Every week the Negative Supply team will share their favorite photography related content. Whether it’s a YouTube video we really like, a photo book we just picked up or a documentary we just watched. This is in an effort to highlight folks in the community, and inspire each other and you. Check out the links below!

Alan’s Recommendation:’ The Difference Between Anamorphic And Spherical Lenses Explained by In Depth Cine

“(As a creative person I have been dabbling in video and cinematography in general. Learning about the gear that's used to make your videos come to life is something that I've been very interested in lately. I love the “In depth Cine” channel and saw this video recently & thought this would be a great video to share for anyone interested in the art of cinematography.)’

Chris’s Recommendation: (How To) Zone Focus with a Leica Rangefinder and NEVER miss focus! by King JVPES

I just recently got my very first Leica (M4) and I want to get better at using a rangefinder for street photography. King JVPES gives a very in-depth explanation on what soon focusing is and how to use it. I’m definitely more comfortable with trying this technique after watching this video. Check it out!”

Natalja Kent www.nataljakent.com 

“I love Natalja’s work on a visceral and sensory level. The abstraction allows the viewer to make their own experience when viewing. Amazing work to let wash over you.”

Every week the Negative Supply team will share their favorite photography related content. Whether it’s a YouTube video we really like, a photo book we just picked up or a documentary we just watched. This is in an effort to highlight folks in the community, and inspire each other and you. Check out the links below!

Alan’s Recommendation - “Through a Different Lens: Stanley Kubrick Photographs”

“Stanley Kubricks cinematography was inspired by his early work as a photographer. So, I thought this would be a fun book to share for anyone that loves his films! Kubricks films continue to inspire cinematographers around the world and his photographs continue to inspire my photography!”

Andy’s Recommendation- Phlearn: Frequency Separation Tutorial “This is a technique that I use often for portraits and I wanted to share it with you all!”

Chris’s Recommendation: RETRO TECH: POLAROID by Marques Brownlee

“It’s awesome to see a tech guys like Marques Brownlee get his hands on “retro tech” especially Polaroid. This is a great video about the history of Polaroid and where they are now. It’s also fun to see our friend Kyle from Brooklyn Film Camera!”

AJ’s Recommendation: “Hold Still: A Memoir with Photographs”
”Hold Still is a revealing biography of Sally’s career as a photographer, her life as a mother and decision making around “Immediate Family,” her facing growing older, and much more. I strongly recommend any visual artist reading this book".

Brennan’s Recommendation : Voigtlander New M Mount Lenses!

“The gap between Leica and third party lenses shrinks every once in a while and Voigtlander has always been my favorite competitor! The worst part about the previous 50mm f/1.5 Nokton were the absolutely atrocious ergonomics. These newer lenses have different coatings for different styles but my favorite part is the better handling. I’m definitely eyeing this for myself.”

Hi everyone! This is an all new series coming to you every week. Every week the Negative Supply team will share their favorite photography related content. Weather it’s a YouTube video we really like, a photo book we just picked up or a documentary we just watched. This is in an effort to highlight folks in the community, and inspire each other and you. Check out the links below!

AJ’s Recommendation: Joel Meyerowitz “Provincetown” Photobook

Saxson’s Recommendation: Nico Photography Show (Spanish)

Alan’s recommendation :Vox Darkroom (How colorized photos helped introduce Japan to the world)

Chris’s Recommendation: Andy Sweet “The Last Resort” documentary on Netflix

Andy’s Recommendation: If you’re an LA local George Byrne is having a pop up show starting the weekend. More details on his website. https://www.georgebyrne.com/pop

Stay tuned every Friday for more Negative Supply Weekly Round Ups!

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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Continuing with our commitment to share exciting film photography content, we’re back with another film stock review! This time with a fan favorite and international best-seller, Kodak Tri-X 400 and Kodak Tri-X 320!

