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!





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.




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!”





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!




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.




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





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!




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?



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 as proof, and we will explain to you how to cash your prize 😉
Gotta catch ‘em all!





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?



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.



András Zoltai

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.


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.


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






*NOTE: This post is only available in Spanish at the moment, we are working to make all the information available in english soon!




Durante los últimos 3 años hemos estado realizando talleres puntuales aquí y allá, en cada taller ofrecemos una parte prácitca 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!



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 para resolver cualquier duda o nos podéis preguntar a través de redes sociales.


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




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!


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?


[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!

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!


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


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


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 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… openning the news and why not, let’s check IG. Everything seems fine until 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 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!



Our friends at Cameraville came to visit us one month ago and they have released the video of the insights of the lab! They are doing a lot of work for film community and we couldn’t be more thrilled to be part of it!

This is the first time that a video illustrates what really is going on at Carmencita Film Lab headquarters!



Theresa Pewal: Momente vom Freisein

Today we are thrilled to take you guys on a tour to Villach, hometown of one of our beloved clients, Theresa Pewal. “Why would we do so?” you may ask yourself. We’ve been following her work from the very beginning and have to admit that her artist and self-portraits, as well as wedding photography, has amazed us ever since.

For all of you who wondered what Theresa’s personal work is about, we’ve got the answer: Momente vom Freisein. A project passionately lived during several years and brought to our eyes with much love and dedication this summer, on July 2 at Dinzlschloss venue. Even if the vernissage was in Austria, we are in Spain and you – all over the world, Theresa gave us the opportunity to visit her exhibition virtually, what we are incredibly happy about. Truly special and intimate photographs showing very personal moments of freedom, a fugitive feeling masterfully captured on her Hasselblad and carefully scanned at Carmencita.

We asked Theresa to tell us more about her vision, creative process and what’s actually behind her project, so happy exhibition tour, folks!

Why have you started to explore this particular subject? 

It happened by chance. I was taking portraits of a close friend at one of our favourite places: outside the city near the river. Motivated and inspired she then asked me why wouldn’t we create some nude portraits. This wasn’t our plan originally, but the new experience turned out to be very close to where I wanted to get with photography. She was living the moment of such an expression that she suddenly turned into a tree, then she was a stone near the river, and then she stopped posing and that was her: her true self, extremely satisfied with her body and who she was. My creativity went free and I took a lot of pictures (on my digital camera back then). When looking back I can say that this honesty really touched me and that feeling’s where it all started: I wanted to achieve that state of mind for the one I’m photographing.


Why is it important?

After the two shoots (friend’s and boudoir for a client), I didn’t plan any other projects of that nature. These were wonderful photographs but I absolutely didn’t want to show them on the internet. After talking with friends and thinking a lot about my possibilities I came to the conclusion: they had to be exhibited. So I talked with the cultural advisor of my hometown Villach, who, at first, was irritated by the subject of my project. He hesitated until I showed him some examples, telling him about my approach and motivation. In the end I was given space in one of the most beautiful places and galleries in, I would say, Carinthia. However, the exhibition was scheduled to happen in 3.5 years, what obviously seemed like a long waiting line. I wasn’t sure if after that time I would still be into it, but somehow it all started to grow. I realized that we all are longing for our true selves, for those moments when we feel at ease with who we truly are: being in a particular place and mood when nothing occupies our mind, and all the worries are gone – that fugitive “now” I call freedom. It is so different for each of us and so changing as well. This is what made me willing to dig into the subject more and more. To find out what women need to feel free or at least to smell their freedom. It’s a constant expedition, an eternally striving.


Which shapes does your freedom take?

Oh, it’s all changing actually, but when I am thinking about it there is always something that stays no matter what: to be seen. I mean, when the very core of me is truly seen. To be loved without being judged. To love without being judged. This is when I feel free.


How does photographing help you to translate them?

Since I’ve always found my way of expressing emotions in music and photography, photographing moments like “Momente vom Freisein” was a natural move. A photograph is only a tiny detail, the proof or evidence of what happened in real life: freedom can be found anywhere, in nature, a feeling, a person and that’s been the purpose of my project. Each photograph comes with a story. The one with sea crushing on the shore speaks about different facets of my personality: the calm and deep one, and the rebel, passionate one. The stone symbolizing borders of society, while the wave tries to smoothen its roughness. The one with a lonely house surrounded by trees was taken in Iceland. There was no sign of outer world around it but overwhelming, bittersweet freedom and I started realizing its multifaceted nature.

Was it difficult to show a whole personality of each woman in one single photograph?

