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Lexington 35mm shots - first round
In September of 2025, my work is generating the most income it ever has in my career. Yet, I'm being forced to shut down my successul operation, against my will, due to one cause alone: 95% of that revenue is being stolen by piracy and copyright infringement. I've lost more than $1 million to copyright infringement in the last 15 years, and it's finally brought an end to my professional storm chasing operation. Do not be misled by the lies of infringers, anti-copyright activists and organized piracy cartels. This page is a detailed, evidenced account of my battle I had to undertake to just barely stay in business, and eventually could not overcome. It's a problem faced by all of my colleagues and most other creators in the field. |
Since I've gone back to using print film for lightning, that means it's back to the old routine of getting things developed and scanned. The advantage to using print film is that it is much cheaper (slide film costs 4 times as much) and I can get the rolls developed quickly and cheaply at any one-hour photo lab. The drawback is that while the machines at non-pro photo labs develop the negatives just fine, they typically produce horrible-quality prints - grainy and soft with visible smearing, noise and off-balance color - particularly in lightning images that contain a lot of dark sky. As a result, I have to take the negatives to a pro lab to get satisfactory scans (and prints, if needed), a process that takes several days.
Such is the case with the roll of film from Lexington on Tuesday night. The negatives show clean, good-contrast images, but as I have always experienced, the one-hour machines just can't translate that to a good print. Below are the eight of eleven tower strikes I caught on Kodak 200 print film, scanned at home from the subpar one-hour lab prints. I have the negatives at a pro lab getting scanned, which should be complete Monday or Tuesday of next week. I'll post those when I get them so you can see the difference.
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