[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 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… openning 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!



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!




Traveling Light 2017 · 2 spots giveaway!


You’ve probably heard about Traveling Light, the film photography gathering that is being held in the surroundings of northern Barcelona, at the heart of Costa Brava. We feel really close to the project in many ways as we have always wanted to connect photographers and make film photography go further. That’s why we created the Carmencita Meets, and the experience has been so positive through the last 3 years that our founders wanted to take it a step further, and not limit the experience to 15 people but rather to 150 photographers 🙂



10 Conferences & 8 Workshops

So, what’s it gonna be about? There’s 10 Conferences from different photographers that move in various fields, the 1st day it’s going to be orientated towards editorial work & business, and the 2nd day will be focused on photography itself and the relationship with film. The schedule has recently been launched and you can see all the details!

It’s gonna be a very unique chance to learn and network inside the film community because there has never been this many film photographers under one roof in Europe or elsewhere. Traveling Light is meant for you to take a break during the after-season, away from the big city life and create a space to connect and share without fears. Some of the speakers will also host an optional full day workshop during Saturday 4th, some of them are already sold out but if you are interested make sure to check it out since many of the speakers do no offer workshops regularly. Oh and all of this by the side of the mediterranean catalan coast.


Spot giveaway!

Interested? Wanna be part of it? Now is your chance. We’ve partnered up with Traveling Light to giveaway 2 spots for free among all the people that are interested in the Facebook event! How it will work:

  • Mark “Interested” in the Traveling Light 2017 Facebook Event
  • On the 12th of July we will randomly pick 2 names from the list of those interested
  • The first 2 names to pop up will own a Traveling Ticket 2017 worth 295€*

Easy? We think so! Also we will be there to meet and greet the winners. Probably not all the Carmencita family (since there’s 30 of us nowadays) but for sure a good bunch of us!


*If for some reason either of the winners won’t be able to attend we will pick another name randomly from the list.


We are lucky enough to be working side by side with some the big names in the European film photography scene nowadays, and we are even luckier to be able to call them friends. We believe they are great photographers not only by the images they create but also by how they push film photography further and make it available to other photographers, how they shaped the industry in the last years and how using traditional techniques they’ve been able to set themselves at the top of their game.

We feel it’s a very exciting time to be a photographer nowadays and there are hundreds of interesting people that choose to express themselves behind a camera and make us see the world in a new way. We love them and we want to add our grain of sand in this community of analog dreamers : )

All the info at:



See you there!



Photo Forum is finally here! We are really glad that BodaF has grown and decided to move to Barcelona to open itself to the international community. They invited us to participate as part of the photographic scene in Spain & Europe and we just couldn’t say no.  We are still trying to get over the terrible news about Rodney Smith, and we know this event won’t be the same without his contribution but we are still thrilled to be part of it. We aim to make the best out of it and to put the spotlight on film photography!

Scanning your own negatives!



YES it is happening! We are bringing a Frontier Scanner to the conference so you can sit in front of it and scan your very own film. One of our scanners & editors will be present to help and to guide you through the process.

We want you to see by yourself what happens during the scanning process and witness just how much does the scanning affect the outcome of the final image. This will be completely free of cost and you will be able to walk away with your images.

This is the first time we are doing something like this and we are really excited about you being part of it. We believe it’s not necessary to be super technical about film to create beautiful images, but it helps a lot when dealing with your lab if you know what is exactly going on behind the scanning process 🙂

Book your 20 min scanning session: HERE


BrancoPrata is one of the key speakers at this year edition of Photo Forum ’17. Their trajectory has grabbed the attention of both digital and analog shooters and there are plenty of good reasons for it.

They’ve been working hard since 2004 to define their own style and to understand why should anyone hire them to capture their wedding day. How to make a difference whilst making sense and expressing what you want through flowers, design and photography. It’s been a long way but it wasn’t until a year ago when they finally found the path to follow for both themselves and their brand, and if you talk with them, they’ll tell you 2016 was the best year on their career exactly because of that.

Be Distinctive, Be Unique. That is what they realized is the reason behind everything they do. Every frame, every graphic, every flower… everything they choose is intended to go in that direction and to make their clients feel this uniqueness. They will talk about a moment in time where everyone has a camera and just how can you create work that says something clear and distinctive in a world filled with images.

