Dip-and-dunk E6 processing in Colorado

On the first day back in the darkroom, our instructor mentioned that one of the last places doing dip-and-dunk processing was based in Denver.  Evidently dip-and-dunk is gentler on your film and causes less scratches/wear and tear on your film; especially important if an image is going to a gallery, you’d not want scratches on your negatives/positives from the development.  I guess this is also more of a thing for E6 processing, from my research.  And speaking of research…as far as the state of photochemical imaging in Colorado, it turns out that we’re doing alright, because I found three places here that have dip-and-dunk processing!

-Digigraphics (Fort Collins)
-Mike’s Camera (Boulder)
-Digital Imaging Center (Denver)

I’ve always sent my slide film to Mike’s, because they have several stores around the state, one in Colorado Springs, and I’m able to drop off film there and take advantage of their courier service to have my slide film developed at their Boulder store.  Much easier than mailing it out.


Editorial: It’s who you know, an elongated definition of photo editing, and photographing Trump


The old adage holds true that it’s all about who you know.  One of the main reasons that my composition teacher encouraged me to go to film festivals was for the networking opportunities.  I went mainly for an excuse to travel, as I don’t get many opportunities for vacation, and the festival usually would pay for room and board.  I’ll say though that I can only take so much of it at one time so everyone would be partying late into the night and even with free beer I only stuck around for a limited time.  Who did I really want to meet?  How about a girlfriend; oh well.  I did meet a few like-minded people and stay in touch with them slightly, though I’ve let that slide a bit in the last year or so.  In fact to be truthful I haven’t really hung out with anyone for a long time.  Every once in a while I go out for drinks with one of my church friends but that’s about it.  I think when I lived in Colorado Springs and close to campus I did a lot more socializing, but now I’m just holed up in the mountains.  A typical night for me is watching TV and perhaps having a glass of whisky.  So maybe there’s the potential that I’m hurting my future career by not getting out there, and I suppose I could change that but the reality is that I’m exhausted and don’t feel like it.

It was in a way comforting I suppose, that the rules haven’t changed much (if at all) since the days of Duchamp and Schoenberg, but also dispiriting.


If there’s anything I know after taking photo classes since 2013, it’s that seeking the advice of my peers and getting their opinions on my best images helps me go a lot further than just putting work up in a vacuum and waiting to see what they say during the critique.  I have no idea why so many people say that some images of mine are their favorite, when really they’re ones I couldn’t care less about myself.  Too close to my own work perhaps?  The whole last time I was taking Advanced Photo I was relying solely upon others’ opinions on which way to take the project because I had such a hard time finding the images interesting.  I don’t necessarily get the associations that others do having certain images next to each other either, so I’ll rely on others as much as their willing to determine sequence as well.  What I was really hoping this article would do was give me a little insight into how I could better pick images myself and know which ones are the best ones, but sadly it was a disappointment there, this article seems mostly to tell someone with no knowledge of photography what a photo editor does, if it even does that.  Honestly I think reading this article was a waste of time.  The pictures were nice, though.

(sorry, couldn’t get that big ad to go away)

I once got an opportunity to photograph Trump myself, and also was pretty interested in Ben Rasmussen’s stories about him.  I like that the New York Times is interviewing a photographer, and find it interesting in a meta sense that they have interviewed one of their own staff photographers.  And it’s an interesting insight into the man, reading this interview, like how much access he gives to photographers not only in content but his time.  I can see an in into my own work here in that he’s an outsider that’s been granted access, so he’s in this very privileged position and he’s photographing some of the most powerful and famous people in the world.  I’d call that pretty exciting and I have to admit that I’m a bit jealous.  Looking at these photos, I think I gained a bit more understanding on the lure of celebrity and pop culture.  I love the long paragraph where he goes into the differences in photographing different Presidents over the years; I love all the stories.

