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I received an unexpected disappointment upon going to develop some film this month. After several months of inactivity, all of my chemicals had spoiled. I typically use liquid chemicals from Illford. Liquid chemicals are quickly mixed for one time use. The full strength chemicals last longer than mixed Dektol, but I left them far too long. I had a bottle of unusable brown mash. 

One reserve batch of dry Dektol chemicals were hidden away. I mixed up a 1 liter batch and waited for it to cool. Dektol is a bit too contrasty for my taste.  There were several dense silver deposits in the film, but oh my the resolution. 120 film still surprises me every time. 

A set of seven image will appear in the January 2017 issue of the Grief Diaries, along with a new artist statement. The brief might read dark, but it's really not meant that way. 

Grandma. Caitlin Crowley, Cardinal Sins, Fall 2016

Honored to be included in Cardinal Sins for a second time. Cardinal Sins is a lovely 5.5x8.5" softcover print publication by Saginaw Valley State University. Traditional publications are rare in the world of digital publishing. 

Horde was originally published in the Winter 2015, Volume 33 Issue 2, of Cardinal Sins.  Horde is part of a set of two images.  The 'horde' of flowers look like soldiers or warriors with their spiky leaves and feathered tops. Originally shot in July of 2014 in Wisconsin. This was part of a set of rolls including the recently published, Repertoire, in Birch Gang Review. 

Grandma, is joyful but ominous. A bright white light shines in through a diffused curtain behind the chair. The rocking chair is empty and the only subject in the image. Growing darker and less in focus the closer it is to the viewer. Shot in March of 2016 on Tri-X 400 film. One of the first rolls shot on my new camera set up, Mamiya 645AF Dii and 80mm f/2.8. 

Red Kitty Press, Anatomy, March 2015

Red Kitty Zine published two images from the Pomegranate Series in the Anatomy issue in March of 2015.  The Anatomy issue focuses on body image, gender identity, illness, and ability.  My Pomegranate Series focuses on pieces of a whole and how they reflect on each other.  I started with the whole and slowly dissected the pomegranate.  How much can you break something down, tear it apart, before it is something new.  How many pieces can you take away?  Or can each bit stand on it's own.  There are four images in this series.  The originals were shot on Fuji FP-100 in a Mamiya RB67 Pro.  Two of the four originals have been sold to private collections, both of the above originals are still I'm my collection.  The images that appears in Red Kitty Zine are recovered polaroid negatives.  Both the originals and negatives are approximately 7cm by 7cm.

Portland Review, Vol. 61 No. 2, Winter 2015

Student Loans was printed in the Winter 2015 issue of Portland Review.  Gone (Student Loans) was shot on medium format black and white negative film using a Mamiya 645 Pro and an 80mm lens.  In November of 2014 I visited the Indiana Dunes and shot two rolls of 120 film and one roll of 35mm film.  The dunes have sandy hills covered in grass, and very few trees.  This tree stood out to me, standing out very stark, dead, with other fallen trees around it, but almost still hopeful.  It still stood even though it had been stripped of its foliage and many branches.  While brittle and frail at the branches, it seemed sturdy at it's core.  

YLNI Winter Market

Happy Valentine's Day!  Today I am set up at the YLNI Winter market at the Ash Center from 10-2pm.  Usually I am at the fourth market of the month.  I will not be present at the February 28th market this month, but you can still order online through Square.com

Tetenal C-41 Chemical Life & Shadow Detail

Over the period of about seven days I developed eight rolls of film: (1) 35mm 24exp, (2) 127 20 exp, and (5) 120 rolls.  One liter of chemicals has a capacity of eight rolls of 120 film according to the directions, although they state that the capacity can be extended 50% or more.

The biggest change in negative quality was as the chemicals aged.  I could not see much change in quality in-between the rolls processed in the first five days.  Shadow details did start to get grainier on and after day five.  Shadows started out a deep black and over time, lighted and showed more grain.  Starting on day seven, mid tones and shadow tones were very grainy and lighter, with no real blacks.  It looks like someone just pulled up the shadow slider in Lightroom.

Reala 120, Day Seven

Here you can see a frame from the last roll.  The swatch above was taken from this photo.  The mid-tones are captured perfectly well, and washed out shadows.  These shadow areas are not really of a usable quality for me.  I think I will be able to shoot a few more rolls using more lighting to avoid large areas of shadow.  I don't think it is very feasible to get 16 rolls of 120 out of a liter(double the capacity), but 10-12 should be very doable.

Freshly developed C-41 film murky

127 C-41 roll film shot in 6x4.5 120 back
Don't get discouraged if your C-41 film does not look the greatest after you pull it out of the film tank.  C-41 color negative film can have a murky appearance before it has dried.  It can have an almost pale opaque coloring while it is still wet and on the film spool.  

I took the picture above right after clipping the film to dry.  It was almost monotone without much contrast.  The film took around 1-2 hours to dry fully.  At about one hour the film looked dry but still had a tacky texture.  The film started to warp pretty severely after this point, and then dried flat and smooth half an hour after warping started.

Film should not be dried at temperatures higher than 60 degrees if using a drying cabinet or hair dryer.