As 2020 draws to a close and we look back on a year filled with change and growth, we wanted to take a moment to thank all Negative Supply users for supporting us! 2020 has been a challenge (in more ways than one), but one made easier by the support and encouragement we’ve received from so many along the way.

Negative Supply team (missing Brennan) photographed 12/2020. Nikon F100 with 20mm f/2.8 AIS, CineStill BWXX, scanned with Film Carrier MK1, Basic Riser MK1, 4x5 Light Source Basic.

In March we made the cross-country move to California.  Excitement and enthusiasm for our next chapter was at an all-time high just as COVID-19 became a full pandemic.  Two days after getting the keys to our new office a "stay at home" order was issued by the State of California.  We were granted permission to remain open with certain restrictions and as April came so did new enthusiasm for our tools, and we've been blown away by the support of so many since the spring.  

Since April we’ve added six additional team members to the Negative Supply crew, and are better suited than ever before to meet the needs of our industry. We’ve launched 23 new products in 2020, with huge plans to continue innovating in 2021 and onward.

In June the demand for our tools made it essential that we move into an ever large space. Our current headquarters gives added facilities for in-house manufacturing, additional space for new team members, as well as a film processing area, film scanning station, and an area permanently set up for scanning demonstrations and other tutorials for YouTube, Instagram, and more.

We hope you have a safe and happy holiday with your friends and family, and we hope you shoot some film in the process! Thanks so much for helping write the first chapter in the story of Negative Supply. We can’t wait to see what 2021 holds!

Most warmly,
Negative Supply Team

We are excited to bring your our latest Negative Supply Spotlight featuring linusandhiscamera!

Known as LINUSANDHISCAMERA. He’s a conceptual film photographer based in Raleigh, NC. He opened linusandhisfilmlab in response to COVID-19 - which halted all of his client work. But after a couple months of working in the Lab he decided to make it his full time thing, right along with creating youtube videos on film photography and working on more more conceptual photographs. Check out our interview with him below!

Q: How did you first discover your passion for photography?

“My passion for photography started in 2015 after I broke my leg doing gymnastics, I had be doing gymnastic and participating in gymnastic for my entire childhood. I was actually USG certified and taught for a quite while too.  When I broke my leg, it severed all of my nerve endings in my right leg below the knee. So I don’t really my right leg much any more, which is kinda crazy. I got my first camera is was a Canon Rebel T6i around 2015-2016. I started shooting around then. I made a bunch of friend, and I septs shooting. That’s how I found my passion, when my last passion ended.”

Q: What do you enjoy most about shooting film?

 “It’s exactly what I enjoy about shooting digital, just taking photos. And creating conceptual work. That’s definitely my driving force for photography, creating these scenes that really take you to another period in time or world. That’s what I enjoy most, creating still art. I don’t shoot as much conceptual work as I’d to these days but that  what I enjoy most. Creating these scenes, building this sets and executing the idea, especially on film, that part of it. Only having ten shots per roll and the limitations of film is what I really enjoy. I get to be competitive with myself.”

Q: What are some of your favorite film stock?

“This is easy: Lomography 400 & 800 and Portra 400 & 800. I’m color negative snob. I’m not really in slide film and I’m not really into black and white. But those four film stocks are 100% my favorite and they all push wonderfully They are just great stocks, they’re gorgeous”

Q: How has our Negative Supply tools helped your workflow?

“This is great questions because I think I’m one of the few people using Negative Supply tools for a film lab. They have helped me greatly. Prior to them I was scanning medium format orders on a flat bed, which was insanely, painstakingly slow. But Negative Supply Film Carrier 120’s are fast, efficient and sharp. I’m really excited to see what a future set up looks like and how it’s going to come into play with these big labs.”

We’d like to thank linusandhiscamera for allowing us to feature him and his fantastic work!! Make sure to follow him on his instagram: @linusandhiscamera. If you’re interested in being featured on our blog, please send us an email via contact@negativesupply.co We can’t wait to see and share work from more of the Negative Supply community! Click the links below to learn more about the tools Linus used to scan his images.

We are extremely excited to bring you another Negative Supply Spotlight. This time the incredible work of Aidan Klimenko! Check out our interview and his images below. And stay tunes for more Negative Supply Spotlights!

Hi Aidan! Introduce yourself to the Negative Supply community.

“Hi, I’m Aidan and I’m a 31 year old photographer and filmmaker focused on documenting the Americas. I’ve been living on the road, developing film and scanning out of an assortment of vintage vehicles over the last 6+ years, photographing all facets of life from Antarctica to Alaska.”

