Since our launch in early 2019, we’ve been committed to unveiling a complete ecosystem of revolutionary products for the world of film scanning. Knowing many of our supporters and users are totally new to the concept of scanning film with a digital camera, we’ve composed this range of one-stop solutions that covers nearly every film scanning need for all formats from 35mm and mounted slides through 8x10 film.

We know building your film scanning setup can be a bit confusing, but our kit options remove the guesswork for you!

Basic Kit for 35mm Scanning (with 4x5 Light Source Basic)

$499.00

Advanced Kit for Scanning up to 4x5 Film

$999.00

Pro Kit for 35mm, 120, and 4x5 Scanning (with 5x7 Light Source Pro)

$1699.00

8x10 Pro Kit for All Formats up to 8x10 (with 8x10 Light Source Pro)

$3,199.00

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Check out our latest video for a look behind the scenes at the Negative Supply HQ, a glance at our production processes, and a quick view of what we do in our spare time - making film photographs!

Welcome to another Negative Supply Spotlight! This time we’re honored to share the work of friend and Negative Supply user/beta tester, and film lab owner/operator Mark Sperry of Northeast Photographic! Mark has beta tested several of our major film scanning tools since our Film Carrier MK1, and has most recently worked with various versions of our 8x10 Film Holder and 4x5 Film Holder (betas and production models). His cutting edge work and offerings with Northeast Photographic make his lab unique among a host of other options, and his attention to detail with his clients is exceptional. Sometimes we’re too busy to develop our own film here at Negative Supply, and as a result we trust Mark with developing for us, as well as scanning our film using Negative Supply film scanning tools! Read on below to hear more about Mark’s background with film photography, and feel free to comment if you have a question!

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

“I started making photos in High School when I took my first photography course.  It was one of the few areas in which something just snapped into place and I actually succeeded.  Then getting access at a community darkroom was just what a nascent introvert needed to escape for hours at a time.”

Rolleiflex Hy6 Mod 2 Provia 100F © Mark Sperry

Q: What do you enjoy most about shooting film?

“The film process to me simply is my definition of “photography”.  When I’m going out to make photographs, there is no situation in which I don’t imagine loading film into a camera and getting to work.  There is a process and a craft that can be completely separated from what we tell our children (and intrinsically know we should limit) is “screen time”.  I’m glad that digital has basically supplanted much of the commerce side of image making, we don’t need 100s of sheets of Ektachrome dedicated to a new box of cookies.  However, I generally believe a hard drive full of .NEF or .CR2 files is < a catalog of carefully stored images shot on a medium made of silver, wood, and bone.”

Rolleiflex Hy6 Mod 2 Provia 100F © Mark Sperry

Q: How did North East Photographic come about and how long have you be running it?

“I had a unique set of skills for film processing and scanning, and when my wife and I relocated to Maine, I needed a job.  After many conversations over hazy New England IPA’s, we agreed I should follow my dream and start a lab.  It was very sink-or-swim, and still is in some ways.  We’ve been processing since 2018, and we’ve grown a lot, especially this year.  We are going to keep striving to expand until we can open a commercial space that will be not just the lab, but also a community spot for gatherings, work shops, salons (not the hair kind), and more.  But like I said, it’s sink or swim every week and we still have a long way to go!”

Rolleiflex Hy6 Mod 2 Provia 100F © Mark Sperry

Q: Do you have any advice for people who want to open their own lab?

“You do this if you love it.  I still find analog photography to be straight up magic.  It is scary (things break and parts are rare), expensive, a TON of work, and there isn’t all that much money in it.  But it can be a good career if your goals are to live a modest life of making pictures and helping others develop their artistic visions.  Personally I would try to work at a lab for a few years before I bought any equipment.  It definitely took me at least a year to get great at scanning with the Frontier.  Customers have a lot of choices and high expectations.”  

Provia with a Chamonix 45N2 and a Schneider 150/5.6 © Mark Sperry

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

“I love Ektachrome for it’s outstanding color palette and the miracle of it’s existence.  Really I think the Kodak C41 stocks are just top notch.  Portra 160 and Ektar are show stoppers.  Mostly I have a hard time choosing between those.”

“Ilford B&W films are usually my go-to, and among those FP4+ is I think my favorite.  However lately I’ve been shooting a lot of Bergger Pancro 400 and Catlabs X 80.  I think I just enjoy that they’re a little weird.  Pancro is so grainy, and Catlabs X 80 really has to be shot at ISO 32, but when you nail the exposures they make lovely images.  One super grainy with tones for days, one snappy with incredible detail. “

Rolleiflex Hy6 Mod 2 Provia 100F © Mark Sperry

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

“My personal work is at odds with my time spent in the lab.  The sad reality of owning a lab is you have very little time to shoot your own stuff.  However I’m making time when I can.  I finished (I think) a series on an abandoned house here on Westport Island.  I am shooting a project that is sort of focused on our polarized culture, it’s very early days so I expect it will mutate.  I am also trying to shoot landscape images of the local preserves using 4x5, 5x7, and 8x10 B&W film.”

