Last year on 52 rolls I posted two series of cross processed Velvia 50 photos during September and December 2013. One of the photos, a sunrise over tidal pools which I particularly liked, I posted elsewhere. It drew a question that felt like an implied criticism: why would I want to cross process Velvia? But then, why does the freedom of the Drifting Blues sound so good? Or again, why does Kerouac’s haiku “in my medicine cabinet, the winter fly, has died of old age” make me smile?
How difficult I would find it to be without freedom, feeling an emulsion is so sacred, that I cannot experiment or follow my intuition to explore. I do not want to feel trapped in this world, or in developing film by the constraints of traditional chemistry, but would rather set myself loose from the cold winter cabinet that stifles, and fly.
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