For the past several years, the film community has seen a surprisingly strong revival that has brought with it some new film stocks, the return of old favorites, and unsustainable high prices.
Few camera brands have ever been able to achieve the same reputation that Contax film cameras managed to achieve during the height of film. A large part of that reputation came from the Contax G1.
In the film world, it doesn’t take long before you start to get hooked on the idea of shooting medium format. Why, you ask? By this time, no reason whatsoever.
One of the most important jobs in the military is that of the photographer. Here, a USAF photographer takes through a typical day for them.
There are more and more people by the day looking to get into film. And why not, right? Depending on what you’re looking for, it may be too late.
The popularity of film is still on an upward trajectory with no signs of slowing down. With the film world changing constantly, it’s time to update the list of underrated and overrated film cameras.
If you shoot Sony and you're in the market for a fast 35mm lens, look no further. This comparison includes all Sony E mount full frame glass f/1.4 or faster.
The Nikon FA is the arguably the best valued, vintage, manual focusing 35mm film camera you can buy today. It’s light weight, wonderfully modern for a vintage camera, and the built-in aperture priority mode makes use of the most modern metering of its day which is still unrivaled.
Few cameras have been able to reach the same level of cult following that the Olympus XA has built up in recent years. Does the camera deserve the hype?
For many people who are into film, medium format is seen as being a natural next step moving on from 35mm. The issue is, of course, that medium format cameras have become very expensive in the last couple years.
As a film photographer myself, one of the biggest struggles when going out to shoot is deciding on the right film. Considerations of film speed and color rendering are two of the most important and these are two that differ considerably between Portra and Ektar.
For many film photographers, processing color-negative film (C-41) is a bit of an intimidating task. This guide walks you through the steps to make it feel more approachable.
Few film cameras have the reputation and the history of the Mamiya RB67. The Pro-SD version has been somewhat elusive as it's the most recent of the three versions of the RB.
If you’re a photographer who shoots film, you’ve likely seen and had an opinion about film presets. For many, that opinion is quite negative, and for those like myself, we lean towards favoring them.
If you've been paying attention to the prices of film cameras at all, you will have noticed they have been sky rocketing in price. The idea of putting the words "affordable", "good", and "medium format" is nearly laughable with few exceptions.
Every film photographer out there in this day and age eventually wants to have good scans of their negatives. While it's not difficult to get a great scan from medium format, 35mm present their own challenges.
For most modern photographers, the thought of shooting a vintage prime instead of a new autofocus lens is a non-starter. If this applies to you, do you think you could tell the difference in a blind comparison? I would be willing to bet not.
Coming in at nearly five times larger than a full frame sensor, the RZ has resolution for days and can produce tack-sharp images, making it great for landscape work.
The Nikon FE is the perfect blend of a lightweight construction that still feels sturdy and has perfect functionality with my favorite camera feature: aperture priority mode. I never thought I’d find a 35mm camera that I’d use more than my F100 or F2, but here we are.
Few lenses have the reputation of being sharp, fast(ish), small, light, feature the best coatings, and boast quick autofocus. This premium lens with Zeiss glass for less than $1,000 does.