Rolleiflex Hy6 Mod 2 Provia 100F © Mark Sperry

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

“I use the Mark 1, the 120 carrier, and the large format tools.  They were a game changer in my ability to create incredibly high resolution scans of basically all formats, especially large format.  They enabled Northeast Photographic to launch a really great large format service that is lower cost than anyone else in the industry, and still delivering outstanding quality.  If I was once considering an Imacon, or other fine-art-repro grade scanner, I no longer am.  You can do it all with Negative Supply tools and good technique.  I am REALLY excited about their upcoming light panel.  That’s the next area of evolution that needs to be addressed.” 

We like to thank Mark for letting us highlight his incredible work! And for using Negative Supply tools for not only his personal work but for also using them in his professional lab!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 Mark used to scan his images.

Also be sure to check him out on Instagram, @marksperry @northeastphotographic

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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!

We’re very excited to share yet another Negative Supply spotlight highlighting the wonderful work of Guy Houben! Guy is fairly new to the photography world but has already established a successful photography business. Currently focused on building his portfolio, it’s our pleasure to show off several of his recent images. Guy uses Negative Supply tools in his film scanning workflow, and his use of our Full Border Scanning Guides with his Film Carrier MK1 creates an iconic look. Check it out!

Introduce yourself to the Negative Supply community and give us a brief biography! 
"My name is Guy Houben, I'm 29 years young and have been photographing for the last 5 years or so. During my bachelors study in Communication & Multimedia design I had a few lessons in photography and was hooked from that moment. I started to watch more and more videos on youtube and learned myself a lot by just trying out a lot of things in photography. After a year I started my business and I have been living from photography since then. Now, my main focus is wedding photography, interiors and gastronomy. But I am trying to build a portfolio in fashion, portraiture and documentary photography as we speak.”

Q: How did you first discover your passion for photography and when did you start making photos with film?
"I think I started shooting film when my father gave me his old Olympus MJU-1 limited, I disliked the fact that it was a point and shoot and started looking for other types of film cameras. That's when I bought a mint Nikon F3.

Q: What do you enjoy most about shooting film?
"Being limited in the amount of photos you can take. It really made me think about the shot I have in mind and this also changed my way of shooting digital film. I also love the natural toning and grain that film has.”

Q: What are some of your favorite film stocks? Color or black and white, and why?
"I love Kodak Gold 200 for it's colors in direct sunlight and Portra 160 and 400 for all lighting situations. For black and white I prefer Tri-X”.

Q: Do you develop yourself?
"No, but I'm going to develop my first black and white film this week.”

Q: Are you working on any longterm body of work or photographic series you’d like to discuss?  
"I'd really love to make a book/magazine with my favourite work of my last years and I have some longterm series in mind but at the moment I'm super busy with client work.”

Q: What Negative Supply tools do you use, and how have they changed your workflow?
"I use the FILM CARRIER MK1 + PRO MOUNT MK2, 4x5 film sheet holder and the full border scanning guides.”

We’d like to thank Guy for allowing us to feature him and his awesome work! 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 Guy used to scan his images.

See Guy’s Instagram here: Guy’s Instagram

Warmly,
The Negative Supply Team

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In July of 2019 we launched our Film Carrier MK1 for 35mm film on Kickstarter. That campaign saw early and great success, and inspired us to continue down this path of revolutionizing the way film photographers everywhere scan their film. Since that time we’ve launched our Film Carrier 120, 4x5 Film Holder, various professional light sources, copy stands, and numerous additional accessories.  

We didn’t stop there. Today we’re thrilled to finally launch scanning support for an even larger format: 8x10 film. Our 8x10 Film Holder, 8x10 Light Source Pro, and Pro Riser XL are the perfect trio of well thought and designed tools built to help tell your story in scanning your film. Available a la carte or in various kit combinations, we’re here to meet your 8x10 scanning needs.

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8x10 Film Holder- A modular platform for all formats

Features at a glance:

• 8x10 or 5x7 interchangeable ANR glass surface utilizes two sheets of glass to keep film perfectly flat

• Interchangeable inserts to utilize our Film Carrier MK1, Film Carrier 120, and more as a cohesive system

• Magnetic clamps to facilitate quickly changing from one format to another, and additionally encourage ANR glass to keep film flat

• Spring loaded leveling for perfect alignment on every capture interchangeable inserts for 35mm and 120, magnetic clamps for quickly changing all inserts, spring loaded leveling for perfect alignment, and mounting points to create rigid riser/camera/carrier setup. This is literally a one stop shop for anyone looking to shoot any format.

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Pro Riser XL - one riser to do it all

The Pro Riser XL is our newest addition to our family of copy stands. At 50% taller, wider, and deeper than our Pro Riser MK2, this is our ultimate offering for 5x7 and 8x10 film scanning. The most advanced copy stand we have ever made, our Pro Riser XL allows anyone scanning larger formats to scan without compromising. 

