Family Session in Hawaii by KC Lostetter Photography

Now that it's gotten so cold outside, who's ready for a trip to Hawaii?!  KC Lostetter is a mother of two and wife of a pilot and is based out of Colorado, but she also shoots family sessions on film in Hawaii and Montana.  (Um, dream job!!)  I love how she captures this family together using the beautiful landscapes of Hawaii and gives the color a nice pop by pushing the film +1.  Beautiful work, KC!

(We are currently seeking submissions for winter newborn, maternity, and family sessions on film.  You can also tag your IG images #littlebellows and #lbfilm so we can find them!)

From KC:

This particular family session I really loved because of the love and connection that the family had. They were so genuine and loving with each other that it made my job so easy. They were so fun to photograph and I was excited when they said they wanted to play in the water at the end. I really love to photograph adventurous, fun, playful families.

Camera: Pentax 645n with the 75mm lens

Film: Portra 160 rated at 320, pushed 1

Lab: The FIND Lab. 


See more of KC's work here:

Website : Facebook : Instagram

Outdoor Motherhood Session by Erin Scabuzzo of Hello Pinecone

I find Erin's work is always inspiring. I love the location, light, color palette, and beautiful moments she captured of this gorgeous mom and her kids!  

We are currently accepting submisssions for fall sessions.  You can also tag your images #littlebellows or #lbfilm so we can find you on Instagram!

From Erin:

It's always an honor (and a little nerve wracking if I am being honest!) to photograph a fellow photographer. Especially someone as awesome as Bjorna.  Seeing her surrounded by her four most gorgeous babies, made my heart glow. It also made me realize that being a mother of 4 (including twins!) is no easy task! I very rarely shoot Fuji 400h but decided to incorporate it into this session and am pretty in love with the pastel color palette. 

Pentax 645n // 75mm // Fuji 400h

Canon Eos3 // 24-70 2.8ii lens // Portra400

FIND lab



See more of Erin's work here:

website : Facebook : Instagram

Seaside Maternity Session by Esther Louise Photography

So excited to be sharing this gorgeous maternity session by Ester Louise Photographer.  Shot on the beach using a Mamiya 645 and Fuji 400h film, they are perfection!  Film was made for this kind of session, don't you agree?!

From Esther:

"My favorite place to shoot maternity sessions is at the beach. I think it is such a perfect setting to capture the beauty and excitement of what is happening and I was thrilled when they were willing to splash around together at the end of the session as the sun set."

Ester Louise Photography on Little Bellows.  Maternity photography photographed on film.
Ester Louise Photography on Little Bellows.  Maternity photography photographed on film.
Ester Louise Photography on Little Bellows.  Maternity photography photographed on film.

 Images processed and scanned by The FIND Lab.

See more of Esther's work:
Instagram | Website | Facebook

Fuji Natura 1600 35mm Film with Examples

I admittedly haven't used Fuji Natura film much - only two times - but after getting examples for this post I'd love to use it more, except I don't want to pay for it.  It's a very versatile low-light film that has a ton of latitude in daylight and low-light situations. 

Image by Megan Dill, rated at 800

Image by Megan Dill, rated at 800

One roll of film is a whopping $12, way more than 400h or Portra films.  It's only manufactured and sold in Japan which contributes to its high cost.  It's known for its excellent colors and fairly fine grain for a high-ISO 35mm film.  If you're not a fan of pushing lower ISO films you should give this one a try!

Many photographers prefer shooting Natura 1600 at 800 ISO instead of 1600, and you'll see below why that is.  (I even read some blog posts of photographers shooting it at ISO 100 with great results!)  The grain isn't as noticeable at 800, and just like any other color film, Natura does well with at least one stop of over-exposure.

Below is an example of the films' versatility.  I used it during a Night Walk on a recent trip to Costa Rica (it was amazing!) and rated it at 1600.  I didn't use the whole roll that night so decided to go for it and use it up the next day (still at 1600 obvs) and got great results.

