Ladies and Gentlemen it is finally here: 18th May, our FIRST BIRTHDAY!
When we canvassed opinion a couple of weeks ago about how we should celebrate the occasion, a few things came up repeatedly: discounts on shipping, a giveaway, cool stickers, and new products.
Hopefully you already feel that we're delivered new products! With Berlin 35mm, a range of bulk rolls, CatLABS X80 in medium format and Fukkatsu 110 film all appearing in-store over the past week :-) we hope that there's been something exciting for every film shooter.
Which leaves us with two remaining ideas...which we've decided to roll into one, and make them today's focus:
Every order placed today (min. spend £10) will automatically be packaged and shipped as an Analogue Wonderland Birthday Party Bag! What this means:
1) UK shipping is just £1 all day! And that's our Tracked Delivery service, where you'll get a tracking number on email when it dispatches, allowing you to see where your lovely films are at every step of their journey to your home
2) Two Premium Stickers will be included in all qualifying orders! One unique Birthday commemorative sticker, and one premium film photography-inspired sticker exclusive to Analogue Wonderland.
You may also get some sweeties because...well it wouldn't be a Party Bag otherwise would it? Also please note that 'Bag' shouldn't be taken too literally - we will still be using our sturdy cardboard boxes for the vast majority of orders :-D
Of course all orders will also enter you into the draw to win the Year's Supply of Film (as long as you're also on our mailing list) so really, what are you waiting for?!
The newest medium format film on the block, this ISO80 B&W film is flexible and fun: great for everything from studio shoots to street sessions. The first wave of limited stock is available now! An emulsion not available under any other brands and only recently announced, we are delighted to have some stock for our customers already.
The mysterious brand that was announced to great fanfare in 2012...and which disappeared without a trace three months later, leaving behind empty shelves and broken hearts...until now! The FPP have uncovered the (cold-stored) products that were made but never hit market and we have persuaded them to let us sell some to our customers :-) There is limited stock in the first wave so don't wait - and if demands proves to be strong then I'm sure Mike will let us have some more!
We have been working on bringing bulk rolls to our store for a loong time - and we are thrilled that we've pulled our finger out and made it happen! Especially because - along with the usual Ilford and Kodak culprits - we've been able to include some Washi ('A' and 'S') to the range.
So for experienced shooters looking to economise by rolling their own 35mm, or for photographers experimenting with bulk for the first time - head over to choose your starting point! And if you've never heard of bulk rolls before we highly recommend Matt Day's excellent introduction that can be found here.
What's Next for the Birthday Festival?
We have lots of fun activities planned for Saturday - which is the specific day that we officially turn 1 - so don't forget to follow us on Instagram, Twitter and Facebook to join in the festivities!
On the 18th May we will celebrate our first year of trading! A full 365 days of film-based fun and activities, and naturally we want to share this occasion with our wonderful community who have supported us all the way.
So we have pulled together a full week of festivities. We will have the launch of NEW films and NEW brands; we will have FREEBIES and DISCOUNTS; and we will have a mammoth GIVEAWAY. Make sure you're subscribed to emails and following us on social media to get involved and take advantage of the deals and opportunities coming your way!
Win a Year's Supply of Film!
Today we are announcing the first activity: a Giveaway where one lucky film-shooter will win a FULL YEAR'S WORTH OF FILM!
Based on recent polls we've concluded that our customers shoot (on average) between 3-4 rolls of film per month. If we round that up a little :-) we are offering a prize of 52 rolls to one winner! One film per week for a full year of analogue adventures.
There will be some small flexibility in the final prize depending on the winner's shooting preferences, but expect the 52 rolls to be picked from across our range of suppliers and brands. Black and white, colour, 35mm, 120, expired, instant, pre-exposed and rare: this will be a prize to explore the full Wonderland of film that exists for analogue photographers today!
