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Sundays

Sundays.  It’s the day of transition at our house.  It’s the day we go from having three of us, down to two.  It’s the day that we take my youngest son over to his mom’s and we try to relax a little before the week starts.

I have started taking a camera with me, sometimes a Polaroid, but lately more and more I bring my Leica R5, the Summicron 50mm f/2 and Ilford Pan F+ 50.

THE PICTURES

We stop off at Starbucks after dropping my son off.  There are better coffee places around the area, but this particular one is close, it’s a little bigger than most, the staff is knowledgeable, and they have these big leather chairs by the window that we love to sit by to talk about the day, the week, our plans and everything in between. 

My wife lives in flip-flops.  It really is a Southern California thing.  I tried wearing flip-flops every day, but I guess this kid from Kansas just isn’t set up for wearing them every day.  Give me a pair of Adidas Samba’s and I’m a happy boy.  

This image reflects more than just Southern California, it’s about relaxation and those brief moments we have before we do our chores, go back to the office, and get back to everyday life.  Just a moment where it’s just the two of us, some coffee and enjoyment.

I was never a coffee drinker.  I grew up drinking Iced Tea and then when I went to College I started drinking more hot tea.  I became picky about my tea, and even make my annual trek down to San Juan Capistrano to pick up my favorite loose-leaf tea, but coffee never did it for me.  My wife got hooked on it from her sisters only a few years ago, and so we started going to Starbucks.  I finally relented and started learning more about coffee.  I have found that Starbucks Blonde Roast is pretty darn good.  It’s not burnt like some Starbucks is, and if they have a Clover machine, it’s quite excellent.  Most of the time I get a pour over with a bit of steamed soy.  I guess like everything else I do, if I get interested, I research, devour knowledge and then apply what I find I like.

A lot of times we stop by Target since it’s very close.  I almost never bring my camera in there as this is the transition back to getting things aligned for the work-week, but the last time we went in, I brought the R5.  This is a sign in the shoe area, and something about the little girl looking on to the rest of the store seemed intriguing.  If that was me at that age, I would have been looking into the Hot Wheels isle.

After Target we may get some lunch, or we may just jump into the chores and activities we need to do before the week starts. 

It’s funny, these Sunday’s used to make me sad.  It was the day our house changed.  While I still don’t like the transition, I’ve now found that I look forward to these relaxing moments that we carved out of things that had to happen all those years ago.

I continue to expand how often I bring my Leica with me.  Sometimes I don’t take a single picture and just enjoy the moment, but other times, I love that I can capture fleeting moments that mean something to me.

WHY THE LEICA?

For a long time I was on a resolution hunt.  THE sharpest, THE biggest negative, and then on a random Flickr search I started seeing these beautifully rendered pictures.  Sharp?  Yes, but not insanely so.  35mm?  Yeah, after all this resolution hunting I kept on noticing these “tiny” negs.  And they were all Leica Summicron 50mm shots.  I started looking at the Leica R series, read all the “reviews”, and the camera really hit a lot of marks I was looking for:

- Manual Focus

- SLR

- 1/2000th top shutter speed

- Aperture Priority

- Shutter speed AND f/stop visible in the viewfinder

It was JUST modern enough, but still somewhat small, and the build quality was very nice.  But it really was about the lenses.  Not only the rendering, but the way it felt in my hand.  Apertures clicked just right, focus is so buttery smooth it’s almost criminal, and they even have built in lens hoods.

Is it the right camera for everyone?  Nope.  But it really is a system that gets out of my way and “sees” how I want the world rendered.  

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12 Images - Birthday in SJC

Another year, another fun birthday adventure.

And yeah, my birthday was in March, but Polaroid Week was so close to it and I wanted to use these images for it, so this post is a bit late...but, better late than never.

One of the things I love doing on my birthday is to go down to San Juan Capistrano, have lunch at The Vintage and get some tea at The Tea House on Los Rios. The Vintage is such a cool place and it’s suits my personality quite well.  It’s inside an old Pullman Car and the atmosphere is quaint, quiet and I love walking around the old streets of the area.  Impossible Black and White Black Frame is my favorite instant film, and these are the 12 Images from the two packs I used.

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Fuji, great job on making AMAZING film for the masses that won’t buy it any more, now let us take over and do our part.

WE want it to be different, unique and to be honest, a little flawed…

WE won’t outsell your giant empire of packfilm at it’s height, and that’s okay with us.

