Self Portrait
Efke Infrared film
Holga 120
16 hours ago
Friday, January 29, 2010
Infrared Holga Self Portrait
"All that we see or seem is but a dream within a dream." ~ Edgar Allen Poe
Self Portrait
Efke Infrared film
Holga 120
Self Portrait
Efke Infrared film
Holga 120
Thursday, January 28, 2010
Photograph What You Don't Know
This post was inspired by an article I read on Steven Pressfield's Blog "Writing what you Don't Know". Everything I read here could easily relate to photography and I wanted to share my thoughts with you on this.
Photograph What You Don't Know
I do this all of the time. In fact, the majority of my self portraits were taken with no premeditated thought or planning. Sure, I have ideas in my head of what I'd like to do - but I find when I actually go to shoot, they all fly out the window and are replaced by "the moment". I do random things like balancing my camera on things other than a tripod, taking long exposures but not counting the time - I just hold the shutter open for as long as it 'feels right' to in that moment. It feels a bit haphazard and I'm sure if someone were to observe me doing this they would think that I don't know what I'm doing.
Everyone should do this. Let your subconscious take over when you're shooting sometime and see what happens. Whatever you are shooting, whether it's self portraits, landscapes, or something else that moves you - just do it. Photograph something in a way you've never tried before - experiment! You will be surprised at what will happen, and you might even end up with some great results. Who knows, you might even find yourself inspired.
After all, that's why we choose to shoot with Holgas, and other toy cameras. For the unpredictability, the limited controls, the freedom. Take it one step further and forget everything you 'should' do, or what you usually do. Do something different.
This is just one way of getting out of a rut and feeling inspired, one that works for me. What do you feel is important for creating inspiration to take photographs?
If you try this out, and have some photos or a story you'd like to share from the process, email them to me at holgajen@hotmail.com I would love to hear from you!
Photograph What You Don't Know
I do this all of the time. In fact, the majority of my self portraits were taken with no premeditated thought or planning. Sure, I have ideas in my head of what I'd like to do - but I find when I actually go to shoot, they all fly out the window and are replaced by "the moment". I do random things like balancing my camera on things other than a tripod, taking long exposures but not counting the time - I just hold the shutter open for as long as it 'feels right' to in that moment. It feels a bit haphazard and I'm sure if someone were to observe me doing this they would think that I don't know what I'm doing.
Everyone should do this. Let your subconscious take over when you're shooting sometime and see what happens. Whatever you are shooting, whether it's self portraits, landscapes, or something else that moves you - just do it. Photograph something in a way you've never tried before - experiment! You will be surprised at what will happen, and you might even end up with some great results. Who knows, you might even find yourself inspired.
After all, that's why we choose to shoot with Holgas, and other toy cameras. For the unpredictability, the limited controls, the freedom. Take it one step further and forget everything you 'should' do, or what you usually do. Do something different.
This is just one way of getting out of a rut and feeling inspired, one that works for me. What do you feel is important for creating inspiration to take photographs?
If you try this out, and have some photos or a story you'd like to share from the process, email them to me at holgajen@hotmail.com I would love to hear from you!
Saturday, January 23, 2010
Icy Surf
Grand Bend, Ontario
December 2009
Do not be deceived! That white stuff is ice and snow, not residue from the waves :) The sun was very low in the sky as you can see... it was trying to burn through the thick clouds.
Friday, January 22, 2010
Online Holga Resources
This post is basically to consolidate the links and provide a page of "Online Holga Resources". I will keep it updated regularly. If you know of any links you think might fit here, or if you want me to add your link, please email me at jen@holgajen.com
Websites/Blogs
Magazines
Forums
Stores
Online Holga Resources
Websites/Blogs
- Holga Inspire (Official Holga Distributors)
- Toy Camera Website
- Four Corners Dark
- Holga Blog
- Squarefrog (LOTS of helpful newbie tips here)
- GoHolga
- HolgaDirect
- Feeling Negative
Magazines
- Shots (print)
- Diffusion (print)
- Blur Magazine (online - has a special section called Playstick for Toy Camera photos)
- Fstop Magazine (online)
- Adore Noir
- Plates to Pixels (online gallery)
- Fraction Magazine (online)
Forums
Stores
- Holga Mods
- Four Corner Store
- Freestyle Photographic Supplies
- HolgaDirect
- Old School Photo Lab (mail-in developing service)
- The Darkroom (film developing and blog)
- HolgaRama (UK store)
Tuesday, January 19, 2010
Feature Photographer - Isa Leshko
This month, I’d like to introduce you to Isa Leshko. Isa’s wonderful “Thrills and Chills” series is shot using Holga cameras, and I wanted to take this opportunity to share her work with you all, and ask her a few questions.
Image Copyright James Goncalves
How did you get introduced to your first Holga and how long have you been shooting?
