Your family's images,
preserved at museum quality.
For decades, going digital meant giving up information your film still held. That compromise is finally over. Information theory is blunt: whatever a conversion loses never comes back. So we built every step of our pipeline to lose as little as possible. We capture every image in near-true RGB* color with edge-to-edge focus, master each one to archival standards, and hand you a slideshow — and every original — you'll own for good. No monthly fees, no cloud dependency.
Exactly what you receive: made for today, built for tomorrow:
Every collection ships in two layers — permanent originals, and viewing files for the screens you own today and the ones you'll own tomorrow.
Pick a photo, then flip HDR. The extra range shows on HDR-capable screens — most recent phones, tablets, and laptops. On a standard screen both look identical, which is exactly how your files stay true everywhere.
- Downloadable sample files — an 8-bit Ultra HDR image and a 10-bit Rec.2020 pure-PQ AVIF — so you can check exactly what your devices support
- The same image at every tier, side by side — the resolution and noise difference, yours to judge
More than a scan: a keepsake you own outright.
Three resolutions, priced by collection size:
Not sure how much resolution you actually need? See what each tier holds, by print size*.
| Basic | Standard | Finest detailPremium | |
|---|---|---|---|
| Price per image · by collection size | |||
| 1–49 images | $12 | $15 | $20 |
| 50–249 images | $11 | $14 | $18 |
| 250+ images | $10 | $13 | $16 |
What every tier includes | |||
| Resolution | ~35–40MP | ~60–68MP | ~140–160MP |
| Deep-shadow noise (base ISO) | very low | lower still | lower still |
| Near-true RGB* color | |||
| 16-bit ProPhoto RGB master | |||
| 10-bit Rec.2020 pure-PQ AVIF (tomorrow’s screens) | |||
| 8-bit Ultra HDR file · Display P3 (today’s) | |||
| Quality check, every image | |||
| HDR slideshow | |||
| Your story, in your words (coming soon) | |||
| Edge-to-edge focus | |||
| Cleaning + basic editing | |||
| Full editing available ($85/hr) | |||
| Originals returned | |||
| Money-back guarantee* | |||
12 shared inclusions hidden — every tier gets them all.
We're finishing up before opening for orders. Want to be first in line, or have questions about your collection? Reach out — we'd love to hear from you.
Typical turnaround: targeting ~3–4 weeks per collection — a working guideline while we lock our own pace. Rush: +50%. Return shipping at cost.
- Cleaning is part of every capture, done with care: we start gentle — a blower first, light brushing only where warranted — and step up to careful liquid cleaning where mold or stubborn grime calls for it, on film our research says can safely withstand it.
- Before any liquid step, we first bank a scan at the quality you chose — so your picture is preserved even if the film itself can't be.
- Some damage is already permanent: where mold has etched into the emulsion, no cleaning can undo it — we reveal it, we don't cause it.
- For truly restoration-grade cases — the rare few beyond what we can safely clean — we pause and talk through a plan with you first, never experimenting on your originals.
- Anything beyond that standard, included cleaning is never done, or billed, without your approval.
Four steps, fully accounted for.
Built to outlive any company — including ours.
* Near-true RGB: what we mean, honestly.
- Most devices that digitize film read only one of the three color values at each point of the image, and mathematically estimate the other two.
- We measure all three at every point, so your colors come from the film itself — not from guesswork.
- We still say near-true, because no capture is perfect: film dyes, optics, and processing each leave a small fingerprint on the result. The part we've removed is the estimation; what remains is small — and we'd rather under-claim it than oversell it.
- It's the same measure-every-point philosophy behind drum scanning — the longtime gold standard of archival film digitization — achieved without fluid-mounting your originals to a machine, and with a documented quality check on every frame.
* Resolution: what it means for your prints.
- Most 35mm slide and negative film resolves roughly 20–40MP of real detail under good conditions — Basic already captures that, so it covers prints up to 11″×14″ and any screen made today.
- Standard and Premium buy headroom, not invented detail: Standard holds up past 16″×20″ prints and heavier crops; Premium is built for medium-format originals, poster-size enlargements, or simply for the serious pixel-peeper on 35mm — and that same headroom lets you downsample later for an even cleaner, lower-noise result if you only need a smaller print or screen size.
- More megapixels can't recover detail the film never held. If a higher tier would just capture noise, we'll tell you honestly rather than upsell it.
* Money-back guarantee: the terms, plainly.
- If we can't deliver your images, you pay nothing — that's the whole trigger, and it's deliberately simple.
- What it guarantees is the outcome: your collection, digitized, mastered, and in your hands.
- It isn't a taste warranty — editing and finishing choices are conversations we're glad to have, not grounds for a claim.
- It's separate from the physical care of your originals: we handle every original as if it were our own, but film is physical, and like any film lab we can't underwrite irreplaceable originals against loss or damage in transit and handling.
- If mailing yours gives you pause, we understand — contact us and we'll arrange a hand-off in person.
The person behind every scan.
I started my first business, landscaping, at 14 — nearly every friend and family member worked with me at some point over those 6 years. After my sister Tamra got married, working alone wasn't as fun anymore, so I left entrepreneurship for customer service, finishing out in high-end MSP technology. After 23 years working for other people, I'm finally back to working for my own customers directly, and I haven't felt this alive since I was a teenager. The road of entrepreneurship isn't easy, but I believe my personality demands I pursue it.
In March 2026, I asked my parents to bring their slides when they visited me in Austin, TX. I scanned the whole set, only to find another flaw — and each time, I refined my process to fix it, again and again, for three months, until I was finally satisfied. I realized I'd be competing at the top end of a slow-to-adopt industry, so I needed to help others, not just myself. Those months were a deep dive down the rabbit hole of masterfully converting these images from analog to digital. I'd be honored if you trusted me with your family memories.
— Michael Wright
