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EmberFilm: a first look at a new negative conversion app

47 min · Ayer
Portada del episodio EmberFilm: a first look at a new negative conversion app

Descripción

Converting your own scans is the part of film photography nobody puts on a postcard. I scan with the film borders, so a big chunk of my time goes into cropping, rotating, fixing the rebate, then moving the file from one piece of software to another because the white balance broke or the gamma got encoded wrong somewhere along the way. It works. It’s also a small pile of hacks I’ve made peace with over the years. So when Yahya Rahhawi reached out about a converter he’s building, I was curious in a tired way. I’ve seen a lot of these. Most do one thing well and leave you needing three other apps to finish the job. My friend Fabian Socarras [https://substack.com/profile/108557086-fabian-socarras] told me “I’ve used just about every conversion app out there, and this one by far has been the most complete”. And I completely agree! I’m on the same boat, also used tons of software, and EmberFilm [https://emberfilm.app/] is very promising! Yahya and I sat down on a Camera Clara livestream and went through an entire roll together, live, with negatives I had scanned that same morning. I’ll post some of the results here, but I strongy recommend watching the whole video. Yahya is a solo developer. He’s a computer science student finishing his degree, he started shooting black and white in a high school darkroom about four years ago, and the app, EmberFilm [https://emberfilm.app/], grew out of his own frustration with the conversion process (we’ve all been there!). Before this he made a small open source tool that only removed dust. That one got enough good feedback that he kept going, and EmberFilm is the result of a few months of work and more than fifty beta testers texting him every single day. What got me is how much is already in there for a first release. The part I want people to understand first is the AI, because the words “AI” and “film scanning” in the same sentence usually make us all nervous. The software uses machine learning for dust detection, for the auto crop that finds your frame inside the border, and for white balance. The dust model is the clever one. It reads the actual RGB pixels, no infrared channel, and it still finds the specks and paints them out while keeping the grain intact. And all that runs on locally on the machine. I repeat. Every single AI feature runs in my machine only. Nothing gets uploaded. Your scans never leave your laptop, the models are compressed to run locally, and there’s no account, no cloud, no app quietly phoning home to a server somewhere. Yahya was clear about this on the stream and I think it matters. This is a good use of AI. The other thing I kept noticing was the one button conversion. You import the roll, you hit convert, and the scans come out looking right. That sounds basic. A lot of converters still get it wrong, and you end up babysitting every frame to make it usable. EmberFilm treats a project like a roll, reads the white balance once, and keeps it consistent across the whole strip, which is most of what I actually want from a converter. Now the part I cared about most. EmberFilm doesn’t push its own look on you. It doesn’t bake in a LUT to fake a “filmic” result and call it a day. It pulls the information out of the negative, the way a Frontier or a Noritsu does, and hands you a clean, flexible file you can take wherever you want. If you feel like adding a print look later, you can. That’s your call, not the app deciding for you. Portra 400 should look like Portra 400. One version of it, please. We hit a couple of bugs on the stream. An export that failed, a zoom that crashed because I zoomed in to roughly a billion percent. Beta things. None of it changed my read. The conversions were fast on 80-something megabyte GFX files, the memory use stayed around half a gigabyte, and the results were genuinely good. EmberFilm is Mac only for now, still in beta, with a waitlist on the site. No firm release date yet. Info and Links The app lives at emberfilm.app [https://emberfilm.app/], where you can join the beta waitlist. The instagram is @emberfilm.app [https://www.instagram.com/emberfilm.app/]. One flag: there’s also an Instagram account called @ember_films (plural, with an underscore), that one does NOT belong to the app rather than some unrelated video outfit. Check it before you link it. This was our first livestream with Yahya and I doubt it’ll be the last. He’s that rare developer who’s also the user, and I want to keep following where this goes. For the record, nobody paid for this post. I just liked the software and contacted him out via Instagram. Thank you, Yahya! 💪 🇮🇶 🎞️ ✨ If you want to see the whole conversion happen, the full stream is up. And if you read Camera Clara and want more of these, the best thing you can do is subscribe. It’s how all of this stays independent and fun ! Get full access to Camera Clara at www.cameraclara.com/subscribe [https://www.cameraclara.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4]

