Film Photography

Whether you are shooting film or have a large collection of negatives, chances are you will want to scan them one day. The process to digitize your analog pictures can be expensive and sometimes even disappointing regarding image quality. When I started playing with my Mamiya RB67, I wished there was a cheap and quick scanning method that would offer me a good amount of detail and decent colors. I found it using gear I already owned and that most of you actually also have at home. It even surpassed my expectations to the point that I decided to share the technique with you in this article.

Nick Carver is no stranger to going big. Not only does she shoot big negatives on big cameras, but he's immensely passionate about printing and framing and making sure work both fills and compliments a space. In this video he goes through the process of scanning a panoramic 6x17 Portra 160 film negative, sizing up a space on the wall for the final 6-foot print, and even building a custom frame for it.

I love color. Black and white photography holds a special place in my heart, but 90 percent of the time I gravitate toward color imagery in my own work. When I started shooting film again, I decided that I would most definitely learn to develop my own black and white film. From choosing your film stock to mixing super-secret developer cocktails guaranteed to make your images sing, there are tons of resources out there for the aspiring hobbyist. When it comes to color, however, I had always heard that the machines needed were expensive, the process complicated, and the chemicals harmful. Not so!

We're conditioned to associate certain colors with thoughts, emotions, or situations, a fact that directors take advantage of constantly. "COLOR PSYCHOLOGY" illustrates just how deep the effects can be.

Tintypes continue to fascinate us. Despite the process being over 150 years old, its methodical, almost meditative procedure and striking results have kept it alive. It's also a fairly scientific process that involves a good bit of chemistry. Check out this video to learn more about the technical and practical aspects of the practice of shooting tintypes.

Making a film takes many talented people working in varied areas, a fact I've recently come to fully appreciate as they film "Fast and Furious 8" here in Cleveland. The Foley artist is one of the unsung heroes, for if their work is done well, we don't notice it at all. This film is a lovely look inside the world of Foley.

It's truly incredible what they can do with film today, especially with the advancement of visual effects and motion graphics. When I first heard they were remaking Teenage Mutant Ninja Turtles I was incredibly sad; all those years growing up watching the original live action films featuring the puppets crafted by Jim Henson's. It was brilliant and really well done for a movie of its time. Then came the almost 100% CGI filled epic by Michael Bay himself, yet it works and it's fun.

I'm not prone to hyperbole, so when I say "this is amazing," I mean it. We all know there are some brilliant filmmakers out there, and when they push a new technology to its limits, the results are remarkable. Check out this montage of some of the best of the past year.

Slowly but surely, I find myself shooting more film. It’s getting to the point where my digital cameras are almost strictly for video. They may offer better resolution and more versatility, but there’s a look to film and a fascination with the cameras that pull me to it. The one man that took me into the bottomless hole in my wallet that is film photography is Mat Marrash, a coworker and an avid large format photographer. It's some of the most gorgeous landscape photos of the Ohio Valley I've seen. A few weeks ago, Mat, myself, and the good folks at Rooted Content traveled to Hocking Hills, where Steve and Kyle from Rooted created this short of Mat’s work.

It happened. After years upon years of drooling over large format photographs in books and on the internet, I finally pulled the trigger. I got a 4x5 camera. Many of the masters I've looked up to used large format for their portraits and I've always wanted to try my hand. Here are my first observations of trying to tame the beast. First thing I noticed: this isn't easy.