How to enter:
Place an order with us across our Birthday Festival (from 10th May-19th May inclusive*)
Make sure you're subscribed to our email list (there is a sign-up bar at the bottom of every web page)
Multiple orders across this period will be counted as multiple entries! We will randomly pick a winner when the competition has closed on Monday 20th May. They will be contacted and will receive their prize shortly after.
*If you ordered from us today before reading this announcement then don't worry: your order will be automatically entered into the draw. Just make sure you're subscribed to emails to be eligible for the prize!
Good Luck and Happy Shooting!
- Paul and Mary
Terms and Conditions of the Giveaway:
By entering this giveaway, an entrant is indicating his/her agreement to be bound by these terms and conditions.
The promoter reserves the right to cancel or amend the giveaway and these terms and conditions without notice in the event of a catastrophe, war, civil or military disturbance, act of God or any actual or anticipated breach of any applicable law or regulation or any other event outside of the promoter’s control. Any changes to the giveaway will be notified to entrants as soon as possible by the promoter.
The winner of the giveaway will be randomly selected and verified by Analogue Wonderland employees. Their judgement is final.
The winner will be notified by email within 28 days of the close of the giveaway. If the winner cannot be contacted or does not claim the prize within 14 days of notification, we reserve the right to withdraw the prize from the winner and pick a replacement winner. The winner’s name will be available 28 days after closing date by emailing the following address: email@example.com
What is the number one question we receive from customers each day?
"Where is my parcel please?!"
Up until now for UK customers we haven't been able to answer that question - apart from saying when it was posted and that it will be with you shortly. But from today all that will change!
We are delighted to announce newly-negotiated parcel rates for UK customers. For a small additional cost versus the previous rates you now get fully tracked delivery - a unique tracking number will be attached to your parcel and emailed to you that allows you to see where your film is and when it'll be delivered. This service will also deliver your parcel faster than ever before: 2 days after you receive your shipping confirmation!
Note that this service is NOT signed - so you do not need to be in to receive the parcel. If you are one of the unfortunate folk whose letterboxes are too small for our little parcel to fit through you will have an option of nominating a Safe Place (through the tracking system) as desired.
And now for the second most-asked question:
"Can I pay for faster delivery please?"
Yes you can! We have also added a PREMIUM UK tracked delivery that will deliver your parcel the next working day after you receive your shipping confirmation.
What about the Free delivery option?
We are aware that the faster tracked delivery comes at a slightly higher price than our previous non-tracked shipping, so we have lowered the required basket-size for FREE Shipping. From today you will only need to spend £50 on film to automatically qualify for free delivery - and now of course that will be the Tracked UK service! So you can stock up and rest easy, knowing exactly when your parcel of film goodies will arrive in your hands.
Summary of New UK Delivery Options:
Days** for Delivery
Premium Tracked UK
*All UK orders over £50 will automatically qualify for FREE Tracked UK postage!
**Days = working days (Mon-Fri excluding bank holidays)
There are no changes for international shipments, which will continue to be sent tracked as before.
We love to learn about the story behind photographs - especially when they WON one of the Grand Prizes in our recent Low Light Magic competition! So when Ted Smith offered to write up the background to his photography and how he came to take the winning 'London by Night' photograph we jumped at the chance!
Ted! Congratulations once more :-)
Let's start with the easy questions - where was the photograph taken?
It’s taken from the south side of the River Thames, very close to the Major's Office and Tower Bridge.
A classic film, and one we noticed featured heavily in our winners' round-up! Which camera did you pair with it?
Hasselblad 501CM with 80mm CB standard lens.
Beautiful. And now onto the big one... how did you come to take this particular photo?
Like many of us I suspect, I’m a middle aged guy with kids, a busy full time job, a wife and so on. On paper, I’m living the dream. But finding time to go out to do landscape photography is hard. If I use a Saturday to get up early and spend all day taking photos, I feel like I’m neglecting my kids, or my wife, or both. I work fairly long hours in the week (often working in London for a few days at a time) so my weekends at home are important.
With my Hasselblad and my wife!