  • Thu. 16/3 at 16:15



2 Más En La Mesa

Este tándem de fotógrafos del norte de la península llevan un par de años reivindicando la película a nivel comercial de verdad.

Creando cada vez más bodas disparadas íntegramente en película dentro del mercado español y demostrando que si se puede vender fotografía analógica comercial en España.

  • Jue. 16/3 a las 11:15

Wesley Nulens

If you’ve been following our blog for a while you probably know who Wesley is.

He’ll talk on how 10 years behind a camera led him to realize that time is the most valuable thing he had. How he was able to get his life back through film photography and how this helped him to be a better photographer, friend and husband.

  • Fri. 17/3 at 13:30

*Todas las keynotes son gratuitas ya que se encuentran dentro del recinto comercial, solo hay que registrarse aquí

*All the keynotes are free entry since they are on the comercial area, you will only need to register here


¡Nos vemos allí!
Self Hasselblad fullsize 300dpi 7 2


Self Hasselblad fullsize 300dpi 7 2photo by Theresa Pewal

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¡Estamos super contentos de anunciar la segunda edición del workshop de fotografía analógica de Carmencita en Valencia!

Queremos acercar la fotografía analógica a todo aquel que tenga curiosidad y quiera descubrir más dejando de lado la cámara digital y sin morir en el intento. La idea es seguir compartiendo todo lo que vamos aprendiendo año tras año con los fotógrafos de nuestra ciudad y de todo el mundo.

Por ese mismo motivo hemos decidido poner este conocimiento sobre papel y en forma de taller intensivo de un día, más fácil imposible. Queremos transmitir todas las bases sobre la fotografía analógica tal y como se está disparando hoy en día a nivel comercial en Europa y EUA. ¿Tiene sentido seguir poniendo carretes en nuestras cámaras?, ¿Qué es lo que hace que desde 2007 las ventas de carretes suban cada año? Queremos ser un libro abierto y explicar al detalle todas las claves para disparar en película =)


LeicaM6 KodakTMax100 CarmencitaFilmLab KirstinMckeephoto by Kirstin McKee

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Rolleicord KodakPortra400 CarmencitaFilmLab PabloGarceraphoto by Pablo Garcerá

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Explicaremos al detalle qué hacer, qué no hacer, cómo exponer, las opciones de película que existen y las características de cada una de ellas, entre otras cosas. Y como sabemos que del dicho al hecho hay un trecho, tendremos una parte teórica y una parte práctica. Al final de la jornada volveremos al laboratorio y podremos ver el resultado de lo disparado por la tarde.

También aprovecharemos para enseñarte las entrañas del laboratorio y todo lo que les sucede exactamente a tus carretes desde que entran por nuestra puerta hasta que llegan a tu buzón.

Aquí tenéis el programa con más detalle:

  • Película y cámaras
    • Formatos
    • Tipos de cámaras
    • Tipos de carretes
    • Latitud de la película
    • El forzado de película
  • Exposición
    • Cómo exponer para película en color
    • Cómo exponer para película en B&W
    • El porqué de sobreexponer
  • Trabajar con un laboratorio
    • Qué pedirle a un laboratorio
    • Comunicación
    • Hasta dónde es importante un buen revelado
    • Diferencias entre escáners


Contax645 KodakPortra400 CarmencitaFilmLab MarionHeurteboustphoto by Marion Heurteboust
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Fecha: 1 de Abril de 2017

Horario: 10 – 13:45 y 15- 20

Precio: 100€ (IVA incl.)

Reserva: Aquí

Lugar: Carmencita Film Lab

*Con el precio de la asistencia va incluido un revelado y escaneado L gratis

Una vez hecha la reserva os enviaremos toda la información respecto horarios concretos, material que llevar, etc…

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A través del siguiente enlace accederás a nuestro apartado de tienda donde puedes comprar tu plaza. Hay plazas limitadas así que no lo dudes demasiado 😉


¿Tienes alguna duda? Estaremos encantados de responderte en:


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CanonEOS3 KodakPortra800 CarmencitaFilmLab EmilyWalkerphoto by Emily Walker

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FIND in a BOX: The complete guide

  – “The only silly question is the one not asked.”

