South Lake Union Film Photography
by
There are also some shots from Luther Burbank Park and our cat Skittles :)
Thursday, April 24, 2014
CTRl + P: Shari Wilkins' Cleveland Print Room Revives the Era of Film Photography
by Eric Sandy
click to enlarge 
The
Cleveland Print Room is open to photographers and artists of all
stripes. The photography cooperative, opened and run by Shari Wilkins,
features classes for budding photogs and wall space for inspiring
exhibitions. Wilkins' goal is to get the place buzzing alongside the
rest of Cleveland's burgeoning arts scene. We recently walked around the
place — darkroom and all — and talked about the resurging art of analog
photography.
This place looks really great. How did all of this get started?
SW: We opened our doors last January, but I started working on it two years ago. I went over to Liz [Maugans, at Zygote Press] to talk about my found-photo business; I'm a found-photo dealer. She said they have a dark room and enlargers, and she'd like to keep them in Cleveland. There's nothing else in Ohio that has this. So we built the dark room and decided to do a gallery. There are so many photographers in Cleveland who said that there's not a dedicated gallery for photography. It was a quick, natural progression.
Are all of these photos part of an exhibit going on right now? (Photos and physical art line the walls of the Cleveland Print Room.)
SW: Yeah, this is our Hidden Mother show. It's been up for awhile. Here, you can see the mother sitting there with a cover over her. [These are all very old photographs depicting children whose mothers are sort of concealed behind them under sheets and the like.] Being a found-photo person, I saw these and thought it would be really cool to ask some female photographers in Northeast Ohio to kind of give their version of the "hidden mother" motif. We got 20 different entries, including video. We had about 450 people here on opening night.
Apart from shows, you run classes here as well, right?
SW: Right. Here is where we do our developing. We try to set up everything for the amateur. So when they take a course, they can come in here. It's very easy to do. Have you done developing like this — in a darkroom?
I took a class in college and remember it being quite dark.
SW: We try to make it easy. Here's our darkroom. [We pass through a circular door that clangs metallically as we enter the room. The lights are on.] We built this and modeled it after schools around the area. I took a class at CIA two summers ago; I actually hadn't been in a darkroom before and wanted to get a sense of how it works. It's not really that hard once you learn the basics.
So for the uninitiated, someone could come by and learn the process and leave fairly confident in these new skills?
SW: Absolutely. I think a lot of people don't understand that. But it's like a recipe — like baking a cake or something. Once you know how to do the chemicals — which we do 90 percent of the time — it's very easy. We frequently have photogram parties too, which are really great and kind of a different way of doing things. Here, I'll show you. [We return through the circular metal door and review recent sun prints, photograms, pinhole camera photos, etc.]
Is this growing interest in analog photography a pushback against our "Instagram culture" or do you think digital photography is positively spurring people to learn about the old way of doing things?
SW: I kind of feel like Instagram has opened photography up to a whole new group of people. It's made them aware of what you can do with filters and everything. At the same time, there's really nothing like going into the darkroom and doing it with your hands. It's really different than sitting on a computer with Photoshop. We've seen a huge resurgence, and the research that I've done shows a tendency to hold on to film with a death grip. The thing that I can't really figure out is why Polaroid hasn't restarted making their film.
What is it about Cleveland that's so fertile for interest in photography and a place like this?
SW: I couldn't do this anywhere but Cleveland, seriously. First of all, the support is amazing in the arts community here. And if I tried to do this in New York, I wouldn't be able to afford it. Cleveland is affordable for me to set this up. The scene is great; people work together really well here. I mean, I haven't been in the scenes in other cities, but I feel like there's a lot going on here. Especially in the last I-don't-know-how-many years here, it's become a real burgeoning arts scene.
You really can't turn around in this city without seeing creative art — in public, in local businesses.
SW: We have the art at the Cleveland Clinic and at University Hospitals. It seems like the heads of these places are more actively purchasing art to show either in the hospitals or in factories or wherever they are. And there are a lot of collectors who are involved in just business sales here.
And you're keeping just as busy as the rest of the scene from the sound of it.
SW: Next April, we're doing the inaugural Cleveland Art Book Fair. We're modeling it after the New York City Art Book Fair and the L.A. Art Book Fair. It's a festival, and we'll have 40 tables, poetry readings, bands playing around a three-day weekend. We'll be featuring printed matter of any kind; people will be here with a mimeograph machine photocopying 'zines, for instance. We'll have dealers from around the world, but the focus is still local. We're hoping it'll be able to grow, even outgrowing this place.
