joel1513photo said: Hey Patrick, I know you've probably answered this before but I did a search and couldn't find an answer... what is your work flow with film? do you develop yourself? do you use a lab? how about scanning? I've dabbled in MF a bit but never found a lab I was super happy with.
As much as I enjoy tumblr, one of the irritations I have with it is how difficult it can be to find old posts, even ones I’ve tagged. Anyway, yeah, I have answered this a few times, but I don’t mind posting again on the subject.
I develop my own black and white film but I send out my c-41 and e-6 to a lab. Over the last year I’ve been using Citizen’s Photo in Portland, Oregon. I’ve been very happy with them. They’ve scanned a couple hundred rolls for me by now and I’ve never had any significant issues. They’re not only inexpensive, but I think they do the best work of the various labs I’ve used over the years. I just have them process the negatives, which I scan myself using the Nikon V ED for most 35mm and the Epson V700 for medium format and everything else.
I hope that helps!
evanbainesphoto said: Just wanted to take a moment and drop a note that I've been enjoying the work you've been posted! That Ektar really seems to do well with night scenes.
Thanks very much! I’m enjoying browsing through your tumblr as well. Lots of great images and interesting ideas.
"Photography has always reminded me of the second child… trying to prove itself. The fact that it was not really considered an art… that it was considered a craft.. has trapped almost every serious photographer."
— Richard Avedon (via evanbainesphoto)
"…projects of compassionate recognition have enabled a habit of political obfuscation of the differences between emotional and material (legal, economic, and institutional) kinds of social reciprocity. Self-transforming compassionate recognition and its cognate forms of solidarity are necessary for making political movements thrive contentiously against all sorts of privilege, but they have also provided a means for making minor structural adjustments seem like major events, because the theater of compassion is emotionally intense. Recognition all too often becomes an experiential end in itself, an emotional event that protects what is unconscious, impersonal, and unrelated to anyone’s intentions about maintaining political privilege."
— Lauren Berlant from “Nearly Utopian, Nearly Normal:Post-Fordist Affect in La Promesse and Rosetta”