To properly start talking about what’s FIND in a BOX we should probably begin with a big fat “Alooooooooha!”. This Hawaiian value of love and family and sharing is really what’s at the essence of the Film Is Not Dead movement. But the idea that strikes me the most about FIND was the excerpt above. I’ve heard it every time at the beginning of each of the seven FIND Workshops I’ve attended.  Without fail, I’d see it in the other photographers’ faces: a slight smile and the expression that “this guy is for real”.

Perhaps we do not mention this enough, but at Carmencita we have a deep relationship with FIND and theFINDlab. One of our co-founders received a scholarship to FIND Maui back in 2011 and then spent 3 months the following year in the US working at the FIND lab and helping in several other workshops across the States.

All that experience lead us to realize how quiet the film scene in Europe was back then (hello 2012) and sparked the desire to open a full service pro-film lab like there was in the other side of the Atlantic. With that idea and a scanner, Carmencita was born. For us, theFINDlab is the closest thing we’ll have to a sister lab =) 


At Carmencita, we stand for helping all those photographers who want to shoot film; regardless of location or circumstance. These were also some of the main motives behind the FIND workshops and we believe that continued learning and the sharing of knowledge it is the only way to keep film alive and kicking. But all good things come to an end and after 8 years and 50+ workshops, FIND as a workshop came to an end. We were fortunate enough to be a part of the last two FIND workshops in Berlin and Madrid and Carmencita was able to collaborate with Jonathan Canlas. It was an amazing experience and we see today, about a year later, how many of the photographers in attendance then are happy, full-time film shooters today. That’s the best reward we could have asked for.

That being said it, to be honest it was a bittersweet moment; bitter  because FIND was coming to an end, but sweet because it we could bring FIND to Europe. But then we realized that when a door closes, another one opens… and boy it did open big time.

Film Is Not Dead. In a BOX.

It was a huge relief when Jon told us what he had in mind for FIND, as a husband and a father of 6 kids we completely understood when he told us family comes first but he also told us “I’m gonna make the FIND experience available to everybody with a computer”, and he did just that with the FIND in a BOX.


All the knowledge gathered, polished and perfected during the last 8 years, improved with shared experiences and feedback from many of the attendees makes FIND in a BOX the complete guide; a bible, of sort, for the modern film photographer, professional and hobbyist alike.

For Jon and for Carmencita, film is, and always has been, a tool to help photographers find their own voice. Less is more, and when it comes to photography, anything that makes you focus on the subject and having only a viewfinder to see how your image looks makes you think twice and harder about where are your pointing your camera. You slow down a bit and are more aware of the whole experience.

We believe that the value of a photographer exists behind a camera and not behind a computer =)

You can watch one of the videos completely for free and judge for yourself!

Cheat Sheets Samples

Cheat Sheet Leica vs Bessa and Portra160


The Community

Without a doubt, one of the best things that comes with FIND in a BOX is the online community. Every photographer that owns a FIND in a BOX guide has guaranteed access to the FIND in a BOX private Facebook group. This group is dedicated to keep process of learning alive once you’ve read it all, the idea is to challenge photographers out of their comfort zones and share the experiences so everyone can learn from them.

This is a very diverse and active community of photographers just like you and us, who are passionate about film paired with a constant desire to learn. There are weekly challenges proposed by Jon and also reviews of your work, pricing, blogging, you name it! There is already more than 300+ photographers participating monthly and it keeps growing, it honestly is a well of knowledge and experience where everybody can come to drink and benefit.

Also, for those curious about different combos of cameras & film, there are hundreds of examples and comments of photographers trying different gear with different lighting situations and film. The group is very focused on developing yourself as a photographer and shooting personal work but also a helpful place to ask when in doubt in a professional level.