WE want it to be saved so that we can make art and yes, some profit, but…

WE actually want it to survive because we love it.

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8 Shots - Denver at the Downs in February 2016 by patrick j. clarke Via Flickr: 8 shots, defining the day at Galway Downs where Denver and Stacey competed on February 13th, 2016.

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Places: Ynez Street by patrick j. clarke Via Flickr: A series of images. A street, a couple of blocks and some walking. Capture the essence of what you see in the places around you. See what catches your eye and explore why it did.

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I almost exclusively shoot for the negative in FP-100C now.  The look is so nice and my beach series really sings with this film.

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Lost Corners

What I find on sidewalks and street corners is fascinating to me.  

Each city is different in texture and tone of the street.

None of the objects are moved...

They are just composed as I see them.

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A Summer of Colic: Reser Stadium 2 by patrick j. clarke Via Flickr: Polaroid SX-70 IMPOSSIBLE Gen 2 BW Part 2: The Stadium interested me not as the place where football is played, no, it was empty, the quiet time in the summer where there isn't anything going on and it was just an edifice of steel and shadow. The lines stood out as the heat rose, and I went to the shadows, seeking a little refuge from temperatures that shouldn't be this hot this early. But then again, we shouldn't have a horse that has that much happen to it and still survive, heck she shouldn't have gotten sick in the first place. They say it's not the first thing that happens to you that usually kills you. No, it's usually the house of cards of all the little things that falls on you and suffocates life from you.

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A Summer of Colic: Reser Stadium 1 by patrick j. clarke Via Flickr: Polaroid SX-70 IMPOSSIBLE Gen 2 BW Part 1: She had been gone almost a month when I arrived in Corvallis. Her horse, Sahara had gone through the 5 things that usually kill horses, and it all started with colic. Our days consisted of standing in a stall at Oregon State University, making sure the baby horse, named Zion, who wasn't weaned yet, wouldn't nurse on his Mom as she was on meds that would hurt him in her milk. It was so hot, and not just for Oregon. 90-100 degrees and the stalls weren't air conditioned. So, as the hum of box fans lulled me to sleep, I thought the next morning, before it was in the 90's, I'd walk around the football stadium and see what I saw.

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Life Savers by patrick j. clarke Via Flickr: Mamiya RB67 Pro S 90mm Mamiya Sekor C Lens Fuji Velvia 100 Developed by The Darkroom In an alleyway in Avalon the light was hitting just right and I saw these old life preservers hanging there. The detail and color of Velvia is just amazing and it's a great look to go with the RB.

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Old Man Bison of Avalon by patrick j. clarke Via Flickr: We went on a tour of the inland of Catalina island and got a rare close-up look of a Bison. He was sitting under a grove of oaks and when we stopped, he got up and posed for us. Amazing.

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Stripes and Patterns by patrick j. clarke Via Flickr: Kiev 4M Helios-103 53mm f/1.8 Kodak BW400CN Low light, slow shutter, but the Kiev has an awesome soft shutter, so it all worked out.

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Green Space by patrick j. clarke Via Flickr: Minolta Maxxum 7 Minolta 24mm f/2.8 Kodak BW400CN She sits in the Green Space, escaping, pondering and absorbing all that is around her. Just outside the field is the hectic life that is always there, constantly taking a bite out of her and trying to consume all.

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The Chair and the Blue Wall by patrick j. clarke Via Flickr: Mamiya RB67 PRO S Mamiya-Sekor Macro C 140 mm f/4.5 Polaroid Back Fuji FP-100C (extracted negative) This might be the best extracted negative I've ever done. I exposed 1 stop under and the positive was very dark, but wow...the negative! I shot one at half a stop and it's amazing the difference. I wasn't going to show this one yet as it's part of a bigger triptych I'm working on, but it came out so good, I had to share.

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Testing IMPOSSIBLE Gen2 Color 600

What A Difference A Year Makes

Last year, IMPOSSIBLE, makers of instant film for Polaroid cameras, introduced a new “Gen2″ color film.  The promise was that it was faster developing, and it, in fact, did what it said it would.  It developed very fast and didn’t need shielding as much as earlier generations.

