Analog Talk Podcast Photowalk / Nashville, TN

Rain or Shine… I’m All In.

The weather was on the verge of having the sky fall out all day and everyone was wondering if the Analog Talk Photowalk was still on. I’m pretty close to Nashville (where the photowalk was held & where Timothy Ditzler, 1/2 of Analog Talk Podcast, is located) and thought that if the walk was going to be with Timothy only then he’d probably reschedule. As soon as I saw that Chris (the other half) was flying out from L.A. then I knew it was on.

Borrowed raincoat in tow, I packed up my bag and head out to the meet up. I got there a little early to do some street lurking. I found a couple frames but nothing to write home about. About 5 minutes to 2pm (when it started) I walk back to the pedestrian bridge to see Timothy and Chris at the top looking around to meet everyone in the real world for the first time. Fun fact… this was actually the first time that Timothy and Chris had meet in person as well. I don’t know the back story on this collaboration yet, but I’m eager to find out more as I’m sure I’ll connect with Timothy again soon to lurk the streets on a day that’s not so filled with camera killing weather. I mean… I’ll die for a good photo, but don’t kill my camera.

OK… so I walk up and can feel the energy of excitement and the “I hope people show” nerves. Although Timothy and I had never meet… I felt right at home geeking out about camera shenanigans right off the bat. Chris was as sweet as she could be and had two baller Contax cameras swinging around like no big deal. She had a Contax G1 and T2. I’ve never shot either but they look like amazing compact machines.

We all hang out for about 45 minutes due to a location error, but it was good! We all chat and got acquainted with one another. AND then the coolest thing happened… Timothy and Chris started throwing Kodak film at us! I felt like a dog catching a frisbee. They gave out 3 rolls a piece: Kodak Trix 400 / Portra 400 / Ektar 100. NAILED IT!! Oh, and some Analog Talk pins.

Alright… the rain is picking up so we start moving through the street to a pub down the way. I forget the name. I honestly couldn’t care less about the Nashville scene minus the people. I love the people. Street for days. Actually, if I lived in Nashville I’d probably spend a good amount of time going up and down Broadway documenting “Old People That Look Lost”. That would entertain me for months.

We get to the pub, everyone gets settled in, chats a bit more, and then the raffle kicks off! I forget the exact things that were raffled off, but there were three rounds of some really fun stuff. I do remember a Polaroid camera and film, can’t remember the rest but it was good.

I captured the vibe as best as I could with my Leica M7, Zeiss ZM 35mm 2.8 & Rollei Flash, then had to head out, sadly.

If you haven’t checked out Analog Talk Podcast, I recommend you do! They have some great shows that will sure to inspire / entertain.

Thanks for reading along. Film shot: Ilford HP5 / Develper: Ilford Ilfotec HC

Matt Pittman / Analog Talk Podcast Photowalk / Nashville, TN / Leica M7 / Zeiss ZM 35mm / Ilford HP5 / Timothy Ditzler / Chris Bartolucci

The Comet / Ilford PanF 50

Intergalactic

I spend hours wondering the streets through neighborhoods, cities, country, etc. I don’t always end up with a great subject to spend a few frames on, most of the time I just get a good exercise in; but on this day in Nashville, TN I found a beautiful classic, the Mercury Comet.

I hope you enjoy.

Matt Pittman / Nashville, TN / Leica M7 / Zeiss 35mm / Ilford PanF 50

Exhausted

Take a Moment

Matt Pittman / Ilford Panf 50 / Fomapan 400 / Leica M7 / Nashville, TN / Huntsville, AL

Gene & His 1962 Chevrolet Impala

Always Be Ready

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When opportunities present themselves like rolling up on a Red Ace gas station in the back hills of the Alabama / Georgia border only to find an immaculate 1962 Chevy Impala with driver to match… you stop and make an effort to capture it well.

This is Mr. Gene Hickson. He bought this beautiful classic off the sales room floor back in ‘62. But let’s back up a moment…

Samuel Johnson and I had just finished shooting an elopement at a near by waterfall. It was stunning but took quite a bit out of the both of us as we had to dive into the canyon with gear in tow to capture this brilliantly personal moment of two people dedicating their lives to one another.

“Wait, Matt… you shoot weddings?!”

Nope. But this was a unique combo that I couldn’t say no too.