I didn’t want to, and it wasn’t my purpose. Not the entire story has to be told. It is merely an attempt to bring the inside out. An attempt to show the genuineness of these moments, colorful, honest and intense! There couldn’t be enough of them.

When the women and I started to select their exhibited photograph, we ended up having the same one or two frames in mind. It fulfilled me to see how confident they felt about their choice, confident about who they are.


Do you use your Hasselblad for all the personal work? Why?

Yes, this camera is an “extension” of my heart (laughs). All photographs, except the two which mark the beginning of my project, are shot on medium format film.


Are there any conclusions or any other output after the whole work you’d like to share?

I am completely overwhelmed and feel this is just the very start.


Does shooting film mean a certain experience for you?

Definitely. It makes me slow down and focus on the moment I am in, focus on life, on the person I am with, on the essence of the conversation. It makes the moment more intense. I love looking into the eyes and not into the camera, I love connecting.

Has it changed your way of thinking at some point?

Yes, it has. I don’t like the word “photo session” or “shoot”, rather than using a camera and taking a picture it’s all about the connection and letting the personality speak. And this is only one approach!

A musician expresses the way he feels with music and his instrument is just a channel to make these sensations audible. Therefore, I believe there is no such thing as “my” instrument, in the end it is not about the medium but all about the music in your soul and about letting it speak. It is about making the unseen seen.

When I sent my first rolls to the lab, I realized I showed my very personal work to a lot of people I didn’t know at all. When receiving the first feedback on my scans I couldn’t hold back my tears, there was someone at the other end of the line who had never seen me but a part of my heart and, what truly touched me, knew this as well. He did not believe those were my first film portraits. From the very beginning all these people at Carmencita Lab believed in me and this is part of my freedom: being seen.


Traveling Light – Connect & Create


Oct 31st – Nov 5th 2018

Torroella de Montgrí, Girona, Spain.

One of the crucial revelations we had at one point regarding film photography was how much of what we loved about it was the whole community behind it. At first glance, and from a distance, one might be tempted to think that the main assets of film photography are the uniqueness and realness of the images that film produces, the authenticity that an actual physical medium provides, the way it forces you to really mean every shot you take or the plethora of amazing cameras and lenses that are available. Don’t get us wrong: obviously those are some of the main reasons we shoot film. But through the years we came to realize that there was an element without which those awesome features felt quite sterile, and that is a supporting community of peers sharing both passions and struggles, coming from totally different biographical and geographical standpoints but moving into the future together, united within our diversity by our common passion.

Needless to say the internet has been the starting point and quintessential daily nurturing point for this community. No wonder the two founding members of Carmencita Film Lab met on a Facebook film scanning group. But regardless of all the amazing info and support you can access online there’s always something that is missing. The human touch. The face to face moment when you realize that no matter how much more experienced someone is, when they’re sharing something film related with you they’re coming from exactly the same emotional place as you. That, along with the memories, relations, laughs and insight that come from it, we’re afraid the internet can’t provide.

Photography is a weird art form. Like many others it’s (technically) performed individually, and depending on the style there can be other people involved in the making, in front or behind the lens. However, regardless of whether you shoot the busy streets of a huge city, virgin landscapes in Siberia or a wedding, the actual “making” takes place in a fraction of a second (or a succession of them). After that you’re left alone with a bunch of images and a whole lot of thinking to do. Personally we choose film because the amazingness of film lets us actually focus in those fractions of a second and get gorgeous work without having to use all that “thinking time” to run tons of presets through digital files. However, all that time away from the actual shooting time can be very lonely regardless of all the internet groups and/or interaction with clients. Additionally, a whole lot of experience and soul searching is needed when shooting film in order to provide, whenever the actual shooting occurs, the conditions for that fraction of a second to provide the best possible result.

Here’s when the community kicks back in. In our experience nothing beats filling a little bit of that huge alone time that we photographers have with meeting other photographers that just like you chose film as their medium. That’s the whole spirit behind Traveling Light. Actually meeting face to face with film photographers from all around the world and sharing the passion that we have in common. As a springboard for all that passion sharing we designed a set of nine conferences from what we consider some of the most influential film photographers out there as well as six more specific workshops by some of them. All this will take place in the perfect setting provided by the small town of Toroella de Montgrí, a couple hours north of Barcelona, Spain.

Last year’s first edition was incredible and it confirmed what we had in intuitively guessed through the years. Film has a strong and passionate community to back it up, and coming together and enriching each other with all those different backgrounds united by our common passion is an essential part of it. Last year we had people of from all over the world (16 different countries!) come to this small town in Spain to talk and live film photography. This year we want to make sure you join the community to, so we’re offering a 20% discount for all Carmencita Film Lab clients (use the code CARMENCITA when checking out).

