Submitted by Anonymous
Film Photo By: @parukyk
-This Gang is always by my side
-minolta x300, lomography color negative iso100
Display Your Art With Displate
Hello my kittens. You know what’s the worst? Spending a fortune on film only to have bare, white walls. You know what else is the worst? Spending a fortune on film and then spending another fortune on huge prints and fancy frames. Enter Displate: a company after my own heart. Yes, there are a million sites where you can upload your art, order prints and sell those prints - but Displate is a little different. Trust me, your mom will totally want to buy one. Your photos, printed on metal, hung with magnets equals super easy, super sturdy and also super pretty. A huge plus: Displate plants 10 trees for each order, giving you a chance to literally make the world a better place via art.
I decided on two Displates for my apartment and chose work from another artist instead of my own because Displate has a huge catalog of beautiful artwork. First up is a copy of blueprints for the original Kodak Brownie camera developed by George Eastman of Eastman Kodak. Not only beautiful, but perfectly on theme for a vintage camera hoarder. Second up, I chose a map of Amsterdam, because Amsterdam is beautiful, I love it, and I’ve found tons of vintage cameras there and also, stroopwafels - need I say more?
Upon delivery I was literally blown away by the packaging - it’s so pretty I actually considered not taking out the plates I ordered and just using the box. Keeping in line with their ethics and tree planting and what not, I’m pleased to report that the packaging was minimal with zero unnecessary peanuts, air pockets or Russian nesting doll style boxes-within-boxes.
For someone who doesn't own a drill anymore (small space limitations!) the magnet installation was a breeze. Remove the sticky paper and press it to a wall. Voila. Commitment phobe? A major benefit of having a metal print is you can stand it up instead of hanging it, so chill out because no one is asking you to put a ring on your Displate.
Prices on Displate range from $50 for a small plate (45cm x 32cm), $80 for a large plate (67.5cm x 48cm) and $130 for an extra-large plate (90cm x 64cm). If you choose to upload your own artwork, you can set your own price and earn the difference.
Considering most framed photo prints will cost you the price of your first unborn child, I have to say that ordering with Displate is a no brainer.
Head on over to Displate now and peruse some of their incredible artwork or create your own profile and upload your gorgeous film photos that are just dying to find a home. That roll of film you scanned last year just sent me a text message, it wants to go out for drinks on Friday night - so why not set it free from the prison that is your hard drive.
I still shoot film? More like, I still print photos.
Read more about Displate’s plant-a-tree program and commitment to the environment here.
GRAB THE FILM GUIDE BUNDLE: Guide to Color Film, Guide to Black and White Film, Guide to Scanning Film
What’s in this bundle:
Complete Guide to Available Color Films in 2018
It’s time to brush up on your color! Over the years color film has had its ups and downs, with discontinued favorites and new emulsions making it difficult to keep track of what’s what. In this follow up to our black and white guide, ISSF writer Milosz Siebert will walk you through exactly which types of film are available today and why you should use them. Professional versus consumer grade, slide film, new indie brands and even special effects - no matter what you’re aiming to shoot we’ve got you covered. We’ve reviewed them all here for you in this fully comprehensive guide!
Black & White Film: Guide to Available Brands
Ever wondered which black and white film you should use, and in what situation? In this guide by ISSF writer Milosz Siebert, we cover everything you need to know from A to Z, including reviews of all of the popular brands of black and white film that are available in 2017. Whether it’s fine grain or high contrast you’re looking for, this guide will help you understand the different types of emulsions, how different developers affect your final result, and may introduce you to some brands of film you didn’t even know you needed. Download it now for $3.99
ISSF’s Complete Guide to Scanning Film
Whether you’re looking to start your home scanning, improve scanning techniques or understand scanning options at a lab, this guide covers everything you need to digitize your film.