Background and history:
Kodak Tri-X 400 was Introduced in 1954 as a 35mm panchromatic black and white film, and was primarily used by photojournalists and reporters. Tri-X 400 was one of Kodak's first high-speed black and white films, and has remained a favorite since those earlier days. Tri-X was additionally launched in 120 film in the 1950’s, and eventually went on to be offered in various other sizes including 620 and 220 roll film.

Another Tri-X emulsion available today is Tri-X 320, aka 320TXP. This stock is now only available in sheet film sizes, regularly offered as a standard product for 4x5, 5x7, and 8x10 sheet film sizes. 320TXP is available as a special order film for various panoramic large format sizes, and standard large format and ultra large format sizing up through 20x24 inch film!

What’s available today?

Kodak Tri-X 400 is available today in 35mm (24 or 36 exposure rolls), 120 roll film, and 620 roll film as a special re-rolled product. These formats are available from most retailers. Kodak Tri-X 320 is available in 4x5, 5x7, and 8x10 sheet film sizes. It’s available on a custom order basis in 11x14, 16x20, 20x24, 4x10, 7x17, 12x20, etc. through Keith Canham of K.B. Canham Cameras. Keith is a wonderful resource to the large format community, and we strongly recommend working with him for all your custom Kodak film needs. You can reach Keith directly here: kodakfilm@canhamcameras.com

Have a look at several sample scans showing off both Kodak Tri-X 400 and Tri-X 320 in 35mm, 4x5, and 8x10 sizes! Info on above images: Pentax 645N, 75mm lens, Kodak Tri-X 400 rated at 400 and developed normal (N) in Kodak XTOL. © Chris Bartolucci

Ebony SW810 field camera, 300mm lens, Kodak 320 TXP 8x10 film metered at ISO 200 and developed normal (N). © AJ Holmes

Pentax 645N, 75mm lens, Kodak Tri-X 400 rated at 400 and developed normal (N) in Kodak XTOL. © Chris Bartolucci

Pentax 645N, 75mm lens, Kodak Tri-X 400 rated at 400 and developed normal (N) in Kodak XTOL. © Chris Bartolucci

Chamonix 4x5 H-1, 210mm lens, Kodak 320 TXP 4x5 film metered at ISO 200 and developed normal (N). © AJ Holmes

Chamonix 4x5 H-1, 210mm lens, Kodak 320 TXP 4x5 film metered at ISO 200 and developed normal (N). © AJ Holmes

Pentax 645N, 75mm lens, Kodak Tri-X 400 rated at 400 and developed normal (N) in Kodak XTOL. © Chris Bartolucci

Left: Ebony SW810 field camera, 300mm lens, Kodak 320 TXP 8x10 film metered at ISO 200 and developed normal (N). © AJ Holmes

Right: Ebony SW810 field camera, 165mm lens, Kodak 320 TXP 8x10 film metered at ISO 200 and developed normal (N). © AJ Holmes

Ebony SW810 field camera, 300mm lens, Kodak 320 TXP 8x10 film metered at ISO 200 and developed normal (N). © AJ Holmes

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Interested in learning more about the Negative Supply film scanning tools that brought these images to life? You can learn more by visiting the product pages listed below!

Thanks for tuning in, and check back next week for our next exciting blog post!

Welcome to the first of many film review blog posts! We’ve committed ourselves to trying and sharing the results of many different film stocks, both old and new, that photographers around the world use everyday. Some you’ll be familiar with, and some might be new to you (and us)! We’re thrilled to share our results with the Negative Supply community!

Our first film we tested was BERGGER Pancro 400.

BERGGER Pancro 400 Tech Details
Pancro 400 is a two emulsion film , composed with silver bromide and silver iodide. They differ by the size of their grain. These properties allow a wide exposure latitude.  Crystals are precipitated by a double-jet process guided under the control of a computer. The two emulsions are panchromatic, and are stabilized by high tech systems. BERGGER Pancro400 in 135 is coated on a 135 microns acetate base and includes DX Coding. It is designed with an undercoated anti-halation layer which clarifies during processing, and a anti-curling layer. Bergger Pancro was first released in 2016, the film was introduced in large format size 4x5, 5x7, 8x10, during the same year at Photokina they announced that they would be releasing the film in 35mm and 120.