We’re extremely excited about this years speaker line up, so here’s a little about what they do and where they’re coming from.


Jonathan is the man behind Film Is Not Dead. He has been sharing and promoting film photography since he started 19 years ago. Established as one of the most well-known wedding and portrait film photographers in the US, he also works side-by-side with Kodak to do product testing. Because of his extensive film work and experience there are few that know more about film than Jonathan.

More about his work at:


Being one of the most acclaimed Swedish wedding photographers, having traveled the world with her label 2 Brides and photographed of various boutique cookbooks, Isabelle is a modern day warrior like no other – family lion, business woman, artista galore and if you see her rock the camera we promise you that you will be short of excuses to tackle the next level in your photography!

More about her work at:


Laura is driven by research led self-initiated projects that combine her interest in psychology and photography. In her own words, she does all she can “to understand the lives of those captured, and to present them creatively”. She is a firm believer that “time, trust and understanding is the key to portraying subjects truthfully”.

More about her work at:


His work caught our eye many years ago, with a combination of playfulness and romanticism that we often see coming from the eastern part of our continent. His compositions and set ups are usually full of detail and that detail translates into the quality of the work he outputs.

More about his work at:


Born in Paris and raised in the pacific south of France, moved by the wind and waves, Celine’s work deals a lot with textures, atmospheres and moments in travels that for her always render better on film. Her bold spirit has taken her to collaborate in many different projects and finally just made a book on her own, about Trans-Siberian adventures.

More about her work at:


Through rhythmic repetition and seriality, Osamu Yokonami contemplates socialization and cultural homogeneity, highlighting our interconnectedness with nature and with one another. He explores dualistic, oppositional conceptions of selfhood and the fine line between innocence and vice. He is the connection with the land of the rising sun this year.

More about his work at:


Most known by his outdoor photography, Carlos has made his way into being an stablished international snowboard photographer, using film in the most inconvenient weather possible he creates powerful action sport images yet with a strong sense of aesthetics.

More about his work at:


In collaboration with Analog Mag, we discovered the work of Elliott “A Shaded Path” and the quality of his documentary work quickly stood out. Combining a strong narrative with a sense of composition and color that correlates with the subject. Using large format he documented the depths of Kyrgyzstan.

More about his work at:


Martí took too seriously the “Film is not dead” motto, his passion for analog photography led him to wet plate photography and 3 years ago he decided to make that his way of living. Being clearly too young for the technique he is the one that gave a breeze of fresh air to wet plate photography in Spain. He has the kind of craziness we love.
More about his work at:

Come join the film community and meet us for what will surely be an incredible experience.
Be sure to grab the 20% coupon before they’re gone!
See you in October-November!



New Backup Service!

Something most of film photographers are know for it’s their concern for the archival and preservation of their work through the years. As it’s one of our concerns too we present our new backup service tailored for film photographers of the XXIst century!

Your Scans, Always Available

Through the years we’ve received many emails about hard drives failing, missing downloads, losing files, needing to download things from several devices, etc… There is always the chance to re-scan negatives but it’s a lot of work to be done, we store all the scans for one month by default but unfortunately our hard drives are not unlimited so we had to make room for the new scans, so long term storage was not possible… until now!

We’ve upgraded our infrastructures and we can offer you two months of digital storage by default and the possibility of, just for few extra cents, storing your digital files for up to 4 years! With unlimited re-downloads at anytime and the possibility to be transferred by WeTransfer or Dropbox at your wish.

No more worries about losing scans, we’ve got you covered 😉


Real Negative Archival

Even more importantly, there are the negatives. The ultimate backup for your images for the years and years to come, which if had taken good care of probably your grandchildren will be able to find and see 🙂

It is known that we offer 1 year of storage for your negatives for free when sending the very first roll to the lab. It’s a bit more challenging to improve that by default but if you add the backup when filling in you order form, along your scans, your negatives will also be stored in our long-term archival facility, for the next 4 years as well!

This comes specially handy for those who like to re-scan specific frames into XL or XXL resolutions after a while. Either to have bigger files in TIFF or make bigger prints, now it’s easier than ever, cause we will have your negatives right in the lab already!



In The Future

This is a really exciting project for us cause this will enable us to make it even easier and safer to shoot film! Also we plan to upgrade the service in the future. We want you to be able to access to all your backed up files from everywhere without having to download a zip etc… You will be able to access to all your scans right from your cell phone. We believe it’s possible and we are working to make it happen 😉


Check it out on our new Order Form!



Got questions? Email us!