How to get it

What you’ll get:

  • 15 explanatory videos
  • Metering, reflected and incident
  • Description of all film stocks available
  • Film Basics from 101 till complicated tips
  • Film Camera reviews and side by side comparisons
  • Access to the FIND in a Box Facebook Group
  • Posing & Storytelling
  • Useful cheat sheets
  • Troubleshooting

Using the code CARMENCITA to will get a discount of -700$ from the original price, that’s like having 40 rolls free of cost and with the developing & scanning already paid! This offer is only for a limited time so don’t miss out!  =)

If you have any questions drop us a line at carmencita@carmencitafilmlab.com!

The man behind it

For those who don’t know the man behind it all this hoopla; his name is Jonathan Canlas, a film photographer since day one, fifteen years ago until today. I feel I can easily say that he is probably one of the photographers that did more for film to come to life nowadays, not only with the Film Is Not Dead workshops but also spreading his knowledge online, making more and more people fall in love with photography while loading the backs of their cameras with silver-coated gelatin. From answering questions, to providing free PDF’s to start out, talk about gear, doing film test, etc…

To have a picture of his trajectory, he’s been the only photographer to be sponsored by both Fujifilm and Kodak, why the switch you may ask? Several reasons but the fact the Fuji keeps pulling out from the film scene is one of it, the discontinuation of 400H in 220 was the tipping point for Jon.

That among a deep knowledge of the network of the film scene in the USA, a never ending journey for learning and pushing the film limits combined with his not especially quiet personality, made him one of the most influential commercial film photographers around the world.

So when it comes to learning, you should choose good teachers and we can say with confidence that if there is something Jon knows, it’s film (oh he is pretty good with food too btw).

A magnific tool

  – “Hard work, sacrifice & discipline”

“Is the FIND in a BOX for me?” Well, definitely it is an investment but worth every penny. The amount of knowledge gathered inside it’s worth several workshops, countless ours and years of experience that would require you spending money on gear, messing film rolls, workshops, frustrating Saturdays and more… Yes all of that is part of every photographer but think if you could skip all those painful steps and focus more and developing your own photographical voice, investing more time in creating images that are meaningful to you and other that love your work.

As a lab we believe feedback is one of the key jobs for anyone that is working on your film in order to help you progress and learn about your craft, and we are always open when it comes to provide tips and advice. But FIND in a BOX is like having all that knowledge in your hands, ready when you need it 24/7 plus the a handful of photographers with a supporting attitude online building a magnific community.

Our sincere advise is that if you can afford it, take advantage while it lasts. You’ll find everything you need when it comes to shooting film and also develop your photography a step further. If you are starting, the basic and technical knowledge is priceless; if you’ve been shooting already for a while, the FIND community will help you push forward your photography and vision.

We’ve already got ours and it was wonderful to see and discover stuff that we didn’t know or ignored about certain film, cameras or even blogging and social media. We are all photographers at the lab and we can ensure your that every single one of us learned far more than a couple things from it and this only makes us be better professionals and better at understanding film and helping you create the images you dream.

Still got questions? Email us!


Noritsu HS 1800 Carmencita Film Lab 3

New Film Scan Options: Noritsu HS-1800

We are always looking at how we can improve the work we deliver and the services we offer, the Noritsu was clearly the next step to take as a professional lab and that’s the reason we are writing this article today. It was a bit of an unknown process due it’s a different approach to scanning from the one we are used to; but considering that moving forward is something written in our DNA, the decision was made!

We’ve waited until we’ve tamed it and now the time has come for you try it for yourself =)

The Features

We believe it’s not fair to say that the Noritsu it’s just a better or worst scanner, might be a slight different flavor than the one you are used to, but we believe beauty relies on the difference and uniqueness of each look. Now, we have a tool that allow us to do things that were just not possible before and we believe you’ll probably like them as much as we do!

The first thing the Noritsu is probably most known for is its size, due its scanning nature the scanner allows us to output files up to 5000px wide and 6500px(645)/7500px(35mm) long. Yes, that’s a BIG print!

For the geeky photographers out there like us, the Noritsu HS-1800 is able to output 16 bit files which means a wider color range between transitions and gradients.

And last but not least, if you are mad about shadow detail and smoothness this is definitely the scanner for you =)

Side by Side

We have carefully selected some images that we believe can best represent the characteristics of both scanners in different light situations. There are dozens of comparisons out there so we didn’t want to simply do a side by side comparisons on a couple images, that’s why we will explain a bit about what we appreciate on every frame and with that, you can draw your conclusions.