Rated at 1600

Rated at 1600

Rated at 1600 with intentional light leak on the right

Rated at 1600 with intentional light leak on the right

Rated at 1600

Rated at 1600

Now here are a few more examples of Natura 1600 rated differently:

Image by Joyce Kang, rated at 800

Image by Joyce Kang, rated at 800

Image by Justine Knight, rated at 1000

Image by Justine Knight, rated at 1000

Image by Angie Mertz, rated at 800

Image by Angie Mertz, rated at 800

Image by Ashley Crawford, rated at 1600

Image by Ashley Crawford, rated at 1600

4 Reason I Love Shooting Film With Strobes

Sandra Coan on Little Bellows | Film and Off Camera Lighting

When I started using strobes it was out of desperation.  I wanted a way to be able to shoot film through the winter.  Thats it.  It was intended as a temporary fix to get me through to the spring. And then something unexpected happened.

When spring finally came around, I found that I liked using my strobes more than I liked using natural light.  Crazy right?

Well maybe not... here's the thing.  

  • Strobes are consistent.  When I use them, my light is the same at every. single. shoot.  My meter readings are always the same, regardless of the weather.  Using artificial light has allowed me to shoot film 100% of the time and has freed me from stress.
  • Strobes bring out the best in film.  Film loves light.  And strobes give the perfect amount of light every time.  So my images are always perfectly exposed and beautiful.
  • Strobes do not have to look "flashy".  I love strobes, but I HATE images that look artificial and "flashy".  I want my work to be soft and airy and, when used properly, my strobes give me that look.
  • Strobes are easy.  Seriously.  I know that they seem complicated, but they are not.  Everything I do is done with one light and one light modifier.  Thats it.
Sandra Coan on Little Bellows | Film and Off Camera Lighting
Sandra Coan on Little Bellows | Film and Off Camera Lighting

I encourage you to give off camera lighting a try... and stay tuned, I'll be sharing a series of post here to tell you just how to do it step by step.  It's not hard, and it will absolutely change the way you shoot film, for the better!

If you can't wait and just want to dive into off camera lighting right now, check out The Missing Link: A Film Photographer's Guide To Off Camera Light.  It's is a complete how-to... everything from what equipment you need to lighting set-ups- full of text, diagrams and video tutorials! 

Sandra Coan on Little Bellows | Film and Off Camera Lighting





4 Reasons I Love Ilford Hp5 Film

We thought we'd start highlighting all the amazing types of film that we use in both our professional and personal work and I wanted to start with one of my favorites - lovely Ilford Hp5 film.

35mm rated at 1600, +2. Image by Kim Hildebrand

35mm rated at 1600, +2. Image by Kim Hildebrand

1.  Versatility: This film is always in my camera bag because I can use it anywhere.  Hp5 is noted for its excellent overall performance in a wide variety of lighting conditions.  You can rate this film from 320 all the way up to 3200 and it will look amazing!

120 film rated at 320, +0.  Image by Kim Hildebrand

120 film rated at 320, +0.  Image by Kim Hildebrand

35mm rated at 400, +0. Image by Kim Hildebrand

35mm rated at 400, +0. Image by Kim Hildebrand

Rated at 800, +1.  Image by Jackie Fox

Rated at 800, +1.  Image by Jackie Fox

Rated at 1600, +2.  Image by Heidi Alhadeff Leonard

Rated at 1600, +2.  Image by Heidi Alhadeff Leonard

Rated at 3200, +3.  Image by Megan Dill

Rated at 3200, +3.  Image by Megan Dill

2.  Contrast:   It's contrast, while high, is less pronounced than that of Tri-X, which appeals to shooters that prefer a more even tonal scale.  Because it is less pronounced than Tri-X, the highlights and shadows respond really (well if exposed correctly) when using it in a low-light situation where you intend to push the film.

