This is going to sound a bit odd, I mean how the heck are megapixels and black and white correlated? Does it have to do with details? Well, no; not really. Instead it has to do with the capabilities of your camera sensor and more often than not, lower megapixel cameras aren’t as capable when it comes to editing. Lower megapixel cameras are great when it comes to high ISO output. But with higher megapixels, you often get great dynamic range and colors. Believe it or not, that’s exactly what you want and need here.
When Yashica hinted at the fact that they were coming out with a new camera, I expected something like the Yashica GSN Electro 35. But instead, I was given something that is much different but that arguably can’t be called a Yashica camera in the sense that we’ve known it to be. It’s something much different. And for me, my reintroduction to film came with the Yashica GSN Electro 35. It was many years ago: companies just didn’t get it back then. I (and apparently many others) wanted a camera that looked good, had retro aesthetics, and that took great photos. To get those aesthetics, I ended up going and getting a Yashica camera. Olympus broke the mold, then Fujifilm, and then everyone else tried getting into it. Yet to this day, no one makes anything quite like those old retro cameras except for maybe Leica.
In the medium format world, you’ll find that there are a whole lot of rangefinder cameras, but not a whole lot of good ones–the Fujifilm GW690 III is the exception to that statement. When we talk about medium format rangefinders, lots of folks immediately whisper Mamiya, Bronica, Fujifilm–no one mentions Voigtlander or Zeiss. But as it is, Fujifilm’s highest end rangefinder could could indeed be this. While there were newer cameras to come out with a light meter and all, nothing really matches the sheer size of a gorgeous 6×9 negative. That’s what the Fujifilm GW690 III fires. Originally designed for landscape photographers, it’s found its way into the hands of modern portrait photographers and even street photographers. With a big, bright rangefinder to it and a beautiful 90mm f3.5 lens rendering the equivalent of a 35mm f1.2 in full frame 35mm, there isn’t a whole lot to hate about the Fujifilm GW690 III.
Want a rangefinder camera without a whole lot of complications? Look no further.
We’re going to get you started from the ground up.
Anyone that has done smartphone photography before in the past knows that the secret to outputting better photos isn’t in the shooting process necessarily but in the post-production process. With that said, you’ll need the best apps that you can get your hands on to do something better. Unlike actual, dedicated cameras, everything with a smartphone is done via software of some sort. Everyone obviously knows about and uses Instagram, but if you’re not exploring other options then you should strongly consider these.
The Fujifilm Instax SP-3 printer is something that many have been looking forward to for a really long time.
The best experiences for printing really come when you do it yourself. It’s really convenient to have CostCo, Adorama, or other services print for you. But they offer a very sort of standard type of paper. In fact, if you looked at what company sells the most paper in America, it would be Fujifilm. Fujifilm? Really, you say? Yes. Go to any pharmacy and get your images printed, they’ll be done on a Fujifilm glossy paper. Fujifilm for sure gives the absolute standard for what you get from most kiosks of some sort. But if you’re looking for a different look, it can be a bit confusing. So here are some of our favorite papers.
I like to equate my experience of film photography to that of the experience that the older generation of photographers who experienced digital for the first time. At 30 years old, I still haven’t had the opportunity or the time or step into the darkroom. I never had the opportunity to do it either in college or high school. So to continue with the evolution of film and how it can deliver pleasing images, I believe that using newer, sharper lenses designed with digital sensors in mind is a great way to get even more out of film. Ilford Pan F Plus is arguably the sharpest black and white film out there with TMax and Acros being a bit behind, but if it was sharp even in the days before all of these fantastic new lenses started coming out, then when using these new lenses the film should arguably be even better.
If you’re reading this post, there are strong chances that you remember disposable cameras. My mother, who wasn’t that tech savvy at all, turned to them often when her Olympus camera broke. My college graduation was photographed on one in 2009 when I and many others had switched to digital point and shoots. My parents used them at events. So did my aunts and uncles. I always remember how fun they were–small, portable, and almost never reloadable until Lomography created their own reloadable versions earlier this year. So it was a complete blast from the past when I decided to try out Ilford’s disposable cameras.
The company quite literally specializes in black and white film and for that reason they offer a multitude of products for a multitude of applications.
While Kodak has created an analog film culture in the street photography community that is almost synonymous Kodak Tri-X 400, Ilford films have also been incredibly popular in capturing everyday life on celluloid.
This beastly camera does a fantastic job in the studio.
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If you’re a fan of Kodak Tri-X 400, you should really give Kodak T-Max 400 and see what you’re missing.
Sometimes the best camera is the one you have one you. But these are better I’m sure.
Japan Camera Hunter Street Pan 400 film is an exciting entry into the film photography world. It’s designed for street photography and is also designed to be nice and sharp. For the most part, it really is a sharp film. All of my testing has been with the Hexar AF–perhaps one of my favorite 35mm cameras of all time and perfect for capturing candid moments. So if you’re a street photographer looking to work with something different, then this is probably the film to get.
“…you can just get outta here with any ideas of taking your ‘professional’ camera into the show with you without a press credential.”
Concerts and the musicians in them run the gamut of personalities: they can be really crazy and all over the place, or they can be pretty stagnant.
“Didja hear the one about the guy who put a $35 lens on a $6,000 camera?”