(back to the story)

On the drive out of Georgia back to BAMA, we’re both dehydrated and in need of some aqua. Passing all of the mainstream gas stations, I didn’t think I would be able to stop and get a drink but low and behold… we come over a small hill to find the Red Ace. Not only did we spot a fun looking gas station, we see this BALLER classic car that demanded us to stop.

We roll up, park, I grab my Leica, and hop out of the car like it’s Christmas morning. Samuel heads into the station, I approach Mr. Hickson and compliment his car in my most sincere tone. Gene says thank you and gets to pumping gas. Not letting it go I ask if I can take some photos of his beautiful car. Gene responds with, “sure, go for it”. After a few frames I ask Gene if I can take a photo of him standing next to his Impala. Gene responds with “Well heck, sure, what do I care”. It’s the best version of that answer and I still can’t believe how everything is playing out. Gene not only gets in front of his beautiful machine, he poses like he’s done this a million times. At this point I’m feeling the weight of his presence as if I’m now a part of this car and Gene’s story dating back to 1962. Gene looks slightly off camera… ‘click’. Gene didn’t ask what to do or sheepishly state “where do you want me? Do I look at you?”, he just stood there with a regal demeanor about him and waited for me to do my job. It was brilliant.

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Leica M7 | Zeiss ZM 35mm f2.8 | Kodak Portra 400 | Georgia

Fashion & Kodak Portra 400

Fashion With Mamiya m645 & Kodak Portra 400

Mamiya m645 / Kodak Portra 400 / Gucci

Mamiya m645 / Kodak Portra 400 / Puma Fenty

Mamiya m645 / Kodak Portra 400 / Gucci

Mamiya m645 / Kodak Portra 400 / Puma Fenty

Pushing limits with the Mamiya m645 1000s in direct sunlight with Kodak Portra 400. I couldn't be more in love with the results. I haven't had the best luck using Kodak Portra in the past but since I've picked up processing C-41 in house I gave it another go. It didn't let me down.

What Even Is 120?

It's big. It's detailed. I love it!

I recently picked up 15 rolls of 120 film for $30. Unexpired and some amazing film stock. Ten rolls of Kodak Tri-X 400 and five of Kodak Portra 400. I don't own a medium format camera but couldn't pass up this killer deal. Through the power of social media, I was able to acquire (on loan) a Mamiya m645 1000s with 80mm lens. In. LOVE!

After cleaning the camera thoroughly and hooking up a battery, away I went to shooting. The focus is a bit odd as in you have to eyeball it. I missed out on a couple properly focused portraits but 90% of everything worked out just dreamy. As you can see in the second image, there is a slight light leak that only effected two of the 30 frames I shot. Here are some of my top shots with Ms. Mattea Swegles.  

P.S. I've been a 35mm shooter for years. To shoot medium format in 6x4.5 is mesmerizing. The detail is out of this world.

click to enlarge

Meta:

  • Mamiya m645 1000s
  • Mamiya 80mm f/2.8
  • Kodak Tri-X 400
  • Processed by Archival Dev

Head In The Clouds With Kodak

"It's not about creating something that will make you money. It's about creating something people can't ignore." - John Keatley 

Kodak Tri-X 400

Kodak Tri-X 400

Words I've taken to heart since last year during a portfolio review with John Keatley. Today this photo was chosen and featured by Kodak. Although I love all types of film, I hold no brand higher than Kodak. To have them reach out and recognize my work is a proud moment.

"Why do we care?"

Great question. I share this to hopefully encourage you to keep consistent and progressive. It's not in vain and nothing great is created without success and failure. Own your process and think outside Instagram. What have you printed lately? What are you creating for you? 

Story Behind The Shot:

This shot was taken on my flight out to Dallas, TX from Huntsville, AL to meet up with Kyle Steed and Brenton Clarke. It was the beginning of our desert get away that we all desperately needed as well vested husbands and fathers. It was time to get out of reach for a week. Well my adventure started with a hour and a half delay in my flight. Flying out of Huntsville is always a piece of cake. Never any security lines and the airport is international, surprisingly.  For those that are in the know, any small airport just means a connection flight about hour flight away, normally. Well, Dallas is only about an hour and fourth five minutes so sometimes I get lucky and nab a direct flight into Dallas, this round I did.

