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.
Ilford films are available for pretty much any type of photographer that you can name or list. At the moment, they have the largest selection of black and white films on the market as it is pretty much all that they produce. So with that said, there’s no good reason why landscape photographers would have been left out. Many photographers shoot landscapes as a hobby and very few actually end up selling prints of their images or being commissioned for tourist reasons. The look that Ilford film can provide is one that’s quite interesting. There are tons of photographers out there who shoot digital and simply try to create keystoned HDR photos. But that’s not really what film does.
“It was like getting reborn!” says photographer Pietro Bevilacqua about his photographic journey…
“There’s a certain quietness and introversion to a black and white print hanging on a wall.”
If you’re a fan of Kodak Tri-X 400, you should really give Kodak T-Max 400 and see what you’re missing.
Kind of boils down to personal preference – as in what subjects you like to shoot…”
More and more lifestyle photography is being done with film these days; and for great reason.
Kodak T-Max helps make these buildings almost look like scenes from the Twilight Zone.
Kodak T-Max 400 works in a different way from Kodak Tri-X 400. Let’s explore it a bit.
Here’s what you NEED to know about Fujifilm Acros.
Ever wonder how the Fujifilm Acros 100 emulsion and the digital presets compare?
This month: we’re exploring Fujifilm Acros.
“Kodak Tri-X is the most famous film of all time, it has a look in it that is easily recognizable.”
“I started use Tri-X three years ago, and I literally fell in love with that beautiful grain.”
F8 and be there! Well…sort of.
Pushing and pulling Kodak Tri-x, exposing, studio lights and a whole lot more are covered here.
“Connection. Connection and depression.” is what Nick Nemphos says about what inspires him to create photographs.
For many years, photographers everywhere trusted Kodak Tri-x not only for its reliability, but also because it was simply just an incredible black and white film emulsion. Over the years it evolved and these days only the ISO 400 variant still remains. It’s a high speed film that is still in use with street photographers, documentary photographers, and well honestly a lot more than that. It’s prized for its look combined with it’s price point.
I began analog photography very shortly after I took interest in photography as a hobby. It was a really beneficial way to learn the fundamentals, and depend on my knowledge rather than the “digital safety net.”