Discover the advantages of shooting 4×5 film over 120 film for panoramic photography, including cost savings and convenience. Learn about the economic and practical benefits of using 4×5 film and why it may be the better choice for your panoramic photography needs.
This article reviews two rolls of 120 film shot in succession in Hasselblad A12 and A24 film magazines with a 501CM camera and CF 135 lens and Vario-Tube.
In this article, I share my approach to crafting images with a 4×5 field camera with interchangeable pinholes attached to a dedicated lens board. I’ll explain my rationale for choosing this method over a basic 4×5 box pinhole camera, outlining its pros and cons. Additionally, we’ll explore the offerings from two pinhole makers who provide different design approaches to interchangeable pinholes. I’ll also detail my process for metering the correct exposure, complete with a downloadable 4×5 Pinhole F/Stop & Exposure Factor Chart. Finally, I’ll discuss my preferred film choice and the reasons behind it. Let’s get started.
I do not do gear reviews, but I’m about to spill the beans on the NONS Instant Back and my beloved Hasselblad 501CM. But before diving into the greatness of instant gratification, let’s take a moment to appreciate the history of instant film and Hasselblad.
Discover how to balance between film and digital photography using two unique Hasselblad cameras from the V system. Explore the intricate dance between classic and contemporary methods in capturing artistic expression.
Whether using film or digital photography, ethical considerations come into play. One must take responsibility beyond aesthetic considerations when capturing a moment on celluloid film because of its unique characteristics compared to digital photography. This responsibility is especially significant when the subject matter is sensitive or precarious, such as photographing protests, documenting poverty, or taking pictures of people in vulnerable situations. This article specifically delves into the ethical considerations that arise with film photography while acknowledging that digital photography has its own set of issues.
Learn how to monitor the total film surface area your fixer has been used on to prevent exhaustion and discover tips for keeping it clean and free from particles during film processing.
This article is about how I process black-and-white (B&W) films. I choose to hand process my 4×5, 120, and the occasional 135 films. Here, I will share the processing equipment I have used and what I have been using for the past decade. The following information is not a deep dive into B&W processing, as there is a wealth of information available elsewhere. It is simply a sharing of information on what works for me after I have spent a considerable amount of time polishing my different techniques. Please keep in mind some film processing chemicals can harm humans and the environment, and always educate yourself about the chemicals you will be using before you begin the process. I do not advocate for any particular chemical, process, or equipment; I share how I do it. Let’s get started.
This article is an update to my digitizing process. I talk about what has changed for me in gear and technique. If you have not already looked at Part 1 and Part 2, you might want to read them as they will showcase my evolution with this process. Everyone does things a little differently. If you are like me, you enjoy reading how other photographers develop their techniques, what gear they like or dislike, etc. I hope you gain something to try or think about here.
Even though the Zone System is over 80 years-old, it is still relevant today whether shooting modern films or digital capture. This article is for photographers wanting to learn more about the Zone System for their particular workflow. We will look at how the Zone System works with a classic film-to-darkroom workflow, and a hybrid film-to-digital workflow. If you are strictly a digital photographer, you will find a better understanding of what the Zone System can offer you as well.
A pinhole camera, often called a “camera obscura,” is a lensless camera used for centuries to study light and optics. Today, it is popular in education and art. Photographers craft pinhole cameras from everyday items like cigar boxes and paint cans, or through CNC machining and woodworking. Others opt for ready-made pinholes compatible with existing cameras or those manufactured by others. This timeless device continues to inspire creativity and exploration in the photography world.
I perform a number of tasks while creating image files that include bracketing + blending exposures, and slicing + stitching larger film sizes. Bracketing may not always be necessary, but with the convenience, a digital camera brings to this type of task, it cannot hurt.
In photography school, I was taught to use a pastry brush to clean the dust out of my film holders. I still use this technique today, and it works, or I would have changed it to something else long ago. Get a brush like this one and clean out your film holders periodically.
I often get asked by other photographers how I digitize my film. Explaining the tools and my digitizing process would create too long of a post, so I will start with what tools I use in this post and share my process later. The information I share about the tools I use is not meant to be a commercial for selling these products. If you choose to purchase what I share in this article, I hope it is only after you have done product research. I will not talk in great length about the specifications of a product. Still, I will include the manufacturer’s web address or contact information so you can research the exact specifications.
A film clip test can reveal if your developer and fixer are in good working order. If you enjoy shooting B&W films and want to learn how to develop your film (see my article on how to develop B&W film here), you should include learning how to do a film clip test. I have listened to photographers over the years say how they lost film to a bad developer (it can happen), or their reusable fixer reached its limit, and they made the mistake of using it one more time, only to find out it was too weak to do the work. If these photographers had only done a simple film clip test before they started the development process, it could have saved them their film and disappointment. This article outlines how I do my film clip tests.
Polaroid Type 55 film was designed for large format cameras and was popular among professional photographers and artists. It offered a unique and versatile feature: each exposure produced both a positive print and a high-quality negative. This made it a favorite among photographers who needed an instant print for quick reference and a negative for further processing and enlargement.