Q: How did you first discover your passion for photography?

“I grew up loving to make movies and studied filmmaking in school. Before enrolling though, I took a year off after high school to travel South America and bought my first still camera to photograph my travels. It was a Canon 30D. I didn’t know what I was doing. I shot the whole trip in JPEG. But I learned in time, slowly understanding the relationship between aperture, shutter speed and iso and experimenting with framing. When I did finally get to school after that year, I’d fallen in love with photography and added it as a major.” 

Q: What do you enjoy most about shooting film?

“I work as an expedition wildlife photographer and filmmaker in the polar regions and the majority of that is digital. After interacting with digital cameras and files so intently for long periods of time I get a little burnt out and film provides me a different way to keep interacting and expressing through photography. I shoot and think completely differently when I’m photographing with film vs digital and it’s great to have both tools to lean on. The process of film is also somewhat meditative. I (generally) enjoy the time it takes to develop and scan my negatives. Doing it all myself feels good and makes me feel connected to my imagery in a unique and special way.”

Q: What are some of your favorite film stock?

“I love experimenting with expired films. It started from just being broke and not being able to afford non expired film but now, after bing a little more established, I still enjoy the roll of the dice. Cinestill’s BWXX is one of my favorites for its grain and contrast. Ilford HP5+ is another favorite for black and white. As far as color goes, Kodak Portra 160 NC (no longer available) is probably my favorite. But I shoot current Portra 160 and 400 more than anything else. I need to get back into slide film…”

Q: How has our Negative Supply tools helped your workflow?

“I’ve invested so much time over the last 10 years into experimenting with different scanning equipment and softwares and feel like I have a pretty good grasp on the current solutions for 35mm, 120 and 4x5. The idea of camera scanning was always intriguing to me for a few different reasons. I’ve never been a big fan of flatbed scanning 35mm because they never seemed to be able to resolve grain and seemed to be better solutions for larger formats. Keeping negatives flat was also a giant pain. On top of that, flatbeds are pretty big and somewhat delicate, which made them horrible to travel with in my vehicle (especially bouncing around dirt roads). 35mm dedicated scanners were great alternatives to the flatbeds but that meant carrying a second scanner that used antiquated software and still took forever. So the idea of repurposing equipment I was already carrying with me, like my digital camera, and not having to carry around scanners was what inspired me to look into camera scanning. After a few months of using a tripod and laying negatives directly on my light source, I knew I was onto something as I was getting much, much sharper images (across all formats) and had more control over color, but the process was still slow and without negative masks I was getting weird light artifacts. After discovering Negative Supply, all that changed. The riser makes adjusting camera height a breeze (which was the hardest part of my process pre riser) and the Pro Mount MK2 and 4x5 mask provides a perfect solution for controlling light when photographing my 4x5 negatives. Now I just have to save up for the 35mm and 120 holders! With both of those my digitizing setup will be perfect and I’ll finally be able to ditch my scanners once and for all.”

Q: What support or tool can Negative Supply provide to help improve your experience?

“I don’t think the Negative Supply support could get any better. It’s so cool to be curious about something new and have people like you guys who are willing to help explore that new thing. I had questions and you guys were happy to help me find answers. The next pieces I need are the 35mm and 120 holders, as mentioned above. With those, I think my digitizing setup would be pretty dialed for a long time. I think one of the coolest parts of camera scanning, aside from how much faster it is, is that it’s pretty future proof. Digital cameras will only get better, meaning our scans will too. It seems like so much wiser an investment than continuing to put money into overpriced, discontinued scanners that have no support and are only getting harder and harder to use and connect to as time goes on.” 

We like to thank Aidan for letting us highlight his incredible work! And for using Negative Supply tools on his journey around the country. Make sure to follow him on his instagram: @Aidan.Klimenko. If you’re interested in being featured on our blog, please send us an email via contact@negativesupply.co We can’t wait to see and share work from more of the Negative Supply community! Click the links below to learn more about the tools Aidan used to scan his images.

Welcome back to another Negative Supply Spotlight! We take the opportunity at least once a month to showcase the work and thoughts of photographers using Negative Supply film scanning tools, and this is something that brings us great joy. We exist as an organization that not only creates tools to improve the workflows of film photographers everywhere, but also as one that celebrates and amplifies the photographs and lens based art of photographers from around the world. This time we’re featuring Daniel McDonald from CineStill in Los Angeles, CA!

 Introduce yourself to the Negative Supply community and give a brief biography! 