Submitted by Anonymous
Film Photo By: Susie Floros
Ultra Natural Hasselblad
Baldface Lodge, British Columbia
Hasselblad 501cm, Kodak Portra 160 NC
Submitted by a-la-recherche
Dans la forêt (Canon AE1, Kodak Portra 160)
Submission by G Encrenaz
Amazing Homemade Cameras From Everyday Objects by Brendan Barry
Guest Post by Brendan Barry
Brendan Barry is a photographer whose creative photographic practice combines elements of construction, education, performance and participation. His work is mostly concerned with the transformation of different objects and environments into spaces capable of viewing and capturing a photographic image, using the mechanics of photography as a tool for exploration and collaboration. View more of Brendan’s work on his website or follow him on Instagram.
A couple of years ago I got really into making cameras.
Since I was a kid I had been fascinated by photography and the mechanics of how an image is created, so, after years of thinking about it, I finally got round to making my own. And then I got hooked!
So far I have turned various existing objects into cameras - a pineapple, an old black and white darkroom enlarger, a log, a lamp. Converted spaces - a lift, a hostel boot room, a table, shop, alcove, a balcony, a shephard’s hut, a gallery, multiple classrooms.
And built cameras from scratch out of materials including plywood, sterling board, cardboard and even Lego. The nature of each camera precipitates a certain type of picture and reaction from the audience, both of which can be really unexpected. Last summer I built a camera out of a caravan, it was the most rewarding experience of my life! Being able to invite people inside the camera and use it as a tool to create, teach and inspire was so exciting!
I am interested in pushing the boundaries of both the scale and the public engagement of what a camera is, what it can do and how one can be constructed. Taking the whole notion of what a camera might be and unpicking these preconceptions, creating new ways of inviting an audience into having a transformative experience in a space in order to create an environment for observing the outside world and reflecting on how we perceive it when seen in a different way.
One of the elements of this approach that is the most exciting is the engagement of the audience, creating a space that is at once a camera, a darkroom, a studio, a classroom, a space for reflection and contemplation. I lecturer in photography at Exeter College in Devon and any opportunity we get to build a camera we do! From the simplest box pinhole camera to an entire classroom.
The first camera I built was a (very rudimentary) 16x20” ultra large format camera out of a bunch of plywood, a pane of glass and some cheap blackout material from the local fabric shop. I borrowed a 20” military aerial lens off a friend and put it to use.
The camera itself was rather awkward to use however, the dark slide I had made wasn’t very light tights and you needed to be near a darkroom ideally so you could develop what you were doing as you went along as I was shooting paper negatives with it. I decided it would be easier to build something bigger that I could climb inside and operate from within, so I built a shed. This was basically a 8ft x 4ft sterling board shed with a lens sticking out one end and a classroom white board inside to act as the viewing plate instead of a ground glass and film holder. This worked a treat, I could shoot in the shed, put the paper in a light proof bag and take it to the darkroom at the other end of my studio. The only problem then was, I was stuck inside and confined to the studio (although the camera shed was on wheels, it wouldn’t fit out the door even if I wanted to take it outside!). So then I bought an old caravan and turned that into a camera. This was to work in the same way as the shed but would have a darkroom inside it as well so I could take it on the road. I bought the caravan off eBay for £150, gutted it, blacked it out, painted it, built a mount for the lens and space for darkroom trays, moved the white board from the shed and took her out to shoot. I parked it up at a local pop up theatre space in an old boat shed and spent part of the summer making 16x20” paper negative portraits.
The Pineapple Camera came randomly one day walking round a super market. It takes 120 film and has a fixed focal length, which is approximately a stretched out arm away, so it’s perfect for selfies!!
