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Tag: Kodak VISION 3 500T (5219)
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.
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.
This article pits Kodak's medium format Portra 400 against CineStill's 800T in a head-to-head.
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.
Welcome to the final (?) part of this three-part series exploring the use of motion picture film in still photography.
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.
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
To a point Shot on Kodak 500T (5219) at EI 500 Color motion picture film in 35mm format
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.
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
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.
Umbrella Shot at Kodak 500T (5219) at EI 500 Color motion picture film in 35mm format