I’m not crazy about camera gear, but I do love seeing unordinary cameras. George Muncey of Negative Feedback found one just like that. It looks like a camcorder from the ’90s, but it’s actually a 35mm film camera. Weird, isn’t it?
So many of us baby our gear. There’s absolutely nothing wrong with that. Despite the fact that the odd scratch here and there isn’t going to affect the performance of my kit, I’m still going to try to take the best care of it that I can. But sometimes accidents happen.
And an accident is what happened to Christopher Hamberger when he dropped his $1,200 Nikon 35mm f/1.4 Ai-S lens and shattered the rear element. Can it still shoot, though? How will that decimated rear element affect the images? Well, there’s only one way to find out. Shoot with it.
Reveni Labs, the company responsible for the tiny on-camera light meter for old SLRs that don’t have one built-in is back. And they’ve brought a new meter with them. This time it’s a still-tiny-but-not-quite-as-tiny-as-the-original-meter spot meter – once a very common tool amongst film photographers, particularly medium and large format landscape shooters, and one that’s still built into just every DSLR and mirrorless camera today.
And, yes, there are companies like Sekonic still producing excellent spot meters, but they’re not exactly cheap. Even older, used ones can still be fairly expensive. Reveni Labs’ goal with this is to print the price down to a more manageable amount for those who don’t need the advanced capabilities of more expensive meters.
I still shoot quite a bit of film when the opportunity allows, and when I do, I still primarily tend to reach for a 35mm. It’s not that it’s the best, or even just the best suited to what I want to shoot, but it’s convenient. The 35mm film SLRs I use the most are all Nikon F mount bodies, letting me use most of the lenses I also own for my DSLRs. But medium format definitely has it’s benefits.
In this video, photographer Kyle McDougall looks at the overall thought process behind using 645 medium format instead of your standard 3:2 ratio 35mm film, as well as some of the objective benefits and drawbacks to the larger format.
It’s impossible to talk about the history of photography without mentioning Kodak. In its 140 years long history, the company has had many ups and downs. But it remains one of the most iconic names in the industry that has changed and revolutionized photography. This fantastic video from Studio C-41 takes you behind the scenes of making Kodak film. In this factory tour, you’ll see the three phases in making Kodak film, but also learn a bit about its history.
We live in the 21st century, technology is rapidly improving, and our digital cameras are becoming better and better. So does it still make sense to shoot expensive and outdated film? Well yes, it does. In this video from grainydays, Jason Kummerfeldt gives you three big reasons (and a bunch of small ones) why you should shoot film in 2021.
The George Eastman Museum has already shared some darkroom magic with us. For example, they taught us how to make a 35mm daguerreotype and guided us through the salt printing process. In this video, historic process specialist Nick Brandreth teaches you how to make your own paper developer from scratch in the comfort of your home.
Making prints from our film negatives is often a bit of a pain. You have all kinds of chemicals you need to buy, and the range that’s available today can be quite overwhelming. In this video, Historic Process Specialist, Nick Brandreth at the George Eastman Museum shows us how to make prints using the salt process.
The salt process is one of the earliest silver-based photographic techniques and is used to make photograms, in-camera paper negatives and prints from paper and glass negatives – I suspect it might work on some types of film, too, either for contact prints or using an enlarger, although your enlarger would need a UV bulb in it.
It’s hard to imagine that a particular film stock, especially something like infrared film, might have an origin story that’s almost as wild as a superhero. But the way Todd Dominey tells it, that’s pretty much how it sounds for Kodak Aerochrome. In this video, he goes over Aerochrome’s origins and its life until its demise in 2009.
Well, if you’re gonna go retro with some old film cameras, might as well have matching cases for your rolls of film, too, right? That’s what the folks at RETO Production Ltd (RetoPro) thought. RetoPro is also the company that brought us the RETO3D triple-lens point & shoot film camera last year.
Now they’ve reinvented an old classic, the Kodak metal film canisters. And they’ve managed to license it under the Kodak brand, too. There’s not much to them – just a metal tin with a plastic insert to keep your rolls from falling over – and they’re more of a fashion statement than anything else, but they’re one that’s quite useful if you shoot film.