35 millimetre

5 stories

35 millimetreCinemaA dive back into developing I love the smell of fixer in the morning!

10.14

35 millimetreCinemaFirst outing with the Kyocera Yashica Zoomate 165SE Millennial champagne, fake panoramas and the plastic fantastic

09.04

35 millimetreCinemaPurple pictures with the Pentax Auto 110 One of the downsides of playing about with old film cameras, is that sometimes they get unreliable. A friend gave me a Pentax Auto 110 camera years ago, the bundled system that includes 3 lenses and…

06.26

35 millimetreCinemaCinestill 800, or: My Last Roll Of Expired Film As a disclaimer – I can be a bit of a hoarder. I have a tendency to think “I might need this…” and then put something away for later, and this tendency definitely extends to camera equipment and…

05.03

35 millimetreCinemaFilm simulation recipes on the Fujifilm X-T20 One of the major selling points of the Fujifilm camera line-up for me, were the film simulations on offer.

04.17

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo