SilvergrainClassics x Leica Gallery Frankfurt Meetup

 

Clear some time in your calendar and start packing your gear because we’re going on a trip! If you follow us on Instagram, you’ll already know what we’re talking about… On June 25, we’ll be special guests at the SilvergrainClassics & Leica Gallery Frankfurt analog meetup!

 

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Although we may not be the headliners at your favorite summer music festival, being a special guest at this extremely special occasion kind of makes us the Rosalía of the analog community, right? Okay, don’t shatter our dreams, at least that’s what we’d like to believe!

SilvergrainClassics and the Leica Gallery Frankfurt have teamed up to bring you a fantastic lineup of analog movers and shakers. We’re eager to finally meet in person again and we’ll sure make the most of it!  The best news is that you can get your tickets right now:

 

 

WHAT’S THE PLAN?

 

We’ll hear from Mirko Boeddecker (CEO of ADOX and FotoImpex), Lina Bessonova (Photographer and Influencer), Nicolas Llasera (Nico’s Photography Show), The SivergrainClassics crew, and Carmencita’s founder himself, Albert Roig.

 

 

Make sure you have enough room in your suitcase because there will be new and used Leica camera sales at the event! Workshops, photowalks, a Steve McCurry gallery show, a Q&A with Mirko Boeddecker, and some analog community news will also be held.

Keep in mind that you must reserve your spot in order to attend the SilvergrainClassics & Leica Gallery Frankfurt Meetup. The countdown has begun… We’re so looking forward to this day! See you around!

 

 

 

 

XXL and XXXL format comparison

XXXL is here!

XXL and XXXL format comparison

Photo by Aida Chambó

XXXL RESOLUTION

We know that as film shooters you have several possibilities when it comes to getting your images scanned, and we’ve certainly come a long way from our M-size comfort zone.

Whenever we have the chance to upgrade your options, we try to figure out how we can deliver our best. So, for a few months now, we’ve been discussing the possibility of taking the XXL format to the next step. And we finally have something to show you!

 

 

As photographers, we understand the importance of looking for even the tiniest detail, and since we rarely carry a magnifying glass with us, this higher resolution is ideal for seeing finer textures, definition, and grain structure. So, basically, it needs to be a perfect shot, or else you will see all the flaws. No pressure.

Jokes aside, the XXXL scan expands the variety of possibilities. It also allows you to print it larger if you want to in the future. At the lab, we did our testing and in all seriousness, we just printed a whopping 110 x 170 cm print from the image you see below. And it looks amazing.

We know that nothing beats drum scanning, but more often than not it’s complex to perform, expensive and slow. Not available to everyone whenever a big size is needed. That’s where we believe the XXXL comes to fill the gap!

 

This service will only be available for individual frames, since it’s very time-consuming and requires way more time to prepare than a regular scan.

We hope this will give you a bit of an insight into what other resolutions look like. Bigger resolutions are necessary and perfect when it comes to printing BIG, but remember, in photography, bigger is not always better. For us, as a lab, it’s important to be able to show you the amazing capabilities that film has (for when they are necessary).

Never forget, M file scans will share the same color palette as XXXL scans and the most important thing is to have fun when shooting film. Happy shooting and let us do the magic behind the scenes!

 

SEE THE ORIGINAL FILE

We are so impressed with the capabilities of this new XXXL resolution that we don’t want to do any convincing, but rather encourage you to download the original file and judge by yourself 😉

[NEW FILM] – KODAK GOLD 120 IS BACK!

 

This is undoubtedly one of the most important news for film photography for as long as we can remember. Bringing back to life such a popular film in the 120 formats is truly a game-changer for everyone. For the ones looking to get into 120 and not die trying, and for the professionals who need a budget option for shooting personal work or traveling on a budget.

We were privileged to test a couple of rolls before the official launch in order to provide feedback as a lab in terms of color rendition, development, and scanning. We are thrilled to be able to share it with you finally, so here it goes: our review of the new Kodak Gold 120! The good, the bad, and the ugly.

 

 

FIRST IMPRESSIONS

 

As a lab, we can also give you feedback on how the negative feels and compares between other stocks, we think it’s also worth mentioning. When you hold the negative already developed, if you are used to handling negatives, you will undoubtedly feel it is thinner and more solid than other emulsions. From what we could understand, this is a new way to manufacture the film base so it can be manufactured a bit faster and speed up production.

Don’t worry if it feels “flimsy” at first; it’s solid, and the color of the emulsion is as good as the one with the older, thicker base layer 😉

 

Color-wise, this film delivers what you expect from our beloved Kodak Gold in 35mm with a big PLUS, the 120 format “plus”.

 

 

COLOR

We are talking about Gold, and you should expect gold indeed! The color palette will always lean a bit towards the warm tones when it comes to the overall feeling of the image. But also, if you are a bit more nitpicky, you will see that it also leans toward the magenta side of the spectrum when we talk about warmth (remember warm does not only mean yellow, it can also go magenta or green).

That being said, this was not surprising at all, even more, because we overexposed it a bit and the Portra family films always lean a bit towards the magenta side when overexposing a little bit more than you should 😉

 

GRAIN

The grain is almost nonexistent (for real!), only in heavily underexposed shots you can notice it a bit, but if you expose it within the normal range, we doubt you will be ever bothered by it.

When zooming in, you’ll see it. So, of course, it’s there, but we find it’s adding texture rather than distracting your attention or making the image look “dirty”. We were truly surprised by it, and we believe the engineers at Kodak did a superb job with it.

 

Underexposed frame under artificial light

100% crop from a M scan (2400 x 2400 px)

 

(NOT) FOR AMATEURS ONLY

After some testing, there is indeed a quality difference in the depth of color that Kodak Gold 200 120 has when we compare it side by side with the Kodak Portra 400 (the king the hill at the moment). Still, it is not something that everyone will notice and certainly not something required for every paid shoot.

Definitely, this film will be the go-to stock for everyone starting with 120 film. Still, we believe plenty of professional photographers will be squeezing its capabilities once it’s released and creating stunning images with it even though it’s not as flexible as our beloved Portra.

 

SKIN TONES

For this, we were able to shoot one of our test rolls with @paeulini! We tested the film under overcast conditions in Switzerland to see how it would respond, and the results were very interesting.

The Gold 120 has a much better ability to blend different skin tones in the same frame if we compare it to the 35mm, where everything looks flatter. What it’s true is that, again, it leans towards a gold-ish/amber tonality in the skin tone, even with an overcast light situation where the light temperature is usually colder. Is that good or bad? Well, it’s up to you to decide!

We are eager to see how our friends at the Carmencita Drop Points in Dubai and Japan shoot it with all kinds of different skin tones 🙂

 

Kodak Gold 120 200 Test Paeulini

 

PRICE

Oh boy, we wish we could have an answer to it! But unfortunately, at the time of writing this, we don’t know what the final price will be yet, but more affordable than Portra.

If we assume there will be a similar price relationship, as we see in 35mm, between Gold 200 and Portra 400 (~60%); at the time of writing this, the Kodak Gold 200 120 prices should be around ~6,90€ (plus tax), which is fantastic news for all the film community in our humble opinion. Fingers crossed!

 

 

OUR CONCLUSIONS

The Kodak Gold 200 in medium format is filling a gap that has been open for years, a non professional color option for everyone that wants to shot 120 film and is on a budget. We’ve always said in our workshops, if you are thinking about shooting film and you are already happy with your results with a DSLR, go to medium format to really experience the magic of it. Now, more than ever!

This is a film that stands on it’s reputation and will make many smile, both professionals and amateurs. Color-wise it has some limitations obviously and if you are shooting under very demanding light situations, Portra will still be king; but for the rest, we Gold 200 will deliver you great results and we are sure it will bring back medium format cameras in popularity (and helping our pockets too!)

 

NOTES: All shots were taken with a Hasselblad 503cx, exposed between ISO 125~200 in natural light and golden hour.

 

 

FILM FOR UKRAINE

 

We’ve always been and will be against any form of violence expressed anywhere. It was so unbelievable that it took a while to understand that there was an actual war going on, and we can’t stand on the side of doing nothing.

Our colleagues from @fotovramke, a fellow film lab based in Ukraine, reached out to us to support a campaign asking for bigger film brands in the industry to cut exports to Russian land as long as this war is on. Of course, we support them, but we feel we can go a step further; similar to what our friends from @kameratori have already done, we are willing to put money where our mouth is.

 

YOUR FILM HELPS

We’ve already been donating through MSF (Medecins Sans Frontieres / Doctors without borders) for a few years, and we have enough experience with them to trust them with every penny we have to support the cause.

– EVERY FIRST ORDER OF THE DAY WILL BE DONATED –

You can track all the donated orders here

 

From every of our partner shops, drop points, and local labs, the total amount of that order will go to support MSF to aid Ukrainian refugees. For as long as the war lasts. Period.

If your order is one of them, you will be notified, and you will be able to track and trace all the orders involved in our page /donations/ukraine

PAID INTERNSHIP

As a company, we have a bigger umbrella, and we intend to act accordingly within our possibilities.

We are offering 1 paid internship position that will be enough to cover basic needs in Valencia, Spain, for the next 6 months. Anyone coming from Ukraine as a refugee classifies. No experience is required. Open to all ages and genders.

 

UPDATE 12/03/2022: The position has been filled successfully. We deeply encourage other professionals & companies to do the same if they can. The response has been overwhelming and we wish we could take more people in.

#peaceforukraine

 

 

CARMENCITA x DOMESTIKA – Introduction to Film Photography Course

LANGUAGE: The course was recorded in Spanish but it’s fully translated to English, French, Italian & Portuguese. Don’t forget to activate the subtitles by pressing the “CC” button down right 😉

It’s finally live! Our course in partnership with Domestika is available online for everyone that wants to dive into film photography. For the last 365 days, our founder Albert Roig worked along the daily lab schedule to concentrate all the knowledge we gathered about film photography for the last 10 years.

 

 

The goal was to lay it out in such a simple and easy way for everyone to understand. Making quality film photography accessible to everyone has been in our DNA since day one.

 

 

FILM 101

 

Ever since we started doing our first workshops in Spain with “Claves para disparar analógico” we felt the need to make the course accessible to more people, dismantling that film photography is overcomplicated and only accessible a few.

This course is aimed at everyone that wants to know how to start shooting film and not die trying 🙂 We want to be an open book about every step involving the process of shooting film, from camera types to scanning your film.

The course is very ambitious and covers a wide variety of topics. It contains more than +4 hours of footage and extra resources that will guide you from purchasing your perfect camera, loading your first roll, and shooting in the best light conditions to get those images that you dream of.

The goal of the course is to be a smooth introduction to film photography, so once you are finished, you are ready to start creating the images you have in mind!

 

CARMENCITA x DOMESTIKA. Introduction to Film Photography Course

 

SHOOTING

 

There is a lot of content online about gear, endless videos about cameras and how they work, film tests, and comparisons, but not that many guides you through the shooting step by step. The way you will apply all the knowledge you gathered when taking your portraits will play a major difference in the result you obtain; even with the best camera, film, and model, many other things play a key factor.

 

 

Every image we see online is a magnificent puzzle of skill, technic, composition, light, preparation, and luck. We will visit each of these factors during the course and understand their role in our picture and how we can make it work in our favor. By the end of the course, applying the basic rules, we will review you will get out to the world, with your film camera in hand, and start taking those images that you always wanted to capture on film.

 

PERSONAL EXPERIENCE

 

In Albert words, “It was an amazing experience since the beginning, I was nervous of course, but there was such positive energy among everyone. One of the best surprises was to realize that many of the crew, from art directors to producers, knew us from years ago, and many were film shooters themselves!

The first day started with the shooting since winter in Madrid is fairly unpredictable, and especially those days, the city had the biggest snowstorm of the decade. So shooting, recording, and explaining what you are doing simultaneously was harder than anticipated. Still, thanks to Esther and her incredible patience in front of the camera, things just started to roll out incredibly well!

 

 

It was magical to see how all the studio rooms and sets changed as the courses evolved through the week. At some point, it felt like a beautiful dance of furniture & colors dancing to the pace of screwdriver machines, fast footsteps, elevators ringing, and a distant voice saying, “we need another hard drive for studio 4!” or “Could you tell the cook we will be late for lunch? The lighting needs to be perfect, and we need to rearrange the set again.”

Seeing the result of it all a few months later makes it even more worth it; we have been able to put out there a far better course than we could have ever imagined, thanks to Domestika at a super affordable price and pretty complete for anyone that wants to learn the basics of film photography!”

 

 

SPECIAL THANKS

 

All of this would have never been possible without the team behind Domestika, mainly Guille, Camille & Arnau, the dream team behind every scene, and of course everyone from pre-production to scripting, cameras, sound, video editing, and many more faces that we haven’t even seen! Making an online course was a dream ever since the pandemic hit us, and there was no other option but to stay at home.

We hope you enjoy it, find it useful, and help many more people fall in love with film photography again!

 

 

[NEW DROP POINT] BOOK AND SONS – JAPAN

It’s finally here, after many months in the making and with a pandemic in between, we can finally say photographers from Japan can now send their film through one of our favorite spots in Tokyo: BOOK AND SONS. We’ve always been inspired by the photography that is being made in the land of the rising sun, but of course, due to geographical reasons, we were never able to get involved directly.

A few years ago one of our founders was able to visit Japan and get a dive into their film photography scene. It really cannot be more exciting, like with food, there are so many different flavors, colors, and textures, different ways of looking and doing the same craft we love; but at the same time differently yet fascinating.

 

BOOK AND SONS

 

Hidden away from the hustle and bustle of a nearby shopping street, just a short walk from Tokyo’s Gakugei University, Book and Sons is an oasis for lovers of everything print. The Japanese shop specializes in books and magazines on typography, design, photography and the arts, attracting college students, established magazine and graphic designers, locals and visitors to Tokyo alike. «I am a Tokyo-based web designer and I collect and study typography-related books as a hobby. After purchasing a new house, I lacked space, so I was looking for a place to properly store and display my books. When I came across this location, I decided to open a bookstore», says Osamu Kawata, the owner of Book and Sons.