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26 episodios

Portada del episodio EmberFilm: a first look at a new negative conversion app

EmberFilm: a first look at a new negative conversion app

Converting your own scans is the part of film photography nobody puts on a postcard. I scan with the film borders, so a big chunk of my time goes into cropping, rotating, fixing the rebate, then moving the file from one piece of software to another because the white balance broke or the gamma got encoded wrong somewhere along the way. It works. It’s also a small pile of hacks I’ve made peace with over the years. So when Yahya Rahhawi reached out about a converter he’s building, I was curious in a tired way. I’ve seen a lot of these. Most do one thing well and leave you needing three other apps to finish the job. My friend Fabian Socarras [https://substack.com/profile/108557086-fabian-socarras] told me “I’ve used just about every conversion app out there, and this one by far has been the most complete”. And I completely agree! I’m on the same boat, also used tons of software, and EmberFilm [https://emberfilm.app/] is very promising! Yahya and I sat down on a Camera Clara livestream and went through an entire roll together, live, with negatives I had scanned that same morning. I’ll post some of the results here, but I strongy recommend watching the whole video. Yahya is a solo developer. He’s a computer science student finishing his degree, he started shooting black and white in a high school darkroom about four years ago, and the app, EmberFilm [https://emberfilm.app/], grew out of his own frustration with the conversion process (we’ve all been there!). Before this he made a small open source tool that only removed dust. That one got enough good feedback that he kept going, and EmberFilm is the result of a few months of work and more than fifty beta testers texting him every single day. What got me is how much is already in there for a first release. The part I want people to understand first is the AI, because the words “AI” and “film scanning” in the same sentence usually make us all nervous. The software uses machine learning for dust detection, for the auto crop that finds your frame inside the border, and for white balance. The dust model is the clever one. It reads the actual RGB pixels, no infrared channel, and it still finds the specks and paints them out while keeping the grain intact. And all that runs on locally on the machine. I repeat. Every single AI feature runs in my machine only. Nothing gets uploaded. Your scans never leave your laptop, the models are compressed to run locally, and there’s no account, no cloud, no app quietly phoning home to a server somewhere. Yahya was clear about this on the stream and I think it matters. This is a good use of AI. The other thing I kept noticing was the one button conversion. You import the roll, you hit convert, and the scans come out looking right. That sounds basic. A lot of converters still get it wrong, and you end up babysitting every frame to make it usable. EmberFilm treats a project like a roll, reads the white balance once, and keeps it consistent across the whole strip, which is most of what I actually want from a converter. Now the part I cared about most. EmberFilm doesn’t push its own look on you. It doesn’t bake in a LUT to fake a “filmic” result and call it a day. It pulls the information out of the negative, the way a Frontier or a Noritsu does, and hands you a clean, flexible file you can take wherever you want. If you feel like adding a print look later, you can. That’s your call, not the app deciding for you. Portra 400 should look like Portra 400. One version of it, please. We hit a couple of bugs on the stream. An export that failed, a zoom that crashed because I zoomed in to roughly a billion percent. Beta things. None of it changed my read. The conversions were fast on 80-something megabyte GFX files, the memory use stayed around half a gigabyte, and the results were genuinely good. EmberFilm is Mac only for now, still in beta, with a waitlist on the site. No firm release date yet. Info and Links The app lives at emberfilm.app [https://emberfilm.app/], where you can join the beta waitlist. The instagram is @emberfilm.app [https://www.instagram.com/emberfilm.app/]. One flag: there’s also an Instagram account called @ember_films (plural, with an underscore), that one does NOT belong to the app rather than some unrelated video outfit. Check it before you link it. This was our first livestream with Yahya and I doubt it’ll be the last. He’s that rare developer who’s also the user, and I want to keep following where this goes. For the record, nobody paid for this post. I just liked the software and contacted him out via Instagram. Thank you, Yahya! 💪 🇮🇶 🎞️ ✨ If you want to see the whole conversion happen, the full stream is up. And if you read Camera Clara and want more of these, the best thing you can do is subscribe. It’s how all of this stays independent and fun ! Get full access to Camera Clara at www.cameraclara.com/subscribe [https://www.cameraclara.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4]

Ayer47 min
Portada del episodio About photographing people in social disadvantage

