FotogRAFia Podcast

Last week I had Max Adams on the Photography Community Camera Clara livestream/podcast. He runs a YouTube channel with almost 80,000 subscribers (as April 2026, important to say, because it’s growing fast!). Max is known professionally for doing restaurants/food and real estate photography, and on his own time he’s a film photographer like us. We showed up wearing the same hat. We talked for over an hour and covered a lot of ground.Find the full episode in this post’s header. Below, some highlights worth reading even if you watch the whole thing, especially if you are curious to learn if food photographers eat the dishes after photographing (sorry for the clickbait, I have to do it to survive 😂).Shooting for a livingMax photographs food on location with one light during operating hours. Cheese goes cold, meat loses its shine, soups stop steaming. He shoots fast. Every time, someone asks who’s eating all the food. “I am,” he says, staring at 15 dishes.I asked if clients request artistic direction. His method: say “I got it” and ignore it.Sensors, shutters, and fake blurHe rented the Sony A9 III and showed why global shutters matter. A drone propeller at 1/8000s looks banana-shaped on a regular sensor. On the A9 III, perfectly straight. Every pixel reads at the same instant.The fake depth of field debate came up. Software blur still can’t handle hair, glasses, or the gradual falloff from sharp to blurry. A decade of “it’s just a matter of time.” We’re still waiting.Film, cameras, and strong opinionsI shared my Japan mistake: 20 rolls of CineStill 800T, shot temples and snow in Sapporo. Cold and flat. There’s a meme: “If NASA used CineStill 800T,” and there’s a gas station on the moon. Because that’s what we do.Max said, “Can I say something controversial?” and dropped: “I’m not a fan of halation.” Bold move. Let’s all now altogether cancel him on the Internet. 😅Near the end he casually pulled out a Leica IIIC from 1941. Delivered to the Luftwaffe. 85 years old. It works.We want to do more of these. Go subscribe to Max Adams on YouTube. Almost 80K subscribers and he still responds to everyone.♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️Camera Clara is a film photography newsletter. If you're reading this and haven't subscribed yet, you can do that here.♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️ Get full access to Camera Clara at www.cameraclara.com/subscribe

I spent the afternoon on the Staten Island ferry with a full battery and high hopes. The light was perfect coming off the water, Manhattan doing its thing in the background, and I kept shooting. Felt like one of those rare sessions where everything lines up.Got home, pulled the SD card, plugged it in. Nothing. Completely empty. No error message, no corrupted files, just blank. I still have no idea what happened, and at this point I’ve accepted I never will. I think it was my storage USB that corrupted the SD card filesytem or so.I also had the Mamiya 7ii with me for medium format shots. Those rolls are safe, sitting on my bathroom drying from development. I’ll post the results once they’re scanned and converted.Before starting the recovery process, I turned the camera on and recorded this tutorial, because you might need it one day.If you would like any help with this, please consider being a paid subscriber to Camera Clara, and I would be more than happy to help you out.Rescued photosAll taken with the Leica M10-R and a 50mm f/1.4 Summilux. Imagine losing these… Get full access to Camera Clara at www.cameraclara.com/subscribe

I had a fantastic conversation with Anson, the man behind Tahusa. This is the second time Camera Clara features Tahusa. This time, we are talking about what we have in common when building a film photography community around the world.Timestamps and topicsAs usual with our livestreaming videos here in Camera Clara, I split our conversations into different parts and included the corresponding timestamp, so you can see what we discussed and cherrypick the topic you’re most interested in.Wow! Breaking into topics → That alone is a good reason to subscribe to Camera Clara, isnt’it? I know your time is valuable, so I do my best to make these conversations accessible and easy to navigate. If you appreciate that kind of care, consider subscribing. It’s free, and it means a lot.00:00 Introductions02:05 Anson’s Journey in Photography06:37 The Evolution of Film Photography in Hong Kong11:40 The Growing Film Community16:23 Fujifilm’s Impact on Film Photography20:17 The Physicality of Film in Modern Content Creation24:41 Interacting with Fellow Film Photographers28:02 The Humbling Nature of Film Photography31:40 The Art of Printing: A Unique Experience37:07 Digital vs. Film: The Value of Uniqueness42:58 Community and Collaboration in Photography48:08 The Dynamics of Photo Walks: Learning and Sharing52:27 Photography Etiquette in Public Spaces54:43 The Art of Street Photography57:38 Capturing Portraits and Urban Landscapes01:00:35 The Influence of Equipment on Photography01:03:36 The Unique Experience of Film Photography01:07:48 Building Community Through Film Photography01:12:40 Reflections on the Conversation and Future PlansIf you wish to read Tahusa’s previous interview here at camera clara, check the content down below:I hope you enjoy all that! And if you want to be in a future live streaming, get in touch, let's talk, I am interested on what you have to say!Check more about Tahusa and Anson at his website. Get full access to Camera Clara at www.cameraclara.com/subscribe