Last summer, I photographed a relatives wedding with my Hasselblad and it inspired me to get out and use it more. But I kept asking myself “use it to photograph what?”. I’d already photographed my kids to end of the world. My dogs have all now died. And I have no time to go out photographing landscapes. And I don’t have a customer base of babies, or families coming to me for portraits. So I thought I’d try to incorporate my love of landscape photography into my trips to London. Better still, I began a “London by Night” theme called “The London Series” (which is on my website) which was an ideal way to mix my requirement to work in London with my desire to take photographs, and it avoided me neglecting my home life at the weekend by spending all of it doing photography. So this way, I was getting the best of all worlds.
This photograph was one of a series I’d taken over a period of several trips to London just before Christmas 2018. So now you know why it was taken.
London by Night; Grand Prize Winner; (c) Ted Smith
The compositional element of how it was taken is perhaps more interesting, or mysterious. The picture is more deliberately composed than perhaps people think, or realise. Many will ask why I included so much sky and so little water. Do you notice the subtle appearance of the clouds from the darkness “gloom” above the city? I’ll not be too over descriptive about the symbolism there, but suffice to say it was actually a personal and conscious reason to frame it that way. The subtle appearance of the clouds from amidst the darkness of the sky over this busy part of the world was key to it. The busy lifestyle of the many people in those skyscrapers, busily hurrying about what they consider to be their important business. What’s important, to me, is the time we have with our family because you don’t get that back if you waste it, and it’s much shorter than we think. As my wife says, “when you’re dead, nobody asks who the richest man in the graveyard is. People ask who the greatest man in the graveyard is”. We should aspire to be just great people, in all our various virtues.
Very wise, and we applaud the sentiment whole-heartedly. On a more prosaic technical note, how did you meter for such a low-light situation?
In my head. Night-time photography like this is actually quite easy I find. I tend to follow the guide (which I learned from a friend of mine called RJ in London) of 5-6 seconds at f16 for ISO 100 film. So give or take a couple of seconds, or a couple of stops, you get pretty good results depending on the film speed variance from this baseline. As I was shooting 400 speed film at EI1600, I think I held the shutter open in bulb mode for about 3 or 4 seconds to get the details in the buildings, knowing the sky was never going to blow out, and this was the result.
And did you use a tripod or shutter cable?
Sort of, if you can call the wall of the River Thames Embankment with the cardboard box of the Tri-X film being used to prop the camera upwards towards the sky to get more of that in, as ‘a tripod’! So, no, not really. A proper tripod was not used, but a prop was used to keep the camera steady. I guess it is correct to say it was not exactly “handheld”, but “hand supported”!
And no shutter cable - but I did lock the mirror to reduce vibrations.
Wonderful - thank you. And how can people find more of your work?
Today is a massive moment: we announce the WINNERS of the Low Light Magic Competition in partnership with Kodak Alaris and with extra prizes donated by our friends at Digitalab! We want to thank everyone who submitted. Over 500 images landed in our inbox over the month of the competition and they were exceptional.
Excitingly, Andy Church from Kodak Alaris was so impressed by the quality of the entries that he is offering TEN prizes in total! Adding eight 'Notable Mentions' to the original two Grand Prizes.
We have also been so blown away by the skill and creativity our community showed that we have decided to promote the Kodak T-Max P3200 35mm as a special thank you, and hopefully to allow more photographers to experience a top quality Low Light film. Head to the product page now to stock up at 25% off! Offer must end 1st April.
Discussing and Analysing the Winners
Watch the below video to hear Andy from Kodak Alaris, Paul from Analogue Wonderland and Graeme from the Sunny16 Podcast discuss each of the winners. Filmed at the recent Photography Show in Birmingham NEC, they spend time talking about each of the top ten photos and Andy reveals what drew him to his choices.
