In early April, I did a blog post on Polaroid, right at the very beginning of my renewed interest in film photography. (On another note, I can’t believe it’s only been a month and a half; it feels like it’s been a year, given everything I’ve been doing.) As fascinated by and happy as I am about the former Impossible Project (now Polaroid Originals), I’ll be honest: I’ve been pretty disappointed in the reality of it. Just yesterday, I read this blog post over at Emulsive that really resonated for me.
Late last week, I received back from The Darkroom my latest batch of film processing. It was a mixed batch; four cameras, six rolls. And the results were also mixed. To be sure, there were some photos I really liked and am proud of. And there were also a ton of duds I didn’t even bother uploading to Flickr. But this process has gotten me thinking about film, about control, and about those results.
About 18 months ago when making the jump to home automation, I picked a Wink 2 hub to be the brains of the operation. The reasons were simple:
- It supports Lutron’s proprietary Clear Connect protocol, used in their Caseta line.
- It supports Z-Wave, which I intended to start using for lamp modules.
While my experience with the Wink 2 has been positive overall, they’ve experienced three very lengthy outages in the past 60 days or so, one of which was quite serious in my view, and to be quite honest, I’m starting to worry about their business model.
Since getting my “new” Pentax 645, I’ve been thinking about all the wonderful things that would allow me to get more good out of it. A flash. A zoom lens. One or two long, fixed focal length lenses. A teleconverter. Maybe that 120mm with macro focus. To be sure, all of these things would indeed bring more utility to the camera. And then, I started thinking about my Kodak Duaflex II — and about my music production journey, process, habits, and thoughts. Then, I started to see parallels that deeply concerned me.