“Hey there! My name is Daniel McDonald. I’m a South African Born, Australian raised, and Los Angeles based creative. I currently work at CineStill, doing a variety of things, but mostly handle 35mm production, social media, and office-plant caretaking.”

Hollywood Reservoir. Kodak E100. Processed with Cinestill CS6 kit, D9 first developer. Scanned with NS 35mm set up.
Glowing reeds. Kodak E100. Processed with Cinestill CS6 kit, D9 first developer. Scanned with NS 35mm set up.

Q: How did you first discover your passion for photography and when did you start making photos with film?

“I kind of fell into it by accident actually. I moved to LA to pursue acting, as most people that move to LA do. I ended up connecting with Brandon and Brian Wright, and eventually started to help them out with a little side project they were working on at the time. Eventually that little side project got a lot bigger and I found myself in a darkroom most days of the week, playing with film. I distinctly remember holding a piece of 35mm film in my hands, looking at it, and being absolutely amazed by what film actually is. It’s mind-blowing really, when you think about it. When you really look into how technologically advanced it is and how it does what it does. It’s basically magic, clearly. So, I bought a camera, a Nikon FG, and just went for it. I’ve always loved storytelling of all kinds, and photography is a facet of that for me - so it just grew from there.”

Motorcycle in the desert: Cinestill 800T (possibly expired). Processed at home with CineStill Cs41. Scanned with Negative Supply 35mm set up.

Q: What do you enjoy most about shooting film?

“There are a lot of reasons why I think film is an excellent creative tool. I most enjoy the confidence that eventually grows when you trust your own judgment about a shot, since you don’t have the instant feedback. It’s a great feeling when a shot turns out exactly how you imagined it. There’s also something to be said about getting totally humbled when it doesn’t turn out, and taking that opportunity to grow creatively. I enjoy that a roll of film is finite, so you tend to pause a little bit more and really take in the moment to find what you really want to capture. Also, I just think film looks rad.”

Phone boxes. Cinestill 50D, shot at 200ISO and push processed. Cinestill Cs41 kit. Scanned with NS 35mm set up. Reflective Cityscape DTLA. Cinestill 50D, shot at 200ISO and push processed.
Cinestill Cs41 kit. Scanned with NS 35mm set up.

Desert flowers. Cinestill 800T. Cinestill Cs41 kit. Scanned with NS 35mm set up.

Q: What are some of your favorite film stocks? Color or black and white, and why?

“I tend to shoot almost entirely CineStill film (go figure). I prefer color film because, to me, colors add a layer of story to an image - a bit of character and mood. That being said, there is something refreshingly straightforward, structural even, about black and white that I’m quite drawn to”

Silhouette by LA river. Cinestill 50D, shot at 200ISO and push processed. Cinestill Cs41 kit. Scanned with NS 35mm set up.

Plane over building DTLA. Cinestill 50D, shot at 200ISO and push processed. Cinestill Cs41 kit. Scanned with NS 35mm set up.
Rose. BWXX. Shot at 400ISO. Processed at home with DF96. Scanned with NS 35mm set up.

Q: Do you develop your own film?

“When I can, yes. I used to very intimidated by all of it, and used to think it was reserved for a very serious kind of photographer. But thankfully I’m surrounded by some great people who are patient and know a lot more than I do. And like everything, you get better with practice. I’ll also happily drop off film to the local lab sometimes too. But I definitely think that if you shoot film, you should really try to process some of your own work at some point. If anything, just to prove to yourself that you can do it. Because if I can do it, you totally can.”

Q: What Negative Supply tools do you use, and how have they changed your workflow?

“I’ve used the entire kit. All of the things. NS has been such a great addition to my workflow when it comes to ease of use, time saving, and space saving. I’ve found it difficult to have the energy, or find the time, to do anything creative for the past few months - so having the NS gear has been a big help. Also, while I love the Frontier, I can’t quite scan 2 rolls of 35mm in about 5 minutes flat and then pack it up in my backpack”

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AJ Holmes, co-founder and co-owner of Negative Supply, is an avid large format film enthusiast, having worked with 4x5 and 8x10 formats for several years. While his full-time pursuit is with Negative Supply, he finds time regularly to return home to Tennessee and photograph his family, and he also regularly works with large format film here in California.

Many of you have asked questions about shooting large format, developing and scanning these larger films, and so-on. As such, we wanted to take this opportunity to share a few of AJ’s responses to questions surrounding large format usage in 2020! Be sure to read AJ’s list of gear suggestions if you’re beginning with 4x5, and feel free to reach out if you have any questions regarding large format camera gear, developing your sheet film, or scanning! We’re happy to help.