Low Light Magic: The Winners - YouTube
Olivia Morrison; Smooth; Colorplus 35mm
Grant Wilkinson; Got Time; Discontinued 35mm Kodak Film
Chase the Wind; Double the Emotion; Portra 400 35mm
Siorne John; Mira; T-Max 100 Large Format
Whitstable Sunset; Chris Rowden; Portra 400 120
Tomas Robertson; Hverfjall Crater; Tri-X 35mm
Morning Heather; Chris Rowden; Portra 400 120
David Willis; Untitled; Tri-X 120
Ted Smith; London by Night; Tri-X 120
Darren Kelland; The Place of the Crows; Tri-X 120
CONGRATULATIONS TO ALL OUR WINNERS!
You will receive an email shortly asking for the postal address to send your prizes - keep an eye out and please drop us a line if you haven't received anything in the next ten days.
Our social media followers may have seen a recent collaboration with the artist (and personal friend!) Lauren Ray, where photographers can submit photos to feature in her next music video, as well as the chance to win analogue photography prizes! You can read more and enter your photos here. T&Cs are on the competition page.
Today we talk to Lauren Ray and her videographer Jodie Canwell to understand more about the work they do and how they tie together audio and visuals into each of Lauren's music videos.
Jodie - let’s start with you! You’re a videographer and photographer based in the North-East of England, what brought you to this stage of your career - have you always studied or worked in the visual arts?
What brought me to this stage of my career? Honestly, just saying yes and continuously working until things felt like they fell into place - from creative style, to the kind of people I really enjoy working with. I think those are two really important things you need to figure out as a creative! I've always loved pictures and any kind of escapism. Aside from the typical jobs as a student (like being a waitress) I've never worked in anything else apart from the visual arts. I've always felt it was important to stay entirely focussed on one thing, even if that meant sometimes I'm sat wondering when the next project is going to happen!
Your website looks to have a strong set of music videos - is this an area of work that you’ve always wanted to be involved in?
Thank you! And yes. As I mentioned above, finding your style is so important to set yourself aside from every other creative, so with that you make a lot of work along the way where you're kind of just punching in the dark! I've always loved creating visuals for pieces of music and sometimes you get a song/artist who's sound just blends perfectly with the ideas and images you're making! It's always so exciting when you and the person you're working with are equally as pumped about a piece of work!
Yes and I think that enthusiasm really shows! How difficult is it to match a visual experience to the audio of a song - do you take the creative lead or is it always an open conversation with the artist?
I work off the cuff... basically meaning I really dislike planning too much/at all! I love it when things just happen on the day because usually they're the kind of things you'd never ever imagine. Of course, certain things need planning, like when and where you're going to shoot but otherwise the concepts of my video are usually pretty loose. If I am working with someone who has quite a tight brief/solid idea of exactly what they want as a final piece, I find it quite restricting and my brain just decides not to play ball! I do love collaborating with artists and usually they're the pieces that are most exciting because you're both bouncing ideas from each other constantly. Every video I've shot with singer/song writer EERA (who is also a good friend of mine now) have been some of my favourite pieces of work for that reason - we have both been so excited and passionate about the video making process and nothing else really mattered while that was happening. Those are the projects I absolutely love, when you're just in it constantly with someone else who wants to be there too. So when you're working with people like that, matching a visual experience to the audio of a song really isn't a task at all.
How do you see the act (and art) of making videos versus making still images - what do you need to think about differently?
This is an interesting question because when I see a photographer dabbling in video, I can usually see the still image influence. I guess it can be difficult to go from static images and translating them into something with energy. Lately, when I take a picture I always wonder if it'd look good as a print on my wall and if it tells a story. I used to just take pictures because I thought they looked cool... which is a constant battle with things like Instagram. When I shoot video I just aim to document more than anything! I love movement either from the camera or from what ever is in front of the camera.
We can see that you have several gorgeous film photographs on your website, and that at least two of your recent music videos have involved analogue photography in the concept. How much of your work - either personal or commercial is film - and what draws you to the analogue experience?
