The Kodak Ektachrome E100 film is finally being shipped to distributors worldwide, and some of us can’t wait to get our hands on a few rolls of it. Photographer Peter Guttman was lucky to be one of the few beta testers of the film, and he kindly shared with DIYP some of the images he took. And just as I imagined – they’re gorgeous.
When Yashica announced a comeback, many fans of the brand rejoiced. With an interesting concept of “digital film roll” and design of the old Yashica Electro 35, Yashica digiFilm Y35 raised the incredible $1.28 million on Kickstarter and the future looked bright. But now as the company is shipping cameras to the backers, many of them are angry and disappointed with all the issues digiFilm Y35 has.
There have been plenty of analog-digital blends in the market. From I’m Back digital back for SLR cameras, to Yashica Y35 with faux film roll, which raised over $1 million on Kickstarter. Now there’s another Kickstarter campaign promising to breathe a new life into your old analog camera. Check out Film35, the latest invention that turns your film camera into a digital one and even gives it a “vintage feel.”
3D Printing has crept into my life and my photography a lot during 2018. My Dobot Magician has served me very well. But one of the side effects of being a photographer with a 3D printer is that it keeps you regularly checking Thingiverse for cool photography related projects.
One such project is this one from Guy Sie. He’s produced some Leica ISO film speed hotshoe covers, although I’m pretty sure they’ll work for other cameras, so that you can remember what speed film is in your camera.
It’s been over a year since Kodak announced that it is bringing Ektachrome film back to the market. And now it’s finally happening: Kodak Ektachrome will soon start shipping to distributors worldwide. Very soon, all you film enthusiasts will be able to buy a roll or five of Ektachrome35mm and shoot away!
The other day, I posted on here about The Standard 4×5 large format 3D printed camera. I was a little sceptical about The Standard at first until I saw that the project files would be released into the open source world upon completion of the campaign and deliveries to backers.
Film is definitely back on the rise, to the point where Fuji may even be bringing some of theirs back. While most of the films available today are C-41 negative films, E-6 transparency film (also known as slide film) is still available, and quite popular for certain things. But how do you know when to use which? And what are its limits?
That’s what Jay P Morgan explores in this video. What is transparency film? What is its dynamic range? How does it compare to standard C41 negative film? Why and when would you choose slide film over negative film? He compares Kodak Portra, Fujifilm Provia and Fujifilm Velvia to find out.
I love that large format seems to be coming back in fashion. I really do. In the last couple of years we’ve seen some great new large format cameras come into existence, like the Intrepid, and the Chroma – the latter of which we saw in person at The Photography Show.
Now we have a new one, The Standard 4×5, which is made from 3D printed parts. It’s is being billed as a DIY 4×5 large format camera that you can build yourself – which is a really awesome idea. It’s being funded through Kickstarter, and the prices aren’t that bad, either (even though the early birds have already sold out).
We all know that digital images are made up of red, green and blue “pixels”. Often, to capture this, sensors are in some kind of side-by-side pixel array, like with Bayer and X-Trans or layered, like Foveon. But that’s not the only way to create a full colour image. Many video cameras do it with the use of a prism splitter and three separate sensors capturing red, green and blue signals which are then merged together.
Mike and JohnBen at Clovehitch Productions wanted to try to replicate this last method using black and white film. They wanted to see if it was possible to capture just the red, green and blue parts of the spectrum on three separate shots, and then merge them back together to produce a full colour image.