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A playful studio experiment comparing Kodak TMAX 100 and Ektapan 100 turns into a thoughtful exploration of perception, post processing, and how photographers interpret black and white film.
A quiet look at what happens after the photograph, from film developing to finished prints, and returning the work full circle.
A quiet still life study of flowers on film, revisited through hand coloring and a second look at composition, process, and creative patience.
Hand-colored seascape made from a B&W film negative using magnetic ND filters; wind, crashing waves, and quiet remembrance shaped this tribute image.
Discover Hasselblad—renowned for modular design, durability, and exceptional image quality in both film and digital medium format photography.
Classic pet portraiture on film: Hasselblad 501CM, TMAX 100, and 510 Pyro developer, with Joey the Tiger showing his regal personality in the studio.
A practical, trustworthy darkroom guide, John Finch’s The Art of Black and White Developing balances clear instruction with real-world film wisdom.
How I shot 1966-expired Kodak Panatomic-X in a stormy studio session, capturing printable frames, vintage charm, and a soft-focus orchid I adore.
Hand-coloring 4×5 film brings Micanopy’s charm to life. From large-format photography to Photoshop colorization, discover the art behind the image.
A portrait of resilience: tulips photographed in a half-rebuilt studio after storm damage, revealing beauty, strength, and creativity through adversity.
This article is about how I process black-and-white 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.
A creative blend of analog and digital—each 4×5 film image hand-colored in Photoshop, bridging photography, painting, and imagination.