Photos · 35mm · Negatives · Documents · Articles
Prints, snapshots, the stack from the shoebox — the ones you actually want back.
Loose prints are where most collections start. We scan them at archival resolution — both sides, because the backs so often carry names, dates, and notes in someone's own hand — return them organized, and hand you back digital copies you can finally share. The scanner captures what's there — faded, creased, or perfect — and we preserve it faithfully.
Big mail-in labs run thousands of photos through a machine and call it a day. Here, we open every image, judge it with our own eyes, and correct it one at a time — the way someone who actually cares about your memories would. And when we come across one that stops us — a shot that's truly something — we tell you. We point it out, talk it through, and stay connected with you until you're happy. The same people you talked to before you ever sent your photos in.
Your collection never gets shuffled into a bin with hundreds of strangers' photos at some far‑off warehouse. We handle your originals ourselves, here in the neighborhood, and pass along the old‑school tricks for keeping them safe — not optimizing to run them through a machine alongside everyone else's.
Not three to four weeks in a queue across the country.
Every photo touched by hand by someone you've met — not an assigned tech in a far‑off lab.
You see your scans first and only pay once you're happy with them — no deposit games.
Restoration and red‑eye come standard, not as a line‑item upsell.
Color prints from the 70s–90s drift toward orange or magenta. We rebalance to something close to the original.
Scratches, dust, and creases reduced without scrubbing away real detail.
90s prints often run a non‑standard ~4x7. Sorted by size and orientation so nothing gets lost or mis‑cropped.
Prints fused in old albums are separated carefully before scanning.