Rosco’s revamped their gel list with lyrical descriptions for suggested use.  It’s a great little starter guide for those who haven’t played with the lot, and full of phrases that’ll make you smile.

p.s.  Lee’s got a pdf here :)

“¡Madre de dios!  The legends were true!” Bart Simpson

For the ladies who fantasize of walk-in shoe closets and the like: this is the film junkie’s wet dream. Film cooler at Yodobashi Camera in Shinjuku.

tokyo camera style

It’s nice- but this is about 1/6 of what they had back in 2001!

(Source: tokyo-camera-style)

"I reject the objectivity of colour and use it in a highly subjective way. The magic mix of the photographic image is the indefinable mix of realism and fiction, abstract and concrete, illusion and truth."

Paolo Roversi to Gabriel Bauret

Wallabout Daydream (by danica+karl)

“[It] united photographer and subject bringing them into a universe of their own.” unknown

(Source: my-iridescence, via victory-marchh)

Oh how you make such nice things that I enjoy!  Enjoy the mini tour through Olafur Eliasson’s installation, “Your Chance Encounter” at the Kanazawa Museum of Contemporary Art.

(Source: olafureliasson.net)

the gentlest of mirrors to infinity; so nice.

(via snakefeather, givemethatwompwomp)

Suspiria or Kind of Blue?

(Source: Flickr / danicakarl)

Having thought I’d seen the work of Gabriel Dawes many moons ago - I’m so pleasantly surprised to see it just like this: an echo across the colour spectrum, ringing beautifully in my eyes.

(via xevilious)

fuck yea for edgy sexy concepts and great colour!

(via rawlikesugar)

Let’s Shoot Film, Part V

Here’s Ctein’s review and summary of many popular colour negative films.  These writings, originally published in Photo Techniques magazine, are a challenge to find online nowadays and I’m glad I copied and pasted all this stuff when I did.  May many more photographers enjoy this resource and go forth shooting film.

Let’s Shoot Film, Part IV

Here’s the last of Ctein’s colour transparency roundup with one entry each from Imation (3M), Konica and Polaroid. Sadly, digital has driven these rare breeds to extinction, but I’m glad they’re still a part of today’s emulsion lesson.

Imation

ScotchChrome 640T is a tungsten-balanced (3200K) 35mm film. The fastest tungsten film available, it reproduces pleasing colors under a range of tungsten available-light sources and can be pushed one stop. 640T can be exposed for 100 seconds with extra exposure and corrective filtration. It has unique spectral sensitivity and can produce a gothic look for creative work; it’s also interesting with soft-focus filters. For grain effects, pros can expose 640T with the modeling lights in their flash heads. Other 35mm films in this line are the daylight-balanced Imation 100 and Imation 400. Like 640T, both can be exposed for 100 seconds with extra exposure and corrective filtration; Imation 400 can be pushed two stops.

Konica

Konica Chrome R-100 is based on Konica’s exclusive emulsion technology. It achieves fine grain without sacrificing film speed for precise details in shadows and highlights and true-to-life color. Available in 35mm sizes.

Polaroid

Polachrome CS 35mm transparency film develops in minutes, using a chemical cartridge in a special processing unit. While mainly for quick processing and in-house security, its additive technology produces an impressionistic granular, low-contrast look for fine-art printers. TTL systems that meter off the film will give errant exposures. Polachrome HCP is a high-contrast version. The film is delicate after processing and should be handled carefully.