There is a coffeeshop and bakery (The Exploding Bakery) opposite where I work who make amazing sough dough bread, I was working in the studio one day and popped out for a coffee, saw a loaf and thought, ‘that would make a good camera!’ (You can tell by now most of what I do is not very thought through and usually happens on a bit of a whim!). Credit for the Lego camera must go to Cary Norton (a great American editorial photographer), I came across his design in a book one day and decided to make my own and adapt it to take a 4x5” Polaroid back and use up some Fuji FP100 4x5 film I had going off in the fridge. The Enlarger Camera was a no brainer really, I mean, they are basically half way to a camera already! I simply took the head off, turned it round, made some bellows, added a different lens, cut a hole in the base plate and fitted a large format back. This camera is designed for super macro close ups. I use a variety of materials to capture an image. I have a bunch of 4×5” instant film that I mentioned I use on many of the larger format camera like the Lego, the log and the enlarger. With the larger room cameras I tend to set up a darkroom inside the camera and use photographic paper to make paper negatives and then contact print them onto another sheet of paper to make a positive there and then in the camera with the wet negative print. I’m really passionate about the sharing of knowledge and ideas around the processes I use. Whenever possible I share how the cameras are built or when appropriate invite participants into the giant cameras and collaborate in the making of their portrait, exploring how people engage with the experience, both inside and outside of the camera, in front or behind the lens, and how one effects the other. I am of course no engineer or professional camera builder! There are people out there creating the most exquisite, intricate and technically sound machines that I could only dream of being able to make! My cameras, and the images I take with them, aim to inspire others to play with photography, to break the rules, make up their own and have some fun along the way! A photograph is the result of a series of creative processes (the design and build of a camera, the constructing and capturing of the image, and then the developing, printing and sharing of it). I believe that the seeing and being a part of the whole journey, from start to finish, can be as if not more interesting that the end result on its own.
Guide to Scanning Film
It’s here! ISSF’s newest premium guide to scanning film! Whether you're looking to start your home scanning, improve scanning techniques or understand scanning options at a lab, this guide covers everything you need to digitize your film. Buy it now for $5.99 or head on over to the shop to check out our available bundles and other premium guides.
Submitted by Anonymous
Film Photo By: David Rose (recathect@gmail.com)
“Grimes Canyon”
Pentacon 6 TL | 50mm Flektagon lens | Portra 800
Insta: @recathect
Submitted by Anonymous
Film Photo By: Morgane Erpicum
Reflection work in Iceland (Stokksnes Peninsula).
Shot on Portra 400 with the Olympus 0M1(n) in November 2016.
Developed and scanned by Carmencita Film Lab.
Website : www.morganeerpicum.com & IG: @morganeerpicum
New: Complete Guide to Available Color Film in 2018
It’s time to brush up on your color! Over the years color film has had its ups and downs, with discontinued favorites and new emulsions making it difficult to keep track of what’s what. In this follow up to our black and white guide, ISSF writer Milosz Siebert will walk you through exactly which types of film are available today and why you should use them. Professional versus consumer grade, slide film, new indie brands and even special effects - no matter what you’re aiming to shoot we’ve got you covered. We’ve reviewed them all here for you in this fully comprehensive guide!
Buy it now for $6.99: http://bit.ly/2HPRNsw
Want to learn more about color and black and white? Grab both guides in our handy bundle for $9.99 at istillshootfilm.org/downloads
Kodak T-Max 3200 is coming back!
Kodak Alaris Revives KODAK PROFESSIONAL T-MAX P3200 Film: Multi-Speed B&W Film to be Available in March, 2018
ROCHESTER, N.Y. February 23, 2018 – Kodak Alaris announced today that it is bringing back KODAK PROFESSIONAL T-MAX P3200 Film / TMZ, a multi-speed panchromatic black-and-white negative film. While the nominal film speed of P3200 TMZ is ISO 800, the “P” means it’s designed to be push processed to EI 3200 or higher. This film excels when shooting in low light or when capturing fast action. It is ideally suited for handheld street scene photography, night work, and in dimly lit venues where you can’t use flash.
“It’s no secret that we’ve been looking for opportunities to expand our portfolio” said Dennis Olbrich, President – Kodak Alaris Paper, Photo Chemicals and Film. “Darkroom photography is making a comeback, and B&W Film sales are clearly on a positive trajectory. Given these very encouraging market trends, we believe P3200 TMZ will be a great addition to our lineup”.