Formats available now?

Bergger Pancro 400 is offered worldwide in 35mm, 120, 4x5, 5x7, 8x10, 11x14, and 16x20 inch film! We’d like to tip our hats to the incredible team behind this film - offering such wide support for large format (and ultra large format photographers) in 2020 is nearly unheard of.

Leica M3 and 50mm Summicron DR, Pancro 400 rated at 320, scanned with Film Carrier MK1 © Brennan McKissick

Mamiya 7, Pancro 400 rated 400, scanned with Film Carrier 120 © Alan Escalante

Mamiya 7 with 80mm lens, Pancro 400 shot at 250 and developed at 400, scanned with Film Carrier 120 © AJ Holmes

Mamiya RZ67 II with 110mm lens, red 25a filter, Pancro 400 rated at 1000 and developed at 1600, scanned with Film Carrier 120 ©AJ Holmes

Canon AE-1 Program and Pentax 645, Pancro 400 rated at 400. Scanned with Film Carrier MK1 and Film Carrier 120 ©Chris Bartolucci

AJ’s thoughts on Pancro 400
“Pancro 400 is an astonishing film that lens based artists can use to effectively tell their story, regardless of the look or feeling the artist is attempting to obtain or elicit. Responding well to both pull and push processing, offering a wide tonal range, and boasting a unique medium level film grain, this is yet another wonderful option in the world of 400 speed panchromatic black and white films.”

Chris’ thoughts on Pancro 400:
"I’m not always a fan of grainy films right off the bat. However, I really enjoy Pancros larger grain structure. It gives is a very classic look and is a fun alternative to other black and white film stocks. I would shoot it again!”

Alan’s thoughts on Pancro
“Berger Pancro 400 is one of the most interesting black and white films I’ve ever used. I love the grain structure of the film. it’s much less fine than anything from kodak or Ilford. Before using it here at work I never considered shooting Pancro 400. Now I’m going to be shooting it a lot more often.”

Brennan’s thoughts on Pancro 400:
“I think Pancro 400 really sets itself apart from modern films from the bigger manufacturers because of the way it looks. Where Kodak and Ilford have moved towards films that are sharper with more contrast, less grain and more dynamic range, Bergger has created a film that’s got a way more classic look to it. It’s got lots of big grain, a slightly flatter profile and glowier highlights. It’s nice to have a black and white option that has a more classic look.”

Interested in purchasing Pancro 400 to try for yourself? Find an analog dealer near you today at this link: Find a Dealer

Interested in the tools used to scan the sample images for this blog post? Have a look!

 We’re very excited to feature photographer, podcaster and YouTuber, Billing Manning on this weeks spotlight! Bill does amazing things for the film photography community and has been an early and ofter supporter of Negative Supply. We are thrilled to be showcasing some of his amazing work and hear his thoughts on how the Film Carrier 120 has helped improved his workflow!

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

“Hi there! I'm Bill Manning, and I am a photographer based in Atlanta, GA. I am also the creator of Studio C-41 and a cohost to the 1 Hour Photo Podcast with Jordana Dale and Steven Wallace. I have been a photographer for just over 10-years and the last five, including film in my workflow. While my workflow is primarily wedding and headshot photography, I've shifted my efforts into building Studio C-41 as a media-rich resource for analog photography.”

You can find us at studioc41.net! Subscribe to our YouTube Channel!

Image 1: Fujfilm Pro 400H – Mamiya AF-D II, 55mm f/2.8, scanned with the Film Carrier 120 ©Bill Manning
Image 2: Ilford SFX 200 – Mamiya 7, 50mm f/4.5, scanned with the Film Carrier 120 © Bill Manning

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

“I got into photography when I decided I wanted to get a 'good' camera for my honeymoon trip through Europe. My wife purchased the Nikon D90 as a wedding gift. From that day on, I was hooked. I got into film photography in 2015 when I raided my dad's closet and found his old Minolta x700. My dad said if I can get it working, I can keep it. It turned out it just needed a fresh set of batteries!”