Features at a glance:

• New bearings allow for smoother raising and lowering of the head (point where camera is mounted)

• Camera mounting point includes new adjustments to guarantee a level scanning plane

• Fine and coarse focus adjustment knobs at the base of the Pro Riser X: ensure accurate and quick focusing adjustment

© AJ Holmes

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8x10 Light Source Pro (95 or 99 CRI) - bigger & brighter

We are all really excited to be offering two different versions of the new 8x10 Pro Light. There is a 95CRI variant and a 99CRI variant. The higher the CRI, the higher the color fidelity. If you’re scanning mostly black and white then the 95CRI is for you but if you’re a discerning photographer who is shooting both C41 and E6 films then the 99CRI light source is going to be far more accurate

Features at a glance:

• Fully fan cooled chassis 

• Modular light Panels (Upgradable by us in the future)

• Masks for different formats 

• The ability to cut the power to certain bulbs to cut down on wasted light and conserve energy.

• Mounting brackets to secure the light to our Pro Riser XL and 8x10 Mount

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COMPLETE 8X10 LARGE FORMAT SCANNING KIT (95 OR 99 CRI)

If you’re like us and you shoot 8x10 film in 2020, you know just how difficult it is to scan your film with existing solutions. We get it, and we’re committed to saving you time and headache with 8x10 film scanning. Negative Supply tools are hand built by film photographers for film photographers, and they’re built to last a lifetime of professional use. We’re thrilled to offer kits in the following combinations:

• 8x10 Film Holder (with 2x sheets of 8x10 ANR glass) + Pro Riser XL

• 8x10 Film Holder (with 2x sheets of 8x10 ANR glass) + Pro Riser XL + 8x10 Light Source Pro (your choice of 95 or 99 CRI)

Have questions? Reach out! We’re here to help 24/7 via email, our online chat, and on our social media channels.

Best,
The Negative Supply Team

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!

We’re very excited to feature another member of the Negative Supply community, this spotlight featuring the wonderful work of Gabe Vega! Gabe has been shooting film for just over 3 years and has been creating exciting triptych style imagery, as well as some unique panoramic photography with his XPAN. His panoramic images were shot on a Hasselblad XPAN, scanned using the Film Carrier MK1, and stitched together in Photoshop. Check out the interview and his amazing photos below, and feel free to comment if you have any questions!

When did you start making photos with film?

“I have always had a passion for photography and have been shooting digital for over ten years. In just the past 3 years I rediscovered film and it has been my preferred form of photography since.” 

What or who inspires you to make your work?

“My inspiration has evolved over the years. For a long time I enjoyed taking photographs at concerts, which stems from my love of music and the industry. I have also travelled a lot and being exposed to so much has made me want to share these adventures through my eyes. As of recently, due to the social distancing requirements, my inspiration comes from capturing what I can find in isolation, such as old cars and abandoned buildings.” 

What formats do you use?

“I use all formats, however my favorite is medium format. My go to camera being the Pentax 67 and I love all the detail I am able to capture in my shots. I also really enjoy shooting half frame and panoramic.” 

Color or black and white, and why?

“I prefer shooting color because one of my favorite aspects of photography are the tones and colors. Some of my favorite films to shoot with are Portra 400 and Lomo 800. I do enjoy shooting black & white as well, especially on foggy days or if I’m trying to portray a certain mood. For black & white I typically shoot with Ultrafine Extreme 400 and HP5.”

Stylistic decisions (half frame, triptych, panorama)?

“I love all styles of photography, but recently I have really been appreciating half frames and creating triptychs. I enjoy being able to take into consideration the flow of each frame. Depending on my location, it can challenge me and make me push myself to see my surroundings in a new perspective.”

Do you develop yourself?

“Not at the moment, but I want to start soon! I have always wanted my own dark room and studio.” 

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

“I am still in process of experimenting with different cameras and film as I build my portfolio before I jump into any large scale projects. A small series I just completed was called “Beach Closed” which is in reference to the lockdown we have been experiencing.” 

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

“I use the MK1 Film Carrier to digitally scan photos from home. Using the film carrier has been a game changer for me; I used to spend so much time setting up my negatives to properly scan, but with the MK1, it’s so easy and effortless. I can’t wait for the 120 Film Carrier to be released!”

We would like to thank Gage for allowing us to feature his fantastic work, and for using Negative Supply tools when scanning his images. 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 Film Carrier MK1 Gabe is using to digitize his work, and feel free to reach out with any questions you may have!

Warmly,
The Negative Supply Team

Dennis Dimick has been a photographer and photojournalist for 50 years. Earlier this year he acquired tools from Negative Supply to begin camera scanning his mostly 35mm personal photo film archives. Over the years he has produced a large collection of black and white, color negative, and color transparency images – mostly Kodachrome.  He also has acquired a large collection of old negatives from his ancestors, which he is also digitizing. Since starting this project in early March, Dimick has now scanned more than 37,000 images and the work is ongoing. We visited with him in early July. You can find out more about Dennis at his website ddimick.com. His Instagram is @ddimick and twitter is @ddimick. 

