The problem with film reviews is that they get stale over time as things change and don't get updated.

Some thoughts on taking film through the airports

Today, even though they are distinctly technologically obsolete, you can buy oak barrels, hand-forged iron items, hand-spun fabrics, biplanes, heirloom plants, and a variety of painting processes that Acrylic paints were supposed to replace.

Night landscape photography is astonishingly peaceful and meditative.

There's a certain amount of standard advice for shooting night photography. One of them is to shoot either Fujichrome 64T or Kodak Ektachrome 160T for film. Both films are well-behaved and well-characterized tungsten balanced slide film. With slide film, you don't need to worry about automatic machine corrections like you do with print films, so that's easy to understand. Both films have about as reasonable figures for long-exposure reciprocity as you'll find in a manufacturer datasheet. <br />But, tungsten color balance? Why do most night photographers shoot using tungsten color balanced film, or the tungsten setting on their digital SLRs?

Nicolai Grossman and I got into a debate lately about his <A href="http://photondetector.com/blog/2006/04/16/why-chrome/" >weblog entry asking why we film-based photographers still shoot slide film.</A >

A few observations about working with models.

Around September of 2005, I started thinking that, even though I'm not actively drawn to looking at what others have shot on cross processed film, while there's still film and developing chemicals at ready access, I should try shooting it.

The past week, I've been holding a silent nighttime funeral ritual for an impressive piece of history....

From Feb 18, 2006, to Apr 04, 2006, six pieces were on display at Coffee Society, Cupertino Library