There’s something special about shooting on film. The picture you take isn’t a bunch of 0s and 1s. You are literally capturing the light that you see. I feel a personal connection to the image I take. It really feels like you have sucked the scene into your lens and your roll of film. It’s yours. You took the picture. The moment is yours. The story is yours.
I like to shoot on film because of the kind of light you can capture that seems to be unique to the chemistry behind film photography-also because working within the limits of film really makes me consider each shot I take instead of snapping a bunch of mediocre pics on a DSLR.
#video🍿: Brian Wright shows Linus how to clean up the negative transparency from the peel-apart instant film.
Brian is one half of the Brothers Wright ensemble (the other, Brandon), who founded the CineStill film company. In this video, Brian shows Linus a technique that the Wrights developed for freeing up the negative from the black goo that covers it:
Peel-apart film is a virtually extinct format that still has legions of fans admiring the fidelity of the images and the experience of revealing the photographs. Once peeled, you get a grainless positive and a negative. The negative is often discarded as it barely contains a picture — but the technique Brian shows here turns it into a scannable transparency using a bleach washing method.
Once scanned peel-apart negative transparency is a lot sharper and noticeably grainer than the print. One could argue it’s the most important/archival part of the package that is peel-apart film.
I am now curious if a version of this technique could work for the modern integrated Polaroid film frames, which are descendants of the original Polaroid peel-apart film (see this passage about the modern Polaroid film’s technical origins: analog.cafe/r/a-brief-hist…).
Because I started out shooting film, I have never been able to form a preference for digital! I just feel like shooting things that “matter” on film is important for me.
Every day it seems like computers get worse and worse to use, and avoiding screens (except for reading your excellent work of course) is something I strive for.
Film Washi “E” is a new emulsion for photographers made from a film stock designed for PCB manufacturing.
This film is akin to orthochromatic emulsions (analog.cafe/r/ilford-ortho…), but instead of lacking sensitivity to red colours, Film Washi “E” isn’t sensitive to greens.
Washi “E” has an ISO sensitivity of just 3, and it has a similar sensitivity to printing paper with a similar process for development.
The first rolls and sheets of this film will be sold at the Bievres International Photo Fair on June 1st and 2nd — presumably, more will be available at the Film Washi website (filmwashi.com) and other retailers.
Hello Dmitri, I am shooting on film because for me the results and all the preparations everytime are giving me something special that I cannot get from digital shooting.
As a nerd, how could I avoid entering this giveaway? I prefer shooting on film because of its physicality; and because its limitations (number of frames, expense, exposure triangle) demand a meditative aspect that is missing from the digital process.
#TIL: Autochrome is a colour photography process patented in 1903 that uses multicoloured microscopic potato starch granules to make some of the first colour photographs.
Developing Autochrome glass plates is akin to making black and white positives (a process that’s still in relatively wide use today) — but with a twist. Unfortunately, constructing them is a laborious and expensive process. As noted on Peta Pixel, there’s just one person who’s actively working on it today: petapixel.com/2024/05/06/m…
Autochrome plates are created by methodically and evenly spreading a random mosaic of mixed microscopic starch beads, which are individually painted orange, cobalt, and green. When the light passes through that mosaic, it exposes black and white emulsion behind it while each bead acts as a tiny colour filter — effectively making a localized trichrome.
Once a matching light wavelength freely passes through the bead “lens filter,” ex. green light through a green bead, it registers on the emulsion. The emulsion, when developed as a positive, appears transparent — but the green bead makes it look green again.
Now repeat that for millions of other coloured beads, and you will get a full-colour photograph.
Last week, Lomography released two new designs of their Lomo’Instant Automat Camera featuring artwork by renowned Austrian artist, Gustav Klimt.
The artist-branded Automat cameras, including collaborations with William Klein, Vivian Ho, Suntur, Jarb, Opbeni, el Nil, Park Song Lee, Gongkan, and others, sell for $199, but base model of the same camera is available on sale for $169 on their website: shop.lomography.com/us/ins…
These cameras use the popular Fujifilm Instax Mini film with a 60mm f/8-22 lens that can be zone-focused between 0.6m, 1-2m, and infinity. (You can learn about zone-focusing here: analog.cafe/r/how-to-zone-…). These cameras have a shutter that fires automatically between 8s and 1/250s. The cameras use 2 x CR2 batteries plus CR1632 for the remote.
Dmitri May 28, ‘24
Dmitri May 28, ‘24
Dmitri May 28, ‘24
Dmitri May 28, ‘24, edited on May 28, ‘24
Dmitri May 28, ‘24
Levi Breederland May 28, ‘24
yahyaram4 May 26, ‘24
Fabio Morbec May 25, ‘24
Ezra Blank May 25, ‘24
Dmitri May 25, ‘24
Dmitri May 24, ‘24
Amanda Raney May 24, ‘24
theshakingearth May 24, ‘24
montecristo.ns May 24, ‘24
Dmitri May 24, ‘24
anitas.mark.qmze May 24, ‘24
Armand Le Guillou May 23, ‘24
Andy Karlson May 23, ‘24, edited on May 23, ‘24
Dmitri May 22, ‘24
Dmitri May 20, ‘24