Brenton had gotten to Dallas from Arkansas earlier that morning so Kyle and Brent had the day to start the relaxation process while I was starving in the airport wishing I was already in the air. The plan was to meet up for dinner and celebrate the beginning of what was sure to be a memorable trip. No such luck. Little did I know that the delay in my flight was going to put me at the perfect time of day to capture some absolutely stunning cloud shots. But before we get to that...

Ok, the flight is delayed a few times, I'm ready to be in Dallas already, it's time to finally board, and away I go to my seat. I have a window seat on a plan that is not full. Most everyone is on board and right before the door shuts, a passenger from the back of the plane comes up and sits next to me saying that "he had a tight connection and needed to sit closer to the front of the plane". No problem on my end but the guy was somewhat of a douchebag. That's to be expected if he's super anxious and has another flight to get to his final destination. I'm sure I'd be a bit short too. 

The plane is small and Mr. D for short, is sitting nice and tight taking up the full arm rest. The plane doors shut and I look over to a seat one up and one over that has nobody in either seat. I look at Mr. D, then the seats, and shake my head. I have my Bessa R2a with Zeiss ZM 35mm in my lap loaded with Kodak Tri-X 400. I'm crunched next to the window and take in the landscape as it gets smaller and smaller. As we get to altitude the scenery gets quite dreamy. The clouds turn to cotton and the sun is cutting across them like a nicely lit portrait. Although Mr. D is still dominating MY row and I have to slightly maneuver my body to the left, elbows in with lens almost touching the window, I manage to not give an eff about Mr. D and soak in the heavenly scene that was itching for a frame. Camera up, focus dialed, soak it in... 'click'.

Knowing this shot was going to be something kept me satisfied the rest of the flight. What I didn't know at the time was that it was going to turn out this gorgeous. When I developed this roll and scanned it in, I saw this frame and audibly said "damn...", then onto the next frame.

As I shoot more film and know what frames are going to be next level and others that are just going to great memories, I've begun to accept that if only one frame comes out of a photo session then that session was more than worth it. Fortunately the majority of each roll I shoot turns out great, from my perspective, and why I keep coming back for more amazing analog shots. 

To sum this all up, I couldn't be more proud to have captured this special moment with Kodak Tri-X 400 in a time I desperately needed a break from civilization. To read more about one of the sections of the desert get away, head over to Desert Salvation. I hope you enjoy. 

Portraits on Lomography Color 100

More portraits. More new film stock. 

I've kept hearing about how good Lomography Color 100 and 400 are but never had the right project to work with them on. I pulled the trigger for some content I'm creating for Unclaimed Baggage in Scottsboro, AL and couldn't be more pleased! This was all shot with Lomo Color 100 but I'm super eager to shoot Lomo Color 400 at 100 and process normally. I hear good things will come. Stay tuned for that.

The Film

Pros: It has a feel to it that fit perfectly with the vibe of the model (Ms. Chloe). Grain is great. Skin tones, amazing. Cost of the film AMAZINGER ($12.90 for 3 36 exposure rolls). 

Cons: Not really any. You'll see tonal changes image to image, but that's because those were shot outside on a somewhat cloudy day, so light changed. I also have Samuel Johnson assisting and would defuse a few shots. 

I've never really payed Lomography much attention becuase of the cheap plastic cameras they make. I figured the film they stocked was more for fun than professional work. I was wrong and have now used their color and black and white (Lady Grey 400). I'm hooked!

Meta:

  • Leica M7
  • Zeiss ZM 35mm
  • Lomography Color 100
  • Paul C. Buff Lighting
  • Scottsboro, AL

P.S. Home development for both B&W film and C-41 color film is absolutely a piece of cake to do. It is well worth your investment of the chemistry and scanner to start processing yourself. You have a blast doing it and be more proud of your work, owning the process from roll to scan. My next steps... enlarging. I can't wait.

Go to The Film Photography Project and start shopping around for all the items you need to get started! 

In the even't you just want to shoot and turn your film over to a new Huntsville, AL local lab for processing, look no further than Archival Dev. We'll take care of you. 

American Legion / Post 106

New film. New Places. 

I love moments when I'm driving and see a spot that demands my attention. This is American Legion | Post 106 in Georgia. I don't recall what backroad I took to find it on my way back from Chattanooga, TN, but it was an easy decision to stop and explore. I'd also recently decided to try out Lomography's Lady Grey 400. I'm definitely impressed with the film and will revisit using it down the road.  

