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Best Of Exclusives Newsletter

GOLD member newsletters and announcements.

An Experiment in Pushing Boundaries
A Monthly Newsletter for GOLD Members
December 20, 2024
This month’s “How to Make Sharper Photos on Film” has the most lessons I wish I’d learned earlier. In fact, there are 23. That’s a lot — good thing they’re ranked by importance. I explain how I did that below. This year’s last newsletter also covers a few blog updates and an Easter egg that’s a clue to the next month’s film experiment.
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Film and Lab Tools
A Monthly Newsletter for GOLD Members
November 22, 2024
Keeping diligent notes helps avoid disasters and improve image quality, but it can be burdensome (who wants another chore?) Film Log & Chem Log are the two sister apps that make the job easier. In this letter, I’ll introduce and explain how those apps work. Subsequent posts will explore various flows and use cases for those apps.
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Fine-Tuning Film Photography
A Monthly Newsletter for GOLD Members
October 25, 2024
Should you edit your scans — and if so, how would you do that, if the film was exposed with a few LEGO bricks? And what about doing that for a living? In this monthly letter for GOLD members, I’m introducing a new course on editing film photos, sharing some bonus content related to the unique and rare LEGO film camera, touching on the challenges of being a full-time creative, and setting the expectations for the next month on Analog.Cafe.
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Fixing and Selling Film Cameras
A Monthly Newsletter for GOLD Members
September 20, 2024
This month, the focus is on maintaining, fixing, and, if you so choose, selling film cameras (as well as a few other things). I’ll also explain how I’ve been continuously improving the content on Analog.Cafe, what’s coming next, and some of the relevant industry news in this September letter for the GOLD members!
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How Big Is Film Photography?
A Monthly Newsletter for GOLD Members
August 24, 2024
It’s no secret that film photography is a niche, but I’ve always wondered how niche. Unlike the digital camera sale figures, film usage and production stats are murky, and the social signals are inconsistent. In this letter, I examine the available data and make some estimates about how much film we shoot and how many of us are out there.
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