Rediscovering Old Photos of Forgotten Americana — An Interview with Legendary Photographer Troy Paiva

Chinook With a Limp
Essex, CA, 2002
Photo by Troy Paiva

If you already know who Troy Paiva is and have seen his wonderful night photographs, then you are well aware of how important his work has been to the genres of light painting, urban exploration, and Americana photography. If you don’t know who Troy is… well, you will soon be initiated, and you can thank me later. “Every once in awhile an artist bursts forth with such a profound impact on a genre of art that it forever alters its course,” photographer Ken Lee stated in a Photofocus article. “Troy Paiva is one such artist.”

What Troy is most known for is nighttime light-painted photography of abandoned, forgotten, or neglected roadside Americana. He visits abandoned buildings and old junkyards and even airplane boneyards during full-moon darkness, capturing long-exposure images using artificial lights to add pops of color that aren’t naturally there. His striking pictures have been displayed in art galleries and museum exhibits, and printed in magazines and books, including a couple of Stephen King covers.

The Star in the Window
Rhyolite, NV, 1997
Photo by Troy Paiva

My introduction to Troy Paiva came through an unusual book: Weird Arizona. He was a contributor to it (plus some of the other books in that series), and it had a little Route 66 writeup by Troy that included a picture of an abandoned gas station with a strange red glow on the ceiling. Later, I found Troy on Flickr, and even corresponded with him briefly on the location of one of his photographs. I’ve been a big fan of his photography for over a decade; however, he’s been doing this whole light-painting thing since the late-1980’s, well before I stumbled across his fantastic images.

I interviewed Troy recently, and I’m very excited and honored to share it with you. This is a very important article, because I’m certain that many of you can relate to it—I know that I can! Perhaps, like me, you have piles of old slides and/or negatives stored in a box somewhere. Nobody ever sees those pictures. What do you do with them? They can’t be any good, can they? Are they worth the trouble to dig through and scan? Will anyone care about them if you do? Are they even worth keeping? What will eventually happen to them if you do nothing? Those are questions that Troy Paiva recently wrestled with, and I think his answers are both fascinating and inspiring.

Salton City Trailer
Salton Sea, CA, 1992
Photo by Troy Paiva

FXW: Troy, I love your photography—your pictures and your process! I noticed that you have been revisiting your old analog images lately—daytime photos from the late 1980’s, 1990’s, and early 2000’s. What made you dig out your old slides?

Troy: Earlier this year I bumped into a set of my images on Flickr—The Mojave Carhenge from 1992—that I had scanned ages ago. They looked bad, with low resolution and converted to B&W. I wanted to find those slides and rescan them, but I put it on the back burner. Later, I needed to re-up on the long-dormant software for my film scanner to do something for a friend, so I used that opportunity to finally dig out those slides—scanning and processing them using 2022 software and skills.

I was surprised by how my perception of those pictures had changed over the course of 30 years—how old and rare and cool the cars in it were. It was weirdly timeless, like it could have been shot in 1982 or even ’72. I put them on Facebook and I got a response that supported these feelings. I looked through a few more boxes of early ’90’s daytime slides—pictures that even I hadn’t seen since the early ’90’s—which seemed to generate the same level of surprise. It didn’t take me long to realize that I should keep going. 

Welcome to Nephi
Nephi, UT, 1996
Photo by Troy Paiva

FXW: What camera gear did you use back then and what do you use now?

Troy: I’ve always shot with Canon cameras. In the early ’90’s it was a ’60’s vintage FX, an all-manual (broken) match-needle relic for night work, and A-1’s for metered shooting. I switched to the T90 in the late ’90’s—it was a great night shooting camera. I had several running different films. I used the FX forever, right up until 2004. Digitally, I went from the 20D to the 60D to the 6D. Once you night-shoot from a knee-high POV with a swivel screen, you never go back! All the film cameras were used—cheap. I’m pretty cavalier with equipment, and night photography has a way of wrecking and breaking your gear anyway.

