Tag: Kodak
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EMULSIVE interview #74: I am Brian Miner and this is why I shoot film
35mm, medium format, large format…today’s interviewee takes it all in his stride, shooting developing and printing everything himself as he goes. Oh, and he’s into year two of an ongoing large format 365 project.
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Photography: To infinity – Shot on Kodak EASTMAN DOUBLE-X 5222 at EI 200 (35mm)
To infinity Shot on Kodak EASTMAN DOUBLE-X 5222 at EI 200 Black and white negative film in 35mm format
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Camera review: the Olympus OM-1N
The Olympus OM-1 was introduced in 1973 and was originally launched as the M-1, which relatively quickly had to be changed to the OM-1 as Leica felt it was too close to their M series. According to Olympus, it
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EMULSIVE interview #73: I am Ron Hammond and this is why I shoot film
Today’s interviewee is prolific to say the least. Ron Hammond has been actively photographing for over 50 years and exhibiting his work in solo shows for over 25 of them.
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Photography: I am a wall – Kodak BW400CN (120)
I am a wall – 2016-04-25 Kodak BW400CN shot at EI 400 black and white negative in 120 format shot as 6×6
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Photography: Wavy lines – Kodak T400CN (120)
Wavy lines – 2016-04-25 Kodak T400CN shot at EI400 Black and white negative in 120 format shot as 6×6
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Photography: Glow – Shot on Kodak High Speed Infrared / HIE at EI 100 (35mm format)
Glow Kodak High Speed Infrared / HIE shot at EI 100 Black and white infrared film in 35mm format
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EMULSIVE interview #72: I am Jeff Hao and this is why I shoot film
Continuing our theme of bringing you film photographers both long and not so long in the tooth, we’re incredibly pleased to be able to introduce you to 19 year old photographer Jeff Hao and his work. As per the norm
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EMULSIVE interview #71: I am Seth Harwood and this is why I shoot film
We grabbed some time to bring you the thoughts and images of Seth Harwood, South Dakotan and night shooter extraordinaire. There’s plenty of stunning work for you to absorb below, so without further ado, it’s over to Seth.  
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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
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EMULSIVE interview #70: I am Tim Heubeck and this is why I shoot film
We’re really pleased to have been able to grab some time with the talented Tim Heubeck, a 19 year old photographer seemingly obsessed with black and white film and travel – a nice combination and great for producing the beautiful
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Photography: Containment breach – Shot on Kodak Tri-X 400 at EI 1600 (35mm)
Containment breach Shot on Kodak Tri-X 400 at EI 1600 Black and white negative film in 35mm format Push processed three stops Read the Kodak Tri-X 400 review here. …and don’t forget about the Tri-X 400 push processing guide!  
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EMULSIVE interview #68: I am Ryan Neilan and this is why I shoot film
We’ve got a bit of a treat for you today; the photography and thoughts of Ryan Neilan.
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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: The narrows – Shot on Kodak AEROCHROME III 1443 (35mm)
The narrows Shot on Kodak AEROCHROME III 1443 at EI 400 Color infrared aerial surveillance film in 35mm format Shot with #21 orange filter Read the Kodak AEROCHROME review
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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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Photography: Shallotta problems – Kodak Verichrome Pan (VP 6041)
Kodak Verichrome Pan (VP120) shot at EI 100 Black and white negative film shot in 6×4.5 format Expired
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How to bulk load 120 or 220 film (using 65mm Kodak 250D 5207)
In June 2015 I was lucky enough to source a fresh 300ft short-end of Kodak’s 250D (Vision 3 5207) motion picture stock in 65mm format.