I love carrying a 35mm camera around with me for personal use because you just grab random moments and forget about them until the roll is developed. I absolutely love shooting on 8mm for my video work and I'm attempting to introduce it into my wedding film work too - some couples love it and some don't understand why you'd want so much grain and film burns on your video! But I just think film is such a beautiful format. It's also that element of suspense after you've sent the roll off and you're wondering what's on there and if it actually worked, I love that... in a weird way.
We don't think it's weird! And the obvious follow-up...What is your favourite film set-up (camera and film) and why?
I bought a Super 8 camera off eBay about 4 years ago for £20, the Canon 310XL. It's so easy to use (sometimes too many settings are overwhelming) - you literally just shot your film in, turn it on and shoot.
Aaah I really need to start playing with Super 8! So many people who try it rave about how much fun it is. So while we have you - is there anything else you'd like to talk about?
Having a brain that is constantly craving creative projects is a blessing and a curse and it's something I've wrestled with for the majority of my life (and still am) - only recently have I realised that I needed to do something entirely for myself and something that doesn't involve a client. I decided I just wanted to hear people's stories, whether they're creatives or they simply get out of bed in the morning to feed the birds. And I wanted to documents these things visually too. I decided to call this project 'The North', as this is where I'm from and where I've moved back to as an adult - after living in London for a short while I realised the things I was chasing weren't true to who I am and what mattered most were the people who knew me the most and my roots. So tying all this together, 'The North' was born. You can see the first video here.
Wonderful - thank you!
And now we turn to Lauren Ray, the singer-songwriter with two studio albums under her belt as well as recent tours supporting Lucy Spraggan, Anastacia and most recently Paul Carrack. Lauren - How important is the visual aesthetic when you’re producing your music videos, and how did you start working with Jodie?
I came across Jodie’s work via another music artist called Allman Brown who I met playing at the same music night in London. Allman Brown had worked with Jodie on some of his own videos and I just loved the natural, warm and highly professional looking videos she was making and so got in touch to work with her for my first ‘acting’ music video ‘Drive’ back in 2016. I have since worked with Jode on all of my music videos, on tour footage and am now also working on some album promo videos with her. I love working with Jodie because I know that whatever very simple or perhaps very crazy idea I come up with for my videos, she will somehow make it look beautiful and will capture little unplanned moments that I don’t even know are happening which end up being the entire feel of a video. Here is a collection of all the videos we have made together to date.
(c) Focus Photography
You write all of your own songs - where do you find the inspiration for each idea?
I am inspired by the relationships (romantic and platonic) that I experience first hand or those that I experience vicariously through my friends and family. I have always been fascinated by the complexities of our human relationships and writing about them through songwriting has been a great outlet for that interest. I have written about longing for love, finding love, falling out of love, infidelity, grief, toxic relationships and more and everything in between. Luckily this is a subject matter that is always evolving even though it’s essentially the same for everyone so I can’t ever see myself running out of subject matter.
Your latest single ‘Moment’ is more philosophical than the average pop song! Was there a specific thought or experience behind the writing?
Yes and although the influencing thoughts behind the song are somewhat morbid, the song is joyful and upbeat. I am at a point now where sadly a lot of my friends are losing parents and my parents are starting to lose their close friends which has really shifted my mentality when it comes to my relationships with the people in my life. It’s probably somewhat trite to say this but I’d really started to see the fragility of our lives and how important it is to appreciate the moments we have with the people we love because at “any given moment this could all just blow away, coz our lives are as light as a feather...”. The message of the song is to live in the moment and not to worry about this fragility and to remember to tell the people we love that they are appreciated. This is essentially a love letter to my parents and to my family to tell them “I know love because you showed me love”.
(c) Michael Porter
You’ve chosen to incorporate a photography competition into the process of creating its music video. While many artists want to involve their fans and the community, it is unusual to see someone open up their creative flow so directly - what prompted the idea?