But it had some issues.  It wasn’t very consistent batch to batch, it was contrasty and some packs had these “magic specks” that appeared in the film.  It was an improvement in some respects, but overall it wasn’t ready for prime-time.  If you want to read my review of it, check it out:

http://lightsquared.tumblr.com/post/81316136723/the-next-generation-impossible-gen2-color-600

When I heard that IMPOSSIBLE had a new Gen2 Color test film, I was a little hesitant, but after I tested the new Gen2 BW600 film, I knew I had to test it out, so I ordered some packs and hoped for the best.

The Camera And My Setup

After my Gen2 BW write-up I got a few inquiries about my camera and how I shot the packs of IMPOSSIBLE film I was testing, so I figured I’d share what I use and how I use it.

My go-to camera is a Polaroid SX-70 Time Zero Autofocus Model 2 from the 1980′s.  I’ve found it has the best, most accurate exposure meter of any of my Polaroids.  The only thing I wish it had was the underexposure warning that my silver and black Sonar model had, but not having to adjust the L/D wheel every time you open it up is quite nice!  All of the shots in this blog were shot with the L/D wheel at neutral.

I also have an IMPOSSIBLE frog-tongue.  Even with the new film that doesn’t have to be shielded as much, I still think this is a necessity.  I have heard some people having problems with the SX-70 frog tongue, but I’ve had nothing but great results from it.  Every once in awhile it will miss the frame and won’t cover it, but it’s a rare occasion when it happens.

I use a ND4 pack filter as well.  I bought mine a long time ago from George Wells on Flickr where he is named “Red Lomo”.  Later IMPOSSIBLE started making them and they are slightly different than the Red Lomo ones. I’ve heard of people having jamming issues with the IMPOSSIBLE ones.  I haven’t had any problems with my Red Lomo ones and I haven’t used the IMPOSSIBLE ones so I can’t comment on which is better.

Sometimes I use my ND filter for my Clip-It system, but that’s usually when I’m shooting Black and white and go between ROY filters and ND filters.  When IMPOSSIBLE makes a lower contrast film I will go back to this method shown below.

A lot of the shots that I took with this pack are with the Polaroid SX-70 Tele 1.5X 119A telephoto lens.  I really REALLY like it and highly recommend it to everyone who wants a different look to their shots.

The Transition To Waiting A Little Longer

It has been unseasonably warm in So Cal, so I wondered how the film was going to react.  My first shot was with my lightbox inside and it was about 70F.  My shot was already set up from my BW shoot, so I just clipped on the camera to the tripod and shot.

And that’s when I noticed the time difference.  Yeah, I got spoiled that quick.  The Gen2 BW developed SO fast that even though this film emerges within a few minutes (2 or so) it seemed slow in comparison.  It also takes about 20 minutes to “fully develop”, which is a great improvement, but sorry IMPOSSIBLE, I’m spoiled by the new BW. :)

I shot it, and then turned it upside down on my counter and checked it every so often.

But the good news is that this film is SO much better than the old Gen2 Color film.  The contrast is spot on and the color...THE COLOR!!!  Just check out the first shot.

The Shots

The best improvement in this film is the blues.  In the older films blue was a problem, but as the shot above shows, all of the colors are rich.  On the downside, there is a greenish cast to the shot, and to all the shots I took.  It seems like the cooler it is, the more green the shots get.  On the upside, the green goes away a little more after about 24 hours.  This shot above was scanned in about 4 hours after taking it and I noticed the next day it got a little bit more clear.

We then went to get some coffee and I took the shot below indoors in low light with the Tele Lens.  There is incandescent lights and some window light.  I shot it and set it on the table next to me while it developed.

This one is still a little green and the temps were still in the 70′s since we were inside.  I actually don’t mind the greens as the contrast is very pleasing to me.  I did notice a blue area in the upper right hand corner of the frame, and I’ve seen others shots that have some of this blue on the edges so be on the lookout for it.  I don’t actually mind it at all.

After 20 minutes the shot was looking good, so we finished up our coffee and moved outside.

We went outside and it was about 85F and I took this shot with the Tele Lens.  This was the first time my frog-tongue failed to cover my image and although I quickly grabbed it and put it in my bag it got flashed.

As you can see, the sky is washed out, but the Open sign still has some blue in it and the edges have that blueness that I talked about earlier. 

As we walked around the temperatures crept up into the low 90′s.  I got a little nervous from my past history with older IMPOSSIBLE film that hated anything above 85F and turned orange, but hey, this was test film so I decided to keep shooting.  Once again I used the Tele Lens.  I love the bokeh this lens has.  I waited for the lady and daughter to walk by because she had an aqua blouse on...yeah, I was testing for blues. 

