Harman has brought back the original Phoenix emulsion with a lower box speed and a new DX code. We think the price cut announced alongside it is the larger story.

Lucky Film's second modern colour emulsion turned up in a distributor's storefront this week with no announcement attached. It is already out of stock, and the medium-format question nobody has answered is the one worth watching.

The figure that spread through film photography this week belongs to a reporting segment, not to a film stock. The number that will reach the shelf is in the same filing, and it is silver.

A tank, a few chemicals, controlled time and temperature: everything you need to process your first roll at home, understand the basic workflow, and choose a developer that fits the way you work.

The Archives of American Art has the whole transcript online, free, and Callahan answers most of the questions about his own working method in a sentence or two.

A thirteen-minute television interview from 1996. We keep going back to what DeCarava says about sharpness, about working in the dark, and about the one subject he never managed to photograph.

Flatbed, dedicated scanner, camera scan, or lab, the best way to digitize film depends on what you shoot, how much control you want, and where you’re willing to spend your time and money.

We map what a serious beginner needs to know before a first 4×5 — the working system, the sequence of one exposure, and the honest costs — so the decision to start is an informed one.