Please be aware these images are edited to match each other, as usually the tones will drift a little on each scanner and contrast on highlights and shadows usually differ a little. Make sure to read all our thoughts on it till the end of the article to get a better idea of what we feel about them =)

Highlights and Shadows

– Imagine that if you could raise the “Clarity” around +15 on a Noritsu scan, you would probably end up with something similar to the Frontier’s shadow contrast, it might appear “sharper” but don’t fool yourself, it has more contrast and because of that it seems like it has more definition, but if you would zoom at a 100% you would see more texture on the Noritsu. What we end up is with a softer image on the Noritsu, less “punchy” for instance, but on the highlight areas the Frontier tries harder to keep detail and so it flattens the image a bit, which helps to keep all the detail.

The palette goes a bit reddish on the Noritsu side but in this case it’s not a huge jump from one and other.

Shadow Color

– Remember the reddish tone we mentioned above? Well here you can also appreciate it a bit, the color drifts a bit less in the Noritsu and it’s a bit more consistent on the overall image, also the contrast is a bit more “open”. Again we also appreciate a softer image on the Noritsu but it’s surprising to see how it keeps the color of the skirt and the left leg beneath it.

The punch is on the Frontier, there´s no question about it. Stronger contrast and colors that pop a bit more, mainly the blues, but if you are looking for a more realistic image then the Noritsu will probably be your new best friend.

Overall Sharpness

 A classic example on how the tones are split and the sharpness (or feeling of an unsharp mask) can be noticed on the Frontier. Even though it doesn’t feel imposed, the contrast on the edges is higher on the Frontier.

If you are looking for a wider scan that you can play more with perhaps you will feel more driven to the Noritsu, you could get really close to the results on the Frontier from the Noritsu but not viceversa. Again, it’s all about the pop here. Pay attention to the greys on the floor, you can quickly notice how the color tones differ more there from one scanner to the other, on the Noritsu it feels more monochromatic than the Frontier, where shadows often go to different colors rather than grey.

Skin Color 

– Both scanners can perform really similar even though the differences we mentioned earlier. Taking it from previous images, you can notice oranges go a bit more on reddish on the Noritsu, and perhaps even a bit magenta sometimes, in here there is slight difference on the brighter part of the image, the Frontier appear to have higher highlights and that translates into a bit more contrast.

In this case, with the side by side comparison we can barely see any differences, we really have to put an effort on it and it’s really not the point of the image, but this is just a case of course and remember we did some adjustments to try to output as similiar as possible  images on both scanners.

The Overall Feeling

– This image sums up a bit of everything we’ve been talking before, the funny thing is, upsidedown. We’ve been mentioning on every image that Noritsu pretty much produces a softer image, but in this image we feel it’s not completely true, when it comes to shadows here the Noritsu has a richer contrast on the lower end of the greyscale. Pay attention to the backlights of the motorcycle at the center of the image for instance

In images with such a huge difference between highlights and shadows and where most of the content is on the grey areas the Noritsu outputs a bit better contrast between elements and also colors than in the Frontier; nevertheless you can see a more monochrome tone on the shadows, even a bit greenish (can be corrected by split toning though) when in the Frontier we can see some shades of magenta. And yes, we are being really nerdy/geeky/freaky here =) Also, can you spot the difference on the skin tone? Yup, a bit more on the reddish side on our new friend from Japan.

Seeing the forest for the trees

Moral of the story? Well, we feel like it’s the overall feeling that matters the most, you can be get really really geeky if you like, but you might end up not seeing the forest for the trees. Take a step back and try to decide by gut feeling which ones you feel more drawn too. In our humble opinion if you are you like to have room for edition or you really are involved in a project where your voice is crucial and you need to give the final paint brushes yourself the Noritsu would be the way to go.

On the other side, if you feel your look it has to be more finished, contrast is over detail in your images and you love how tones differ a bit on shadows, highlights and from image to image the Frontier is your battle horse.