About photographing people in social disadvantage

Something that has been sitting with me since I did this shot: Here is the project I mentioned: Hope in Shadows. You can find their website here [https://megaphonemagazine.com/our-work/hope-in-shadows-calendar/]. It’s such a beautiful and nice project! If you like this post, don’t forget to send to a friend, leave a comment, or subscribe. You can listen directly here, or find the CameraClara podcast on your favorite app: * Spotify [https://open.spotify.com/show/5GihGIkYq8Ohynw82yynw2] * Apple Podcasts [https://podcasts.apple.com/us/podcast/cameraclara-podcast/id1793167038] * cameraclara.com/podcast [https://www.cameraclara.com/podcast] Leave a comment below or write to podcast@cameraclara.com [podcast@cameraclara.com]. I’ll read your messages in the next episode. Get full access to Camera Clara at www.cameraclara.com/subscribe [https://www.cameraclara.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4]

18 de jun de 20269 min
Portada del episodio Reflections about film and digital: what film asks of you that digital never did...

Reflections about film and digital: what film asks of you that digital never did...

I’ve been thinking about this for a while. Twenty minutes. Just me, close to the microphone, thinking out loud. Podcast episode on air! You can listen directly here, or find the CameraClara podcast on your favorite app: * Spotify [https://open.spotify.com/show/5GihGIkYq8Ohynw82yynw2] * Apple Podcasts [https://podcasts.apple.com/us/podcast/cameraclara-podcast/id1793167038] * cameraclara.com/podcast [https://www.cameraclara.com/podcast] In this episode I talk about the technical and philosophical differences between shooting film and digital. Not in a gear way. More in a mindset way. Why film forces you to read light differently, what the ISO lock teaches you about creative constraints, why the contact sheet is the most honest mirror a photographer can have, and what happens to your thinking when you only have 36 frames left. Leave a comment below or write to podcast@cameraclara.com [podcast@cameraclara.com]. I’ll read your messages in the next episode. It's my first time doing this, so please also let me know what do you think about the overall thing: did I do it right? What would you like to listen? How about the form and structure? And also, subscribe to CameraClara here on Substack, as that helps me a ton! Get full access to Camera Clara at www.cameraclara.com/subscribe [https://www.cameraclara.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4]

10 de jun de 202614 min
Portada del episodio Max Adams on shooting for work and shooting for fun

Max Adams on shooting for work and shooting for fun

Last week I had Max Adams on the Photography Community Camera Clara livestream/podcast. He runs a YouTube channel [https://www.youtube.com/@maxadams69] 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 living Max 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 blur He 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 opinions I 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 [https://www.youtube.com/@maxadams]. 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 [https://www.cameraclara.com/subscribe]. ♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️ Get full access to Camera Clara at www.cameraclara.com/subscribe [https://www.cameraclara.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4]

14 de abr de 20261 h 8 min
Portada del episodio Developing film in traffic, in the woods, on a UHAUL! Meet Kat and Everett, the creative minds behind FridgeFilm

Developing film in traffic, in the woods, on a UHAUL! Meet Kat and Everett, the creative minds behind FridgeFilm

Kat and Everett from FridgeFilm [https://fridgefilm.com/] joined the Camera Clara live stream last week, and it was one of the most fun episodes we’ve done. If you don’t know them yet: they’re two LA-based film photographers who develop film in the most chaotic places imaginable [https://www.instagram.com/p/DPuOTzEEq-I/], film the whole process, edit it with great energy, and post it on YouTube. Think about Spider Man asking for 50 bucks (lmao), a Scientology security guard showing up and challenging them in their matching blue jumpsuits while trying to evangelize the church, chemicals flying inside a UHAUL at 7am (LMAO), red wine as a film developer, camo faces paint in the woods, a bucket melting onto someone’s arm in LA traffic, and much more fun! The content is awesome in the best way, and the technique is actually solid. We talked about temperature tolerance in C-41 (more forgiving than most people think), what happens when developer gets exhausted, and what it actually feels like to invert blix and dev by mistake (I’ve been there). They also dropped some news: a FridgeFilm original film stock is coming soon, with pre-orders opening shortly. Name and box design are still under wraps. Watch their videos on YouTube [https://www.youtube.com/@fridgefilm] and follow them on Instagram at @fridge.film [https://instagram.com/fridge.film]. I’m already planning a New York collab with rowboats on the Central Park lake. They’re in. YOU don't wanna miss this episode, I guarantee you will have a good time watching it! Get full access to Camera Clara at www.cameraclara.com/subscribe [https://www.cameraclara.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4]

12 de mar de 202632 min