Insider Scoop:

This was developed with Ilford's Ilfosol 3. "Matt, why would you use that crap"? Well, I'm still relatively new to the film developing game in house, and this was the most easily accessible developer to start with. It's extremely easy to use and give varying results. It works well with some BW film, not so much with others. If you're going to us Ilfosol 3, make sure to use slower films. I find that it doesn't have much room for higher grain films and the film will come out super grainy. Although I do love me some grain, I do not love me all the grain. 

Solution:

After researching some other developers like Kodak's HC-110 and Ilfords Ilfotec HC, I went with the Ilfotec HC. Matt Day recommended this developer with Ilfords HP5 I haven't shot HP5 in many moons so will see what I like and dislike about using this combo and will develop with Ilfotec HC on several other film stocks to see how it handles it. From what I can tell, Ilfotec HC and Kodak HC-110 are pretty similar. More on that as I develop more. 

Meta:

  • Leica M7
  • Zeiss ZM 35mm f/2.8
  • Lomography Lady Grey 
  • American Legion | Post 106

Portraits on Fuji Superia 400

Let's start out by celebrating in the fact that I've unlocked the power of color film development IN. HOME!! I can't be more excited about it and for the life of me understand what took me so damn long to do it. It's actually easier than black and white development in that I don't have to worry about development times. Development times are all the same for C-41 processing assuming I shoot the film at box speed. Big THANK YOU to the Film Photography Project for hosting a bad ass podcast and making home development so accessible. Much thanks!

Next step will be E-6, but let me celebrate C-41 for about 4 weeks and then tackle that. 

Ok... why are these portraits a big deal? I'll tell you. This is the first round of me using my newly acquired Leica M7 in studio. No, the M7 is not really a great studio camera since it only syncs at a staggery slow 1/50 of a second, BUT... for portraits it get the job done well. Is it my go to for film studio portraits? Ehh, not really, but I am in love with the results and working with the Leica name. It does feel dreamy for sure. 

As you can tell in these portraits, the color tone changes just a touch from one to the next. Not sure yet why that is. Could be the film, my developing, or something else I can't think of. It's not a bad change, just not consistent. If I really wanted too, I could color correct it a bit in post processing, but I'm in the film game to do that as little as possible. 

I hope you enjoy Ms. Lauren Cantrell's portrait set. I enjoyed taking them and developing AT HOME that very day.

Cheers to progression.

META:

  • Film: Fuji Superia 400
  • Camera: Leica M7
  • Lens: Zeiss ZM 35mm f2.8
  • Lighting: Paul C. Buff

Deserted Salvation

After a few hours of sleep on the first night we stayed in Terlingua, TX, Kyle Brent and I woke up at 0530 and drove into Big Bend National Park. When we arrived into Terlingua the day prior I saw Santa Elana Canyon in the distance and said, "What the F*CK is that".

Keeping my brain shut off as much as possible during this trip, and one of the many reasons I only shot 35mm film, I had no clue this big Thor like hatchet carved canyon in the distance was the location of the day.

As we get into the park in Kyle's Prius, he says "there's a scenic road, wanna take that?" Brent and I half awake respond with, heck yeah. So we go down this road that no Prius should ever go down, but we make it work nonetheless. About halfway down the yellow brick road... I look over at Kyle and quietly say, "I have to get that" so we get out in dusk light with a small color gradient slowly rising with the sun. I grab my Feisol tripod, put my Voigtlander Bessa R2A on it and Kyle and I run out into the desert from the road. "Kyle, stand still", he does and away I click a 1 second or so exposure with Santa Elena Canyon in the background that sent the tone for what the morning had in store.  

We get to the parking lot and prepare for the hike. Sunscreen applied, bandanas securely fastened, water supply in check, we head out into Santa Elena. The morning was still at a tolerable temperature with zero humidity which made it nice. Captain long legs (aka Kyle) was about 100 feet ahead of us and eager to get into the canyon before the sun was full blow up. Brent and I couldn't get away from this drop dead gorgeous intro into the canyon. We were stopped in our tracks and breathed it in. 

In the distance I hear, "hey, y'all coming" from Kyle as he's already stepped around the cracked candy flats to the ant filled sand hill we had to hands and feet crawl through to get to the bamboo forest and onto the concrete paved path into Santa Elena. It was like a damn children's board game irl.