What’s the benefit of shooting 4x5, especially as film prices are rising?

“While there are many technical benefits to working with 4x5 large format film, for me it’s all about process. I love the slow, methodical, intentional movements behind working with large format, figuratively and literally. Every decision is discriminant, and every part of the process requires your undivided attention. Typically I leave my phone and other devices behind or in the car when making these photographs, as I want nothing competing for my attention. As for the raising costs of film, that’s something I take into consideration when working, and perhaps is an even more important reason to shoot large format. If there’s an inherent cost to each frame, this demands your attention and focus even more fiercely.”

How long have you been shooing 4x5?

“While attending Middle Tennessee State University, a professor insisted I work with 4x5. As such, I’ve now been working with 4x5 film since the fall of 2015, and continue to do so now. I owe a huge thank-you to Tom Jimison and my other professors from MTSU, as without their influence I wouldn’t be working this way today. I’ve also incorporated 8x10 film as recently as September, 2019, and hope to share more about that process at a later date.”

What’s your favorite film stock?

“Most people who know me know I L O V E color film! This is the truth, and Kodak Portra 400 is at the top of the list. I regularly use this stock with 4x5 and 8x10 as the higher film speed comes in handy. This is very relevant when you consider bellows draw compensation, smaller shooting f stops to obtain optimal sharpness and image circle/coverage, and more. Simply put, if I can shoot a faster film on large format, I do. For black and white I most prefer Kodak 320TXP, but do use Ilford HP5+ and FP4 as well.”

What gear do you use for your 4x5 photos?

“I use a variety of tools when working with 4x5, but most importantly is my camera of choice: My Chamonix H-1 4x5. This is an absolutely fantastic camera with a wide range of movements, and I hope to share a review for that specific tool at a later date.  Below I’ve listed the majority of the 4x5 gear I use, and I typically try to use lenses that will also cover my 8x10 camera so I can share tools.”

• Chamonix H-1 4x5

• Schneider Symmar S 300mm f/5.6

• Rodenstock Sironar S 210mm f/5.6

• Nikkor 120mm f/8 SW

• Nikkor 75mm f/4.5 SW

• Toyo View 4x5 Cut Film Holders

• Toyo View 3.6x Focusing Loupe

• Gitzo Systematic 4 Tripod

• Ries Double Tilt Head

• Harrison Standard Film Changing Tent

• Wanderer Dark Cloth

• Negative Supply Pro Mount MK2 and 4x5 Film Holder

What’s some advice you’d give to someone starting out with large format?

“ Dive on in! It’s easy to get overwhelmed by all the dos and don’ts to large format, but ultimately all it takes is finding a camera and a lens, loading your favorite film in a light tight bag, and making your exposures. What gear do you need to start? Consider the following items for 4x5:

1. You’ll need a 4x5 camera. Consider Intrepid or Chamonix if you’re buying new, or go the used route for limitless options

2. Start with a standard or slightly wide standard lens, either a 135mm or 150mm. Stick with a modern multi coated lens if you intend to utilize color film. Rodenstock, Fuji, Nikon, and Schneider are all great contenders.

3. 4x5 film holders! I suggest Toyo View 4x5 Cut Film Holders, which can still be purchased new. Want a great price on these? Shoot us a message and I’ll put you in touch with a great resource.

4. A focusing cloth and loupe are essential. Check out Wanderer Dark Cloths out of Oregon for a fantastic and durable focusing cloth. As for loupes, I strongly recommend a used Toyo focusing loupe (around $80 USD)

5. Utilize a film changing bag or tent for loading and unloading your negatives. You can source a changing bag for as low as $20 USD.

6. Last but not least, grab a decent cable release (at least 1 foot long) and use a sturdy tripod. Now you’re ready to go!

The above list is a great starting point, and I’m always happy to answer additional questions as they come up!” -AJ

We would like to thank AJ for letting us feature his work and sharing his knowledge on shooting 4x5. Check out more of his work on his Instagram

AJ stays pretty busy with things here at Negative Supply, and as a result he sends his film to Mark Sperry at Northeast Photographic. Mark expertly develops and scans all formats of film from 35mm to 8x10 large format, and he scans with a range of tools. For 4x5 scanning Mark uses our Pro Mount MK2 and our 4x5 Film Holder. Thank you, Mark, for using Negative Supply tools, and thanks so much for running a truly top notch lab.

Check back for more features, interviews and more coming to our blog (and YouTube) coming soon, friends!