The first time we discovered @bookandsons we felt it was the perfect spot for this collaboration. The feeling of the wood, the color palette, the attention to details and the careful selection of books & the love for photography (and coffee). If Carmencita was ever able to be in Japan, it had to be this way.

Wanna know more?
Read the full interview from Lampoon Magazine on BOOK AND SONS here

 

 

BOOKS

 

Osamu Kawata has a background in design and his love for typography is no secret, but soon after he opened BOOK AND SONS he started opening to different disciplines and today you can find a very carefully picked selection of beautiful books from photography to design, from typography to architecture.

Go with some time to spear because you will be trapped by the pages of so many beautiful titles!

 

EXHIBITIONS

 

The best thing is that is not only about books! We feel BOOK AND SONS play an important role inside the creative community by offering a place to showcase exhibitions, book presentations, and workshops in a true minimalistic environment that helps highlight the artworks.

We strongly recommend you to follow their blog to see all they are up to if you live in Tokyo or nearby locations.

Take a ride on Tõyoko Line, have a nice little walk around the Meguro area, and come visit BOOK AND SONS if you haven’t before. Enjoy an ice-latte, get lost in the textures of their books, check their current exhibition and perhaps, drop a roll or two in the Carmencita dropbox and wait for the magic to happen. It is the perfect plan for a sunny weekend!

 

Last exhibition of Hideaki Hamada at BOOK AND SONS

 

More about BOOK AND SONS?

instagram.com/bookandsons

bookandsons.com

 

 

HAPPY FILM YEAR 2021 by @Camxatca

This year, we bring something special, something a little different to cheer us up for 2021 and perhaps help us “re-connect” a bit more with one and another.
 
This year we got to discover the incredible team behind @camxatca, when we saw their work, we immediately fell in love with it and started thinking about a way to promote them, and the Christmas postcard seemed the best idea 🙂 
 
Without a doubt this will be the biggest Christmas cards campaign we’ve ever had, we were so thrilled with the campaign that we printed 5000 copies of Camxatca’s work, but wait for it:
 
Every person who buys film or asks for their negatives to be sent back will receive five cards of one of the designs from Camxatca. The goal is to trade them with other film photographers who got different designs and collect the 5 ones! 
 
If you do, you will be rewarded with 1 roll of C41 M free credit for developing and scan!
 
Send us a picture of all the different cards at carmencita@carmencitafilmlab.com as proof, and we will explain to you how to cash your prize 😉
 
Gotta catch ‘em all!

 

5 DIFFERENT UNIQUE DESIGNS

 

 

It was quite hard to choose from the vast amount of designs that Camxatca has on their portfolio; we ended up making a selection of different formats and camera styles so everyone could find the one that fits them the most.

Of course, the goal is to collect them all and share the love for photography, BUT if you don’t feel like gathering the 5 designs, it’s totally fine! Please gift them and to anyone that love’s analogue photography or you feel they need some analogue photography into their life 🙂

If you need to buy some fresh rolls, or just wondering how your old negatives are doing at the lab, purchase your shipping back, and your negatives will come back flying to your home along with a set of 5 of these cool cards so you can trade them!

More about Camxatca?

instagram.com/camxatca

camxatca.com

 

 

CDX – Carmencita Double X

Here it is! Our own version of the famed emulsion 5222, also known as Kodak Double-X. This film was originally created for cinematographers that wanted to record on BW back in the ’60s and seems like the emulsion hasn’t changed much ever since. If you’ve seen Schindler’s List, Raging Bull, or the latest The Lighthouse you’ve seen Double X in action at it’s best.

CARMENCITA GRANT AWARD – SPRING 2020

 

András Zoltai

PROJECT: MAJULI
The day has arrived!! We finally have the very first project that will receive the Carmencita Grant in partnership with Kodak Professional Europe! As you may know from our previous post, the grant supports the selected artist with up to 50 rolls of any stock of their choice from Kodak and the developing & scanning costs of those, at any resolution desired.
We have to admit, it’s been a really really hard decision to make, the selection process was meticulous and that’s why it took us so long to consider all the entries received. First of all, we need to thank each and every participant cause the quality of the overall submissions was mindblowing! More +30 entries from more than 11 different countries that made us there is room for more grants to come!

All the possible factors were taken into consideration, the topic, the quality of the work, the involvement, the impact, the trajectory of the project, and the courage that it takes to complete. A jaw-dropping level of the images was also taken into consideration as we believe this is a major key factor along the body of work consistency and storytelling to make the project really succeed!

