the golden half in acadiana, including many cemeteries

I just like photographing in cemeteries. They’re quiet and pretty and the subjects tend to stay still.

I like the Golden Half more every time I get a roll back. The fixed focus gives you charming spots of blurriness, a soft focus you don’t often get in 35mm cameras.

Some of these were cropped for tighter focus, a complicated process involving cropping each half apart, cropping them both seperately, then sticking them back together. You can tell where that was done because when I put them back together I didn’t bother with the thick black line that seperates each half. Usually this was done for aesthetics — to omit excessive blank foreground, for the most part — but I must admit that in a couple of places it was done to crop out my finger. It’s totes embarassing to admit that still happens. In my defense, the Golden Half is a teeny weeny camera with an unusually wide lens — meaning it’s quite flush with the body of the camera.

In other photography-related news, I really need to get my own scanner. The first time I sent a roll from the Golden Half to Dwayne’s Photos, they seperated each half into a single image, which I did NOT want done. So now I send it with instructions, and they manage to keep the two halves together, but they take it TOO far: they don’t even physically cut the negatives and send me back the roll enclosed in a section of cardboard tube. *facepalm*

I sent this last roll off with a roll of slide film that I shot in the 35mm back for my Diana F+ with no mask, so the image covers the entire surface of the negative, including the sprocket holes, like this. (Not my photograph.) The idea is that the holes and even the printing on the edges of the film become part of the photo. I asked them to a) cross process it, which they’ve done before, and b) if possible, scan it with the medium format holder so the entire image would show.

Well, I guess that’s not possible (too labor intensive is my guess, as a friend tells me you have to tape the negatives down when you do that), so they sent it back not even developed. Which really annoys me, because I specifcally said if possible. Since it wasn’t, they should have called or emailed me. I would have told them to just print and scan as usual, at least then I’d have something to work with.

To make matters worse, there are a couple of negatives from the Golden Half that they printed, but didn’t scan. And one of them was probably the coolest image on the roll: I went to Intracoastal City a couple weeks ago, where there are a lot of dry docks and breaker’s yards. And I took a photo of a bunch of shrimp boats crowded together in dock, so close their masts were practically touching; and one of a boat that had been pulled onto land and was listing to one side. Maybe that’s a common sight around there, but to me it was profoundly unsettling. It was like that scene in Close Encounters of the Third Kind, when Bob Balaban and Francois Truffaut find all those ships in the desert. And they didn’t scan it! I have the print, but it’s overexposed. If it was scanned, no problem, I’d just kick the exposure down a couple notches. Assholes.

I always had good customer service from them before, I don’t know what’s happened to that company. I’m starting to think that I should just take all 35mm to the damn drugstore, because at least if they fuck up it’s only a 5-minute drive away. And the fact that they don’t really know photography might be an advantage, because it would never occur to them to make changes (ie. cutting images in half) that I didn’t ask for.

But if I ever want to do sprocket hole photography, I’m going to have to scan it myself. And if I buy a scanner, I might as well scan everything myself. At least that way I won’t have to deal with other people “helpfully” color correcting or cropping my stuff.

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