I went back into a store and in low, incandescent light took the shot of the birds abovee.  That’s me in the background, by the way, and once again the Tele lens.  As you can see, shooting indoors with incandescent light adds a lot of yellow and green to your shots.  I knew I was going to get this effect and love how it came out.

We traveled up and down Old Town, and the temps stayed around 90F or so.  We stopped at an outdoor garden and this metal dark blue/purple fish caught my eye.  Not the best shot, but at this point I was fascinated with the bokeh of the Tele lens.  In real life the blue of the fish is a little richer, but it’s so much better than previous films.  

I think this shot is where the film really hit me at how much better it’s gotten.  90F, Tele lens and perfect lighting on the colorful ceramic chihuahua’s.  As you can see, the darks in the background go a little green and there is a little yellow cast in the warmer temps, but I’d take this kind of look all day long.

My last shot I wanted to see what kind of detail the film could handle.  So, I threw in a lot of stuff.  The highlights are a little blown out, but the darks are great and the contrast is perfect.  Look at all the colors too!  Reds, yellows, greens, and blues, and they are all pretty spot on.  Yeah, it’s a little yellow since it’s in the 87-90F range, but it’s not actually that bad.

Here’s a shot of all of the frames about 5 minutes later as we were having lunch, so you can see them in all the different stages of development.

And here’s all of the shots together after scanning them in later that day.

But What About Consistency?

One of the great things about the Gen2 BW film was that it was consistent from pack to pack.  I was worried about consistency with the color test film, but from the first couple of shots from my next pack, it’s looking pretty good!  I will update here after shooting the rest of the pack.

Conclusions

So, what are my thoughts?  I think this is a great improvement in IMPOSSIBLE’s color film.  It’s not as fast as the BW film, but the contrast and colors of this new film are such a great improvement.  I do think you need to shoot it “warm”.  I’ve seen examples online from others that the colors aren’t as vibrant in lower temps, and it does go green indoors and in lower temps.  But for me, in the contrasty and warm California light, this new color film is great!

Now, if they could just get me some Black Frame color test film...

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Testing IMPOSSIBLE Gen2 BW600

Three Packs Arrive From Germany

When IMPOSSIBLE asked Pioneers if they wanted to test the new Gen2 BW600 film they were working on, I didn’t hesitate.  Black and White IMPOSSIBLE film is my favorite type of Instant Film, and even though the last batch of BW test film wasn’t ready for prime-time, I couldn’t wait to test the improvements Stephen and company had made.

I was very surprised when the package arrived in the mail and these packs were inside:

Instead of the typical white label test boxes, these were full-on production boxes with the Generation 2.0 label on them.  

Hmm, I thought we were supposed to test “beta” film and give them feedback before it was supposed to go public. But, at this point I figured, they just wanted some early images from Pioneers to show how they shot their images and to use to promote the film.  With that in mind, I went took the day off of work to go shoot!

Any Excuse to Shoot BW

My sister-in-law Jessica was in town visiting and for her birthday we took her to one of Temecula’s local wineries for lunch.  It was supposed to be in the low 80′s and very sunny, so with some trepidation I loaded up using a pack ND filter in my SX-70.  

I had read on the packaging that the film was a bit fast, so I should put my L/D wheel 1/3 into dark.  So I set up a shot out under my patio in the indirect light and took a shot.  I did my usual:  Shoot, let it sit under the frog-tongue for about a minute and then with a dark-slide over it, move the shot to somewhere safe.  When I did this on the first shot I was surprised when I peeked and saw an image almost fully developed!  It was VERY underexposed, and quickly went VERY dark.  Okay, obviously I needed to shoot this film like I normally do.  I set up again and with the L/D wheel in the center and temperatures in the mid 70′s I took this shot:

And this time I shot it and went back inside and pulled the picture out of the frog-tongue within 5 seconds.  It was then that I got an inkling that this was truly the first time IMPOSSIBLE achieved INSTANT film!

I grabbed my phone and recorded the process:

This is about 5 seconds into it...you can just barely see the image emerging.

This is about 10 seconds in.

About 15 seconds in you can tell if you got the shot.  The contrast is about perfect here in my opinion, but as you can see in the final shot, after it develops “fully” it will then get a little darker and more contrasty. 