Cleveland Print Room
2550 Superior Ave., 216-401-5981, clevelandprintroom.com.
This place looks really great. How did all of this get started?
SW: We opened our doors last January, but I started working on it two years ago. I went over to Liz [Maugans, at Zygote Press] to talk about my found-photo business; I'm a found-photo dealer. She said they have a dark room and enlargers, and she'd like to keep them in Cleveland. There's nothing else in Ohio that has this. So we built the dark room and decided to do a gallery. There are so many photographers in Cleveland who said that there's not a dedicated gallery for photography. It was a quick, natural progression.
Are all of these photos part of an exhibit going on right now? (Photos and physical art line the walls of the Cleveland Print Room.)
SW: Yeah, this is our Hidden Mother show. It's been up for awhile. Here, you can see the mother sitting there with a cover over her. [These are all very old photographs depicting children whose mothers are sort of concealed behind them under sheets and the like.] Being a found-photo person, I saw these and thought it would be really cool to ask some female photographers in Northeast Ohio to kind of give their version of the "hidden mother" motif. We got 20 different entries, including video. We had about 450 people here on opening night.
Apart from shows, you run classes here as well, right?
SW: Right. Here is where we do our developing. We try to set up everything for the amateur. So when they take a course, they can come in here. It's very easy to do. Have you done developing like this — in a darkroom?
I took a class in college and remember it being quite dark.
SW: We try to make it easy. Here's our darkroom. [We pass through a circular door that clangs metallically as we enter the room. The lights are on.] We built this and modeled it after schools around the area. I took a class at CIA two summers ago; I actually hadn't been in a darkroom before and wanted to get a sense of how it works. It's not really that hard once you learn the basics.
So for the uninitiated, someone could come by and learn the process and leave fairly confident in these new skills?
SW: Absolutely. I think a lot of people don't understand that. But it's like a recipe — like baking a cake or something. Once you know how to do the chemicals — which we do 90 percent of the time — it's very easy. We frequently have photogram parties too, which are really great and kind of a different way of doing things. Here, I'll show you. [We return through the circular metal door and review recent sun prints, photograms, pinhole camera photos, etc.]
Is this growing interest in analog photography a pushback against our "Instagram culture" or do you think digital photography is positively spurring people to learn about the old way of doing things?
SW: I kind of feel like Instagram has opened photography up to a whole new group of people. It's made them aware of what you can do with filters and everything. At the same time, there's really nothing like going into the darkroom and doing it with your hands. It's really different than sitting on a computer with Photoshop. We've seen a huge resurgence, and the research that I've done shows a tendency to hold on to film with a death grip. The thing that I can't really figure out is why Polaroid hasn't restarted making their film.
What is it about Cleveland that's so fertile for interest in photography and a place like this?
SW: I couldn't do this anywhere but Cleveland, seriously. First of all, the support is amazing in the arts community here. And if I tried to do this in New York, I wouldn't be able to afford it. Cleveland is affordable for me to set this up. The scene is great; people work together really well here. I mean, I haven't been in the scenes in other cities, but I feel like there's a lot going on here. Especially in the last I-don't-know-how-many years here, it's become a real burgeoning arts scene.
You really can't turn around in this city without seeing creative art — in public, in local businesses.
SW: We have the art at the Cleveland Clinic and at University Hospitals. It seems like the heads of these places are more actively purchasing art to show either in the hospitals or in factories or wherever they are. And there are a lot of collectors who are involved in just business sales here.
And you're keeping just as busy as the rest of the scene from the sound of it.
SW: Next April, we're doing the inaugural Cleveland Art Book Fair. We're modeling it after the New York City Art Book Fair and the L.A. Art Book Fair. It's a festival, and we'll have 40 tables, poetry readings, bands playing around a three-day weekend. We'll be featuring printed matter of any kind; people will be here with a mimeograph machine photocopying 'zines, for instance. We'll have dealers from around the world, but the focus is still local. We're hoping it'll be able to grow, even outgrowing this place.
Cleveland Print Room
2550 Superior Ave., 216-401-5981, clevelandprintroom.com.
Wednesday, April 23, 2014
Beautiful Baby Photography by Hải Trình
Baby photography is most amazing subject for the world. Photographer loves to capture sweet moments with their innocent smiles. Capturing a baby on photo is easy, but making an everlasting impact with your photo, takes a lot of time, dedication and patience, especially for film photographers.Here are some beautiful and cute analog photos of Pearl, taken by Nha Trang/Vietnam based photographer Hải Trình.