Rated at 400, +0.  Image by Alpana Aras

Rated at 400, +0.  Image by Alpana Aras

Rated at 1600, +2.  Image by Kristin Wahls

Rated at 1600, +2.  Image by Kristin Wahls

120 film rated at 3200, +3.  Image by Lea Ciceraro

120 film rated at 3200, +3.  Image by Lea Ciceraro

3.  Grain:  I found an informative article in the Adorama Learning Center comparing Hp5 to Tri-X, which is considered the gold standard among street and documentary photographers.  Hp5 is noted for its fine grain, high-edge detail, and excellent overall performance in a wide variety of lighting conditions.  Usually, grain on a pushed 35mm b/w film is too much for me, but I love it on Hp5 film!  Last, the grain is still absolutely beautiful on medium format when pushed 3 stops (see example below)!

35mm rated at 1600, +2.  Image by Kim Hildebrand

35mm rated at 1600, +2.  Image by Kim Hildebrand

Image by Amanda McKinley

Image by Amanda McKinley

Rated at 3200, +3.  Image by Tamara Aptekar

Rated at 3200, +3.  Image by Tamara Aptekar

4.  Cost:  Ilford Hp5 currently costs $4.39 per roll of 35mm or $4.69 per roll of 120, not bad!  Note that Tri-X isn't much more ;)

So if you haven't tried out Ilford Hp5 film, I encourage you to give it a try!  It's quite an amazing and extremely versatile film.

Aria Photography : Carmel by the Sea

Aria Bethards of Aria Photography shares a recent session in beautiful California.  Her vibrant work has me swooning for warm coastal breezes and sand between my toes!

In Aria's words:

"I recently took a much-needed escape to the most quaint little town of Carmel-By-The-Sea in Northern California. As soon as I drove up to the small village, my heart melted at the sloping wood shingle roofs, colorful painted houses dotting the cobbled streets, and the smell of sea salt and cool ocean breeze. What made this weekend even more special was taking my littlest of 4 children, my baby Oliver, and having that quiet, uninterrupted time together. When you have a house full of little ones, there is wonderful chaos and energy and noise. ;) And while wild adventures with my silly clan is my jam, every now and then it is sweet to have one-on-one time with each child to fill up both of our love buckets. And this weekend in Carmel did just that."


These were shot on a Contax 645, 80mm f/2.0 lens, with Fuji 400H film. Processed by the wonderful The FindLab ( 

See more of Aria's work here:

website | facebook | Instagram

We are currently accepting film and travel submissions!  Head on over here to read our guidelines and show us your work!

Collodion Wet Plate Photography by Andrew Welsh

Wet plate photography has long fascinated me, so when I saw Andrew talking about his foray into the field of wet plate photography on Facebook, I wanted him to share it with you.  Thanks, Andrew, for sharing your journey and your gorgeous photos!

In 2011, the renewed excitement of developing my first roll of film since the 90’s, along with being accustomed to instant results, led me to try instant peel apart film (FP100c and FP3000b). Amazed by the quality, yet unsatisfied with the cropping that most medium-format film cameras foist upon those glorious prints, I soon moved to large format photography (4x5), partly because 4x5 shooting was different, exciting and new to me, and partly because I could fill the frame on those instant prints. The fact that practically no wedding and high school senior portrait photographers were shooting 4x5 was also appealing.

Simultaneously, I began to see modern tintype wet plate portraiture in various large format photography forums, and was very intrigued. It was the intersection of “instant” photography (since wet plates must be poured, shot, and developed within 15 minutes), large format photography, and photographic history that captured my imagination. I had vowed to learn wet plate photography “when I grow up.” 

To date, all of my photography except for the basics in high school photo class, was self-taught. And while I was absolutely confident I could learn collodion wet plate photography on my own, I knew I’d also end up wasting a lot of time and money working through all the mistakes. It is a process loaded with opportunity for things to go wrong, and without guidance, I’d fumble through most of it. I soon concluded that taking a workshop instead would be most efficient. The opportunity for me came this year (2016) when I had a peculiar wedding schedule with only one wedding in June. 