 

With all that in mind, and using some good old democracy, it’s was great to see that both the grant jury from @carmencitalab and the grant jury from @kodakprofessional_europe agreed in most of the core values that made András Zoltai the well-deserved winner of the Carmencita Grant of Spring 2020! Our most sincere congratulations.
PREVIOUS WORKS: ARMENIAN BOXERS

 

Gagik Xacikyan, multiple youth champion of athletics, is waiting for his daily training in one of the oldest gyms named after the Olympic champion, Albert Azaryan.

András Zoltai (1990) is a freelance documentary photographer living in Budapest, Hungary. It’s present in his photographs the concern as a photographer to be able to blend into the scene and tell the hidden stories for the vast majority of society with overflowing humanity while portraying social topics in a very respectful way, squeezing the maximum narrative power of his camera.
András’ work for this scholarship is based on Majuli, the largest inhabited river island in the world, where we see how its inhabitants enter conflict with the monsoon and its erosion of the island every year. This immediately grabbed our attention, although there has been a ton of photographic work done in India already, this was proposing another approach away from the colorful festivals and focusing on the raw living conditions of those away from the spotlight.

Locals attend every regional championship to see unforgettable moments and cheer for their friends and family members.

Ashot Gasparyan, senior coach at Albert Azaryan Gymnastic School is showing them how to do an exercise correctly.

One of the most important things that we take a look into is previous work, this provides a lot of inside on the artist, and when we saw the project made in Armenia we were just blown away. András blends into the walls of a boxing school in Armenia where he explores the relevance of sport in the society of this country. The way the images are executed is outstanding and we have to say, all selection is done judging only the images, and narrative provided for the project, no age, no CV, no followers are taken into consideration. When seeing the images, honestly, we were wondering if they were really taken back in the 70s for Magnum or Life magazine, we were truly mesmerized by them. It was hard to believe that the images were only taken a few years ago (on Portra film of course) but the approach, the treatment of the color was extremely interesting.
We can only express our most sincere gratitude to all those people who have participated, in Kodak Professional Europe for joining in this wild idea and all those who supported this adventure spreading the word and cheering for us. Muchas gracias! Only 1 Grant was available for now but we will open for new submissions in autumn and we can’t wait to see what projects come up!!

In rural areas training are the only community programs after school.

Competitions are their opportunity to be noticed by coaches of the National Team. They take it very seriously and fight for their last breath.

COMPLETION OF THE PROJECT

It’s clear that COVID-19 did not make this project any easier, that being said the project is set in 3 phases and 1 is already completed while the remaining 2 are scheduled for mid-2021 to be executed. All projects that are awarded the grant need to be completed within 1 year after the publication of the winner, so it’s very likely that by summer next year we will start seeing some of the results from the trip. In the meanwhile, we strongly recommend you to check Andás website to see more of his work.

These are some of the images that are already completed from the project, and we can’t wait to see more.

All images are shot on Kodak Portra 400 and with a Mamiya 7

 

 

 

 

CLAVES PARA DISPARAR EN ANALÓGICO – [PDF]

*NOTE: This post “Claves para disparar en analógico” is only available in Spanish at the moment, we are working to make all the information available in English soon!

 

UNA GUÍA DE LA FOTOGRAFÍA ANALÓGICA ACTUAL

 

Durante los últimos 3 años hemos estado realizando talleres puntuales aquí y allá, en cada taller ofrecemos una parte práctica pero también una teórica, junto con un dossier para cada asistente.

Por primera vez vamos a poner todo este contenido online en forma de PDF, completamente gratis, revisado y actualizado. Ya no hay excusa, todo lo que necesitas saber para empezar a crear imágenes espectaculares con película está aquí : ) Dejando tu correo electrónico abajo de lo enviaremos directamente y te avisaremos si lanzamos más contenido, lo actualizamos o realizamos algun taller nuevo!

 

DESCARGAR PDF

Te enviaremos el PDF directamente a tu correo electrónico* 🙂

 

 

 

 

*¿POR QUÉ DEBERÍA DAROS MI MAIL? Buena pregunta y totalmente legitima. “Roma no se construyó en un día” y llegar a conocer todos los detalles de la fotografía analógica es igual! No vamos a usar tu correo para mandarte publicidad ni hacerte Spam de ningun tipo, queremos poder enviarte articulos y material que hagamos en el futuro que expanda y complemente el contenido de dossier de “Claves para disparar en analógico”, así de fácil! Si de verdad no quieres dar tu mail de ninguna manera, al final del articulo encontrarás un enlace para descargar el PDF también (pero te perderás todo el futuro contenido!)