In the ’90’s my lenses were constantly changing. All of them were purchased used, and lots of 3rd party junk. They’d fall apart, or get stuck on f/2.8 forever—especially the wide lenses from the early ’90’s, which were loose and wiggly in your hands and the focus fell off hard in the corners—and I’d buy another one for $25 at the flea market. All part of the character of the work: shooting junk with junk.

I used a mix of Ektachrome and Fujichrome, and a little Agfa, too. I would shoot with whatever slide film was on sale.

The Islands of Yucca
Interstate 40, AZ, 1996
Photo by Troy Paiva

FXW: What drew you to your subjects back then?

Troy: A lot of the signage imagery stems from my MCM graphic design background. At the time I was working as a designer at Galoob Toys, making Micro Machine-sized gas stations and car washes. I was already obsessed with abandoned roadside long before I ever got to Galoob, and taking pictures of it—day or night—was a natural part of the headspace I occupied.

Fresno, CA, 1995
Photo by Troy Paiva

FXW: What is your process for digitalizing your slides? What challenges have you encountered?

Troy: I’ve had a Nikon IV ED film scanner since about 2001, which I’ve always used to scan my night work to put online. After moving into the digital era (in 2005), it sat largely unused. There was even a long period where it was unusable because Nikon stopped updating the software. Luckily, 3rd party software appeared at some point—I use the one from VueScan. The raw scans are not even close to right, but good enough to get them into Photoshop where I use MANY tools to make them presentable: masked sharpening/noise (grain) control, major HSB adjustments, white and black point shifts—the whole bit. Some also require perspective adjustment, cloning scratches out, creative cropping. Some mix down in a few minutes, some take a half hour to pull together.

The Yuma Cabana
Yuma, AZ, 1995
Photo by Troy Paiva

FXW: What differentiates your daytime pictures from your night ones? What is surprising about it?

Troy: My daytime work was more about scouting locations to potentially come back and work later that night. Many of these subjects would have been impossible to do with my full moon technique because they’re bathed with sodium vapor streetlights. Or sometimes I’d get chased back to the car by dogs or some nut racking a shotgun. In many cases, the day shots are the only record.

The daytime work always took a back seat to my experimental night work, so I rarely showed it to anyone. It just sat in storage for 25, 30 years. Occasionally I’d pull some night work for a fresh scan, completely ignoring the daytime work. Why? I wish there was some smart-sounding “I was consciously playing the long game” answer, but, apparently, I was playing it unconsciously.

It’s a part of my photography that longtime followers of my night work have never seen. It mirrors it in many ways, yet doesn’t fall into the trap of having the “light-painted night” aspect take over what the picture is about. They are just “normal” pictures of things, and that makes them easier to conceptually digest.

Also, I’m still scanning. There’s a lot I haven’t even looked at yet. I am intentionally not going through everything at once. I grab a few boxes, or all the work from one trip—cull, scan, and process. Only then do I look at the next few rolls. The picture of my slides (below) isn’t even all of it—there are about 10 carousels full, too. A lot of it is personal things of no interest to anyone but me. Several boxes have nothing worth scanning, but some… every slide gets an “Oh, wow!” when I put it on the light box for the first time.

Troy’s old film slides, mostly from the 1990’s.

FXW: What did you discover through this project?

Troy: I discovered a body of work that almost feels like someone else shot it! Sometimes memories come flooding back as I look through them; for others, it’s, “Where was that again?”

My MO was to specifically shoot the once-loved things that looked like they were on their way out. Most of it was abandoned and heavily weathered, steeped in Wabi-Sabi feelings of accepting loss and finding beauty and nobility in decay. It turns out that my hit rate was good: it seems like 90% of these subjects are now irrevocably changed or just gone. I perform Google searches on most of the sites—looking for them on street view, images, etc.—and in many cases, there doesn’t appear to be any other “intentional” pictures of them made before they disappeared. I’ve run across a couple of motel signs where the only other picture that I could find is in the John Margolies collection in the Library of Congress. It seems like everybody shoots this kind of stuff now, but in the early ‘90s, it was rare and—frankly—kinda weird. 