And wait, we are not done just yet…

How it looks on the Noritsu

After many testing we came to the conclusion that side by side comparisons are not always the most accurate method to decide, the reason is, both scanners can perform really different or really similar depending on the frame. That’s why we want to show you a handful of images that we believe represent the best the output of the scanner, so you can get an overall feeling and choose between them.

As you might see, the Noritsu sometimes have a “cleaner” look, more consistent, with less contrast and more texture on the grain. One of the difference we see is that on the Nortistu you can sometimes see a bit more vivid greens than in the Frontier.

It works specially well on landscape and architecture, when the images have a high dynamic range the Noritsu allows us to output a neutral image that keeps plenty of detail in all the areas; this perhaps it’s a look that it’s often seen in artistic projects or essay photography. If you admire the work of photographers like Stephen Shore, Joel Sternfeld or Alec Soth and so on you might feel more driven to this scanner.

Nevertheless the Nortisu performs great on wedding work and portraiture. We’ve been working closely with Jan Scholz (aka Micmojo) to explore the posibilites of the scanner and after a few samples he made the switch without doubts. Rather than saying better or worst, we prefer to see it as different choices to get one look or another. Check out the gallery and judge for yourself!



How it looks on the Frontier

What else do we need to say to say about the Frontier? If you’ve seen work scanned by us in the last 3 years it’s been done over the Frontier. It performs great on skin tones, and it keeps highlight detail over everything else and it has this classic look; vivid tones and punchy contrast.

As much as we love it we know there is other possible looks that can be given to the negatives; the frontier does often colder greens but it has a very strong contrast that comes with the way it interprets the image, sometimes it’s amazing and sometimes it’s funky. If you are all about consistency this is not your cup of tea, because it scans one image at a time and it shifts a bit the color and contrast on every frame. We work hard to correct it every time on the overall order but sometimes there is only so much we can do.




When it comes to large prints the decision is clear, for several reasons. The Noritsu outputs scans with more texture and you can actually see more grain structure in them, when that translates to paper it enhances the sharpness and the grain you see on the screen is gonna blend in with the paper texture and you won’t be able to see it at all. Sharp and crisp images even in large prints are now possible at affordable scan price!

The Frontier can perform good in prints up to 50x70cm in our experience but larger than that it starts to soften up, mainly due it’s resolution limitation and you have to think the Noritsu was engineered to work along a minilab with paper width up to ~30cm.

So if you need to enlarge some work and print it big check out the XXL scans!


Our opinion? There is not a better scanner per se, as a lab we see it as 2 different tools to get closer to a specific look. In the same way you choose Kodak or Fuji, Contax or Pentax you can know choose Frontier or Noritsu. That being said we encourage you to try it and judge it for yourself, because that is the best way to find out what is the best method to get the look you seek for.

The Frontier is sure shot, we know all it’s tips & tricks by now and if you love the look that you’ve seen from us during this last 3 years, that’s probably the scanner to go. But as much as we loved and love the Frontier, which was the reason this whole adventure started in Valencia, we are terribly curious to see how far we can push the Noritsu and it’s capabilities! We like what we’ve seen from it so far and we know by heart that this is only the beginning, as longer we keep working on it the better we’ll get and best results will outcome. We are using all our color knowledge and experience on it, and at the same time we feel like we are learning many new things every week. The best of it? This can only translate into better scans for everyone!

As you may see, now on the Order Form you can choose which scanner you prefer to use, but this can be a bit hard to decide that’s why, we added a 3rd option: Best according to your preferences, what does this mean? Well, through our experience we will choose the best scanner suited to match your preferences written on the Order Form or the reference images that you sent at looks@carmencitafilmlab.com. We believe this is the best option if you trust in our judgement =)

For us it’s the overall feeling that sets the difference, as a part of an analog process (perhaps this being the less “analog” part) every step in the chain matters and it’s hard to speak undeniable truths. We hope this little article helped you get a better picture of the capabilities and options on both scanners. Technically there is the resolution threshold between one and other but, as we say in Spain, there are as many preferences as different colors exist, the key really is to find yours.