Infrared photography reveals a hidden dimension of light invisible to human eyes. In this livestream, I sat down with photographer Michael Pacheco to explore what makes infrared such a compelling artistic tool, how the technology works, and the 12-year journey behind his personal project called Kindling for Reality.PS: Connect with Michael via his instagram or personal website.Michael brought camera equipment, a detailed slide deck explaining the electromagnetic spectrum, and years of hands-on experience shooting in infrared. You’ll discover technical foundations, but more importantly, you’ll encounter artistic experimentation, persistence, and the practice of seeing through a different lens (no pun intended!)Get comfortable, put some headphones, and watch the full 1-hour livestreaming. I’ve outlined the key chapters to guide you through the conversation, so you know what to expect.Camera Clara is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Part 1: Understanding the electromagnetic spectrumTo shoot infrared, you first need to understand what you’re actually capturing. Michael begins by explaining how light exists across a spectrum of wavelengths. Visible light (everything humans can see) occupies only a small slice from 400 to 700 nanometers.Infrared light sits just beyond the red end of that spectrum, starting at 700 nanometers and extending to around 850 nanometers (what we call near-infrared). That’s the invisible heat you feel radiating from the sun, the same light your TV remote transmits.What’s fascinating is that birds can see ultraviolet light, which sits on the opposite end of the spectrum. This means flowers might appear entirely different to bees and birds than they do to us. They see patterns we’ll never perceive without specialized equipment. The same kinda applies to infrared photography. Your camera, when properly equipped, captures an invisible spectrum of light.Watch the video to see Michael’s visual explanation of the full spectrum and why this distinction matters for everything that follows.Part 2: How digital cameras block infraredEvery digital camera can technically sense infrared light. Your camera’s sensor is sensitive to wavelengths far beyond what your eyes can see. The problem is an infrared cut filter placed directly over the sensor. This glass barrier prevents infrared from interfering with normal photography, maintaining color accuracy and proper focus.Removing that filter is the foundation for infrared photography. Michael walks through this challenge in the video, showing an actual camera with the filter removed. He outlines two paths forward: expensive camera conversion with specialized companies, or the budget-friendly approach of using an external infrared filter on your lens.Part 3: Infrared filters and camera conversionAn infrared filter is essentially a dense piece of glass you screw onto your lens. It blocks all visible light while allowing infrared to pass through. Different filters pass different amounts of infrared wavelength, which affects the final look of your images.Michael brought a Sigma camera that has a removable IR cut filter, only sigmas SD and SD-H camera line can do this, so this specific camera doesn't need to be modified by Kolari Vision, he can take the filter out by hand and put it back anytime, which is wild, and the best of both worlds!The trade-off is significant: a converted camera becomes an infrared camera only. It can no longer shoot normal color photography (though conversion can be reversed by paying again). For dedicated infrared photographers, this sacrifice is worth it.Part 4: The "Wood Effect”The most striking characteristic of infrared photography is the Wood Effect, named after Robert Wood, the physicist who pioneered infrared photography in the early 1900s.In infrared photos, green vegetation reflects enormous amounts of infrared light, appearing bright white or yellow. Skies transform to deep blue or even black. Water takes on dramatic qualities. The result is a dreamlike landscape that feels alien compared to normal photography.The science is straightforward: chlorophyll interacts with infrared light completely differently than with visible light. The reflection is so intense that foliage practically glows in the captured image.Michael demonstrates this effect with examples from his personal work in the slideshow portion of the livestream. Watch to see how radically familiar scenes transform.Part 5: Experimental colorAfter years of developing his infrared technique, Michael spent a summer photographing the Azores, an archipelago known for dramatic volcanic landscapes. These images showcase infrared’s unique ability to capture lava rock and geological features.He describes beginning to develop presets for infrared photography, though he emphasizes the experimental nature of this work. Some color combinations look unusual or uncomfortable. That’s intentional. He’s exploring different interpretations of the infrared spectrum rather than chasing a single “correct” aesthetic.This is a fundamental insight: infrared photography rewards experimentation. There’s no single right way to process these images. Michael’s willingness to embrace failed tests and ugly mistakes is how artistic breakthroughs happen.In the video, he shares examples from this project and discusses his next directions, including portraiture in infrared, a technique he’s only recently begun exploring.Part 6: Infrared in cinema and fine artDuring the conversation, we discussed how filmmaker Denis Villeneuve used infrared photography for specific scenes in Dune. Those sequences capture the aesthetic power of infrared while telling a story. This is a reminder that infrared serves fine art and commercial filmmaking equally well.Kolari Vision has a very interesting post on How to Achieve the Infrared “Harkonnen Effect” in Dune: Part II – Kolari VisionI also referenced an Andy Warhol installation in Dia Beacon, that resembles some of Mike's infrared techniques, showing how this approach connects to art history and contemporary practice.These references matter because they position infrared outside the technical hobby space. It’s a serious artistic language with applications in cinema, gallery work, and editorial photography.Part 7: Why this work matters (and how to start)Michael concludes by reflecting on why he thinks this type of photography is valuable. Not everything needs to be immediately perfect. Experimental work is art. The point of pushing a medium to its limits isn’t to create flawless images every time. It’s to discover what becomes possible when you ignore convention.For photographers interested in starting their infrared journey, the barriers are lower than you might think. An external infrared filter costs under $100. A tripod and a clear day are the only other requirements.The hard part isn’t the equipment. It’s the patience to learn a different seeing. It’s standing in harsh midday sunlight (when most photographers stay inside), then looking at a familiar landscape and recognizing it could become something otherworldly.Infrared photography is powerful because it changes how you see.Further resourcesConnect with Michael Pacheco and explore his full portfolio through the links in this post. His Kindling for Reality project spans 12 years of infrared exploration. It’s a study in committing to a visual language and refining it over time.The full livestream runs approximately one hour and covers significantly more technical detail, personal anecdotes, and visual examples than this summary can capture. Press play above to watch the complete conversation. I hope you enjoy!Camera Clara is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Camera Clara at www.cameraclara.com/subscribe