I learned that within the collodion wet plate community, two workshops worldwide were considered the absolute best- John Coffer and Scully & Osterman. And how fortuitous that both of these workshops were right here in Rochester NY. I chose John Coffer’s June 2016 “all-inclusive” workshop, as it represented the best value for what I wanted to learn (the complete process through to print, and shooting in the field versus a studio). I later learned that Scully and Osterman themselves learned the craft from John Coffer. After a weekend of intensive training, I was on the path to attaining my goal of creating collodion wet plate images almost anywhere, and incorporate it into my primary photography business.

Determined to meet this goal, I quickly gathered all the needed components and built a crude dark box. I practiced making plates on my dogs, my children, friends and family. I practiced carrying my portable darkroom around, setting it up, shooting, then tearing it down. I learned how long it would take (about 15 minutes setup and 10 to take down) and to simulate what it would be like in a compressed time frame like a wedding or portrait session. All this practice was leading up to bringing this “live” to client sessions.

By late September, I had the ideal senior portrait client—a family I’d worked with twice before for senior portraits, whose favorite family photo on their wall was of them dressed in old west clothing in a sepia-toned print. I arrived to the session early and set up my portable darkroom, minimizing the time impact on the client, and kicking off the portrait session with a tintype:

Later that week, I had an opportunity to try one at a wedding as 2nd shooter. The primary photographer approved of the plan and while she did the family portraits, I set up my darkroom and only imposed on the bride and groom for the 1-2 minutes to setup and take the photo, with the expectation that this was an experiment. While I did not have any major flaws in the wet plate process itself, I had done poorly at an important part—posing them in an interesting way. The novelty of the process did intrigue them, but they were not my clients. This was about the safest wedding for me to fall short.

Two weeks later, the stars aligned to try a wet plate with my own clients. I kept bringing my kit along “just in case” the opportunity arose. I had a wedding with 2 hours to shoot portraits, and a groom who had fallen out of a deer hunting tree stand a few weeks prior, and was wearing a back brace, and not overly mobile to do a lot of portraits. What better way to have a subject who wanted to and practically had to sit still! 

The very next week, my next bride & groom had 3 hours for portraits! I knew from our engagement session they had a willingness and patience to try new things, so while they relaxed on the party bus, I set up my kit once more, this time at a park, and pulled off my best wet plate to date:

The excitement from them as I fixed the plate made it worth all the effort. And these clients now have a unique piece of archival artwork that will outlast their lives, is rarely performed at a wedding, and a fun experience in creating it and witnessing it coming to fruition. This was only possible with the determination to attain this goal, and the willingness to repeatedly practice all the steps on the path to mastering the technique. If you gain anything from this article, may you go and try that new thing you’ve always wanted to, and know that sticking to it through the challenges, will you attain your goal.

See more of Andrew's work here:

website | facebook 

Top 5 Film 365

How are we here already at the end of another tumultuous yet fantastic year that brought heartache, surprises and many other emotions our way?  We had the craziest election in history, we lost David Bowie, Prince, Gene Wilder, George Michael, and most recently Carrie Fischer who was my hero as Princess Leá in the 70s, and that's just the tip of the iceberg.  I'm personally ready for 2016 to be over and am looking forward to a fresh new year of possibilities!  

So who completed the entire 365?  I got close but didn't quite make it.  Looking through the #lbfilm365 hashtag, I've enjoyed seeing so many images that brought me daily inspiration from many artists.  Thank you for sharing your work!  

Who is planning to continue their 365 into 2017?  Who is starting a new personal project?  I'm a firm believer in them and although I can tell you with assurance I will not be attempting a 365 next year, I'm brainstorming on some new personal project ideas.  I'd love to follow yours, too.  So I'll think of a new hashtag where you can share one or all of your personal project photos so we can find them and feature them here on Little Bellows.  Sound good?