More of his work can be found here:
Photographers at Work in the Past
Flickr's user Steve Given has collected amazing and interesting vintage photographs in his photo album titled "Photographers at Work". The photographs showing how photographers worked in the past different than today with their old cameras from folding cameras to large cameras and some very long or big lenses that you might never seen before. |
| Twins, LaVona and LaVelda Rowe were press photographers for the Chicago Sun-Times Newspaper. This obviously promotional image of the ladies with their Graflex cameras was taken in February 1961. |
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| A great looking setup to achieve astrophotography, using a Kodak folding camera and some very long lenses, in 1946. |
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| A press photographer trying to tease an image from a bear enclosure inmate of the Brookfield Zoo in 1945. |
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| French photographer on a beach with a very interested lad who one day might take on the role of a fashion photographer. |
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| James Wong Howe working his cinemagraphic excellence on the film noir "Nora Prentiss" during February, 1946. Actress, Barbara London, and Director, Vincent Sherman, take an interest in James' viewfinder composition. |
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| Aircraftsman Ron Jeffs of the Royal Australian Air Force undergoes training with a 10x8 Ansco view camera at the School of Photography, East Sale, Victoria, Australia, in 1949. |
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| A trio of keen amateurs, perhaps doing a bit of train spotting in late 1920s. |
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| American Air Force photographers load a Fairchild K-22 camera into the nose of a reconnaissance aircraft. |
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| An Australian pioneering family, dressed in their 'Sunday Best', take time out for a small group photograph. |
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| Margaret Truman, daughter of the former President, Harry S. Truman, displays her skills with a Graflex camera. She borrowed the camera from pressmen during a function at the Conrad Hilton in Chicago, Illinois, during September 1953. |
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| A newsreel cameraman captures families at the Democratic National Convention held at the Hilton Hotel, Chicago, in July, 1952. |
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| A group of Graflex wielding press photographers descend on a table bound model. |
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| Press and Television corps at MacArthur Day commemorations in Chicago during the late 1940's. A battery of different cameras, including Arriflex and Mitchell movie cameras, and Graflex 'Big Bertha' cameras, are being operated by photographers and cameramen from NBC, and Chicago's WGN-TV, as well as the Chicago Sun Times. |
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| While undergoing training, United States military photographers practice with the Graflex camera during May, 1944. |
Please go here for more images of "Photographers at Work", or check out Steve Given's Flickr photostream to see more of his work.
Hindu's Snap Photography fest a big hit with students
Baishali Adak, April 2014, DHNS:
Photography
enthusiast students not just in Delhi University but across India got a
chance to showcase their work at Hindu College’s recently held Snap
Photography Festival.
Organised by the Film and
Photography Society of Hindu College, Vivre, the festival invited
student entries on three exciting themes – Street, Vintage and Machine -
and gathered equally exciting photographs.
These were displayed over two days at the heritage building Dr Bharat Ram House of Culture in Delhi.
Vivre is one of the most sought-after societies among all colleges of DU.
The society, run largely by senior students, receives at least 500 applications every year of which only 20 are selected finally.
The society, run largely by senior students, receives at least 500 applications every year of which only 20 are selected finally.
They regularly organise photography workshops, talks by eminent photographers and interesting photo walks.
Snap is their annual festival which sees a photography competition and then exhibition as well.
This time, Snap had three very interesting themes - Street, Vintage and Machine. These fetched over 5,000 entries from across the country.
As
Anikesh Kishor, the student president of the society and an English
(Hons) student at Hindu, informed us, “There were entries from DU, Jamia
Millia Islamia and Indraprastha University, but also a large number
from varsities in south India.
In fact, we had a
lot of entries from school students which shows how far the word spread
and Snap is definitely gathering a lot of goodwill.”
Students came up with remarkable pictures of vintage cars and bikes in the Vintage category.
There
were old clocks, antique coins and also a photograph of a war tank
dating back to World War I taken in Nagaland. Students went all sci-fi
in the machines category taking snaps of bulldozers and cranes, close
shots of springs, bike parts etc.
Street,
being a broad theme, saw an even larger number of entries featuring
nameless but expressive faces from the streets, passers-by, hawkers,
beggars et al.
At least 50 pictures were put on show.
Additionally,
the first day of the fest saw a fascinating talk by renowned
photographer William Chang, along with an interesting workshop on the
basics of photography organised by Canon on the second day.
Snap 2014 ended on a high note as the three winners of the online photography competition - Prateek Sultania, Kush Kukreja and Sana Kamra - were awarded lenses by representatives from Canon representatives and the organising team.