About a minute or two in and it’s getting to be exactly what it will be like.

THIS IS TRULY INSTANT!  I cannot stress this enough.  It was hard for me to start shooting with this in mind.  I’ve been so used to shooting, shielding and storing away for 10-20 minutes to see if I got the shot, that I had to actually stop myself from continuing to do this.

We headed to the local winery and waited to be seated.  It was VERY bright at 11:30AM and the light was getting very directional.  I saw the harsh light on some barrels and wondered how the film would fair with a bright white wall, some great tones on the barrels and some dark trim on the buildings.

I shot this one and let it set under my frog-tongue for 20 seconds or so before taking a peek.  I was surprised how well the highlight shoulder of the film has improved in this version.  The white stucco wall has DETAIL in it and doesn’t blow out as quickly as I thought it would.  It’s a little darker than I’d like on the left side and in the light/lantern area, but  I was getting great detail in the whites and I didn’t have to shield and I saw my shot so quickly it was still surprising to me.  And even better, this shot is in 80-85F temps!  It’s just a tinge sepia, but oh man, other versions of BW IMPOSSIBLE film would be SO orange in these temperatures.  I used to only shoot Silver Shade in the winter months in California, or play the “store it in a cooler, shoot, throw back in the cooler” game.  These shots, I just shot, looked at and then threw them in my bag in the empty IMPOSSIBLE box.

Just as an example, here is a Silver Shade shot from 2011 that was shot in the high 70′s to mid 80′s:

I think it's of upmost importance for us warm-weather shooters to note this important change...I can shoot in the summer now!

Back to the new Gen2 images.   I was walking by a huge bin of wine bottles.  I shot it, and as I walked away in 11:30AM bright sunshine checked it a few times in the first minute or so.  I think I could get used to this no shield stuff.

Once again, my main complaint about this film is its contrast.  I live in a land of very contrasty light, so I like using a mid contrast film and if I need it to pop more (or bring out clouds when they rarely appear) an orange or red filter.  With this film, I don’t think a red filter would do very well.  

I went inside the winery to the tasting room and tried a low light shot.  I knew I should’ve over exposed it more, but I didn’t have a tripod with me...but it kind of came out cool.  The best part was watching the people turn their heads when they heard the SX-70 eject the shot.

After a great lunch of Beef Carpaccio, a Charcuterie & Cheese Board and a Salmon & Smoked Salmon Pasta, I contemplated my next shots.  Our glasses were on the table, and I wondered how crisp the reflection would be.  I knew the SX-70′s out of focus areas are awesome, so this one I shot, grabbed and just threw on the table.  We were in the shade, but it was still magical to just glance down and watch it develop in front of me.

We went shopping and we got home around 3PM.  It was in the mid 80′s but with the luck I’d been having I didn’t want to stop shooting.  

The Magical Balcony

I have a spot on my balcony that gets GREAT indirect lighting in the afternoon and I’ve used it before for shots like these:

2012 Black Frame Silver Shade (with an RB67)

2014 Black Frame

So I knew this soft indirect light would work well with this film.  I also thought it would be a good idea to overexpose 1/3 into the light since I’d been having shots that I thought were a little dark.  And, well, with skin, it’s always best to err on the side of overexposing.

I shot it and I was FLOORED as soon as it started to emerge!

Oh my! Now, it's not as “ethereal” as the older film, but it’s got its own look that is pretty darn nice!  The indirect lighting makes this film sing!  I grabbed my sister-in-law and made her come up to get a portrait so I could see how the lighting looked with a brunette.

So, a little more contrast on her hair than mine that makes it look almost black in this shot. And her sunglasses (well, actually they are mine) are tortoise shell, so the film still goes pretty dark quickly, but I love how it renders her mid-tones and the crispness of the frames and reflections.

That was the end of my first pack and I was anxious to start scanning in my shots!

The Second Pack

As of this writing I JUST started shooting my 2nd pack.  Now I was searching to find shots that didn’t have as much contrast.  My wife was planting some flowers in the lawn and I saw the shovel lying in the dirt and had to grab my camera.  

Yellow Filter?

I also grabbed my Clip-It filter with a yellow gel.  I had hoped it would bring out some more mid-tones without adding to the contrast.

I had my ND pack filter on so I didn’t use my electric eye yellow filter and just turned the L/D wheel all the way to light  to compensate for the filter and to over-expose like I had been doing on the balcony.