I liked the idea that the video could be a collection of little moments and was working on how I might work with Jodie to bring that to life but realised I didn’t want the whole video to just be about me because the song is not just about me. I am hoping that people listening to the song (when it is released) feel joyful and feel encouraged to focus on their moments and appreciate the moments they have with the people they love. I think then it was after seeing the creativity and collaborative relationships within your Analogue Wonderland community that prompted the idea that maybe I could ask my community (and then also yours) to be involved and that maybe I could invite people to capture and contribute their moment (or many) to be part of the video.
What I have also always liked about photography is how it can provide evidence for the basic concept that we all see the world through our own lens (pun intended). Our perspectives on a single moment can be so different and this is proven visually through the work of photographers. This is what I love about songwriting too - there are millions of songs about love but because there is an endless supply of unique perspectives and experiences it means we are all still writing about it. The competition has only been open for a week but I am blown away that so many people have already entered and are contributing to the project. I am excited to see what other photographs are submitted.
You’ve partnered with both a videographer and a retailer who have strong analogue leanings - what attracts you to the film photography world and how do you feel it connects to the song ‘Moment’?
I think the draw to engage with analogue photography despite the accessibility and advancement of digital photography is not that dissimilar to music fans re-engaging with vinyl (and even tapes) - personally, I now have a record player and a fast growing collection of vinyls. Whilst access to cameras and music digitally is incredible because it means that so much of these artforms are at our fingertips 24-7, I just think analogue feels different, there is a different value in it. Don’t get me wrong I love having a camera on my phone and as a consumer I love streaming services like Spotify because there is such value in having this access but with greater access has come a more passive relationship with consuming (and creating) these artforms. We can listen to a hundred songs without really listening or knowing anything about the artist that created them and we can take a hundred pictures of the same moment just to be sure we have the perfect one, throwing the rest away.
I think there is a different value to analogue which slows us down and encourages a more physical and intimate relationship with the photograph or record and therefore provides a different experience. For example; I have no idea where the pictures are that I took 7 years ago on a holiday on my old phone - except the one or two I put on Facebook. In contrast I still have photographs in albums from school trips with friends and a trip to south africa I took with my dad when I was 13 and even recently, the polaroid picture you (Paul from analogue wonderland) took of me and Lucy on my 30th birthday on the train into london is still sitting in my kitchen. There is a different value attributed to these physical prints. I think this all ties back into the message of the song which is about slowing down and really focusing on and seeing value in the moments.
What kind of photographs do you hope people will submit for inclusion in the video?
I don’t think I had any hopes for what photographs would be submitted but I was just excited to see people’s creativity and see what they felt was a moment to capture. So far there have been such variety it’s been really interesting. People have sent in moments of joy in their kids faces, an animal yawning, a blossom falling from a tree, a beautiful skyline, pictures of strangers going about their daily lives...it’s all just moments of life.
We are REALLY excited about this launch! The FPP are a true analogue establishment - with decades of film photography experience wrapped into a friendly and charming bundle of podcast conversation. The films that Mike Raso hand-rolls has been on our store wishlist for months. Today we are delighted to be able to offer a core selection of those films to our customers, and to support the launch Mike kindly agreed to an interview.
Hey Mike! Thanks so much for taking the time to talk film with us. So for those of our customers who haven’t heard of FPP before - what’s the story?! What’s it all about and how did it start?
FPP stands for the Film Photography Project, an online resource for film shooters world-wide. Our mission is to spread the joys of film photography by providing tips, resources, reviews, feedback and products through our fortnightly podcast and YouTube channel as well as the myriad blogs and news pieces on our website FilmPhotographyProject.com. We sell film, cameras and gear from a variety of well-known brands (like Kodak and Ilford), some great new films and products from independent outlets and entrepreneurs, and of course our own in-house branded films. We host Walking Workshops and sponsor a School Camera Donation Program that puts film cameras into the hands of students at no cost. Nearly all of this was an organic outgrowth of the Film Photography Podcast, which I started 10 years ago. The FPP “Gang” (the team of talented photographers with shared core values who have come on board to support this mission) consists of co-host Leslie Lazenby, co-host Mat Marrash, and our other regular contributors.
