Fuji Neopan was one of the first films I tried when I made my first, tentative steps back into analogue pictures some six years ago or so (you can read the full story in my Emulsive interview). Along with Ilford’s Ilfotec HC developer, it has remained a constant since because while I like a little experimentation, once I find something that works well for me, I tend to stick with it and explore its full potential. Continue reading →
It seems to be only in Leicestershire, but around here, ‘Poundland Film‘ is a myth. Agfa VistaPlus 200 rarely seems to make it onto the shelves of the two shops near us, and when it does, it seems to sell fast. Each time I’m anywhere near, I’ll nip in, just in case. Continue reading →
Last weekend I took Gosia to Bristol for her birthday. I’d got to tickets to see her favourite artist Regina Spektor perform on Saturday night at the Colston Hall. We took a slow walk around the city before the show and I shot through a roll of Ilford FP4+ for the party, but I’ll post that next week as part of #PostWeek. Continue reading →
Today, I discovered an area that I’ve passed by hundreds of times but never realised its history or significance. The Nature Alive reserve is the former Swannington coal stocking yard that served the mines around Coalville for 150 years. Continue reading →
Roll 82 of the year and I’m back to my all-time favourite film, Fujifilm Neopan Acros 100. Over the years I’ve had some tremendous results from the various forms of Neopan as it seems to handle whatever I throw at it, from portraits to night-time motorways. And on this roll, it delivered on both… Continue reading →
On Friday night I went along to the opening of the Inside the Outside group’s exhibition at the Photo Parlour in Nottingham. One of their founder members is Al Brydon, a photographer that I’d met a few years ago, who produces tremendous landscape work from the Peak District.
As part of the ITO exhibition, he was showing the results of a really fascinating project. A while back, he discovered a drawer full of films that he’d shot around 10-15 years ago and rather than processing them, he chose to expose (most of) them again. This ‘collaboration with [his] former self’ became his ‘Based on a False Story‘ collection. Continue reading →
A couple of weeks ago I wrote about my efforts to simplify by using only one camera and lens combination*. I was trying to avoid the complication that meant that every roll that I produced looked different to the last, and so far the experience has been pretty liberating, allowing me to concentrate on taking pictures and not what gear to take. Continue reading →