I don’t follow the news too closely so I’ve never seen any of these photos before, but Doug Mills’ photos seem to be what I expected from a White House photographer, and it gives me a bit of insight into what modern news photography looks like.  I can’t say that I’m all that impressed with the look of it from a purely visual perspective, I guess I’d just as soon have it all be Tri-X and Cinestill 800T, but then the Times would probably never hire me if I insisted on shooting on film, which means the Times will never hire me.

Who wants prints?

I’m taking Advanced Photography again.  I took it before, three years ago, all those pictures can be found here, as well as a few related projects that bled over into the following years.  I suppose I wanted to take the class again primarily because I wanted to get back into the darkroom.

What this will allow me to do is make a lot of fine art optical prints, something I’ve really missed doing, and I’d like to offer this to you, my loyal readers.  Traditional black & white optical prints get the best out of analog photochemical imaging and are the most archival process, I’ve read they can last for 1000 years if properly processed and stored.  I will be printing 8×10 on Oriental glossy fiber paper, one of the best available today.  As I only have access to the darkroom while I am taking the class, this will be a limited-time offer and all orders must be received by May 1, 2019.
x1 print: $40
x5 prints: $150 ($30 each)
All prices in USD; prices include shipping in Continental USA, international shipping additional and will vary but contact me and we’ll work something out.
contact: joseph.irvin.photography@gmail.com

These will be black & white prints of course; most of what I’ve shot is Kodak Tri-X, T-Max 400, and Eastman Double-X and the links should make it easy to browse the majority of my black & white back catalog, just send me a link to the picture in the email.  If you absolutely have to have a color image I can make a digital print using an Epson large-format printer, email me and I’ll see what I can do; there is less of a time constraint on these.

The shooting continues

After having to drop an unexpected $600 on my car, I had to hold off on buying film, and then had to wait for Kodak to get their new online store up and running.  Now that it is, I have my stock of film for this summer,
10x Vision3 50D
5x Vision3 200T
5x Tri-X
(plus some 35mm film from Cinestill which arrived at the same time)

If you’ll forgive the digital picture:


4 years ago today

Happy Anniversary to the Resurrected Camera.  Inspired by the Intro to Photography class at my university, I decided to start a photo blog, dedicated to shooting film on the cheap.  It all started on January 1, 2014 with a fake trailer I made using two 35mm cameras and three rolls of film.

Using still images is something that I’ve continued all the way to Overwhelming Majority very recently.  As far as this blog goes, I still don’t quite know what direction to take it in this year, but I do have a few things I’m looking forward to announcing when the time is right.

For the hell of it, I’m releasing another film I made using still cameras, way back in early 2015, just as an assignment for Film Scoring class.  Again, stylistically inspired by Chris Marker’s La Jetee.  It’ll only be available for a limited, unspecified time:

I budgeted 5 rolls of Tri-X, utilizing the Pentax ESII and Spotmatic SPII, and was my first time editing using Final Cut Pro.  Aside from all that, if anyone remembers this post at all, it’s a shot which I couldn’t find a use for in the film.  Until next time, keep finding those deals in the film photography world!

Overwhelming Majority released to the world

Overwhelming Majority is an experimental documentary dealing with issues of alienation, isolation, and social anxiety.  I remember my teacher Jane sending me this article when I was making the film and being very intrigued by that aspect, something I’d never considered.  OM has been screening at film festivals for the last year and a half, but in light of recent events like Las Vegas, perhaps it’s time to be seen by the rest of the world.

WINNER: Best Experimental film – 2016 Blissfest333
WINNER: Best Experimental film – 2016 UCCS Short Film Festival
NOMINATION: Best Experimental film – 2017 Wales International Film Festival
NOMINATION: Best Documentary Short – 2016 Blissfest333

2017 London International Documentary Festival
2017 Carmarthen Bay Film Festival
2017 Colorado Short Circuit
2017 Wales International Documentary Festival
2017 Durango Independent Film Festival
2016 Southern Colorado Film Festival