 

 

 

 

En el dossier de Claves para disparar en analógico dividido en varios capítulos para poder consultarlo siempre que necesites y para estructurar un poco toda la infomación que hay, podrás encontrar información resumida de los siguientes temas:

  1. Formatos (35mm & 120)
  2. Tipos de cámaras
  3. Latitud de la película
  4. Cómo exponer
  5. Forzar la ISO
  6. Características de los principales carretes
  7. Como hacer dobles exposiciones
  8. Posibles fallos o errores de la película

 

 

Esperamos que esto sirva como una guía general para orientarse, aclarar mitos y leyendas sobre el analógico y para demostrar que realmente, disparar en película es más fácil (y divertido!) de lo que parece : )

Si después de darle un buen repaso sigues con dudas, ya sabéis que estamos abiertos 24/7 en nuestro correo eléctrico ask@carmencitafilmlab.com para resolver cualquier duda o nos podéis preguntar a través de redes sociales.

 

Mucho ánimo y gracias por hace que la película siga viva!

 

 

COFFEE & FILM – DRIP COFFEE ROASTER

We know how hard is to start a project, and if it wouldn’t be by the many photographers that supported us in our first steps Carmencita would never be the Carmencita we know today! So, whenever we have the chance to support a new project, especially coming from fellow film photographers, we try to figure out how could we give it some love.

Fabian Schmit is a film photographer that along with a friend kickstarted a small roaster in Bern, to be able to provide fresh quality beans for those who are serious about coffee!

SUSTAINABLE GREAT BEANS

Coffee is our second love (after film photography of course), and we know as photographers, those long editing days would just not be the same without the deliciousness and the energy boost of a great cup of our favorite black beverage. When Fabian showed us his project we just felt in love, not only for the minimal design and the great taste of their beans but also due a great sustainability program.

It made total sense to partner up in some way and that’s why starting this March, every time you get your negatives back you will receive a small bag of roasted coffee by Drip Roasters until we run out of units, we have 50 bags to share so do not hesitate!

If you need to buy some fresh rolls, or just wondering how your old negatives are doing at the lab, purchase your shipping back and your negatives will come back flying to your home along with a small bag of freshly roasted beans!

 

 

More info about Drip?

driproasters.ch/en

@driproasters

[NEW] BLACK EDGE in all 120 film formats is here!

by Andrea Rivera

 

It’s not been easy, since we first released the Black Edge in 35mm last April (thanks to the Swedes and their 3D printing), we have got so many requests to bring the Black Edge to 120 film in all its formats, that at some point it was not even funny anymore. Now, almost a year later, we make it happen! Black Edge is now available in all formats of 120 film ! 645, 6×6, 6×7, 6×9… you name it!
WHY?

Didn’t you know? Black Edge is the new Black!

Ok ok… jokes aside, it is mainly a pure aesthetic option, our scanners are already adjusted to crop as little of the frame as possible, but as a commercial scanner, it was never designed to show the full edge of the frame, since all scans were meant to be printed and people didn’t fancy for some irregular black edges to appear on the prints back in the day.

Well, to be honest, it can be useful for those with 645 cameras that print information on the negative about exposure. Cameras like the Mamiya 645 AFD, Contax 645 & Pentax 645N print that information on the negative that is usually cropped from the final image, cause it is useful for the photographer but not really relevant for the subject or client of the images.

by Joel da Palma

 

Different formats, Different Edges

As you may have guessed already, each format has a different mask to be scanned in our scanners, that means it has it own ratio and every camera prints a different image on the film. We will review the main film formats for you to have an idea of what to expect from each. Ready? Let’s go:

On 645
This is perhaps the format where we find bigger differences between the frame layouts. Some will print information on the film like the Contax or Mamiya AFD and some others will not (usually older models). Not only that, this is also the format where the film stock (Kodak Portra 400 for example) is more often seen printed on the sides of the negative.
You will also notice each camera maker has their own frame width, for example, Contax has the “fatter” frames that “eat” most of the edge (even with the enlarged mask), while Pentax having the “slimmer” frames, will show a bigger amount of black edge.
Does this mean you are always losing a bit of the frame unless you scan with Black Edge? Well, as many things in life, yes and no. Yes there is a bit of cropping on the image, but almost all cameras have between 96-98% viewfinder coverage anyway, so when you look through the lens you are not actually seeing 100% of the actual frame. The reason for this is since there is always some cropping in the process, the camera manufacturer was already cropping the image, so you would get a final image as close as you shot it.

by Masha Golub

by Vicente Saez

by Evgeniia Venidtkova

by Vicente Saez

by Alexandra Kern

by Rui Vaz Franco

by Alexandra Kern

by Liza Liztinovich

 

On 6×6

This is a bit less popular than the 645 format but still we found that the major difference come with the Hasselblad frames and their characteristic 2 dents on the left side of the image (as you can see on the cover of this article). The Hasselblad frames said to be 55×55 instead of 60×60 and even in standard masks we can see some edges some times. We do not know for sure what was the reason Hasselblad made their cameras this way, perhaps because they were aimed at professional photographers(?) therefore they wanted to see the absolute 100% of the frame.

