Film photographers all over the world had high hopes for the comeback of Kodachrome. However, it appears we’ll have to wait for it. Probably for a long, long time. The problems with film processing haven’t been resolved, so it may be unlikely for this iconic film to reach the users again.
Have you ever tried Cibachrome (Ilfochrome) processing? The materials for it are not produced any longer, and I suppose most of us will never get to see or make such photos. But artist and engineer Tim Hunkin was lucky enough to have some of the papers left in stock. He chose quite a strange DIY camera, developed the photos inside of it, and achieved remarkable results.
X-ray has certainly brought a revolution and it’s a very useful invention. However, the X-ray and photographic film aren’t exactly best friends. If you travel by plane, you know that your luggage needs to go through an X-ray scanner.
Unfortunately, the X-rays can do damage to every unprocessed film, including the one already in your camera. The images you develop from such films will be foggy, grainy and with dark or light patterns and patches. This is why you need to protect your film and make sure that it doesn’t get scanned on the airport. Mark from the Analog Process will show you how.
I use film for my fine art work because it inspires my imagination in ways that I don’t get from shooting digital. I have been shooting film since I was 15 years of age, after more 40 years of film usage I still feel that film has value in today’s digital world. Some back ground: I have been a newspaper photographer since I was 18 years of age. I started out shooting black and white film with my Nikon F2 camera. Today its all digital and I have to say that I love shooting digital for my newspaper work.
Back in November of 2001 the newspaper I currently work for, the Kelowna Daily Courier, bought Nikon D1H digital cameras for the photo staff. I would never want to go back to film for my day to day work assignments at the paper . Digital is a must in photojournalism, I wouldn’t want to be with out it, as it’s awfully convenient to use.
I remember the first time I picked up a digital camera. It was 2003 and I got this little Canon G5, a good point-and-shoot, and it was 5MP.
Before that, I used film. It had to be scanned into a computer, then manipulated digitally. That was alright—but when I picked up this Canon, I thought it was amazing. It’s instant feedback. You see exactly what you’re going to get. You adjust your lighting as you go, you’re thinking on your feet.
What you can learn on digital in one year is probably five to ten times what you can learn on film in the same time. Film is a very slow feedback loop.
Sales of photographic film have been steadily rising over the last few years, with professionals and amateurs alike rediscovering the artistic control offered by manual processes and the creative satisfaction of a physical end product
In the early 2000s, the world of photography changed forever. Though digital cameras had been widespread since the mid-1990s, the technology did not produce sufficiently high-quality results for professional and serious amateur photographers.
After eight years of shooting exclusively [on] digital [cameras], working with film was a revelation. It made me fall in love with the process of making photos. Shooting film heightened the sensation of being focused in the moment, which is at the heart of what photography is about. I also noticed a difference in reactions from the people I was photographing. Subjects had become so used to seeing their photos on the back of my camera. When they were unable to see themselves right away, they seemed more interested and involved. They seemed to have more confidence in themselves as well as me, and I feel my portrait work became stronger.
In the spring of 2014, I started a long-term photography project focused on Syrian refugee children. I traveled through Turkey, Iraq, Jordan, and Lebanon and photographed children who fled Syria since the war started.
I interviewed them in the presence of their parents or guardians and then photographed them both digitally and with Impossible Project instant film. The project brought me through makeshift dwellings, apartments, and refugee camps across the region and has allowed me to photograph over 200 children.
If you are one of those who stalk refrigerators in the back of photography stores, consider this an official heads up that Fujifilm are going to end-of-line some of their 120, 220 and 135 films as well as bump the price of some of their other products.
This painful process will start this year and will carry out until mid 2017 with 220 films being almost completely gone (you can usually use 120 film instead, but if you are a hard core 220 shooter – or just uses an old Yashika or a brownie stock up!)
Here are the products and dates tables translated. The first table is heading for a 20% price increase (give or take) no October this year.
It’s been a very long while since we shared a good pinhole camera tutorial and Ondrej Revicky just made it better by sharing the pattern and instructions for building a character-full pinhole camera called TEFAU.
Tefau is 100% made of paper that you can make by downloading this PDF and printing it on somewhat heavy paper. Ondrej explains the basics behind any pinhole camera, which also drove his a design: