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Gelatin Labs’ New Revolutionary Film Scanning Approach?

New Jersey-based Gelatin Labs just announced GelForm, which they’re pitching as a new way to simplify film scanning while keeping that unique film character intact. The idea is that GelForm offers curated scanning “formulas” made for popular film stocks, so photographers can pick from preset styles like The Standard, The Hi-C, and Palm-Aire to get a certain look right out of the lab.

Ben Krueger, Gelatin Labs’ co-founder, says the goal is to give photographers more clarity and consistency without losing the analog feel, calling GelForm a “creative yet reliable” solution. Their original flat TIFF scan option—now cheekily renamed The Flat Earth—is still available for those who prefer to do their own edits from scratch.

It all sounds neat on the surface, but plenty of photographers are already calling out the fact that there’s nothing particularly groundbreaking here. Labs have been working with photographers to nail down color profiles and preferred looks basically forever. Even now, it’s totally standard to chat with your lab and establish the aesthetic you’re going for. In that sense, GelForm seems like more of a rebranding effort than a true innovation, more about slapping a label on what’s essentially a set of presets.

To beef up their scanning game, Gelatin Labs also added two Fujifilm scanners—the Frontier SP-3000 and SP-500—alongside their existing Noritsu HS-1800. These scanners have their own sets of GelForms to choose from, and Gelatin Labs says this expands their range and brings in the tonal warmth Fujifilm scanners are known for. But again, while it’s great to have more equipment options, that’s just the usual part of running a lab.

A lot of the online chatter is echoing the same sentiment: this isn’t exactly new. Labs have always interpreted film and provided scans that are ready to share, and for those who want total control, high-res TIFFs have always been there too. Some are pointing out that this feels more like a play for casual photographers who want quick results without the hassle of editing. The irony is that most casual shooters aren’t dropping $35–50 per roll on film, development, and scanning these days.

Image credits: Gelatin Labs

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Interview with Steve Hamm

This week’s Interview with Steve, a very talented nature/landscape photographer.

You can find him on Instagram as: @stephenhammphotography

Enjoy the amazing Interview ;)

Can you introduce yourself to our readers?

My name is Steve Hamm, and I’m a Colorado-based landscape photographer.  Photography has been a big part of my life for six years now. I teach workshops, sell prints, and am passionate about capturing the beauty of nature. Besides photography, I’m a husband, father, and grandfather to four amazing kids and one grandbaby. I work full-time as an executive chef at Denver International Airport.

What initially drew you to nature and landscape photography?

I've always had a deep love for being in nature, which stems from my childhood when my family and I often went hiking together. My father and I bonded over these outdoor adventures, which became a significant part of my life. As I got older and found myself working long hours—50-55 hours a week as an executive chef at a restaurant in Denver International Airport—I realized I needed an outlet to decompress and recharge. My job involves serving over 2,000 people a day, and while I love what I do, the stress can be overwhelming.

I picked up a camera to reconnect with the peace I found in nature. Photography quickly became a passion. It allowed me to capture the beauty and tranquility I experienced on my hikes. What started as a way to relax and unwind soon became an obsession. I dedicated all my free time to learning the art of photography and challenging myself in different environments and situations. I began traveling as much as possible, driven by a desire to see and capture the world’s beauty through my lens.

How do you approach planning for a shoot in the wild? Do you rely more on spontaneity or preparation?

Honestly, I don’t plan much at all, though I probably should. I find that just packing up and heading out, especially after a stressful week, is what I need most. The spontaneity of it—just being in nature without an agenda—is what I love. I’m not always chasing the “perfect” conditions; I’m more focused on the experience of being out there. That said, I realize that with a bit more preparation, I could capture more dramatic images, but for me, the peace and calm of nature are the priorities. The photos are a bonus.

Can you walk us through your creative process when you’re in the field? How do you decide on the perfect moment to capture?

When I arrive at a location, I like to take a moment to catch my breath and take in the surroundings. I’ll walk around and explore, looking for interesting elements to use as a foreground. If there are mountains, I’ll find the best angle to capture them, or if I’m near water, I’ll get low to frame the shot with the waterfall or river.

I don’t usually set up my tripod right away. Instead, I take handheld test shots to see how the light interacts with the landscape. I observe how the light changes, especially around golden hour and into blue hour, which are my favorite times to shoot. I try to maximize my time by exploring different compositions in a single location rather than focusing on just one shot.

What challenges do you often face when photographing in remote or difficult environments, and how do you overcome them?

As a type 1 diabetic, managing my blood sugar is a significant challenge, especially when I’m hiking in remote areas without cell service, often at higher elevations. To mitigate this, I use an insulin pump and a glucose monitoring system that updates my pump every five minutes. It alerts me to potential issues before they become serious. I always carry snacks and a Gatorade mix to stabilize my sugar levels throughout the hike, along with glucagon in an emergency.