Some other cameras, like the Rolleiflex for instance, create a much bigger frame in every way and you will notice there is not much room left for black edges.

by Stymir Kari Erwinson

by Jonas Burman

by Andrea Rivera

On 6×7

The beast & the beauty at the same time, the kings (or queens) of the hill in this format are the Pentax 67 & the Mamiya RZ67, they bare little differences between their frames so not worry too much about it, usually they are the ones that offer a more regular frame.

If you have a Makina 67 or a GF670 please send some rolls over so we can see the actual frame they produce, it woul be a fun comparison! You will notice the size of the black edge is smaller than other formats and this is only because well, the actual frame is bigger so in comparison makes the edges smaller.

by Joel da Palma

by Adrian Schlumpf

 

Shut up & take my money!

In love with it? We too! The black edge is not for everyone but for those who like their images with a complementary style that adds visual movement to the image itself it’s perfect. The best of all? Yes, it’s completely free, so you can your save some coins on that and perhaps invest them in purchasing a Back Up Service for your scans or adding Proof Prints to your rolls.

We keep working to improve the services we can offer, with need addons and options that will enable film shooters go further and make the most of the craft we love!

Happy shooting!

CARMENCITA x KODAK – CREATIVE GRANT

Helping photographers is in Carmencita’s DNA, we work as hard as we can behind the scanners to bring the best out of every negative but we want to take it one step further. We want to put some skin on the table and offer a proper sponsoring for those projects that need to see the light, everything is planned but need an extra push to make it breath.

When we dreamed about a grant we were ambitious, we know how hard it is for artists to make projects come to life, and we couldn’t do it alone if we wanted to offer a complete grant. That’s why we reached out to our dream partner,
and boy they were as excited as we are to work side by side!

We couldn’t be more proud to announce that Kodak Professional Europe is joining the grant contributing
with the fresh film needed to make the project move forward.

If you have a project that you want to develop, give it a read. We are eager to hear from you!

[NEW] Direct 20×30 CONTACT SHEETS are here!

New 20×30 Contact Sheets – Carlos Roca

It’s been 2 years since we first introduced our 10×25 and 20×30 contact sheets, it was by popular demand to both organize your negatives and to see & select the images you were more interested in. As photographers, most of us grew up either in class or online seeing some of the first contact sheets by the big photographers, specially when learning from those at Magnum and the book that is pretty much a must have Magnum Contact Sheets.

For those like us who breath film photography and appreciate the heritage, real contact sheets are hotter than a summicron. Being able to truly see your negative in positive, all at once, with every mistake and every triumph in one sheet of paper is often something hard to describe. Back in the day printing was really costly so this was a practical way to “preview” your film and later chose what to enlarge, that is obviously not the case nowadays but still, there is something so beautiful in it that really adds another something to the whole experience of shooting analog photography.

 

New 20×30 Contact Sheets – Sergio Galarza

HOW CAN I GET MINE?

We’ve been trying to wrap our heads up on how could we make it happen, believe us that we’ve tried many things and non really worked up until one crazy idea did. Some testing later and we are able to deliver! Start November 1st, 2019* all 20×30 contact sheets will be made as if they were direct positive of the negative. We believe that’s the closest thing to the real thing we can offer and many will be thrilled to finally be able to order them at a decent price.

 

New 20×30 Contact Sheets – Carlos Roca

ONE LAST THING…

For those who like us that enjoy to get nerdy with these things, we will clarify: these are not direct negative to paper and printed with RA4 process. Sorry if we bring the hype down a liiiiittle with it but that would just no be comercially viable. We were on the verge of offering it or discarting it but we believe the world will be a better place with real contact sheets, and even thought if it take extra time on our end, we want to make it happen. Because it freaking cool to be honest =)

The contact sheets are not aimed to be perfect, although you can render a good amount of quality from them it would take much longer than the regular process. You might see some dust and small vertical lines that belong to the sleeve in which the film is in, those are small imperfections that come with it and we can’t really help to aviod. That being said, if you require the digital version of the contact sheet we can also provide it to you and if for an exhibiton of bigger prints you would like to print your contact sheets bigger and in better quality, YES, we can do that but it is under a non-standard fee. Feel free to drop us a line at carmencita@carmencitafilmlab.com for more infomartion!

Believe us when we mention that we are very excited to finally be able to pull this one out and be able to bring small new things to the lab every year. Do we miss something still? Please let us know! Our inbox is open 24/7!

 

*If you’d like to have the old 20×30 with a white background just let us know and we can do it of course! But it will be under request and not by default

 

New 20x30 Contact Sheets - Leo Amaya

New 20×30 Contact Sheets – Leo Amaya

Why Acros100-II is the most important news for film on 2019

It’s a bright Monday morning of June, nothing seems out of the ordinary, coffee, toasts and orange juice… opening the news and why not, let’s check IG. Everything seems fine until emulsive.org drops the bomb: Acros100 is coming back from the dead.