I haven’t parsed out what any of it means. I’m still in the middle of the scanning project, so I’m not ready to sit back and figure out what to do with it yet, except share some of it online and get it seen.

Mom’s Motel
Fresno, CA, 1995
Photo by Troy Paiva

FXW: How important is it to revisit your old pictures?

Troy: Once I started to see how much of this rare imagery I had, I began to think of Vivian Maier and Charles Phoenix. Imagine finding this motherlode of daytime and weird night photography of the long lost American roadside in a dumpster behind a Salvation Army! If I didn’t scan and share it, someday when I die that mountain of boxed slides would either end up in the dump, or a thrift store to be found and exploited and re-contextualized by someone else. The 99.9% reality is that it would most likely end up in a landfill, never to be seen by anyone. Once I realized what I was sitting on, I didn’t want any of that to happen.

Time has a way of making ALL pictures better. They’re a record of a moment in time. That moment often seems inconsequential when it happens, but someday you may not be able to experience anything like that moment again because the place or people are gone, and the picture suddenly takes on different meanings that were hidden before. Ever notice when you look at really old magazines you tend to gloss over the articles and spend most of your time looking at the advertisements? The things we don’t think are important or historic now have a tendency to be the ones that end up being more interesting later.

Liquor For Health
Yuma, AZ, 1995
Photo by Troy Paiva

I want to give a very big thanks to Troy Paiva for taking time out of his busy day to allow me to interview him and publish his words and photographs on Fuji X Weekly. Thank you, Troy! Many of these pictures have been shared on his social media pages, but a couple of them have never been published before, and you’re the very first (aside from Troy and now myself) to see them! To say that I feel honored is such an understatement.

My hope is that this article has encouraged you to take another look at the pictures you captured years and years ago. Maybe they have a different meaning today than the last time you saw them. Perhaps you’ll be inspired to do your own project similar to Troy’s. It could be time to dust off that old scanner, or even buy a new one. I think this article also illustrates that the photography you’re doing right now is important, even if it doesn’t seem so at the moment. Keep at it, and in time you’ll see the significance of the pictures you captured today.

Please visit Troy Paiva’s website: Find him on Facebook and Instagram. Buy his six books on Amazon: Lost America, Light Painted Night Photography: The Lost America Technique, Night Vision, Boneyard, Night Salvage, and Junkyard Nights (seriously, pick up one or more of those books—you’ll be glad that you did!).

More of Troy Paiva’s daytime photography:

Have a Cuppa Kofa at Ern’s
Parker, AZ 1994
Photo by Troy Paiva
Silver State Bowl
Hawthorne, NV, 1994
Photo by Troy Paiva
The Smelly Mirror
Bombay Beach, CA, 1992
Photo by Troy Paiva
Barstow Texaco
Interstate 15, CA, 1992
Photo by Troy Paiva
Virgies West
Gallup, NM, 1992
Photo by Troy Paiva
The Squirt Fade
White Sands NP, NM, 1991
Photo by Troy Paiva
The Pigeon
Convair 880, Mojave, CA, 1991
Photo by Troy Paiva
MMM, Diesel
Interstate 15, CA, 1990
Photo by Troy Praiva
The Astro Burger 
Kramer Junction, CA, 1990
Photo by Troy Paiva
Truxton Garage
Route 66, AZ, 1989
Photo by Troy Paiva
Yard Sale 
Monument Valley, AZ, 1989
Photo by Troy Paiva

All photographs © Troy Paiva

Fujifilm X-H1 (X-Trans III) Film Simulation Recipe: Fujicolor NPL 160 Tungsten

Dusk Lamps – Farmington, UT – Fujifilm X-H1 – “Fujicolor NPL 160 Tungsten”

The Winter Solstice is fast approaching, and for those like me in the Northern Hemisphere, the days are getting shorter and the nights are longer. I find this to be a good opportunity for after-sunset or pre-sunrise photography, but there aren’t very many film simulation recipes for X-Trans III cameras that are specifically intended for this situation—in fact, there’s only one: CineStill 800T (although several others will still do well enough). So I set out to create another night film simulation recipe, because it’s good to have choices.