My proven Negative Lab Pro workflow for scanning film negatives. Convert RAW files to stunning positives with proper color matching, presets, and efficiency. Get full access to Camera Clara at www.cameraclara.com/subscribe

Converting a medium format (6x7) with Negative Lab Pro. The film is a CineStill 400D. Hope you like it! Get full access to Camera Clara at www.cameraclara.com/subscribe

How I transformed the slow, often tedious process of film scanning into an efficient and enjoyable workflow. Inspired by Henry Ford’s principles of industrial efficiency, I optimized my scanning setup using batch processing, automation, and a Stream Deck to streamline repetitive tasks. By scanning in batches and editing entire rolls together, I achieve more consistent results while making the process faster and less frustrating. Switching from SilverFast’s unreliable color grading to Negative Lab Pro gave me more control, allowing for flexible edits without rescanning. Ultimately, my home setup now operates like a mini-lab, turning what once felt like a chore into a refined, structured part of my creative process. Get full access to Camera Clara at www.cameraclara.com/subscribe

On a rare sunny winter day in New York City, I embarked on a long-anticipated bike ride to the George Washington Bridge, armed with my Voigtländer camera and two distinct film stocks—Kodak Ektar 100, known for its rich, warm tones, and SantaColor 100, a repurposed Kodak Aero film designed for aerial reconnaissance and clarity over aesthetics. The journey, filled with breathtaking contrasts of snow and steel, was a testament to endurance and adaptation. Along the way, I captured cityscapes from a ferry, navigated freezing paths, and relished a warm meal in the Bronx—only to face an unexpected setback when my vintage Leica Summicron 50mm lens slipped from my numbed fingers onto the cold asphalt. The frustration of that moment forced me to reconsider my approach to gear, leading me to invest in the rugged, weatherproof Canon Sure Shot WP-1, a smarter companion for my cycling adventures. This ride reinforced a lesson in photography and life: creativity thrives on resilience, and the right tools can shape the experience as much as the images themselves. Get full access to Camera Clara at www.cameraclara.com/subscribe

Developing my first ten rolls of film revealed ten key insights: understanding the deeper “why,” feeling the therapeutic rhythm of the darkroom, chasing consistency, embracing surprise color casts, shooting more deliberately, savoring the slow scan process, welcoming the wait, working with ISO limitations, celebrating a warm, supportive community, and finally, inviting others to experience the magic. Get full access to Camera Clara at www.cameraclara.com/subscribe

When the snowstorm hit, I couldn’t resist the urge to go out and capture it. While others stayed warm indoors, I braved the cold with my CineStill 800T, juggling an umbrella, a manual-focus lens, and the ever-present risk of moisture damaging my camera. My destination? Basile’s Pizza—the shot I knew would be the best of the night. Battling wind, snow, and fogged-up gear, I pushed through, improvising as I went. By the time I reached my refuge, all I could think about was drying my camera with napkins. The adventure was exhausting, but the story and the photos made it all worth it. And yes, I’d do it all again—before the snow melts. Get full access to Camera Clara at www.cameraclara.com/subscribe

(Check Substack for original text and photos on https://blog.rafalop.es) -- This episode explores the journey of developing 35mm film at home, framed by Walter White’s quote on chemistry as change. We discuss the thrill of managing the entire process—from mixing chemicals to revealing hidden images—and highlight the challenges of temperature control and reel loading. The conversation covers why labs still matter, but also how hands-on experimentation fosters resiliency and a deeper bond with analog photography. Get full access to Camera Clara at www.cameraclara.com/subscribe

