Search results for: 'this try'

The Main Topics My name is Maria Guțu I am a Moldovan born and  based photographer, focusing on long term documentary projects.  In 2022 I finished my studies at the Docdocdoc School of Modern Photography, Saint Petersburg, earlier, in 2020 I graduated in cinematography at the Academy of Music, Theatre and Fine Arts from Chisinau, Moldova where I have been studying for 4 years. The main topics in my work are remote places, youth, the notion of the home and the relation between humans and the environment...

La Santísima Tragedia Fanesca: A Celebration of Cultural Syncretism Through Fashion and Photography. Fanesca: Una celebración del sincretismo cultural a través de la moda y la fotografía. Latin American Society Fanesca is an evocative body of work created by London-based photographer Lucho Dávila, exploring cultural syncretism and the evolution of identity in contemporary Latin America. Through this ongoing autoethnographic project, Dávila reflects on his Spanish and Ecuadorian heritage, cap...

The 1800's Alfred Harman 1879 founded by Alfred Harman making Dry Plates 1891 became the Britannia Works Company making 4 kinds of plates and 6 kinds of paper 1897 record profits 1897 sold by Alfred Harman who retired due to ill health 1898 became known as The Britannia Works (1898) Limited 1899 first Ilford Manual of Photography 1900 to 1940 1902 changed name to Ilford Limited 1912 Ilford started to produce roll films 1920 Selo Limited formed incorporating Ilford, Imperial, Gem and Amalgam...

Advice for vegans  Do your ILFORD Chemicals contain Animal products? No. Do your film or paper products contain animal products? We use animal gelatine in all our film and paper products. The gelatine we use is a by-product of the farming industry and no extra animals are used to make it. Why can’t Gelatine be substituted for something else? Gelatine has unique characteristics which act as a membrane matrix for the silver crystals but also interacts with the crystals as they are formed. Substitu...

Lifelong love of black and white Growing up in the late fifties and sixties, one of my favourite movies was The Day the Earth Stood Still, a lot of which was shot at night in black and white. That early exposure to film noir inspired a lifelong love of black and white photography, especially at night. When I first started shooting pictures in 1967, though, the only option for night photography without a tripod was “pushing” 400 ASA film and using specialized developers. While what was essentially un...

We didn't see the usual glut of images for our #speed themed #ilfordfridayfavourites. However, the ones that we did receive were great. These are the ones that we liked the most @jwgalleryuk Cross country. #largeformat #4x5 #ilfordfp4 #believeinfilm #speed #ilfordfridayfavourites   @davewooff #ilfordfridayfavourites #Morris FP4 plus on a Yashica MAT   @jwgalleryuk #wakeboarding is not my usual subject matter but enjoyed the challenge of shooting action on #ilfordpanf ;) #spee...

My Darkroom I have always liked the quote of the master printer Ansel Adams  “Photography is like music, the negative is the score and the print is its performance”. Every performance is different. That’s so true, the prints I do now I are often different from the ones I did a few years ago. Better technique, more experience perhaps, but more likely my mood and interpretation of the image has changed. Good advice When I was starting my photographic practice I used to buy my ILFORD materials...

For our 12th Behind The Film interview, we speak to Jonathan Osborn who is one of our scientists here at ILFORD. Who are you? What’s your job title HARMAN technology and how long have you worked here? My name is Jonathan Osborn and I am a Scientist at Harman.  I am currently in my 25th year working at ILFORD.  (Where did that time go!) Tell us a little about your day to day role. Predominantly I have worked on the photographic paper side as the lead scientist on the development of the fantastic new ...

Queer Representation I made the first photograph for The Queering of Photography in 2015. I had recently begun my doctoral studies and there I was, in the Royal College of Art studios, trying to make a start with an academic project on queer representation. My friend Ruth had agreed to sit for me and together we set up the studio. Once I placed a piece of masking tape on the floor, Ruth positioned themselves just behind, ready for the first frame. I had brought with me a handful of printouts from photobook...