We get through all that and slowly approach the canyon. The sun is up slightly and we approach the section of canyon where it's time to separate shoes from feet and slow trek it through the shallow waters. We do and walk as if we're in slow motion physically and mentally, soaking in the mesmerizing landscape we have just immersed ourselves into.

It was spiritual. It was quiet. It changed me.

We continue into the canyon and work up a sweat. The only sound we hear is the sloshing of our feet and the angelic sound of birds singing to us directly. I liked to imagine they were in place to serenade us specifically, but that's just wacky, but probably true....

Kyle, Brent and I find a wonderful little beach about 2/3rds of the way in and set our gear down, get birthday suit status, and proceed to immerse ourselves in the Rio Grande to cool off and soak in everything that was happening around us. It was a meditative pure world separation moment that put me into a universal mindset. I felt as if I was a part of all God's creation, in unison with it. I got emotional.

Personal Note:  

I believe it's difficult for privileged society to find God's truth in today's rat race. 

It's not because he isn't there, it's because we've made him so easy to overlook. Similarly to how light pollution blocks the beauty of the Milky Way, so do we block truth with digital noise, new purchases, always being reactionary, lacking introspection and self awareness. 

Separate from society and position yourself in a place of seclusion from human life and be filled with deserted nature. God is waiting. Calling for you to experience the true him. You may not accept God as a creator but you will experience something you may not be able to define, yet.

For me, this was life changing and the first time in my 35 years that I can say I experienced God in this way. It was life changing. 

We spend about 30 minutes in silence and soaking up pure serenity. Make our way back into our gear and continue up the canyon. At this point the soft sandy gravel we'd been walking on started turning into large pebbles and stones that killed our feet. After walking through pure pain about a quarter of a mile, we turned around and head back for the car. Still unwilling to let it all go, we climb up to a cliff peak and watch as the desert death rays slowly overtook the canyon. 

Here's a 35mm representation of what I experienced.

META:

  • Voigtlander Bessa R2A
  • Fujifilm Superia 400
  • Zeiss ZM 35mm f/2.8
  • Santa Elena Canyon, Big Bend, TX

Random Encounters on Kentmere 400

The most entertaining impromptu photo session to date. 

I took off work for a day filled with Atlanta, GA exploration with my son, Isaac. Tiffany, my wife, was in a tax seminar all day (super fun... for her maybe, but it helps this machine to keep working) and we ended up at Ponce City Market that evening for some food and general walking around. Tiffany is enjoying wine and pasta with a friend so Isaac and I get to exploring. We go to the second floor into Citizen Supply and see some folks working the photo studio they have built into the retail space. To me, it looks like the group of 3 are actually working. I approach them and ask if they are working a photoshoot for the store. They aren't, just capturing some snaps for the Gram. Having my Leica M7 on hand with Kentmere 400 loaded knowing the sun is going down and I wanted to pop in the Ilford Delta 3200 I picked up from Professional Photo Resources earlier in the day, I asked if they would be interested in a mini shoot. An instant "YES" came out with a few energetic giggles and away I went directing and shooting. Now... not every shot taken turned out so hot, but there are a couple in here that kill. In a perfect world, I would have been working with Kodak Trix, but the world isn't perfect and the results from Kentmere came through correct. 

On the B&W film testing topic, I've just finished up using 3 films I've never shot before, Kentmere / Fomapan / Lomo Lady Grey. Each has a fun unique characteristic but I have to say that Fomapan takes all the cake. More on that later.

I hope you enjoy. Click to view full image. 

The AMC AMX

Sometimes you walk and walk and walk until you find a beautiful cherry red AMC AMX. The owner of this beautiful machine was working underneath while his sons watched and assisted with the tools needed. I slowly passed by and asked if I could take a few photos. The son asks "Hey dad, there's a guy here that wants to take some photos. is that ok?" Not seeing the father working (at the time), I immediately felt horrible. Knowing my work flow, nothing makes me for annoyed than being interrupted while deep in the process. I do my best to politely back out of my photo request, valuing focus and empathizing with the dad. That dad responds "heck, I don't care, go for it". I'm still hesitant, but the dad crawls from under the car, shakes my hand, and precedes to tell me all about this beautiful machine. 