I have always really liked how IMPOSSIBLE film renders silvers, and the shovel was no exception.  And once again, look at how crisp it is!  The contrast was starting to remind me a little of Tri-X, which isn’t a bad thing.

I decided to take total control and set up a still-life with my light box.  This shot was done next to a window for the light source and using my light boxes black back for the background.  I also used my yellow filter, but left the L/D wheel in the center.  The details on the ornament were so sharp, and the black background was just SO deep.  It used to be SO hard to get these rich blacks!  

The cool thing is, this is how I expected it to come out.  I was finally getting used to the contrast of the film, and shooting for it.

Give Stephen ANYTHING He Wants

Whatever you feel about the changes in IMPOSSIBLE, there is no denying that Stephen Herchen, CTO of IMPOSSIBLE, is a genius and has one goal: to advance IMPOSSIBLE film to the next level.  That’s why I love testing IMPOSSIBLE’s new films and giving feedback to the team.  I know that Stephen reads all of the feedback and looks at all of the test shots.  And wow, this new Gen2 BW film just shows how serious he and IMPOSSIBLE are about advancing the film.  

Now, I just wish I had gotten Black Frame to test. ;)

Check out the new Gen2 Film at IMPOSSIBLE’s website and I’ll be back with more, including how it works in the Instant Lab next time!

https://www.the-impossible-project.com/black-and-white-instant-film-for-polaroid-cameras/

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Shooting with the Holga at the FPPWWIII

Two Cameras, One Workshop

Usually I bring way too many cameras along on my adventures, but lately I’ve been trying to just be happy with a couple of cameras and focus on what I want to shoot.  At the Walking Workshop I brought my SX-70 with some expired film and my new favorite concoction: A Holga 120N that I calibrated to a Telex Rangefinder affixed to the hotshoe.  I put a 46mm-49mm filter on the front with a Red Filter. 

I calibrated the rangefinder to the Holga by taping the ground glass from one of my Ciro-Flex TLR’s to the back and then matching the rangefinder numbers to the pictures on the Holga.

It Is So Simple, It Sets Your Free

Shooting Ilford XP2 with the Holga is SO nice.  Just shoot...don’t worry, get the focus right and just shoot.  Even with the red filter it’s still super simple during the bright California sunshine to get great pictures.  I do wish my Holga had a larger aperture, and maybe I’ll get one from Randy at Holgamods later, but for now, it’s just such a simple setup I just look for great frames.

Getting “The Look”

I’ve been wanting a certain look to my Holga images, and tried no mask, light leaks, wide angle, you name it, but never found anything that I liked.  When I combined Ilford XP2 and a red filter, it was just what I was looking for.

...but enough of the talk, check out the pictures from the Holga at the FPP Walking Workshop:

I was framing this shot when the lifeguard looked at me and said: “What’s with all of you with cameras?”  I chuckled...it must’ve been strange seeing all these people with cameras, but not just digital SLR’s...no, there were tiny 110 cameras, chunky Medium Format ones, Polaroids, and everything in-between.  I told him it was a workshop for film people and he just looked at me confused.  I then asked if I could take his picture and he said no problem and went back to work.  Perfect.

I was fascinated by the people playing in the surf and the angle I had from the pier.  The red filter has the perfect contrast to this scene and I love the tension in the wave getting ready to crash on the kids as they try to get out of the way of the wave.

Another surf shot. The father was yelling for his kids to come in from playing out deeper in the water.

This is the side of the bus that took us down to the pier. I have no idea what it means, but liked the words.

One of the things I love about this setup is that it's light and I don't have to do anything other than frame and shoot. It makes me explore changing angles and getting different perspectives. I climbed up on a retaining wall and saw the bikes with the train in the background...and then noticed the number of the train.

They really wanted to fly away, but I talked to them...reassuring them it was just a cheap plastic Holga and they had nothing to worry about. It worked.

I did have a thought on this one...I wonder how crisp will this be. I really wanted to capture the intricacies of the hut.  I’m glad it did.

And The Act Of Finishing The Roll

If there is one thing that I notice about me shooting film that others seem to not have is not shooting enough.  I still had 4 shots left on my roll of 12, but I was so tired at this point, I just didn’t shoot any more.  We got a nice shaved ice and talked to people before heading back.

Once again, it was a great time with the FPP crew and everyone we met, and I can’t wait to do it again sometime!