Little Bellows thanks you for your continued support and inspiration, and we hope you have a Happy New Year with loved ones!  Stick around for more inspiration in 2017!

laurennygard  on Portra 400

laurennygard on Portra 400

mikeylivingston   Portra 400


Portra 400

kimhilde  on Portra 400

kimhilde on Portra 400

Studio Lighting For Film Photographers

Almost every single photo I take these days was captured on film, using strobes.  

When I started using studio lighting several years ago, it was really just a way to make it through the dark days of winter.  Now I use them all the time.  

Studio lighting has allowed me to shoot film all year long.  It has given consistency to my work, helped me define my style and build my brand.  I couldn't do what I do without it!

I'm often asked how I set up my strobes during newborn shoots.  So at my newborn session this morning, I decided to step back and snap a quick photo of my set up.

This is my typical set up for photographing newborns and toddlers on my white bed.

I have my strobe (an Alien Bee 1600) and light modifier (a 5 foot Photoflex Octodome) set at 45 degrees to my subject.  This is a digital capture, but I did photograph the baby on film and my settings were ISO 400 (I shoot Fuji 400h film) at f2.8 1/60

Sandra Coan, Studio Lighting for Film Photographers

Please let me know if you have any questions about shooting film with studio lighting.


have a wonderful day!

Freelensing with Film by Kaitlyn Zigrang

When I first saw Kaitlyn's FB post featuring her freelensed black and white horse images, I was floored by their beauty, their mystery, and how simple, unique and raw they were.  I've experimented with freelensing a bit with film but have never produced anything like this.  I wanted to know more, and Kaitlyn agreed to tell us more about freelensing with film.  Thank you, Kaitlyn!

I recently fell in love with film photography. I had been drawn to it for months, gasping every time I saw a film image on Instagram. Something about it grabbed me, pulled me in. It felt more ‘real’. So after months of gawking, I took the plunge and bought my Contax 645, and signed up for Sandra Coan’s Getting Started with Film class at Click Photo School to learn how to use it. I wasn’t sure how it was going to work out, because I am not a very patient or precise person. But someone how me and film just fit, and from the first scans I got back I was in love. After I had a few weeks of scans under my belt, I felt confident enough to try one of my favorite techniques from digital photography— freelensing. I love the dreamy artistic feel that freelensing gives, how it can transform an image, so I was super excited when I got to marry it with my love of film. I’m sure many of you are familiar, but for those who aren’t, freelensing refers to shooting with your lens detached from the camera, and tilted slightly in any direction to create a shift in the field of focus. The focal plane tilts along with your lens, and you end up with things very close and far in focus along a diagonal focal plane, and the rest very blurred. There are many tutorials out there on this technique and I am no expert, but I do loooooove it, and decided to take the risk to try it with film. So when I was asked to share a little with you all about free-lensing with film, and the basics of how to try it yourself, I jumped on the chance. 

1.  Start by metering. Pull out that light meter, and find your settings. Keep in mind that your aperture will need to be close to wide open to achieve the desired effect. I usually have mine between 2.0 and 4.0 when freelensing. I meter normally when I free-lens, though there is a possibility of light leaks. I know that film can handle a little overexposure, so I meter as I was taught by incident metering for the shadows with color film, and I normally meter for the mid tones or highlights with black and white film. That being said, I try not to overexpose when free-lensing since you do tend to let in a little extra light, so I am mindful of that and if it is a very bright day or I am shooting more directly into the sun, I may speed up my shutter speed a stop. Basically get your settings right for how you normally shoot, and then go from there. You may have to feel it out a little based on what kind of light you are working with.

2.  Choose a lens, and set your lens’ focus ring to infinity. I normally use my 80mm on my Contax (comparable to a 50mm on a 35mm body), I find that I can catch focus better with that one, but I have also used my 45. There is no autofocus with freelensing, but you will also not be moving that ring. You change the focal plane by how much (or how little) you tilt your lens. 