Fujifilm Pro 400H – Pentax 67, 55mm f/4, scanned with the Film Carrier 120 ©Bill Manning

Q: What do you enjoy most about shooting film?

“I enjoy the process of creating a photograph. We live in an age where we get instant feedback, and for me, I feel like it devalues the artistic process. For workflow purposes, digital makes sense, and I embrace it entirely. However, there is a sense of pride in crafting an image from visually seeing it in your mind to taking the shot, developing it, scanning it, and printing.”

Image 1:: CineStill Film 800T – Pentax 67, 105mm f/2.4, scanned with the Film Carrier 120 ©Bill Manning

Image 2: CineStill Film 800T – Pentax 67, 55mm f/4, scanned with the Film Carrier 120 @Bill Manning

Kodak Professional Portra 800 – Pentax 67, 105mm f/2, scanned with the Film Carrier 120 ©Bill Manning

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

My heart is with Portra 800. There is a natural look and feel that feels more organic than Portra 160 and 400. While those stocks are fantastic, Portra 800 offers a different look. Generally, it is my go-to film with my Pentax 67.

“I have been into the new EKTACHROME E100 with the CineStill Film D9 developer kit. Initially, I hated how slide film scanned. You could never really get what you see in the scan. For some reason, slide just never interpreted well in a digital format. However, using my camera scanning set up with the Film Carrier 120, I had to bracket three stops to take advantage of this film's insane dynamic range, and developer combo has to offer.”

“I enjoy shooting black and white, quite a bit. Tri-X 400 is a personal favorite. It offers a grain structure that provides a look that is just timeless.”

“I can't say I prefer color over black and white. I think it comes down to the decision, as an artist, of your photograph's final look.”

Kodak Professional Ektachrome E100 – Hasselblad 500 C/M, 50mm f/4, scanned with the Film Carrier 120 ©Bill Manning

Image 1: CineStill Film 800T – Mamiya 7, 150mm f/4.5,scanned with the Film Carrier 120 ©Bill Manning

Image 2:Fujifilm Velvia 100 – Mamiya 7, 50mm f/4.5, scanned with the Film Carrier 120 ©Bill Manning

Q: Do you develop yourself?

“I used to have it done at the lab. However, with new product offerings for simple developing, like the CineStill Film E6 and C-41 kits, I find myself developing more and more at home.”

CineStill Film 50D – Mamiya 7, 150mm f/4.5, scanned with the Film Carrier 120 ©Bill Manning

Q: Are you working on any longterm body of work or photographic series you'd like to discuss?  

“My ongoing project is not exactly a photographic project. Since starting Studio C-41 Podcast in 2017, I continue to put my efforts into growing the podcast into a media-rich resource for film photographers. With a new home base studio in Atlanta, I plan to build my YouTube and Podcast channels. Additionally, I intend to host live workshops to teach those interested in analog stills photography (and maybe motion picture!)”

Image 1 Kodak Professional Ektar 100 – Pentax 67, 105mm f/2.4, scanned with the Film Carrier 120 © Bill Manning
Image 2 Kodak Professional Portra 800 – Pentax 67, 105mm f/2.4, scanned with the Film Carrier 120 © Bill Manning

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

“I currently use the Film Carrier Mk I and the Film Carrier 120 on the pro mount. When I purchased the 35mm carrier, I knew this was a total game-changer. When I had the privilege to beta test the prototype, I did not doubt I would include it in my lineup. I backed it because I knew this was going to be critical to my scanning workflow.”