It creates the expected effect: sharing, retweeting, sending PM’s to all the photographer friends. Fuji, the good old Fujifilm that have rised their pricing 30% straight up for all their film line and chemistry just a few months back, discontinued their FP instant film, all their B&W line and is still unexplainably sustaining a large amount of slide films on stock, is on the news with something to bring into the table!

In a nutshell, there were about 40 something companies that used to manufacture B&W back in the day. B&W film is relatively “simple” (big quotes here) film to make. When color came into play that was another story. The process is highly complex and that made that from those 40, only 4 companies in the world were able to survive the color transition: Agfa, Ferrania, Kodak & Fujifilm.

 

 

We all know where those companies are (or are not) these days, and there are many reasons for it. We ended up with 2 key players that each managed to stay in business in a completely different way, surviving and if possible thriving within the transtition. How? Well, it comes to one word, diversifying and applying technology everywhere they could. This was the recipe followed by Fujifilm specially.

NOTE: (I know, you are probably wondering what has this to do with Acros? Well, you need to see the bigger picture with me here)

Kodak filed for bankrupcy back in 2012, it was all know that. In the meanwhile Fujifilm was just unvieling their X-series cameras that wasn’t the success it is today, but it was enought to get people hyped. Truly the situation was night & day.

Long-story-short, 2019 Kodak is still alive and actually bringing new films to the market, listening to film photographers who still love their product and putting some skin on the table with Ektachrome, PMax3200 and their Vision-3 line up for cinematographers. They went back to the roots and even if it is probably not enough to sustain the structure of the whole company only with film, they gave some love and photographers answered with their love & sales back. Wondering why Portra 400 is out of stock in all Europe? Because it’s basically sold out and sales outstand their estimates!

 

Fuji on the other side took a different road, at the moment, film sales are about 0,8% of their revenue, they had to move on and they did it successfully for their numbers and shareholders. We don’t blame them, it’s hard to imagine how difficult is to manage a sinking ship until you are on one. But it is true that Fujifilm felt a bit more Fuji and a bit less film every year.

Even if Mr. Komori (current Fujifilm CEO), who has been in the company for more 40 years, says that Fujifilm is still deeply committed with film and they will be the ones to manufacture the last roll of film if the day that film cese to exist ever comes. It honestly felt quite hard to believe those words even if he says so and it’s written in his own book, seeing everything that was going on for the last years with the company. From a film photographer’s perspective Fujifilm has been doing moves driven by profit, which is understandable for a company of that size, but also, something that truly has been attached to the Fujifilm brand is, without a doubt, QUALITY (capitals letters intended). Fuji Pro 400H is a film that was introduced in 2004 and today, it still holds up to the highest quality standards, even with Portra 400 new release in 2010 many photographers still prefer 400H tonality and latitude. And when it comes chemistry, even if it’s more a lab related thing, Fujifilm still is the king over every other manufacturer.

There has been a lot speculation that Fuji is not manufacturing film for many years now, rumor has it that it is all frozen and they are just taking it off the freezing chambers and repacking it. Plus all the discontinueing of products certainly didn’t help to send those rumors away…

 

BUT, this changes everything.

 

Fujifilm will be producing new film, so they still manufacture emulsion for all those who deny it. And as a lab, Fujifilm has been producing the highest quality chemistry for years and there hasn’t been anyone able to match it. And so they did with their film, so they will most definetely produce the new Acros with the highest quality standards for sure.

 

 

Not only this, it means that perhaps film is experimenting a real growth or at least they are bouching for it. We can’t ignore when a giant moves, same happened with Super 8, we are without a doubt in a Super 8 come back and even if Kodak’s Super 8 brand new camera is still not in the market their film is and their announcement plus Ektachrome return was a massive influence for everyone.

If Fujifilm is starting to back up the analog reinassance this is big news, like BIG news. Our friend Nico made a really nice analisis on the situation https://www.youtube.com/watch?v=ys3PbjsWwng and we couldn’t agree more. Fuji announced it will be release in Japan only at the moment, but no doubt it will get into everyone’s hands soon. And then it will be our turn, as photographers to put our money were our mouth is. If we do our part, buy the film, use it, share the results and have this new tool to create photography work (did you know Acros was only orthopanchromatic film available?) it’s most likely that Fujifilm or other companies will take things into consideration.

We strongly believe there is a domino effect, and also, Kodak deserves full credit also for kickstarting this with the announcement of Ektachrome and re-release of PMax3200, now Fujifilm comes into place and who know what’s next. We are small community, we do not make a lot of noise out there, but certainly there is a common love for analog that perhaps goes beyond what we are aware off.

Happy shooting!