Unlike the CineStill 800T recipe, I didn’t model this one after any specific film, although it has some fairly close similarities to Fujicolor NPL 160 Pro Tungsten color negative film, which Fujifilm produced from 2000 through 2004. NPL 160 was specifically made for long exposures under artificial light. While I didn’t intend to mimic that film, you wouldn’t know it based on just how close of a match it is. I never used NPL 160 myself, as it wasn’t available in 35mm format, but I did some research on it for this article. It was available in 120 film (also, 4×5 sheets), which could be captured in three ratios (depending on the camera), including square, but 3:2 wasn’t one of those options. You could use 3:2 like I did, or more accurately shoot in the 1:1 ratio, or crop after-the-fact to whatever shape you prefer.

Blue Light Tree – Farmington, UT – Fujifilm X-H1 – “Fujicolor NPL 160 Tungsten”

This Fujicolor NPL 160 Tungsten recipe is compatible with all X-Trans III cameras, so if you have a Fujifilm X-Pro2, X100F, X-E3, X-T20, X-T20, or X-H1, this recipe is for you! It’s also compatible with the X-T3 and X-T30—simply set Color Chrome Effect to Off, and limit the maximum ISO to 6400. For those with newer X-Trans IV cameras, consider using Grain size Small and Clarity set to 0 or even -2. Those with a GFX 50S and GFX 50R can use this recipe, too, although it will look very slightly different. For night photography, I most commonly set exposure compensation to -1/3 or 0, and for daylight photography I most commonly set exposure compensation to +1/3 to +2/3.

PRO Neg. Std
Dynamic Range: DR400
Highlight: -2
Shadow: 0
Color: -2
Sharpening: -1
Noise Reduction: -4
Grain: Weak
White Balance: Fluorescent 3, -6 Red & -3 Blue
ISO: Auto up to ISO 12800
Exposure Compensation: -1/3 to +2/3 (typically)

Example photographs, all camera-made JPEGs captured using this “Fujicolor NPL 160 Tungsten” film simulation recipe on my Fujifilm X-H1:

Sunset Afterglow on Building – Farmington, UT – Fujifilm X-H1
Waffled – Farmington, UT – Fujifilm X-H1
Christmas Tree Outside A Mall – Farmington, UT – Fujifilm X-H1
Lights Wrapped Around A Trunk – Farmington, UT – Fujifilm X-H1
Girl at a Lighted Fountain – Farmington, UT – Fujifilm X-H1
Survivor – Salt Lake City, UT – Fujifilm X-H1
Headless Lampshade – Farmington, UT – Fujifilm X-H1
Stored Clothes – Farmington, UT – Fujifilm X-H1
Crowd Around the Tree – Salt Lake City, UT – Fujifilm X-H1
German Night – Salt Lake City, UT – Fujifilm X-H1
Krampus – Salt Lake City, UT – Fujifilm X-H1
Christkindlmarkt – Salt Lake City, UT – Fujifilm X-H1
Carolers – Farmington, UT – Fujifilm X-H1
ZCMI – Salt Lake City, UT – Fujifilm X-H1
Soaring Over a Neighborhood – Farmington, UT – Fujifilm X-H1

Find this film simulation recipe and many more on the Fuji X Weekly — Film Recipes App!

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My Fujifilm X-T30 Jeff Davenport Night Recipe


Reflected Red – Salt Lake City, UT – Fujifilm X-T30 “Jeff Davenport Night”

I was asked to create a film simulation recipe that mimics the aesthetics of photographer Jeff Davenport. Interestingly enough, Jeff uses Fujifilm cameras (X100F and X-H1). He shoots RAW and has his own post-processing workflow that allows him to create the specific looks that he wants. He has a few different styles, depending on what (and what time) he’s shooting. Jeff has several different photographic series, and each has its own look. My attempt here was to create something in-camera that produces results similar to his night pictures.