Got questions? We love to hear them!
Email us or leave a comment below


Mailbox Carmencita Moscow

Carmencita Mailbox In Moscow

It’s a been a very long time since we “looked East”. For us it means the world that photographers from such far away places as Russia trust us with their images. That’s why we did the best we can to make the shipping process as painless as possible =) Wanna know how it works? It’s really simple!




How it works

We created a mailbox inside the city center (first circle!) where your film will travel directly to from Moscow to Valencia. We wish there could be secret tunnel that would connect the lab with Moscow but there is not (yet). So your film will travel on a weekly shipment with TNT that we will arrange.

Preparing Your Film!

It is VERY IMPORTANT that your film is properly ready for shipping, to do so you will need to put your film in a plastic ziplock bag and it needs to have the Order Form inside with your full details. Otherwise we cannot know who the film belongs to and we can’t start processing your order, it’s simple but it’s crucial to do it =)

By Hand or By Mail

You can either deliver the film by hand (Close to the metro station Sukharevskaya) 
or you can ship it from anywhere in Russia to our Mailbox!

Where it is?

Opening Hours:  9:00 – 20:00 
Person Charge: Viktor Moskalyev 
Phone: +7 926 194 42 84
Address: Ananyevskiy per. 4/2с2, 107045 Moskva, Russia
Email: viktor@club-shop.ru




Free Shipping!

We will gather all the film inside our handmade wooden mailbox during the week and every Tuesday it will be picked up by TNT. Why Tuesday? Well, if all goes good with our friends from Russian customs we should receive the film on Friday on the same week!

This service is completely free of cost for you, the photographer. You only have to make sure to get your film to the mailbox and once there we take care of all the rest =)


Our Partners in Moscow

The place is a co-working space of the most prominent wedding event in Russia – WFEST (the festival of stylish weddings) who was founded by four talented ladies and who run their business from this place. They are:



We will be more than happy to answer any question you might have at: privet@carmencitafilmlab.com

We are really looking forward to see what comes out from Russia this summer, the film scene is rising quickly and we are constantly surprised but the quality of the works that we see from the Eastern Countries!

до скорого!

by Pablo Laguia

[Workshop en VALENCIA] Claves para disparar en Analógico!

¡Bienvenidos al primer taller de fotografía analógica de Carmencita en Valencia!

Queremos compartir todo lo que hemos aprendido estos años con los fotógrafos de nuestra ciudad y alrededores; es increíble la cantidad de buena fotografía que se está haciendo en España en estos momentos y nos gustaría añadir nuestro granito de arena para que parte de ella sea disparada en película.

Por ese mismo motivo hemos decidido poner todo este conocimiento sobre papel y en forma de taller intensivo de un día, para poder transmitir todas las bases sobre la fotografía analógica hoy en día ¿Por qué tiene sentido seguir poniendo carretes en nuestras cámaras? Y, ¿qué es lo que hace que desde 2007 las ventas de carretes suban cada año? Queremos ser un libro abierto, explicando al detalle qué hacer, qué no hacer, cómo exponer, las opciones de película que existen y las características de cada una de ellas.

Desde el laboratorio vemos un potencial enorme y queremos enseñaros todas las herramientas de las que disponemos para poner a España en el mapa de la fotografía analógica como referente. Tenemos luz, tenemos mar, tenemos montaña y un lab que trabaja para fotógrafos de todo el mundo. ¡Ya no hay excusa que valga!



Queremos enseñaros todo lo que hemos aprendido y que te atrevas a disparar en analógico (y no morir en el intento). Usando el laboratorio como campo base, aprovecharemos para enseñaros las entrañas del laboratorio y lo que les sucede exactamente a tus carretes desde que entran por nuestra puerta hasta que llegan a vuestro buzón.

Y como sabemos que del dicho al hecho hay un trecho, tendremos una parte teórica y una parte práctica. Al final de la jornada volveremos al laboratorio y podremos ver el resultado de lo disparado por la tarde.