3.  Detach your lens. You will be holding your lens in your left hand and camera in the right at this point, so be mindful that it is a bit of a juggling act, and takes a bit of getting used to. Don’t move your lens far away from your camera body, you want to keep it pretty close, with the end of the lens not far from the mirror even though it is detached. You can move it in and out a bit while looking through the viewfinder to see the effect and find the spot you are comfortable with. I normally try to have it where I can see the focus like I would if the lens was still attached.

4.  Tilt your lens. Start out tilting it very slightly, and watch the focal plane change. Then tilt it more, and see what that does. If you lose focus completely and can’t get it back, just reattach your lens and start over by disconnecting it again. when I do that I normally check the settings and make sure the focus is still at infinity, because you can hit it with your hand and change it by accident sometimes. With film you will want to play around with this a bit until you are comfortable finding focus before you take any shots. In fact, if you have a digital camera and can practice with that first, it may be helpful and save you from wasting film, unless you are like me and ok with the more crazy shots. But beware that most digital cameras do not have lenses with aperture rings, so you will have to find one that does or jimmy rig your lens to get the aperture to stay open. 

5.  Not every camera is the same with free-lensing. I have tried free-lensing on both of my film cameras, my Nikon fm-10 35mm, and my Contax 645 medium format. By far the Contax is easier to freelens with. I believe the larger diameter and surface area of the lens plays in, as well as the clarity of the viewfinder. I have a much harder time getting anything in focus with my fm-10, and if I do it is at the extreme edge of the frame. Like I said, you will need to experiment a little and see what you can get in focus through the viewfinder, before ever taking a shot.

6.  Have fun! Freelensing can be frustrating at first, but when you do get the hang of it, it is addicting! So be ok with the process, and at some point being willing to take the risk and take some shots and see what happens. Sometimes, if you are like me, the shots that some would call mistakes and trash, may become your favorites. Freelensing reminds me of memories, and sometimes that is what it looks like to me, maybe not perfect but captures the moment perfectly. 

I hope this helps, and that you have some fun experimenting and seeing what freelensing can do for your images. It really can add a wow factor to an image, take it from good to great, and add a dreamy, otherworldly feel that mimics what our memories often actually look like. It can make you feel things, that maybe a perfect photo wouldn’t. It makes you look at things you may be used to seeing with new eyes, and shows how much a change in perspective affects things. I would recommend checking out Erin Hensley’s tutorial on free-lensing at if you have some questions and want to learn more, as she is a master of the subject and it is pretty comprehensive and helped me take my first leaps into free- lensing. 

See more of Kaitlyn's work here:

website | instagram

Top 5 Film 365

My sincere apologies for not posting for a while!  Fall definitely got away from me.  Do you feel the same?  When I checked out the #lbfilm365 feed this morning I wasted a good hour soaking in all the amazing images I hadn't seen.  You are a truly talented bunch!!  It was a tough choice, but here are my Top 5.  If you're still doing your 365 keep tagging your images and I'll find you.  The next Top 5 will be next week so keep 'em coming.

Hope you all have a Happy Thanksgiving with those you love.

tracamiller   Portra 160


Portra 160

angelicachang_   Ilford Hp5


Ilford Hp5

laurennygard  Portra 400

laurennygard Portra 400

Fall is in the air with Jackie Tobman Photography

The paint!  The fall colors!  The orange blanket!  I just love all the pops of color mixed in with the natural setting.  Using headlights as backlight is fantastic!  It's the perfect capture to close the scene.  Thank you for sharing, Jackie!

In Jacqueline's words:

"We wanted to capture the girls doing what they loved (painting!) which also meant something to the grown ups, as he is a tattoo artist and she is a photographer.  We went to a field near their home and the girls just had fun.  For the last shot, we were running out of light and they drove their truck down into the field and we used their headlights for some fun backlighting!"

All images on film, with Canon EOS3 or Pentax 645N.  Stock was a mix of Portra400 and HP5, and all scanned and developed by the Find Lab. 