Another challenge I’ve faced is forgetting to charge my camera batteries, which has happened a few times. To avoid this, I now carry multiple batteries in my bag, ensuring I’m always prepared for a long shoot.

Can you share a memorable experience or adventure you’ve had while shooting in a particularly stunning or unique location?

One of the most memorable experiences I’ve had was during a trip to Death Valley. It’s an incredible place, and one of my favorites to explore and photograph. I made the trip after hearing about the return of Lake Manly—a rare occurrence when the rains of 2023 caused Badwater Basin to flood, covering the salt flats with a few inches of water. The entire basin looked like a giant mirror, perfect for capturing reflections.

As I stood in the water watching the sunset, the clouds began to form these incredible shapes, and as the sun dipped behind the mountains, the sky lit up in brilliant reds, oranges, and yellows. The water reflections created a scene resembling a phoenix rising—a truly once-in-a-lifetime moment. The colors transitioned to blues, magentas, and purples, and just when I thought the show was over, the sky exploded again in an afterburn, allowing me to shoot for another 40 minutes. I stood there in awe, completely immersed in the experience. Moments like these make all the challenges and long hours worth it.

How do you handle unpredictable weather or lighting conditions that can drastically change the scene you intend to photograph?

I embrace it. Unpredictable weather often leads to the most amazing shots. Patience is key—I’ll wait for the right moment, knowing that a small break in the clouds or a shift in the light can create something magical. Not every attempt works out, but when it does, the results are often stunning. I’ve learned to appreciate nature's unpredictability and use it to my advantage.

What role does patience play in your work, and how do you stay motivated when conditions aren’t ideal for capturing the image you envision?

Patience is crucial in landscape photography. Sometimes, the conditions aren’t ideal, and it can be challenging to stay motivated, especially when you’re cold or standing in the rain. I keep moving, exploring different compositions and capturing moody images even when the light isn’t great. Waiting for that perfect moment—when the clouds part, or the light shifts—can transform an image. It’s those small windows of opportunity that make all the waiting worthwhile.

Any tips for beginners?

The biggest tip I can give to beginners is to practice. The old saying, “Practice makes perfect,” couldn’t be more true in photography. With practice, you’ll develop your style, learn what you love to shoot, and improve your editing skills. I still practice constantly—revisiting locations, trying new techniques, and experimenting with different angles. Growth as a photographer comes from continuously challenging yourself and refining your craft.

What do you think about AI in photography?

I see AI as a useful tool, but not something to be feared. Like any new technology, it’s met with skepticism because people are unsure of it. For me, photography is about disconnecting from the world and finding peace in nature, something AI can’t replicate. I shoot to experience the outdoors, and AI doesn’t change that. What concerns me about AI is when it’s used to create images that don’t reflect reality, leading people to believe in something that doesn’t exist. My work has been accused of being AI-generated, but I assure you it’s all real.

How do you choose the locations you shoot?

I draw inspiration from other photographers, friends, and my own research. I use platforms like Instagram, Google Earth, and AllTrails to discover new spots. I’m willing to drive long distances—sometimes over six hours—to reach a location because I thrive on the excitement of exploring new areas. Familiar locations can become monotonous, so traveling keeps me motivated and inspired.

What gear do you use?

I’m a Sony shooter and have been for a long time. I use two camera bodies, the A7Riii and A7Riv, along with a range of zoom lenses: a 12-24mm f/2.8 GM, a 16-35mm f/4, a 50mm, and a 70-350mm. I typically shoot wide and do a lot of compositing. Additionally, I have a DJI Mini 3 Pro drone and an iOptron Sky Tracker Pro.

What is your all-time favourite photo location?

Death Valley is hands down my favorite place to shoot. The desolation and beauty of the landscape are captivating. The rich colors during golden and blue hour, the textures, and the unique shapes make it a photographer’s paradise. The wildflowers that bloom in such an arid environment are stunning, and the night skies are some of the darkest and most breathtaking I’ve ever seen.

What role does composition play in your images?

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The Flash For Outdoor Photography?

Neewer just dropped the Q6 600Ws studio flash, and on paper, it looks solid. The design is sleek and simple, and the main thing here is power, it has got enough juice to handle bright outdoor setups without much trouble.

It works with most of the big camera brands—Canon, Nikon, Sony, Fujifilm—and gives you TTL support across the board. The power range is nice and flexible, going from 1/512 all the way to full power in small steps, and the color temp is around 5,700K with minimal shift, so it should stay pretty consistent. There’s also a 30-watt LED modeling lamp that covers a good range of color temps (2700-6500K), and it’s decently accurate if you’re concerned about color matching.

