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Connection Over a Century Hanna Heinilä (née Hermonen, 1890–1981) was born to a vicar’s family in the small town of Luvia on the west coast of what at the time was the Grand Duchy of Finland. She had her first camera in around 1906 when she was sixteen years old and began photographing without any formal education. She bought dry-plate glass negatives from the nearby towns and learned to develop them at home by herself. Nothing was known of Hanna’s extensive work as an early photography pion...

In March 2020 we issued a statement in relation to instances of spots / mottle affecting a small percentage of 120 roll film negatives. The quality of our products and the satisfaction of our customers is paramount and something the ILFORD name has been built on for over 140 years. Our R&D team were tasked with resolving this issue and so we would like to update you as to what they have been up to. With your help we have been able to more accurately track and identify instances of spots / mottle o...

Shooting 35mm film Sprockets with Kentmere 400 and a medium format TLR Including sprockets in scans is nothing new but has increased in popularity recently. While the inclusion of sprockets showing the film name looks great, as the photographic emulsion covers the full 35mm width of the film in your cassette, it is actually possible to expose your image beyond the standard 24x36mm frame and cover the entire sprocket area with your image. I thought I’d give this a try with my TLR, so read on below to f...

We thought it would be a great chance to chat with Ben Hawkins & Liza Kanaeva-Hunsicker about their book 'Shooting Film'. This book is a beginner-friendly book which introduces curious individuals to the world of analogue photography. A little bit about yourself Liza: My name is Liza Kanaeva-Hunsicker, I was born and raised in Moscow, got my Bachelor’s degree in California and have been living and working in NYC for the past 11 years. I’m a multidisciplinary artist working primarily in photography...

One Specific Speed Rating Us film photographers are used to the limitations of our medium. In fact, we often regard them as strengths, and not weaknesses. But even we can’t really take issue with the suggestion that as soon as we begin to expose a roll of film we are limited to one specific speed rating, making it more difficult to adapt to quickly changing light conditions. On digital: no problem. Just whack the ISO up to some implausibly high number, and keep shooting. Sadly we just can’t do that mid...

What would happen if I dedicated myself entirely to film photography? More then a year ago I had this idea in my head. What would happen if I dedicated myself entirely to film photography? After 10 years of being a sidekick to my creative output, I felt the need to give more attention to my analogue passion and the desire to change my creative habits. To challenge myself. To no longer rely on the vague promise of the digital safety net of mass storage and a camera screen that promises instant judgement of ...

You may already be familiar with his work from his regular contributions to popular photography websites like 35mmc and Casual Photophile. We're excited to introduce our 79th In Focus interviewee, Sroyon Mukherjee. SECTION 1 - BACKGROUND SHARE YOUR FAVOURITE IMAGE / PRINT SHOT ON ILFORD FILM AND TELL US WHAT IT MEANS TO YOU? My favourite images tend to be of friends and family, but I’ll share an image that I like for its own sake (as opposed to purely personal or sentimental reasons). I...

My K1000 I began taking photographs in the late 1980s as a teenager when my dad bought me a Pentax K1000. Both my dad and grandpa enjoyed photography, were big influences on me, and my dad wanted to share the excitement of photography. We enjoyed taking photographs, mainly of landscapes and of places that we visited, me with my K1000 and my dad with his Canon AE-1. When digital cameras became the standard in the early 2000s, we drifted away from film and instead became enamored with this quick and comparat...

Discover how Zach Nichols created this stunning long exposure shot in our 'How I Got This Picture' interview. We have noticed, if it's not a double exposure, your next favourite has to be nighttime long exposures. IMAGE TITLE Fire Tower Starlapse TECHNICAL INFO FILM USED ILFORD HP5+ FORMAT 4x5 CAMERA Chamonix LENS Nikon 90mm f/4.5 Nikkor-SW EXPOSURE TIME 45 – 50 minutes OTHER EQUIPMENT 1 Can of Atmosphere LOCATION Just outside Hot Springs, South Dakota. FIRSTLY, TELL US THE STORY...