The Start of My Film Journey“From the first roll, I was hooked.”Photography has always been a part of my life. As someone born in 1986 and growing up alongside the evolution of digital photography, I’ve always been drawn to its precision, immediacy, and control. High-resolution sensors, advanced autofocus, and powerful editing tools like Lightroom have been my companions for years.Even in film photography, digital technology often plays a pivotal role. Scanning film with a digital camera and a macro lens, for instance, can create sharper, more detailed images than traditional scanners. It’s a testament to how far digital tools have come. But even with all this power at my fingertips, I found myself craving something more.When my mother brought me old family negatives last Christmas, along with a Nikon L35AF camera, I decided to give film photography a try. From the first roll, I was hooked. Loading the film, carefully setting the ASA, and advancing the frame felt like a conversation with the past. It was as though I was connecting with the same photographic journey my parents and grandparents once took, but on my own terms.Fotografia is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Why Film is Different“The film camera communicates authenticity and hobbyism, which makes street photography more efficient and genuine.”The limitations of film didn’t hinder me. They inspired me.This process reminds me of playing a vintage bass guitar. Modern guitars are often manufactured with CNC machines, capable of cutting wood with extreme precision. They produce instruments that are flawless in their construction and reliability. But a vintage bass, with its handmade imperfections, worn-in frets, and history in its wood, creates a different kind of connection. It’s not just about the sound: it’s about how holding that instrument makes me feel. It inspires me, sparking creativity in ways a modern machine-made bass never could.Film cameras feel the same way. The mechanical precision of advancing film, the resistance of manual focus, and the sound of the shutter are all part of an immersive experience. With each frame, I’m not just capturing an image, I’m engaging with light, shadows, and composition in a way that feels deliberate. Every click matters because every frame costs something.When talking about street photography and riskier shots, I must also note how using a film camera positively influences the way people perceive you during street photography. There’s something disarming about seeing someone advancing film and practicing slow photography, it immediately conveys that you’re an enthusiast, not a private detective or someone with ill intent.This dynamic shifts interactions significantly. People react better, often intrigued by the process rather than wary. It aligns with the concept from Marshall McLuhan’s book The Medium is the Massage, where the medium itself shapes the message being received.The film camera communicates authenticity and hobbyism, which makes street photography more efficient and genuine. Moreover, there’s a unique safeguard when using film. If someone, like a security guard, demands that you delete a photo, the absence of a delete button means your property (the roll of film) remains intact unless someone physically removes it. While losing a roll in extreme cases might be a frustrating compromise, it keeps interactions civil and avoids unnecessary escalation.The Unexpected Joy of Community“Film photography has a unique way of bringing people together.”But what surprised me most about film photography wasn’t just the process or the results: it was the community.I experienced this firsthand when I met Nicholas Lopresti. He became a guide in my early days of home development, helping me navigate the complex world of chemicals, timings, and tools. Without his help, I doubt I would’ve had the confidence to develop my first roll successfully. Moments like this remind me that photography isn’t just about the images we create, it’s about the connections we make along the way. If you benefited from his tips, or just laugh with his videos, consider going to his Shop and supporting his job, as the world needs more creators like him.Film photography has a unique way of bringing people together. Whether it’s online forums, local meetups, or the friendly staff at labs, the community is incredibly welcoming. Many photographers are eager to share their knowledge, whether it’s about camera mechanics, film stocks, or developing techniques.The Time Spent Reflecting on My Creations“Each photo carries a story.”The scanning process has also been unexpectedly transformative. Each scan takes around 3–5 minutes per photo, which forces me to slow down and really look at my work. I notice the details, the play of light, the textures, the small imperfections, and reflect on what I could improve. This time spent with my images has sharpened my critical eye and deepened my appreciation for the art of photography.Recently, I scanned over 500 35mm negatives from my family archive, images that are over 30 years old. Seeing these moments preserved in vivid 65-megapixel TIFF files is a powerful experience. Each photo carries a story, a memory, and now a level of detail that ensures it can be cherished for years to come.Lessons Learned / Key TakeawaysFilm photography has taught me so much more than just how to shoot on film. It’s taught me patience, resilience, intentionality, and how to truly see. It’s connected me to a community of people who share that passion. And it’s reminded me that the most meaningful parts of photography aren’t just the images, it’s the journey of creating them. And mostly important: I made new friends.Here are some photographies I did with my new Voigtländer Bessa R2A and the old Nikon L35AF, some of them developed and scanned by Gelatin Labs, some other I developed and scanned myself. Please consume them slowly, allow you some time to think about details, I urge you to not scroll like we all do on Instagram.Expect more film photography around here! Get full access to Camera Clara at www.cameraclara.com/subscribe