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

 “As a college student in the early 1970s, I wanted to get into photography and began taking pictures and developing film in the student union darkroom at my university. I started taking journalism classes, got a job photographing for the student newspaper, and eventually became a newspaper photographer. I was a newspaper photojournalist for six years, and then spent 35 years as a photo editor at National Geographic. All the time I was working as a photo editor orchestrating book and magazine projects with photographers, I continued my own personal photography.”

Oregon Circus 1978 A small-town circus performance near Milton-Freewater in northeast Oregon, April 1978. Film was Kodak Tri-X shot at ASA 320 processed D76 1:1 water. Nikon cameras. Taken while I was working as a newspaper photographer in Walla Walla, Washington. © Dennis Dimick

Oregon Circus 1978 A small-town circus performance near Milton-Freewater in northeast Oregon, April 1978. Film was Kodak Tri-X shot at ASA 320 processed D76 1:1 water. Nikon cameras. Taken while I was working as a newspaper photographer in Walla Walla, Washington. © Dennis Dimick

Oregon Circus 1978 A small-town circus performance near Milton-Freewater in northeast Oregon, April 1978. Film was Kodak Tri-X shot at ASA 320 processed D76 1:1 water. Nikon cameras. Taken while I was working as a newspaper photographer in Walla Walla, Washington. © Dennis Dimick

Oregon Circus 1978 A small-town circus performance near Milton-Freewater in northeast Oregon, April 1978. Film was Kodak Tri-X shot at ASA 320 processed D76 1:1 water. Nikon cameras. Taken while I was working as a newspaper photographer in Walla Walla, Washington. ©Dennis Dimick

Peru 1989 Kodachrome: Scenes and people from a two-week trip to Lima and Cuzco Peru in February 1989. All images Kodachrome 64 and 200 Professional with Nikon cameras. © Dennis Dimick

Peru 1989 Kodachrome: Scenes and people from a two-week trip to Lima and Cuzco Peru in February 1989. All images Kodachrome 64 and 200 Professional with Nikon cameras.

Peru 1989 Kodachrome: Scenes and people from a two-week trip to Lima and Cuzco Peru in February 1989. All images Kodachrome 64 and 200 Professional with Nikon cameras. ©Dennis Dimick

Q: What do you enjoy most about shooting film? 

 “Well it is more contemplative and deliberate than digital photography. Film photography requires more precision and discipline, as each frame comes with extra upfront costs in more film shot. Also, the idea of a resulting negative or transparency appeals, as it does not require a computer to look at it. Analog film photographs as prints or slides or negatives do not require computer operating systems, imaging software, and specialized RAW file format decoders to read the images.”  

Enroute: Idea was to capture essence or feeling of what it is like to move from place to place. All Kodachrome 200 and 64 Professional, images taken with Nikon cameras during travels 1980 thru mid-1990s. © Dennis Dimick

Q: What are some of your favorite film stocks? 

 “My favorite film stock was Kodachrome but it has not been manufactured for many years. My next favorite is Kodak Tri-X, a versatile film with ASA 400 rating that can be pushed in processing to work in low light or pulled in processing to have a long scale that works well in high-contrast light. After that I tend to play the field, I’ve been trying the new 2018 version of 35mm Ektachrome, and have shot quite a bit of Kodak Portra 160 on my Rollei Tessar 3.5. Sometimes I’ll shoot Fuji films it all depends.”

Enroute: Idea was to capture essence or feeling of what it is like to move from place to place. All Kodachrome 200 and 64 Professional, images taken with Nikon cameras during travels 1980 thru mid-1990s. © Dennis Dimick

Enroute: Idea was to capture essence or feeling of what it is like to move from place to place. All Kodachrome 200 and 64 Professional, images taken with Nikon cameras during travels 1980 thru mid-1990s. © Dennis Dimick

Enroute: Idea was to capture essence or feeling of what it is like to move from place to place. All Kodachrome 200 and 64 Professional, images taken with Nikon cameras during travels 1980 thru mid-1990s. © Dennis Dimick

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

 The film carrier MK-1 has allowed me to unlock my film archives of nearly 50 years.  From early March  2020 when the equipment arrived through the end of June I have digitized more than 35,000 black and white and color negatives from 35mm film rolls I’ve taken from about 1970 through 2018. I’m now working on organizing and digitizing hundreds of rolls of Kodachrome transparencies from the 1980s and 90s which will take several more months.” 

 “I’ve also inherited a collection of archival negatives shot by my grandfather starting in the 1930s. Most of this film is uncut 35mm black and white negatives, all tightly wound in the original canisters. The MK-1 Film carrier allowed me for the first time to digitize the images on this film. Conventional film scanners and other film digitizing attachments for cameras always require cut film to fit into strip-of-six negative holders, This old film, brittle and curling, cannot be cut. I’ve also got a collection of about 450 medium format (mostly nitrate) negatives from the mid-1910s that I previously scanned with a flatbed, but will rescan these once I get my 4x5 film adapter plate from you. 