Aquí tenéis el programa con más detalle:

  • Película y cámaras
    • Formatos
    • Tipos de cámaras
    • Tipos de carretes
    • Latitud de la película en la vida real
    • El forzado de película
  • Exposición
    • Cómo exponer para película en color
    • Cómo exponer para película en B&W
    • El porqué de sobreexponer
  • Trabajar con un laboratorio
    • Qué pedirle a un laboratorio
    • Comunicación
    • Hasta dónde es importante un buen revelado
    • Diferencias entre escáners



Fecha: 27 de Febrero de 2016

Horario: 10 – 13:45 y 15- 20

Precio: 50€ (IVA incl.)

Reserva: Aquí

Lugar: Carmencita Film Lab

*Con el precio de la asistencia va incluido un revelado y escaneado L gratis

Una vez hecha la reserva os os enviaremos toda la información respecto horarios concretos, material que llevar, etc…


A través del siguiente enlace accederás a nuestro apartado de tienda donde puedes ¡comprar tu plaza! Hay plazas limitadas así que no lo dudes demasiado 😉

Si por algún motivo extraordinario no puedes venir, no te preocupes, tenemos intenciones de recorrernos España de Norte a Sur antes del verano, así que ¡es muy posible que tengas nuevas oportunidades para asistir!

¿Tienes alguna duda? Estaremos encantados de responderte en:



Bohemia Gathering II: Valencia

Today we’re thrilled to feature an amazing project that we feel honored to be a part of.

Isabelle Hesselberg and Siegrid Cain are two of Europe’s leading wedding photographers. They both shoot film and each have very defined photographic styles in their own ways. They’ve been our clients for a while, we’ve met them a number of times in different photographic events (Norway, Madrid and Valencia) and we love them both to pieces.




Last year they came up with a wonderful idea to put together a bunch of women photographers in a beautiful house, learning from each other and sharing their experiences in which proved to be way more than just your usual film photography workshop.

So they did it, and Bohemia Gathering Vol I in Vichy (France) last April was a huge success.




Fast forward 8 months (and tons of emails) and BOOM!: Bohemia Gathering Vol II will be happening in November in OUR OWN CITY, Valencia! Yeah, this is really happening. Isabelle and Siegrid suggested the idea since Valencia is beautiful, its climate is amazing, it’s right next to the sea and of course it’s where we’re located, so we thought for most attendees it would be amazing to have guided tour of our lab and show them what happens to their film here.

For this Bohemia the house they chose is literally next to our city but in the middle of the “chufa fields” AND walking distance from the Patacona beach.




So ladies, there’s still a couple spots left, so if you’re free November 4th-8th :

Book your seat NOW at


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If you need more info to make up your mind go check out their website http://bohemia.2brides.se/ , in the mean time enjoy the beautiful images Isabelle and Siegrid created during Bohemia Gathering Vol I

Bohemia1Bohemia-2Bohemia-3Bohemia-6Bohemia-8Bohemia-4Bohemia-5Bohemia Collective Gathering Vol 1. Vichy, France April 9-12th 2015. Isabelle Hesselberg / 2 Brides PhotographyBohemia9Bohemia10Bohemia Collective Gathering Vol 1. Vichy, France April 9-12th 2015. Isabelle Hesselberg / 2 Brides Photography

Carmencita Tote Bag Promo

Hi there everyone!
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It’s a “funny” Friday for us at the lab since yesterday it was a National Holiday here and specifically in Valencia we pretty much burned down the whole city ( like literally … watch this or google “fallas” and you’ll freak out).
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Today we’re launching a promo that we hope you love:
We’re giving away amazing Carmencita tote bags to any shop orders of 10 or more rolls of film.
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This is a beautiful 41cm long x 38cm wide cotton tote bag that is basically the coolest thing around town and of course it’s way more eco-friendly than using a thousand plastic bags every time you need to grab something at the grocery store.
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The promo starts today and is good until we run out of them so go for it!
Besides, who doesn’t need 10 more rolls of film at reduced costs?
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Go ahead an grab some Portra, Fuji 400H, Acros or even FP4 at http://carmencitafilmlab.com/shop/
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PS: mad props to client/friend Marcos Pérez for being our model for a while!
For the geeks out there the shots are taken on Fuji 400H overexposed 2 stops using a Contax 645 by our very own Buenaventura Marco
PS2: no, we don’t sell the tote bags, you GOTTA BUY SOME FREAKIN’ FILM in order to apply 😛