You can control it using their app, a remote trigger (though that’s sold separately), or just the manual buttons and dials on the flash itself. The color screen makes it easy enough to see your settings. Battery life sounds decent, around 400 full-power pops per charge and you can plug it into the wall if you’re working in the studio.

Performance-wise, it’s fairly quick. Recycling time can be as fast as 0.01 seconds, topping out at 0.9 seconds at full power, which is totally fine for most use cases. Flash duration gets down to 1/10,989s, and it supports high-speed sync up to 1/8,000s, so freezing fast-moving stuff shouldn’t be an issue.

There are a few extra features like Multi Mode for stroboscopic effects and a masking function if you’re into composite shots. It’s got a Bowens mount too, so all your usual softboxes and modifiers will fit without any weird adapters.

Build-wise, it weighs around 6.6 pounds (about 3 kg) and has a fan to keep things cool. The size is compact enough to be portable but not exactly featherweight.

It’s shipping mid-May at $499.99, and it comes with the usual kit—battery, handle, reflector, cables, and a carry case. The trigger, annoyingly, isn’t included, so that’s extra if you want wireless control. Overall, nothing revolutionary, but it looks like a dependable option if you need a mid-range flash with decent power and versatility.

Image credits: Neewer

Photo Analysis

Welcome to the new part of the Magazine Issue where we take a closer look at a photo and analyse it so that you can learn and better your own photography from it ;)

Photo by: @nickelpack

Let’s Analyse this Image

Composition

What works well:

• The motion blur is handled very well, the background streaks into this neon blur, but the cyclist in his yellow jacket/raincoat stays sharp enough to be the clear subject of the shot. That contrast in sharpness is great.

• The diagonal energy from the blurred lines and the perfectly straight zebra crossing creates this great tension, it makes the scene feel fast, but at the same time also really graphic and clean.

• Centring the cyclist works here (more on this down below) because the scene is quite dynamic. There is a lot of visual ‘‘mass’’ around them that the middle becomes a little visual anchor.

• The bright yellow outfit against all that blue and neon is perfect colour theory in action, it pops nicely without looking forced.

What could be better:

• Honestly, it’s nitpicky, but having just a bit more space ahead of the cyclist could give that sense of “moving forward” a bit more breathing room. (with panning shots in general you almost always what to follow this rule. Leave a bit of space before your subject so that it has ‘‘space’’ to move forward)

• The top of the image feels a little heavy with dark tones. Cropping slightly tighter from the top might focus the eye more on the action.

Lighting

What works well:

• The glow of the city lights is dreamy, all those blues, pinks, and oranges blend into this electric cyberpunk Tokyo vibe (which I love).

• The cyclist is well-lit, despite all the chaos around. The yellow raincoat isn’t blown out, it holds texture and detail even under those bright signs.

• The way the light hits the wet road adds that glossy, cinematic finish. It’s subtle but gives depth and dimension. If this shot hadn’t been taken during/after rainfall it would not have worked so well.

What could be better:

• Some of the bright neon signs verge on being a little too blown out, especially the warm ones near the center-left. A touch more control there could balance it even better.

• The light on the cyclist’s face is a bit flat. It’s not a dealbreaker, but a bit more spotlight there could add a bit more life.

Framing & Perspective

What works well:

• The horizontal streaks of blur and the aligned crosswalk create this tunnel-like effect that draws you straight into the motion.

• Shooting from this angle makes the cyclist feel more heroic, like they are really powering through the city.

• There is a nice depth to this frame.

What could be better:

• Maybe playing with a slightly wider angle could have exaggerated the sense of speed and space even more. However the cyclist is already rather ‘‘small’’ compared to the buildings and the space of the foreground. So adding even more ‘‘space’’ could kind of burry the cyclist. It’s all about balance.

• Again, a bit more lead room in front of the cyclist could amplify that feeling of motion.

Storytelling

What works well:

• This has this Tokyo Drift energy but with a delivery biker instead of a car. There’s a vibe of late-night hustle, fast-paced city life, and isolation all wrapped up in this picture.

• The yellow raincoat and the fact that the cyclist is alone on such a busy road really hint at resilience. He is out there grinding while the city blurs past (or is already sleeping).

What could be better:

• A bit of visible rain or weather detail could’ve pushed the “raincoat” part of the story even harder, making it feel more rough and visceral.

• Again adding a bit more light to the person’s face could help the viewer connect with them more.

• And also again: leaving a bit more space in front of the cyclist could push the narrative ‘‘he is going somewhere’’ more

Photography Tip of the Week

The weekly photography tip is only accessible to Premium Subscribers of The Magazine For Photographers.

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Photographer of the Week

Photographer of the week goes to: Carlos Barrios

You can find him on Instagram as: @carlosbarriostheoneandonly

A few of his images:

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