I love moments like this and one of the many reasons I don't give up on walking the same streets day after day. Something new my not present itself for months on end, but when it does, it's a great story to capture. 

Framing The Lost

You see it. You pass it. You tell yourself it would be cool to capture. You pass it and don't look back.

STOP. SHOOT IT. YOU'LL BE GLAD YOU DID.

Meta:

  • Voigtlander Bessa R2A
  • Zeiss ZM 35mm f/2.8
  • Kodak Portra 800
  • Side of the road Alabama

Click to Enlarge

Wasteland Playground

When you get a roll of Kodak Tri-X just in the nick of time to capture an abundant wasteland. Perfect roll for the perfect location. 

Believe in Film

Meta:

  • Voigtlander Bessa R2A
  • Zeiss ZM 35mm f/2.8
  • Kodak Tri-X 400
  • Scottsboro, AL

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Studio Portraits with Kodak Portra 800

Studio Portraits with Kodak Portra 800

Let me start out by expressing how pumped I am to branch back out into color film with Kodak Portra 800. I couldn't be more pleased with the results and happy to call this my color film of choice for the next several months. 

"Why 800 speed film?"

I've found that 800 speed film is my "do all" film speed. During bright daylight I throw a -2 Stop ND filter on and hit the streets running at around a beatiful f/8-11 range that I've fallen in love with using the Voigtlander Bessa R2A and Zeiss ZM 35mm lens. When dusk comes around or I find that next dark destructed building, pop off the ND filter and fly around at a comfortable f/5.6 or so. I'm over shooting wide open but will dive into it when absolutely necessary. Enjoying the beauty of film with crystal clear focus and detail of Zeiss lens' will always kill. 

To be honest, I was very hesitant jumping back into color film. I've fallen in love with Kodak TMax 400 (pushed to 800) and even more so with developing in house. It's a beautiful thing that has really opened my eyes to the quality film can provide. 

"But wait, I thought you had a local lab in your town (Huntsville, AL), why not just reach out to them and develop your color film?"

Great question. I would continue to use them but have realized... they suck. Like bad. And I'm over it on all levels. To be fair, they are pretty ok at developing pharmacy film and mediocre at scanning that in. I'm overly negative with this topic because I'm passionate. I have no clue how a company that focuses heavily on film developing sucks so bad at their craft. It's almost as if they don't want film to come back at a better quality than digital. Like they want it to fade out of their business so some other highly passionate film shooters can open their own lab and kill the game for North Alabama..................

I digress. I love my community. I love North Alabama. I'm a passionate person and that can bring out my most positive and negative sides. I heart you Southerlands Photo. 

Here is the photo set from my studio session shooting with:

  • Body: Voigtlander Bessa R2A
  • Lens: Zeiss ZM 35mm f/2.8
  • Film: Kodak Portra 800
  • Light:  Paul C. Buff Einstein 640 lights with beauty dish & PLM
  • Model: Samantha Hood

Click to Enlarge

Wasteland

Wasteland

Why is this open? What happened here? Right on the side of the highway and left to be forgotten. No "no trespassing" signs. Could this really be open to the public? Such a waste.

Things said to myself as I was pulled deeper into this wasted building.

I love finding it. I love telling it's story.  

Meta:

  • Voigtlander Bessa R2A
  • Zeiss ZM 35mm f/2.8
  • Kodak TMax 400 @ 800
  • Guntersville, AL

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Golden Decay

Golden Decay

So many beautifully decaying classics in one location. This type of spot is a perfect storm for me to shoot through a roll or two. 

Meta:

  • Voigtlander Bessa R2A
  • Zeiss ZM 35mm 2.8
  • Kodak TMax 400
  • Florence, Alabama

Abandoned Fireworks

Abandoned Fireworks

I took some time to go explore Florence, AL and came across this abandoned fireworks facility. Not pictured is the small add on to the far end of the building that serves as a Mexican restaurant. I found it odd and interesting so I walked around to see what I could see. 

It never ceases to impress me what man lets go of. I'm sure abandoned buildings like this get to where they are because of money or the lack there of, but what a waste of space. I come across quite a homeless people when I explore and I think about how facilities like this could have been donated to a charity that could be an outreach for people in need.

Shot with:

  • Voigtlander Bessa R2A
  • Zeiss ZM 35mm f/2.8
  • Kodak TMax 400 pushed to 800