Film Photo 3000

About

Load a roll. Shoot twenty-four. Develop it and see what you got. Film Photo 3000 is a 35mm camera for your phone, built the way film actually works. No live filter preview. No deleting the bad ones. You pick an emulsion, you get twenty-four exposures, and you don't see a single frame until the whole roll has been through the developer. It turns out that waiting is the best part. THE FILM IS THE POINT Eleven emulsions, every one modelled on a real stock — and modelled properly, not with a colour filter laid over the top. The colour is measured from the manufacturers' own published datasheets and run through a two-stage negative-and-print simulation. Scene light exposes a negative. Light is pushed through that negative onto photographic paper. What you keep is the print. That physics is why highlights roll off instead of clipping, why shadows pick up a colour cast, and why greens land olive instead of electric. WHAT'S ON THE SHELF AURORA 400 — forgiving portrait stock. Creamy skin, gentle highlights. SUNBEAM 200 — the drugstore roll. Golden, cheerful, faintly overcooked. VERDANT 400 — cold shadows, loud leaves. ULTRA 100 — colour negative with slide film ambitions. HALCYON 400 — pastel and sun-faded. Blacks that stop at charcoal. CHROME 100 — neutral reversal, and slightly smug about it. VIVID 50 — reality with the dial snapped off. NOCTURNE 800T — tungsten cine stock. Streetlights bleed red. GRAPHITE 400 — classic black and white. Gritty and dependable. OBSIDIAN 3200 — pushed to the limit. Grain the size of gravel. SPECTRA SHIFT — spectrally wrong on purpose. Foliage turns violet. THE WHOLE CHAIN, NOT JUST A FILTER Grain that is band-limited the way silver actually clumps, and that tracks film speed — fine on the slow stocks, gravel on the 3200. Halation, where light punches through the emulsion and bounces back off the film base. The scanner. Every film photograph you have ever admired was scanned, and a lab scanner sharpens as it goes. That is why film reads sharp while still not being detailed — and it is why a plain blur never looks like film. Light leaks and lens flare, occasionally and at random, seeded to the frame so a roll develops the same way every time. Per-frame variation, because a lab never lands on the same answer twice. SHOT PROPERLY Apple ProRAW capture where your iPhone supports it, so the emulsion is working from everything the sensor saw. Full resolution out. No watermark. No limit on how many rolls you shoot. A white print border, if you want one. A short, sharp flash that lights the subject and not the room. FREE AND PAID Two emulsions are free — AURORA 400 and GRAPHITE 400 — and they are the whole camera, not a demo. Shoot as many rolls as you like, develop them, and keep the photographs at full resolution. Full Shelf unlocks the other nine, and anything added later. Terms of Use: https://chris-wakefield.com/policies/terms-of-use.html Privacy Policy: https://chris-wakefield.com/policies/lofi-pomodoro-timer-policy.html