New York 1937: Images of Manhattan and Statue of Liberty by my maternal grandfather John H. Fitzgibbon. Editing and processing by Dennis Dimick

 When I used a conventional film scanner I could scan maybe 35 frames a day. Last year I moved to camera digitizing attachments that hook on the front of a DSLR macro lens. While those allowed me to begin using cameras for image scanning, I’ve always faced alignment issues as I change frames. 

 The Negative Supply equipment, which provides a rock-solid platform for consistently moving film through the film carrier with constant alignment, makes it possible for me to digitize about 5 rolls of 36-frame 35mm rolls (cut into into six-frame strips) with repeated framing accuracy. Uncut rolls go even faster. 

 The quality I get from digitized negatives is so much better than I had thought possible, The sensor on my full-frame 35mm digital camera has an almost 14-fstop exposure latitude, so if there is anything in these negatives worth capturing, my camera succeeds. This at least by my eye, with better quality and orders of magnitude faster than with any scanner.”

New York 1937: Images of Manhattan and Statue of Liberty by my maternal grandfather John H. Fitzgibbon. Editing and processing by Dennis Dimick

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

 “Well the 35mm negative MK-1 is great and I’m looking forward to receiving the new 120 roll film version which I helped support though the Kickstarter. While the 35mm mounted slide holder for the Pro mount works great, it also might be interesting to see if there is a way to build a mounted 2x2 slide carrier that would allow for faster slide digitizing, perhaps something where a stack of slides could be placed on one side and a roller – like on the negative carrier – could push slides into position for exposure.”

 “That said I’m aware that mounted slides are an archaic technology now, and I’m very grateful for the technology advances and quantum increases in digitizing throughput I’ve been able to get from the Negative Supply tools.”

Color Negative 1999-2000 Daughters Claudia and Sofia at home. Kodak Color negative, mostly ASA 100 and 200, all with Nikon cameras. © Dennis Dimick

Color Negative 1999-2000 Claudia Dimick at Dry Falls near Grand Coulee Washington, 2001. Photo ©Dennis Dimick

Equipment Used to Digitize:

Imaging with Canon EOS R 30 MP full-frame digital camera with 100mm f 2.8 L Canon Macro Lens. Canon EOS Utility 3 for live view capture via Macbook Pro. Editing in Adobe Photoshop Lightroom with negative conversion by Negative Lab Pro Plug-in. Images round-tripped into Photoshop for Canon CR3 to TIFF conversion. 

We would like to thank Dennis for allowing us to feature his incredible work, and for using Negative Supply tools to scan a record breaking number of images (37,000+)! 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 Dennis is using to digitize his work, and feel free to reach out with any questions you may have.

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!

Over the last several months we’ve worked non stop preparing for the Kickstarter 120 launch, however, along the way we’ve taken the economic slowdown as an opportunity to collect feedback and analyze each and every product we sell. During this process, we have come to understand that there’s a tremendous need for a more affordable camera stand to use when digitizing negatives. We have also spoken with customers and listened to changes they would like to see come to our current Pro Riser. So today we are announcing the Pro Riser MK2, and the all new Basic Riser MK1.

Basic Riser MK1

Both of these products compliment one another in our product lineup at different price and feature points, but build upon (and as always, improve upon) our standards for quality. From the start, we knew we wanted to work with more affordable materials, but wanted to take our time and get the process just right. The Basic Riser MK1 is our first product to incorporate wood into the construction, but does so in a way that meets our strict standards for functionality and quality. With a birch ply baseboard that’s precision milled using a CNC router and all new metal mounting brackets, we’ve created a simple, easy to assemble, and affordable option for those just starting out in camera scanning. While a few inches shorter than the Pro Riser line, this model works best with roll film formats, but can accommodate up to 4x5 on shorter Macro Lenses.

Pro Riser MK2

With all of the feedback we received from customers, the common theme was that folks didn’t want us to compromise anywhere on the design. When we first released the Pro Riser, we built a product that would work for most film types, but remained simple in construction (to keep prices down). This relied on 2D cut aluminum, and structural fiber composite components. While it met our expectation for function, customers have let us know that what they love about our Film Carrier line is the machined aluminum build. Today, we are releasing the Pro Riser MK2, with all machined components from solid Aluminum. New features include new aluminum top and bottom brackets, matching knobs to visually align with our Film Carriers, and optional leveling feet for use on uneven surfaces. For those that don’t need the leveling feet, we’ve sourced new rubber feet that far exceed the fit and finish of our current composite printed caps. Additionally, we’ve built an Arca-style rail into the front of the unit for those that use that system of tripod plates.

We believe we’ve made a tremendous upgrade to our offerings, and it’s all due to amazing customers that have graciously reached out to provide feedback. This feedback is instrumental in our ability to create the best products possible, and as a small business truly impacts how we operate and design for the film community.