What about your personal journey with film - when did you start shooting analogue and why have you persisted through the digital revolution?
I was an avid film photographer and movie maker in High School and in college, where I majored in Motion Picture Film Production. I initially worked as a cinematographer and producer of a television productions before starting my own business in home entertainment (VHS / DVD). Although I never left film photography completely behind, my career as a business owner left little time for it. About 10 years ago, I realized how much I missed the creative outlet it had afforded me – and the hands-on grass roots aspect of running an independent business. That’s when I returned to photography, and shortly after the Film Photography Podcast was born.
So your podcast is approaching its 10-year birthday? Then I think it’s fair to say that you were podcasting before podcasting was cool. What made you start it at that time, and how has it evolved over the full decade of existence?
It’s fair to say that podcasting was in its infancy, but awareness of the medium had penetrated the mainstream even though most people weren’t listening to podcasts yet. I began to listen to several on film and realized that although they might be technically of value, they were really dry. I took my production and post production experiences and aspired to create a fluid, drive-time radio type of show. I reached out to some long-time friends and the Film Photography Podcast was born.
You regularly reference the School Camera Donation Program in your podcast, and you've mentioned it above - can you give us a quick rundown of what this is, what you’re hoping to achieve, and what help you need?
I’m glad you asked about the School Camera Donation Program, because it’s the most rewarding part of what we do. The purpose of the program is to put refurbished and tested used film cameras into the hands of students and aspiring photographers at no cost. Most of the cameras come from listener donations [Ed: here is the link to donate] and I personally oversee (or do) the refurbishing and testing along with the podcast gang. It’s incredibly gratifying to hear back from teachers and not-for-profit coordinators who credit the cameras for enabling their program to class to exist.
You’ve very kindly agreed to work with us as your European retailer for your hand-rolled films. Tell us a little about this - when did you start hand-rolling films under the FPP brand, and what does this offer photographers that they can’t get from the standard offerings from Kodak, Ilford etc?
We cut and hand-roll large batches of film – some expired, mostly not – down to 24 or 36 exposure rolls that fit into most film cameras. This provides film shooters with affordable film with which to experiment, and with their permission and a credit we post digital scans of their photos as samples of the results you can achieve with the various options. Like the School Camera Donation Program, it supports our mission of providing cost effective film and gear to experienced and aspiring film shooters.
By working with Analogue Wonderland, many of our products will be available to UK and European film shooters at a fraction of the shipping cost. As you know I’ve been familiar with your business for some time, and we share many of the same core values - we are delighted to partner with you in this!
What is your favourite FPP film to shoot and why?
Currently my favorite FPP film is our RetroChrome. It’s expired, high speed Kodak Ektrachrome that produces beautiful, warm images. There’s nothing else like it!
You sell some of the European small film brands in the US - are there any that have particularly caught the fancy of the US market and why do you think that is?
I’m amazed by the passion so many entrepreneurs have for film photography, and how it has translated into so many exciting new brands in the market! We carry only the products that we feel are reliable and consistent, and our customers have been really responsive. It’s hard for me to choose between them, but our Svema films, Yodica Special Effects Film and the newest Street Candy are super popular!
What is your favourite film camera - your go-to when you want to just relax into a day of analogue photography - and why?
My favorite film cameras are the Canon T60, Olympus Stylus Epic (35mm) and the Mamiya m645 (120) cameras. Lately, I’ve been shooting lots of motion picture film in both Super 8 and 16mm
That was definitely more than one camera but we'll let you off. You’re a huge advocate for the US film photography community - the small manufacturers, shooters and labs that make up this wonderful little world of ours. Are there any other projects, businesses or organizations that you’d like to give a shout-out?
Absolutely – although we do not (and will not) have sponsors or sponsored content, we do have strong relationships with several smaller and independent film processing, camera or gear companies. The California-based company TheDarkroom is one - they provide wonderful services for FPP customers that need development and printing servives. Mat Marrash, Mark Dalzell and I were guests at their Film Paideia event, held in San Clemente March 2&3 2019. Over 150 film shooters were in attendance!