The Stories Behind The Tank Man of Tiananmen's Photographs in 1989
Twenty-five years ago, the Tank Man, the nickname of an anonymous man who stood in front of a column of tanks on June 5, 1989, the morning after the Chinese military had suppressed the Tiananmen Square protests of 1989 by force. The man achieved widespread international recognition due to the videotape and photographs taken of the incident. Some have identified the man as Wang Weilin (王維林), but the name has not been confirmed and little is known about him or of his fate after the confrontation that day.Five photographers managed to capture the event on film and get their pictures published in its aftermath. On June 4, 2009, another photographer released an image of the scene taken from ground level. Today, images of what happened at Tiananmen Square are still blocked on the Internet in China due to what John Palfrey of Harvard’s Berkman Center for Internet and Society has described as “the world's most sophisticated means of Internet filtering.”
The most used photograph of the event was taken by Jeff Widener of the Associated Press, from a sixth floor balcony of the Beijing Hotel, about half a mile (800 meters) away from the scene. Widener was injured and suffering from flu. The image was taken using a Nikon FE2 camera through a Nikkor 400mm 5.6 ED IF lens and TC-301 teleconverter. Low on film, a friend hastily obtained a roll of Fuji 100 ASA color negative film, allowing him to make the shot. Though he was concerned that his shots were not good, his image was syndicated to a large number of newspapers around the world, and was said to have appeared on the front page of all European papers.
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| Photo: Jeff Widener/Associated Press |
Another version was taken by Stuart Franklin of Magnum Photos from the fifth floor of the Beijing Hotel. His has a wider field of view than Widener's, showing more tanks farther away. He was on the same balcony as Charlie Cole, and his roll of film was smuggled out of the country by a French student, concealed in a box of tea.
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| Photo: Stuart Franklin/Magnum Photos |
Charlie Cole, working for Newsweek and on the same balcony as Stuart Franklin, hid his roll of film containing Tank Man in a Beijing Hotel toilet, sacrificing an unused roll of film and undeveloped images of wounded protesters after the PSB raided his room, destroyed the two rolls of film just mentioned and forced him to sign a confession. Cole was able to retrieve the roll and have it sent to Newsweek. He won a World Press Award for a similar photo. It was featured in Life's "100 Photographs That Changed the World" in 2003.
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| Photo: Charlie Cole/Newsweek |
On June 4, 2009, in connection with the 20th anniversary of the protests, Associated Press reporter Terril Jones revealed a photo he took showing the Tank Man from ground level, a different angle than all of the other known photos of the Tank Man. Jones has written that he was not aware of what he had captured until a month later when printing his photos.
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| Photo: Terril JonesAssociated Press |
Arthur Tsang Hin Wah of Reuters took several shots from room 1111 of the Beijing Hotel, but only the shot of Tank Man climbing the tank was chosen. It was not until several hours later that the photo of the man standing in front of the tank was finally chosen. When the staff noticed Widener's work, they re-checked Wah's negative to see if it was of the same moment as Widener's. Later, on March 20, 2013, in an interview by the Hong Kong Press Photographers Association (HKPPA), Wah told the story and added further detail. He told HKPPA that on the night of June 3, 1989, he was beaten by students while taking photos and was bleeding. A "foreign" photographer accompanying him suddenly said "I am not gonna die for your country" and left. Wah returned to the hotel. When he decided to go out again, the public security stopped him, so he stayed in his room, stood next to the window and eventually witnessed the Tank Man and took several shots on June 4, 1989.
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| Photo: Arthur Tsang Hin Wah/Reuters |
Tuesday, April 22, 2014
From Yahoo answers...
What do the effects of film photography depend on?
Does it depend on your lens? Camera? Film?
Each effect comes from something, right? My knowledge tells me light leaks depend on your camera body? Cross process from when you produce film and mix the chemicals etc Uhhh, and lomo photography depends on the film you use? So what are effects I could do with my film?
I've recently become interested in film photography, mainly because of the effects that you can obtain just by taking pictures with a film camera. I do all these effects all the time on photoshop, but I want to get that effect without photoshop on film.
I hope this makes sense.
Each effect comes from something, right? My knowledge tells me light leaks depend on your camera body? Cross process from when you produce film and mix the chemicals etc Uhhh, and lomo photography depends on the film you use? So what are effects I could do with my film?
I've recently become interested in film photography, mainly because of the effects that you can obtain just by taking pictures with a film camera. I do all these effects all the time on photoshop, but I want to get that effect without photoshop on film.
I hope this makes sense.
Overall, you can use imagination to introduce special effects on film
from modifying (destroying) the camera or lens (like applying gelatin to
a filter over the lens), varying the developing process (push-pull or
cross processing) or inserting the film wrong-side front (red-lining).