Upgrades for the Pro Riser Family

As you may know, we don’t believe in required yearly upgrade paths. We believe the products you buy today should be used for life. That being said, sometimes we come out with new features that individuals just want to have. Rather than requiring an individual to buy an entirely new product, we are proud to offer modification kits for your current equipment. There are several options, but highlights include leveling feet, new columns, or simply new rubber feet and a new knob (free for existing customers for the next 30 days).

**Pending Orders that have not shipped (including Kickstarter) and include a Pro Riser MK1 will be upgraded with a metal top plate and rear slider knob at no cost. If you wish to upgrade your entire Riser to a MK2, please reach out and we will invoice you the price difference.

While we’re still getting settled into our new California HQ, we’ve been incredibly hard at work with recent orders and new ones, and focusing on several new product announcements! Read along here for more information on numerous announcements this past week.

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First Up, Our Light Source + Light Source Pro!

Our most basic Light Source is more than twice as bright as light pads offered by other manufacturers at a similar price point, and has a light area of 4.5x5.5 inches.  It comes in at only $79 USD, and rounds out a Negative Supply kit wonderfully if you’re seeking a great light on a budget.

Beyond our basic Light Source, we’re offering three different options with aluminum build and each with its own unique features, the Light Source Pro. 

All of our light sources feature high CRI (Color Rendering Index) to ensure high color fidelity and tonal accuracy for E6 and C41 film, however our two higher end Light Source Pro options feature an unheard of 99+/- CRI, guaranteeing the absolute best color and tonal reproduction.

Note: Our largest Light Source Pro isn’t available for pre-order at this time, but will be soon. Please message us to voice your interest in this tool! View the chart below to explore specifications of our lights, and feel free to contact our team with any question you may have.

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Film Carrier 120 is Available for Pre-Order Now + Scanning Kits!

Our Film Carrier 120 is finally available for pre-order after an incredible successful Kickstarter campaign! Thanks to our supporters from around the world, our campaign was funded over 440%!

Film Carrier 120 features:

• Incredibly sharp scanning due to superb film flatness thanks to included magnetic locking mask

• Included interchangeable drop-in masks for various medium format film sizes

• Durable aluminum build and meticulous design

• Full frame scanning of your negative or slide

We’re additionally thrilled to launch our long awaited film scanning kits!
Interested in a kit containing both our Film Carrier MK1 and 120? How about a Pro Riser MK1, Pro Mount MK2, or one of our new Light Source options? Chances are we have a kit that works well for you!

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Film Drying Rack is Available for Pre-Order Now!

The Negative Supply Film Drying Rack is a universal and well thought solution for drying film at home or in your studio or photo lab.

Simply slide the aluminum brackets (at top of unit) over the top of your open door, and this door-mounted drying rack will hold up to 12 rolls of 35/120 film or 12 sheets of 4x5 film!

We are overjoyed by the continued support of the film photography community, and we are so honored to have become a part of this industry. As we continue to hand assemble and ship orders to clients around the globe, keep an eye out for many additional announcements upcoming this year. We have plenty more to share, friends!

We’re film photographers designing and hand assembling tools for other film photographers. It’s our mission.

Warmly,
The Negative Supply Team

We’ve Moved to California

While we loved our Philadelphia HQ and it served our purposes, our organization is growing and our needs are changing. We’ve moved into a larger space with room to grow, making our operation much more efficient. We’re also tapped into a larger network of local resources to speed up production, and we look forward to greatly reducing lead times as soon as possible. The future is bright! 

Our Team Is Growing

Along with a growing organization comes the need for more talent, and we’re thrilled to add Bryan Long to our team! Bryan holds an undergraduate degree in photography, and his design and media background make him a great addition to our growing team during this season of change. Welcome, Bryan! 

New Product Announcements Tomorrow

Last and certainly not least, we’re thrilled to share several more very exciting announcements this week! Stay tuned via email and our social media for our upcoming updates, all of which are happening due to requests of our supporters and followers. 

Visit Website

Stay posted for more behind the scenes photos and video footage of our new California headquarters, where we will be demonstrating the many hands on processes now done in house thanks to the larger space and room to expand!

COVID-19 note: While we’ve continued to work at our California HQ, it has been at the explicit permission of local health authorities as we have a small team and have continued to socially distance, even while at work. We strongly encourage everyone to follow all COVID-19 guidelines outlined in your area, and continue to stay safe and well!

Warmly,
Saxon, AJ, & Bryan

Film Carrier 120 for Medium Format Scanning

It’s official: After being in development for almost one full year, the Film Carrier 120 is ready for its Kickstarter launch! We’ve worked tirelessly to create a product we are truly proud of, and we can’t wait to share it with the world. Look out for an email next Monday with information to reserve your film carrier on our Kickstarter, and don’t forget about special Early Bird options during the first 2 days of the campaign. 

Just like with our Film Carrier MK1 Kickstarter, we’ll be offering faster shipping and a larger discount for Early Bird Kickstarter backers, as well as a few exclusive offers!