Big mention of our FPP spin-off – FilmMedia.org. With my renewed interest in motion picture film, we invested in a 4k movie scanner that will scan 8mm up to 35mm motion picture film (including LomoKino 2-perf film!) Since October 2018, through the FPP on-line store, we’ve been offering great prices on scanning of movie film. Making movies is my first passion and my favorite film medium and I’m thrilled to assist podcast listeners and movie shooters with proper scans/color correction of their personal movies.
Is there anything else film-related you'd like to mention? Any trips to the UK recently?!
I had the great pleasure of meeting many UK photographers and FPP Podcast listeners when we traveled to England for an informal Walking Workshop back in 2011 and again in 2012. Since then, FPP hosted walking workshops have expanded into structured events with demonstrations by Mat Marrash on large format photography, pin-hole camera photography (and how to make your own using an easy kit!), contributor Joseph “Joby” Brunges has demonstrated the amazing effects he achieves with wet plate work, and Leslie Lazenby and Mark O’Brien have demonstrated how easy it is to process your film at home using the FPP Home Development Kit – a scaled-down kit perfect for smaller spaces and individual use, containing everything you need to develop your own film at home.
Our most recent events have been held at the stunning Jones Mansion in Ohio (the space made available courtesy of FPP co-host Leslie Lazenby) and while these have been very fun and successful, we are looking into holding events in other locations in the U.S. and abroad in the near future, in order to reach individuals who might find it difficult to travel to Ohio for the weekend.
That’s all I can think of right now – thanks very much for this opportunity to talk about the FPP mission and our new relationship with Analogue Wonderland!
Thank you to everyone who follows us on Instagram: there are now an incredible 10,000 of you and we wanted to do something a bit special to celebrate. So we have set up a SAVE 30% discount code for the first ten people who redeem it at checkout!!
We expect the ten uses to go fast (NB: only one use per customer account) so don't wait to try and use!
Special 10-Use Discount Code:
If you have already missed out then apologies! But there are still lots of ways to save money on film: if you have a customer account then you can refer friends, leave a product review of your favourite film (make sure you're signed in to your customer account first then head over to the product page and let other film photographers know your thoughts), or share Analogue Wonderland on Twitter or Facebook.
We also have deals right now on the original Dubblefilm range (save 20%) to make room for the new and updated films.
We have exciting news for all you lovers of creative and quirky film stocks. Dubblefilm are now collaborating with Revolog and have updated their entire range! What does this mean for you? It means FIVE things ladies and gentlemen, five. One reason for each of the amazing films that Dubblefilm offers. Let's take a closer look:
1. More Photos per Roll
All the new Dubble films are now 36 exposure rather than 24! This means that you have more opportunities to experiment and capture stunning Dubble images with each roll of film.
2. Cheaper Cost/Photo
While the RRP of the films has moved from £10.50 to £12 - the increased number of shots means that the cost per photo is actually down 25%! So it's cheaper to produce a single Dubble photo - particularly when you factor in developing and scanning costs on top. Hurrah for economies of scale!
3. New Names
With the changes have come some evolutions of the film names.
Bubblegum and Jelly are staying the same (but we're differentiating them on our site by the exposure count - don't worry, it'll be obvious which is new!)
4. Updated Tints
As manufacturing has moved site, we are told that the tints have been tweaked and improved to bring the character of each film more to life - while maintaining the subtlety and delicacy of the originals. We can't wait to shoot through some rolls ourselves to see the difference!
5. Clearance on Dubble Originals
In order to make room for the new films, we are running a 20% discount on ALL the original films - while stock lasts. That's just £8/roll!
So there we have it. Five excellent reasons to head over to the Dubble page now and pick up some of the new flavours (or grab a bargain on the originals). And thank you in advance for supporting one of our favourite small independent manufacturers.