motion picture film varieties.
Posted in5 Frames..., Articles
5 Frames… At night with Kodak VISION3 500T 5219 (EI 800 / 35mm format / Leica M6 TTL)
A couple of weeks ago, stuck with no gigs for the week and suffering through the anxiety-filled boredom that freelancing can suddenly bring, I decided to fly to New York (only an hour from Toronto) to shoot some street shots.
Posted in5 Frames..., Articles
5 Frames… At night Kodak VISION3 500T 5129 (EI 1600 / 35mm format / Nikon FA)
Since I started shooting film 2 years ago, I have wanted to shoot Motion Picture Stock and have it processed in its native ECN-2 chemistry.
Posted inFilm stock reviews
Blind film review #02: CineStill 800T vs Kodak Portra 400 in 120 format
This article pits Kodak’s medium format Portra 400 against CineStill’s 800T in a head-to-head.
Posted in5 Frames...
5 Frames… With Kodak VISION3 500T 5219 (EI 1500 / 35mm format / Nikon F3) – Kevin Tan
Just out of the blue, my dear friend Edward, a stage magician, called me up to ask if I could cover his performance. Without hesitation, I said yes.
Posted inDarkroom
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.
Posted inDarkroom
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.
Posted inDarkroom
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
Posted in35mm format, Photography
Photography: To a point – Shot on Kodak 500T (5219) at EI 500 (35mm format)
To a point
Shot on Kodak 500T (5219) at EI 500
Color motion picture film in 35mm format
Posted inArticles
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.
Posted inArticles, Darkroom, Developing Film, Experiments, Guides & How-Tos
Developing motion picture film in your own darkroom
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
Posted inFilm Photographer Interviews, Interviews
EMULSIVE interview #26: I am Mike Fraser and this is why I shoot film
Today we’re sitting down with Mike Fraser, Toronto-based photographer, cancer researcher and all round globe-trotting nice guy.
Mike works in film of all formats, as well as the occasional foray into digital.
Posted in35mm format, Photography
Photography: Umbrella – Shot on Kodak 500T 5219 at EI 500 (35mm)
Umbrella
Shot at Kodak 500T (5219) at EI 500
Color motion picture film in 35mm format