Warmly,
Saxon & AJ

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Negative Supply exists to create tools for film photographers around the world that want to spend more time photographing, and less time scanning. Our first product, the Film Carrier MK1, allows you to digitize negatives using your digital camera and a macro lens in as little as 5 minutes (or less) with tools you may already have.

All taken on Ilford XP2 by Co-Founder Saxon in Pacifica, CA. with an Olympus OM-4Ti + 50mm f/1.8

Bryan Caporicci is a professional photographer and CEO of Sprout Studio, and has recently begun using film in his photographic process. Based in Ontario, Bryan took the Film Carrier MK1 (beta) for a spin over the past few weeks, and we’re excited to share a short Q&A with you all!

Bryan Caporicci, photographer and CEO of Sprout Studio

1) How long have you been shooting film, and what is your favorite stock?

Bryan: “I've been a full-time professional wedding and portrait photographer for 13 years.Ten months ago, after being inspired by a class I took with Joel Meyerowitz, I shot my first roll of film - ever - and I've been hooked ever since!”

2) When it comes to film development, do you develop at home or use a lab?

Bryan: “I develop all of my own film at home. For me, shooting on film is as much about the experience and connection with my work as it is about the finished image. I love being involved in the making of an image, from capture to developing to scanning and printing.

Going through that experience and having my hands involved in the entire photographic process is incredibly fulfilling and rewarding.”

Captured on Kentmere 100 film with Leica M6 and Summicron 50mm collapsible, scanned using Film Carrier MK1 and Fuji X-T3 with 60mm macro lens

3) What's your current scanning method, and what methods have you used since you started shooting?

Bryan: “I started like everyone else, using a flatbed for scanning.

I initially shot mostly B&W film in 120 format. Flatbed scanning was a bit tedious and cumbersome, but since I was only scanning 12 images per roll and because converting B&W is more straightforward than color, the inconvenience was manageable.

As soon as I started shooting 35mm and experimenting with color film, that workflow all fell apart for me.

Now, I scan using my Fuji X-T3 and 60mm f/2.4 macro lens. I sold off my Epson flatbed and have a permanent copy stand and light table set up for my digitizing. It is a much quicker workflow, and I prefer the results over my flatbed scanner. Using Negative Lab Pro in conjunction made the workflow infinitely more enjoyable for me, too.

I started off using the Lomography Digitaliza to hold my negatives on my light table. It was better than flatbed scanning, but it was still an inconvenience to have to open and reload the negative holder with a new strip every 5-6 images.”

Captured on Kodak TMAX400 film with Leica M6 and Summicron 50mm collapsible, scanned using Film Carrier MK1 and Fuji X-T3 with 60mm macro lens.

Captured on Kodak TMAX400 film with Leica M6 and Summicron 50mm collapsible, scanned using Film Carrier MK1 and Fuji X-T3 with 60mm macro lens

Captured on Kentmere 400 film with Leica M4 and Summaron 35mm, scanned using Film Carrier MK1 and Fuji X-T3 with 60mm macro lens

4) How did the Film Carrier MK1 impact your scanning workflow?

Bryan: “Now that I've used the Film Carrier MK1, I couldn't imagine any other way. It is truly my "secret weapon" in film scanning - I can now get through an entire roll of 35mm film (36 exposures) in less than 5 minutes from start to finish. It makes scanning simple, quick, and enjoyable.

Now, I don't dread the digitization process. I can photograph unapologetically without hesitation and not dread the process of getting them onto my computer.”

5) Do you see a benefit to switching to the MK1 as your primary 35mm scanner?

Bryan: “Yes! I wouldn't have it any other way!”

Captured on Kodak 400TX film with Leica M6 and Summicron 50mm collapsible, scanned using Film Carrier MK1 and Fuji X-T3 with 60mm macro lens

6) Do you foresee yourself having an interest in our 120 full roll scanner?

Bryan: “I am almost to the point now that I don't want to shoot 120 until I can use a Film Carrier from Negative Supply. It makes the whole experience so much simpler and quicker, and I find myself shooting more 35mm these days since I know the digitization will be simple.”

“Now that I’ve used the Film Carrier MK1, I couldn’t imagine any other way. It is truly my “secret weapon” in film scanning - I can now get through an entire roll of 35mm film (36 exposures) in less than 5 minutes from start to finish. It makes scanning simple, quick, and enjoyable.”

— Bryan Caporicci

Captured on Kodak Color Plus 200 film with Leica M6 and Summicron 35mm V3, scanned using Film Carrier MK1 and Fuji X-T3 with 60mm macro lens

The best (and quickest) way to scan (digitalize) your film negatives with a mirrorless camera.

Above: Bryan (via Sprout Studio YouTube channel) discusses his scanning process using a digital camera and the Film Carrier MK1. Check it out!

See Bryan’s work here: https://www.bcapphoto.com/
Check out Sprout Studio here: http://getsproutstudio.com/
Check out Bryan’s Instagram here: https://www.instagram.com/bcapphoto/

Thanks for reading along, friends!