See more of Jackie's work here:

website | facebook | instagram



An Eggspedition with Po Chi Fung Photography

That misty morning forest, the kids' curiosity, and those farm fresh eggs look so good on Acros!  I feel like I'm transported there with them.  And those black and white tones are so rich and beautiful!

In Po Chi's words:

"We got married four years ago at the Confluence Resort in West Virginia and were ecstatic to come back for vacation four years later with friends and our two crazy kids in tow, so this place is so so special to me. One morning, we took the two girls to gather eggs from the chicken coop. It was such a treat to capture their excitement and this experience because they asked about the hens and their eggs every time we walked by. I love this series because it is a slice of childhood and life that I hope they'll treasure forever - simple joys, thankfulness for the eggs that the hens are sharing with us, and being with our beloved friends."

Camera: Pentax645N
Lens: 45mm FA
Film stock: Acros 100
Location: Confluence Resort, West Virginia
Lab: the FIND Lab

See more of Po Chi's work here:


A Riverside Maternity Session with Leanne Haskins Photography

The beautiful backdrop, formal feel, and the green accents really come together in this maternity session!  What a beautiful couple, and what a gorgeous dress.  Thank you for sharing, Leanne!

In Leanne's words:

"I LOVE LOVE LOVE maternity sessions.  I especially love them when the husband wants to be involved.  I was excited just to hear the excitement in their voices as they talked to me about their plans for the nursery, their anticipation of finding out the gender at birth, and the names they had chosen for a boy or a girl.  I love the way he would look at her, not timid to touch her beautiful belly, and so incredibly encouraging and complimentary.  Generally at 32-36, pregnant women aren't feeling as beautiful as we know they really are.  To help boost my clients confidence I gift them a professional blowout and makeup from a local salon in Wilmington.  It is amazing what professional hair and makeup will do to a woman's confidence.  I know it puts a strut in my walk for sure!  Pampered, feeling beautiful, and donning this gorgeous shimmering white dress from PinkBlush maternity, this expecting mother was all smiles.  I hope you enjoy this downtown, riverside session as much as I do!"

This maternity session was photographed on the Cape Fear River in downtown Wilmington, North Carolina in May 2016.  I used my Canon Elan 7E SLR, Kodak Portra800 35mm film, and my Canon 85mm f/1.2L lens.  Richard Photo Lab is the incredible lab I always trust with my film.

See more of Leanne's work here:

website | facebook | instagram

A Country Session with Posy Quarterman Photography

This entire session makes me want to hop in the car and get out to the big sky country of Montana.  I yearn for some open fields and dirt roads, which make a beautiful backdrop that pairs well with Posy's beautiful friends.  

In Posy's words:

"I normally shoot digital but every now and then I do one on film for fun. I shot this with a Mamiya 7 and Nikon f100.

What's special about these is the people. My dear friends moved to Montana last year and we made a road trip to them as our family vacation this summer. It was wonderful to see them in their new home and spend some time capturing their little family in their new environment. So I love the way these came out, probably because I'm partial to the people, and, film..."


Mamiya 7 and Nikon f100

Portra 400 and 800; Tri-x

Richard Photo Lab

See more of Posy's work here:

website | facebook | instagram

A Baby Session on the Beach with Erin Scabuzzo of Hello Pinecone

I just LOVE Erin's work!  The expressions she is able to capture with Georgiana and her mom and dad are priceless.  I'm a sucker for beach sessions in beautiful light as well, and this session ticks all the boxes.

In Erin's words:

"Since its been so warm in LA, I decided that the beach at sunset would be the perfect location to photograph this sweet family of 3. Little Georgiana (also known as Georgie) is a little ball of sunshine - that pretty much smiled and played through the entire sesh. My goal was to document the softness and loving nature of this family and I feel like film mixed with the cotton candy colors of dusk were the perfect combination!"

Topanga Canyon Beach, California

Fuji 400h // HP5 // The Find Lab

You can see more of Erin's work here:

website | facebook | instagram