Kodak Alaris plans to offer KODAK PROFESSIONAL T-MAX P3200 Film in 135-36x format. Shipments to Distributors and Stockhouse dealers will begin in March in the U.S., with other regions around the world following shortly thereafter.
Yay!
Reblogged
Architectural Photography: An Introduction
Architecture nerds and lovers, this one’s for you! Whether you just want to improve your city shots or are thinking of specializing in architectural photography, our latest Premium Guide, “Architectural Photography : An introduction” has got you covered.
Going beyond the usual approach, it aims to help you understand not only the “how” but also the “why” of an architectural photograph. Featuring a thorough description of the basic techniques and equipment choices, as well as venturing into the aesthetic and philosophical questions involved, it provides a solid first step towards better architectural pictures.
Be sure to head over to our Downloads page to check out more premium guides!
Submitted by Anonymous
Submitted by Anonymous
Guide to Black and White Film
Ever wondered which black and white film you should use, and in what situation? In our latest premium guide by ISSF writer Milosz Siebert, we cover everything you need to know from A to Z, including reviews of all of the popular brands of black and white film that are available in 2017. Whether it's fine grain or high contrast you're looking for, this guide will help you understand the different types of emulsions, how different developers affect your final result, and may introduce you to some brands of film you didn't even know you needed. Download it now for $3.99
Head on over to our Downloads page for more guides!
Film Photo Series by: Troyce Hoffman
The American West
- Camera: Holga
- Film: Kodak Tri-X shot with a red filter, pushed to 1600
Trocye on shooting film for this series:
“While Europe has thousands of years worth of ancient cities and temples, America has its great canyons, mountains, forests, and deserts; these are our great wonders. They are the great equalizer in our country; they belong to both rich and poor serving as a vast communal backyard. They are a testing ground and recreational paradise for generation upon generation of Americans. They can be cruel and unforgiving while simultaneously full of beauty and wonder. At a time when their future is in question it is imperative to understand how important they are to the American population and what a devastating loss it would be to have the purpose altered.
Our public lands are one of this countries greatest treasures; millions of acres of forests, rivers, deserts, and parks. The majority of this acreage lies in the American West where they have become deeply intertwined with the local population, they are our tie to the wildness of our past, they humble, and teach us to have respect for the natural world. Once again their fate is on rocky ground and to lose them would be to lose a large part of our national identity.
This project was started 6 years ago when I was given a Holga camera as gift, without thought I started bringing it along on all my trips around the west. Slowly over time I found myself shooting more and more with only the Holga. The lack of control was incredibly liberating, no longer was I focused on gear in these wild places. With its limitations I slowly found out what type of light, compositions, and landscapes worked best. All the photos are taken with Kodak Tri-X film with a red filter that is then push processed to ISO 1600, this combination I feel creates a very dramatic effect that conveys the raw and unforgiving nature of the land.
I am a northern California based photographer specializing in documentary work. My journey began over a decade ago when I picked up a camera to satisfy a college art requirement. Shortly after, I quit school and took off to explore the world photographically. After five years of uncomfortable bus rides, bed bugs, and the same three shirts, Ie opted for a change of pace and moved to Truckee, California. Since moving to the mountains, the American West has been my subject of interest from the vineyards of wine country to the deserts of the Southwest.
All images were taken on the public lands of the west with a toy Holga camera.”
Submitted by Anonymous
Film Photo By: Jewan Runhaar
Twickel, Delden. After quite a few visits to this location spread over about 2 years, I finally had the exact conditions I was waiting for, with some early autumn mist to fill in the bright bit in the middle and to soften the look and get a smaller SBR.
Shot on a Chamonix 045N-2 with a Nikkor-SW 90/4.5@f32 on Fomapan 100
Instagram: @jerufo