Featuring work by Nadia Dev, Graham Slick, Nyra Lang, Mary Cook, Jenny Jimenez, Raquel Lauren, Brad Peterson, Sari Wynne, Fernando Cepeda, Lee M Heekin, Nikolai Atannasov, Jessica Teore, Antonio Zito, Emily Drazen, and Kate Durkin.
More info at www.717studio.net.
Check out this how-to on using 120 film in a 616 camera from Gayla
Six-16 film is pretty near impossible to find and when you do the developing cost is high and probably not worth the expense. Here’s how I modified 120 film spools to fit inside a 616 camera. Keep in mind that 616 film is much taller than 120 film. As a result you will end up with images that are shorter, but long, not unlike panoramic shots…
Continue reading at Making Happy
The approach to a place by photographing is the focus of Peter Wehkamp’s work. Besides, the term “Place” signifies not a localising definition, but the real perception of surroundings and an environment in which people exist. In the process Wehkamp faces necessarily a man-made landscape with his camera. The relation between people and nature leaves perceptible characteristics in the photographic works of Wehkamp. He describes the creation of spatial order which adapt themself in the nature, but also separate. With his analytic view Wehkamp looks for human tracks in the nature, which refers to an ambivalent interaction.
Details at Galerie MFK
Here are some tips for getting more/larger grain in your pictures:
If you want more cowbell, check out the quarter-frame QuadCam (only $13.95 from American Science & Surplus), or bite the bullet and give those monopolistic rip-off artists at the Lomographic Society way too much money for an Oktomat (1/8 frame) or a Pop 9 (1/9 frame).
There’s lots of info on subminiature cameras at subclub.org.
The Depravity of Voyeurism, underexposed [I think it was] Kodak Portra 400VC, developed in Diafine. It’s this grainy on a 4×4cm negative, so a submini would probably be really unbelievably grainy.
(Bigger version here)
Polaroid Week 2008 is a month away! Shoot 5 Polaroids and upload them to the Polaroid Week 2008 group on Flickr—you can participate with a free account!
The quality of the work produced for this event has been extremely high in the past—a mid-week roundup from the last one is here. Don’t miss out on the awesomeness!
About ‘Roid Week 2008
It’s that time again…..POLAROID WEEK! This one is a little bittersweet — as you all know, Polaroid has . It very well could be the last Polaroid Week we have…
But until that happens, it’s time to play! Post a Polaroid a day.
APRIL 21 – APRIL 25, 2008
Five days. Five polaroids. (or more if you’re so inspired, just not more than 3 a day)
Starting on Monday, April 21 2008. Stock up on film (!), dust off your SX70, Spectra, 600 or Polaroid weapon of choice this week and start shooting!
Or dig out old squares you’ve found, stolen, or have had laying around since high school and scan scan scan.
Here are our requests: please post photos you haven’t posted on Flickr before. Meaning, give us something new — don’t contribute a Polaroid to this group that you already posted last September. That’s just plain lazy. Also, please don’t post more than three photos to the pool a day.
C’mon. Play with us. You know you want to.
Love,
PS: Check out last year’s Polaroid Week 2007 for inspiration!
Check out this show of Buck Lewis‘ work at Barrett Art Center in my old home town of Poughkeepsie, NY, US. Looks like the center’s annual Photowork group show will be going on at the same time, so you can catch two exhibits at once!
Tom Persinger of f295 writes:
We’re excited to announce the addition of France Scully Osterman to the featured speakers/worskhop presenters at this years f295 Symposium in Pittsburgh, PA [US] May 29 – June 1, 2008!
France Scully Osterman is an artist, and a guest scholar at George Eastman House. She teaches private tutorials and workshops in the Scully & Osterman 19th century skylight studio, specializing in wet-plate collodion, salted paper and albumen printing.
France will be offering a 2 day collodion workshop called It’s All Positive! The Wet-Plate Collodion Process and delivering a artists’ talk at the Thursday night opening reception entitled Serendipity and Exquisite Manipulation which will discuss the artistic artifacts of the collodion process as well as the factors which influence and guide her work: process, lens, light, exposure and intent.