Wanna pre-order your very own MK1? read below!

Designing a device like the Film Carrier MK1 doesn’t happen overnight, and for Negative Supply Co-Founder, Saxon McClamma, the MK1 is the result of a years-long passion both for design and photography. Read on for a glimpse into Saxon’s design background, his influences and inspirations, additional insights on the Film Carrier MK1 and the future of Negative Supply.

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Pictured: Saxon McClamma making photographs. Captured on Mamiya RZ67 and scanned on our 120 beta scanner.

When did you begin designing, or when did you become interested in the process of designing a product or concept?

Saxon: “While I’ve always been one to build and take things apart, the first big project I remember was building a boat after high school. I was fascinated with the simplicity of stitch and glue construction, and figured I could have it together within a week. It ended up taking me 2 weeks, but the process was incredibly rewarding. At the time I loved that I could build something to suit my needs (I needed a small, agile boat to go up and down rivers), and being hands on was what I needed after leaving high school where I took welding classes each year.”

Is product design (or similar) in your family history?

Saxon: “In some ways, yes. My dad has always built furniture and worked with his hands, and my grandfather on my mom’s side was a civil engineer for the Florida DOT, and my grandparents on my dad’s side participated in craft fairs.”

Film Carrier MK1 with Pro Mount MK1, rendering by Saxon McClamma, 2019.

Do you have an academic background in design?

Saxon: “Yes and no, my background is in materials science and engineering. I was fortunate to be in a program at The University of Alabama at Birmingham that was led by amazingly talented professors. They encouraged creativity, and helped us see what was possible using materials and techniques. While some of the techniques we use on the MK1 weren’t even around when I was in school, I’ve been exposed to them through other ventures. Currently I am working towards a graduate degree in Sustainable Design, a central pillar in our company.”

Do you have specific design influences or inspirations, or styles that inspire or inform your work?

Saxon: “I’m influenced by many things, with simplicity and ease of use always being central to everything I do. Each time I design something, I go back dozens of times and ask myself “how could this be simpler or easier” - this process helps me work through issues iteratively, with end results better than I could have imagined. I think you see this in many cameras, including the Olympus OM series, the Nikon FM, and of course Leica.”

Above: Renderings of Film Carrier MK1 by Saxon McClamma, resulting from numerous iterative designs.

When designing the Film Carrier MK1, from a form point of view, what were your most important goals?

Saxon: “Industrial simplicity. I wanted the MK1 to function like a tool while being a beautiful piece of photographic equipment. I wanted it to sit out on desks and not look messy or distracting from the beautiful Leicas and Nikons I’ve grown to love.”

During design and testing of the Film Carrier MK1, from a functionality point of view, what changes did you make to improve your design/what shortcomings did you address?

Saxon: “The most important thing we worked towards during testing was film flatness and film stability, or the ability for the tracks to keep the film centered during capture. This ultimately leads to much faster and more consistent results, and we were able to ensure film flatness and stability through multiple design revisions, implemented from our beta testing feedback and results.”

Film Carrier MK1 partially disassembled, shown with customized hardware and in CNC machined construction.

“I believe Negative Supply represents innovation and an unwavering passion for film photography, and it was our goal to keep alive an industry we love. ”

Promotion for Film Carrier MK1 in CNC machined aluminum.

What significance goes along with switching the Film Carrier MK1 from multi jet fusion to CNC machined aluminum?

Saxon: “Looks and durability for one, but also functionality. Now we are able to have interchangeable inserts to show more or less of the film border, and these inserts can be shimmed to hold the film tighter for film stocks that happen to be slightly narrower. (More on this in the coming weeks).”

Moving forward, do you foresee similar, smaller design/manufacturing entities (such as Negative Supply) making up a significant portion of the film industry?

Saxon: “I do. I think a lot of people gave us flack for the price of our unit, but the fact is we did everything we could to keep the price as low as possible, and still run a sustainable business. Sure, we could have broken exactly even, but we wanted to have margins (slim as they were) that financed future products. I think you will see that our company and others out there have smaller markets than in the past, but the passionate base of supporters have been nothing but encouraging for what we represent. I believe Negative Supply represents innovation and an unwavering passion for film photography, and it was our goal to keep alive an industry we love. I am hopeful that our success encourages other inventors and designers to do the same, and I cant wait for what’s next.”

What is your current design work focused on?

Saxon: “Right now about all I can think about is logistics for the MK1 launch, but I’ve had time to begin work on the 120 unit and a 4x5 holder. We think the 4x5 product will really impress people, it’s going to align the negative precisely, but provide a user the ability to quickly move between frames.”

In the future, can you hint at what concepts you hope to design and complete, or what problems with film photography you wish to solve thru designing?

Saxon: “For us it’s hard to think about anything other than scanning, and I think that’s right where we belong at the moment. That being said, we haven’t forgotten labs, and are always looking for ways to automate processes that have typically been manual.”

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Interested in pre-ordering the Film Carrier MK1? We have a few units left at our introductory price!