Kodak Professional Ektachrome E100 – Hasselblad 500 C/M, 50mm f/4, scanned with the Film Carrier 120 ©Bill Manning

We would like to thank Bill for allowing us to feature his phenomenal work, and for using Negative Supply tools when scanning his images. His Ektachrome images were developed with Cinestill”s CS6 “Creative Slide” 3-Bath Kits for color-timing chrome, reversal and e-6 film.

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 link below to learn more about the 120 Film Carrier Bill is using to digitize his work, and feel free to reach out with any questions you may have!

Warmly,
The Negative Supply Team

We made a long awaited update to our very own Negative Supply YouTube Channel! First up? A how-to guide for using our Film Carrier 120!

In this video, we will show you how to use the new Film Carrier 120 in a few simple steps! With this tool, you can scan an entire roll of 120 film in under a minute, either as cut strips or an uncut roll. Our newly designed magnetic hinge mechanism ensures film flatness while scanning, and assists in attaining the sharpest results from your scans. Our new masks allow you to reduce the amount of light that spills through the edges of your frame, and also works to further guarantee absolute film flatness.

Top-down view of the tools featured and used in our Film Carrier 120 video

Our host, Chris Bartolucci, on the set of this video

Top-down view of film loading and advancement with our Film Carrier 120

Detailed view of the magnetic hinge mechanism on our Film Carrier 120

Final full resolution scans shot AJ Holmes using a Mamiya 7, Kodak Portra 400, and Film Lab Desktop for conversion

We’ll be regularly creating and sharing new content on our YouTube channel on all things analog photography, thanks to the team of talented creatives at Negative Supply who are committed to making film photography accessible to photographers everywhere! Interested in watching our latest videos or subscribing to our channel? Click the button below to do so now!

In our constant pursuit of reducing lead times, increasing workplace efficiencies, and working to design/unveil/and revolutionize the film photography industry one concept at a time, we’ve added even more incredible talent to our team! We pride ourselves on designing and hand-building quality tools for film photographers, and we’ll be able to tackle new projects and additional work with our growing team. We also pride ourselves on hiring members of the film photography community, such as Chris Bartolucci and Alan Escalante! Read below to learn more about them and their photographic work.

Chris Bartolucci
E-commerce/Production Lead
Social Media:
Instagram: @ChrisBPhoto
Twitter: @ChrisBPhoto
Chris is a portrait and unit still photographer, podcaster and YouTuber in Los Angeles. A 2004 graduate of Hallmark Institute of Photography, she’s been working as a professional photographer and avid film shooter ever since. Additionally, as co-host of the prolific film photography podcast, “Analog Talk,” Chris has made connections and engaged in meaningful dialogue with many of the largest film industry leaders, including those from Lomography and Kodak, as well as many other incredible organizations and image-makers. She regularly creates YouTube videos on all things film photography. She loves the 90’s, old Hollywood, flea markets, iced coffee, and Elvis. Her favorite camera is the Yahica t4 and her favorite film is Kodak Portra 400 (at the moment).

Chris and Alan as photographed by AJ Holmes. Ebony SW810 8x10 field camera, Schneider Symmar S 300mm lens, Ilford HP5+, scanned using Negative Supply 8x10 Film Holder beta.

Alan Escalante
Production Specialist, Social Media
Social Media:
Instagram: @alanescalante
Twitter: @filmpapi
Alan fell in love with photography several years ago, but only recently started using film in his creative process. Beginning with 35mm, he skipped 120 altogether and dove off the deep end when he added a 4x5 camera to his workflow (shoutout to AJ). Now he’s hooked and can’t look back. His favorite camera is a Toyoview 45CX and his favorite film is Kodak Ektachome 100. Focused primarily on lifestyle and documentary portraiture, Alan is actively building a new body of work and establishing his concept, progress from which can be viewed on his Instagram in the coming weeks.

If you follow us on Instagram we’d love for you to follow us on our new Twitter! Make sure to follow us for all the lates news and updates! Our handle is @Negative_Supply .

Stay tuned for upcoming announcements on large format via our Instagram and Twitter!

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!