It's all in the mind but sometimes (actually the norm with lomography)
it is purely incidental due to horrible camera quality.
Pentax Film Duplicator helps you scan 35mm and medium-format film quicker
Back at the CP+ tradeshow in Japan last February, Ricoh announced quite a range of new photo gear
for its Pentax brand, but perhaps the most interesting for film
photographers who haven't transitioned their old photos to digital was
the Pentax Film Duplicator. Now, the company has provided a release date
for this interesting accessory, and the Japanese media has supplied an
expected price.
The Pentax Film Duplicator allows you to do the job of digitizing your
film using your existing camera and flash. Your camera and lens sit at
one end of the duplicator, and your flash -- triggered either wirelessly
or via a sync cord -- sits at the other. In between are a bellows, film
mount, and a diffusers that provides even illumination from your direct
flash. The point of the bellows is that it allows you to accommodate a
variety of camera and lens pairings, adjusting to match the minimum
focus distance of the lens, thereby putting as many pixels as possible
onto each film frame.
Pentax's Film Duplicator can digitize 35mm and medium-format film with your existing camera.
Why would you want to use your existing camera, rather than a dedicated
scanner? Well for one thing, this provides you with a degree of
future-proofing. There are no electronics in the duplicator to fail, and
as cameras improve and you upgrade to newer models, so to does your
scanning capability. There's also potentially quite a big difference in
speed: Film scanners typically work line-by-line, so it takes quite some
time to scan each image at high resolution. By contrast, with the
digital camera you already own, you can digitize one or more frames of
film near-instantly with a press of the shutter button, saving you a lot
of waiting between preparing frames.
If you're scanning tens, hundreds, or even thousands of frames, that
could make a big difference to the scope of your project. (And hence,
make it more likely you'll take the time to digitize your film in the
first place. Let's face it -- if you've not digitized yet after more
than a decade of digital photography, you've likely been putting it off
for a reason.) There is, of course, a downside. Not only will you need
to clean your film carefully before digitizing it, you'll also have to
manually retouch dust and scratches, something that some scanners will
do automatically for you. That extra work will to some extent offset the
time saved on scanning in the first place. How much time you'll save
thus depends on how well your film has been looked after, and how picky
you are about dust and scratches appearing in the final result.
Since you provide the electronics and optics, scanning resolution
depends on your camera body -- here, a 51-megapixel Pentax 645Z -- and
the macro capabilities of your lens.
The Pentax Film Duplicator is compatible with mounted and unmounted
film formats up to a maximum of 6x9 medium format, or 60 x 90mm in size.
For positive film, simply mount, focus, set your aperture to provide
sufficient depth of field if the film isn't perfectly flat, and you're
set to go. If digitizing negatives, you'll also need to convert your
digitized frames to positives. You can, of course, use the negative
function provided in Photoshop if you're not too picky about getting
accurate color. Much better results are available with film-specific
conversion software such as SilverFast NegaFix or similar, however. Obviously, you'll need to buy that separately.
You'll also need to buy optional holders for all but 35mm mounted film,
for which the necessary holder is included in the product bundle.
Optional holders are available for mounted 645 / 66 film and mounted 67 /
69 film, while sleeves can be bought for unmounted 35mm, 645, and 66 /
67 / 69 film. The sleeves will also require that you purchase a sleeve
base mount; a quick shoe base and plate are also available.
The Pentax Film Duplicator includes a holder for 35mm mounted
slides, but can accomodate up to 6x9 film thanks to a variety of
optional sleeves and holders.
Pricing for all of the above has not been officially disclosed by
Ricoh, but the base Film Duplicator with 35mm slide holder is reported by Japanese photo site Impress DC Watch
to be a rather stiff ¥120,000. (That's the equivalent of US$1,170, at
current exchange rates.) The Pentax Film Duplicator is available in
Japan from May 2014, and thus far, no plans have been disclosed for sale
in other markets.
Monday, April 21, 2014
Photographer Profile: Ayede Film and Photography
OTHER PHOTOS
Photographer : Ayede Film and Photography
Intro : Ayede Film and Photography is a Nigerian outfit dedicated to providing wedding and general photography and video services to a discerning client base. We operate in and about Lagos, Abuja and the middle belt.
Phone No : +2348064662140
email: : ayede_taver@yahoo.com
Intro : Ayede Film and Photography is a Nigerian outfit dedicated to providing wedding and general photography and video services to a discerning client base. We operate in and about Lagos, Abuja and the middle belt.
Phone No : +2348064662140
email: : ayede_taver@yahoo.com
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