The Fun new Problem

See those red marks?  (Of course you do–they’re dang hard to miss).

Look closer–

What do they look like?

Like tiny bolts of lightning, actually.

Believe-it-or-not, they are discharges of static electricity on the film.

This is what happens when you shoot high speed films like Cinestill 800 in dry climates like Alberta.  It typically occurs when one winds the film too quickly.  (And, incidentally, part of the reason why most cinema films have Remjet backing on them, as they move at 30-60 fps through the motion picture camera).


Insert Title

I don’t know exactly what it is, but there is something about this image that just slays me.

(Yes, Karim, it is grainy, and one eye is out-of-focus…but that’s how we roll here).


Negative Lab Pro

My friend Peter says I am often hysterical, and prone to over-dramatization.

While he may be (more-or-less) correct…it is impossible for me to overstate the importance of this find (thank you Marc!)

I have gradually been losing interest in Medium Format photography, due to the effort (and risk!) involved–Generally speaking, you only get one shot…so everything had better be correct.  Unfortunately, even when focus and exposure happen to be spot-on, I have often been disappointed in the final result: The photos just don’t seem to “look” as I remember them…or even as good as the negatives themselves appear.  Unless one pays for lab development and scanning, something occasionally seems missing in the final result.

That is, until now.

Negative Lab Pro is literally like being handed a Pakon or Noritsu scanner for your 120 film.  It is as close as one can come to lab-quality colour correction at home–from something as lowly as an Epson V600!  (It obviously works for any type of scan, but I use a Pakon and a Noritsu for my 35mm film lol…)

Granted, there is some extra effort involved–The program works best with Linear RAW scans from Vuescan Professional (so you’ll need a copy of that too…but it is well-worth it) and the whole process is tad time-consuming, but I think the results speak for themselves.

I haven’t been this excited about a development…in film development (you see what I did there?) for quite some time.  Thank you Nate–I’m not sure what sort of black magic you’ve got up your sleeve here, but this program is the answer to my medium format woes.

(Tip–Make sure you check the “Make a TIFF Copy” box in final conversion, so that you can edit the resulting file normally in Lightroom without everything being “backwards”)

These are Cinestill 800T shot in a variety of settings, and effortlessly corrected in NLP 2.0

As always, I am happy to answer any questions.





We made these on our 18th Wedding Anniversary…because we won’t have enough to cry about in another few years.



Can’t decide which one I prefer, though for me I think the B&W might be a stronger image…

Colour-corrected Cinestill, because that’s what I had in the camera at the time.