Workshop information is here
(this is a rare chance as neither she nor Mark teach very many intro collodion workshops!)You can read more about France here
And more about her talk here
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SYMPOSIUM WORKSHOPS
Many of the workshops are filling fast/nearing capacity, the home page of the site has been updated to reflect the number of spots remaining in each. If you’re thinking about taking a workshop register soon so as to not miss your chance! Workshops are only available for those registered for the symposium.———————————-
EXHIBITOR LIST GROWING!
We’re also excited to announce the addition of several more exhibitors to the growing group! B&H Photo, Fujifilm USA, Inkpress Paper, Lensbabies, Pinhole Blender and Without Lenses will all be on hand to discuss their products with you! More TBA soon!———————————-
MIX AND MINGLE!
Not only will you be able to interact with other like minded practitioners and see a LOT of the exciting alt-photo work that is being done by this niche photographic group but you’ll be able to mixc and mingle with all of the 2008 featured speakers and many of the speakers from the 2007 symposium. What a group! You’ll be hard pressed to find this many alt-dignitaries, authors and practitioners in any other place!Those speakers planning to be on hand for these events include:
* Martha Casanave
* Alan Greene
* Jo Babcock
* Laura Blacklow
* Jill Enfield
* Jesseca Ferguson
* Robert Hirsch
* France Scully Osterman
* Mike Robinson
* Terry King
* Jerry Spagnoli
* Keith Taylor
* Ilan WolffStay tuned for more exciting announcements in the coming days. Registration has been brisk and we have limited space available for the event –register today!
Complete symposium information: www.f295.org/symposium2008
Go directly to the registration page!
See you in Pittsburgh!
Tom
Tim Connor writes:
Come to a celebration of my photographs this Thursday, March 20th [2008], 6–8 pm at the Pacific Standard Bar in Brooklyn. It’s the Spring Equinox & light & color are happening again! Here’s the info:
The show is currently on display 24/7 in colorful 4 ft. by 6 ft. lightboxes at the Atlantic Ave/Pacific St.subway station. The station is located at the intersection of Flatbush & Atlantic Ave (see map). It is served by the 2, 3, 4, 5, B, D, M, N, Q & R subway lines & by the LIRR.
If you’re coming by train, see the show on your way to the schmooze. It’s convenient! To find the lightboxes go to the lower level at Atlantic Ave. and follow signs to the B, Q & LIRR
The schmooze: is at Pacific Standard Bar, 82 Fourth Ave. (2 blocks from station — see map) . Starts at 6.
Another sweet tutorial video from Luke Healey, this one on loading Hasselblad A12 film backs.
(Don’t laugh if you’ve never tried to load one of these things, it’s nearly impossible to figure out on your own if you don’t have a user manual!)
I have a new-style Hasselblad A12 film back that’s been stuck on my 203FE body for over two weeks now. I could change the film by pulling the insert, but the shell just wouldn’t move, meaning that I couldn’t clean or change the viewfinder or attach a Polaroid back. I messed with it, posted to the Hasselblad group on Flickr about it, tried different darkslides (since the back is locked onto the body when the darkslide is removed), coaxed it, and almost sang and danced for it. Nothing worked.
Expecting a long and expensive service trip, I gritted my teeth this morning and called the local Hasselblad rep to ask about repair. Oddly, the number seemed to be out of service (fast busy signal), so I hit Google and found several recommendations for Advance Camera in San Francisco. I talked to him on the phone and he told me to bring it in, which I did. He tried the release catch and noted that it was indeed stuck. Then he fiddled with the darkslide. I thought about how I’d already done everything he’s doing, that it’s not going to work and better for him than it did for me, and that I’m going to be without my camera for a while and out a significant chunk of money. I can see the film back in a million pieces on his workbench in my head, growing more expensive by the minute.
And then, after a whole four seconds or so, the back came off and is now working perfectly. He said something about how sometimes your body stops hurting when you go to the doctor, and shrugged. Magic.
