The OpticFilm 8200i Ai is a dedicated 35mm film scanner that’s capable of scanning both cut strips of film and mounted slides. It’s hard to say exactly who this scanner is for, and a lot of people will probably see the lack of versatility as a shortcoming, but for the dedicated 35mm photographer it’s really pretty great. No extra film holders to store while not in use, a smaller footprint on your desk, and overall less fuss than something like a flatbed.
In this camera harem of mine, I have my favourites, the ones upon whom the passion is even stronger. One of them is the Fuji GX 680. I have model II, built in Japan from 1995 to 1998. And it is just something out of this world, that weights around 4kg, accessories out, made for studio work, but that I carry around hanging from the neck feeling it like a feather of joy and pride. A true love story.
Now it is time to talk about cave photography and how to make the expose. Since all caves have one thing in common, total darkness, the photographer must supply all the illumination. This illumination is mostly from electronic flash.
One of the techniques I stumbled across has made a real impact on my style of work; it’s called the “Chromoskedasic Sabbatier (or solarization) process”. I know, it’s a bit of a mouthful, but it’s almost harder to pronounce than it is to apply. Almost.
I have a theory about hunting for used cameras, wherein the closer you get to that payment sweet spot, the more you will love that camera.. . . . Today we have the first in a series of articles on gear by Marc Nagainis, starting with the classic Hasselblad 500 C/M.
With the departure of Fujufilm Neopan 400 in 2013, Harman Technology are vying to establish Seagull 400 as the undisputed champion of the 35mm 'bang for your buck' division. But does it have much to offer besides the attractive price tag?
One photo from a recent photostream which elicited a lot of comments from viewers was “Mast”, taken by Brett Rogers. The photo was clearly taken from a good way up the mast of a sailing ship. Many readers wondered, “How was this possible?”. Photographer Brett Rogers provides us with a behind the scenes look at how he got the shot (and a few others).
Film photography enthusiasts usually have a lot of cameras and I’m no exception. Recently I found myself reaching the point that I call Vintage Camera Critical Mass. This the point where your collection of cameras is so large that it starts attracting more cameras all by itself. . . .