This recipe, which I call Jeff Davenport Night, isn’t an exact match to Jeff’s look, but it’s pretty close. His blue tends to lean slightly more towards green, but if I replicate that it throws everything else off. Orange in his pictures tend to turn red, which is something I can’t replicate. I think a lot of how a picture looks (both in Jeff’s case and with these settings) depends on the light in the scene. Results can vary greatly. Jeff might possibly use flash with colored gels, as well (something you could try if you wanted). Anyway, despite not being exact, this recipe is pretty close to recreating his look in-camera on my Fujifilm X-T30.

If you want a recipe that is good for night photography, this is one you should consider, along with my CineStill 800T recipe, because of the Kelvin temperature of the white balance, which goes well with artificial light. You don’t have to use it exclusively after dark, as results can be interesting sometimes when used in daylight. It’s fun to experiment with! For night photography, this will be one of your best options.


Pleiku – Salt Lake City, UT – Fujifilm X-T30 “Jeff Davenport Night”

When I attached my camera to a tripod, I used ISO 1600 or lower. When I did hand-held photography, I used up to ISO 6400. I think if you can take your time and use a tripod, it’s good to use a lower ISO, but you can still get good results with higher ISOs. Because of the use of the Color Chrome Effect, this recipe is intended for X-Trans IV cameras, but feel free to try it on your X-Trans III camera; it will look very similar, but not exactly the same.

PRO Neg. Hi
Dynamic Range: DR400
Highlight: +1
Shadow: +0
Color: +2
Noise Reduction: -4
Sharpness: +1
Grain Effect: Weak
Color Chrome Effect: Strong
White Balance: 2650K, -1 Red & +4 Blue

Example photographs, all camera-made JPEGs using this “Jeff Davenport Night” recipe on my Fujifilm X-T30:


Button – Salt Lake City, UT – Fujifilm X-T30


Unlucky 13 Take Out – Salt Lake City, UT – Fujifilm X-T30


Blue Street – Salt Lake City, UT – Fujifilm X-T30


Blue Buildings – Salt Lake City, UT – Fujifilm X-T30


Blue Lights – Salt Lake City, UT – Fujifilm X-T30


So Much Bicycling – Salt Lake City, UT – Fujifilm X-T30


Red – Salt Lake City, UT – Fujifilm X-T30


Closed Red Umbrellas – Farmington, UT – Fujifilm X-T30


Parked Car at Night – Farmington, UT – Fujifilm X-T30


Night Hotel – Farmington, UT -Fujifilm X-T30


Caution Poles – Farmington, UT – Fujifilm X-T30


Dumpster 204 – Farmington, UT – Fujifilm X-T30


Lights Beyond The Rooftop – Farmington, UT – Fujifilm X-T30


Nighttime Neighborhood – Farmington, UT – Fujifilm X-T30


Francis Peak at Night – Farmington, UT – Fujifilm X-T30


Reach for the Sky – Farmington, UT – Fujifilm X-T30


Illuminated Houses – Farmington, UT – Fujifilm X-T30


Wind Sock – Farmington, UT – Fujifilm X-T30


No Thanks – Salt Lake City, UT – Fujifilm X-T30


Earn Points – Salt Lake City, UT – Fujifilm X-T30


Refining – Salt Lake City, UT – Fujifilm X-T30


Night Walking – Salt Lake City, UT – Fujifilm X-T30


McKay – Salt Lake City, UT – Fujifilm X-T30


Flag & Window – Salt Lake City, UT – Fujifilm X-T30


Illuminated Blue – Salt Lake City, UT – Fujifilm X-T30


Multi-Color Triangle – Salt Lake City, UT – Fujifilm X-T30


Center Street Lamp – Salt Lake City, UT – Fujifilm X-T30


Don’t – Salt Lake City, UT – Fujifilm X-T30


Wet Glass Bokeh – Salt Lake City, UT – Fujifilm X-T30

See also: Film Simulation Recipes

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