My first photography teacher, Ri Anderson (http://rianderson.com/) gave me my first Holga about six years ago when I visited her studio (which was then located in Boston). We were chatting about my work and I complained to her that I couldn't afford a medium format camera. She reached for a Holga on her shelf, and immediately gave it to me. Prior to that, I had only worked with a 35 mm camera and had done mostly street photography. But, I longed to shoot medium format because I was finding myself drawn increasingly to square format images. I also liked the increased detail of a 120 negative. And it seemed all the cool kids were shooting medium or large format. ;-)
That Holga though sat unused for several months until my summer shooting began. I took it to Salisbury Beach, a boardwalk in MA which was a favorite spot of mine to shoot at that time. From that first roll came the image, "Salisbury Beach, #5"
"Salisbury Beach, 5" (Gelatin Silver Print)
I was absolutely stunned when I printed that image in the darkroom for the first time. I loved the wrinkles in the fabric and was amazed by the detail rendered through a plastic lens. But what hooked me was the quick falloff in sharpness and brightness which contributed to the dreaminess of the image. I will admit though that this image was purely a lucky shot since I had no idea what was I doing with the Holga. The rest of the frames on that roll certainly confirmed this fact. But this image encouraged me to learn more about the camera and seek out the work of other toy camera photographers.
What is it about the Holga that draws you to it? Why do you shoot with it?
There are the usual reasons that most toy camera photographers talk about: the lack of technical controls gives me the freedom to focus on the composition and emotional content of my image. But I think that this camera is helping me exorcise some personal demons. I am a perfectionist in my day to day life, which is not always a healthy trait to have. Creating images with an inherently flawed camera helps me find beauty in imperfection. That said, after the moment I click the shutter, I am obsessive about getting the highest quality prints possible from these negatives, which as you know is not always easy. So there is a definite tension between immediacy and precision that runs throughout my work.
I am fortunate to have found an incredibly talented master printer, Paul Sneyd of Panopticon Imaging, who is my collaborator in the darkroom. Although I learned to print in gang darkrooms, I don't have access to a truly archival darkroom to create exhibition-quality prints for sale. So I began working with Paul a few years ago. He understands that I need to retain creative control of my work and I'm by his side when we're printing my images. He respects my vision, and helps me achieve exactly what I'm looking for in a given print....
I also find working with a Holga camera to be inherently challenging, and not because of its obvious technical limitations. There are a number of critics of toy camera imagery who think of it as gimmicky. I disagree with any blanket criticism about a photographic process or technique, particularly one I'm using. ;-) But I do see their point of view. I try hard to resist the temptation to use visual artifacts of the Holga as a creative crutch. When I'm editing my work, I ask myself: Is there more to this image beyond its vignette and blur? Needless to say, a lot of work ends up on the cutting room floor!
Finally, I highly value how light and indestructible toy cameras are. I have two herniated discs in my back and one herniated disc in my neck. As much as I love the look of a 4 x 5 negative, I have a difficult time lugging around heavy gear. I love that I can take these cameras with me everywhere and not worry about them getting damaged. When I shot images from my beachscapes series, I would lie down at the water's edge as the tide was coming in. I would never do such a thing with expensive camera gear.
"Offering to the Gods" (Gelatin Silver Print)
Your "Thrills and Chills" series has been receiving a lot of (well deserved!) attention lately. Could you tell me a little bit about it and how you go about your shooting process?
I feel very fortunate by the reception my work has been receiving lately....Thrills and Chills is a project which explores both the fantastic and sinister place amusement park rides hold in my imagination. I think the Holga is the perfect camera for this project; the quirkiness of the plastic lens enables me to disrupt the sense of scale when I'm shooting these rides. I frequently shoot these rides against the open sky so that they lack context. I like that it's not always clear that these human-machine hybrids are amusement park rides (as is the case with ”The Claw”). Shooting in black and white also helps me strip any sense of time and place from these ride-centric images. I deliberately print the work dark to reflect the murky-realm that I envision these mechanical beasts inhabiting.
"The Claw, Topsfield Fair, MA" (Gelatin Silver Print)
As I'm shooting, I try to remember how I felt as a child looking up at these rides for the first time. That's why the vantage point for these images is frequently shot from below. I frequently lie down on the ground to shoot these rides to exaggerate their height. I also typically have 6-8 cameras dangling from my neck and arms when I'm trolling for pictures. (Yes, I do attract strange looks as I'm working!)
This past summer I visited the Wildwood, NJ, Dorney Park in Allentown, PA, and Cedar Point Amusement Park in Sandusky, OH. I recently moved to Houston, TX and plan on visiting fairs and parks throughout the South this summer.
"Waiting" (Gelatin Silver Print)
Is it difficult shooting at amusement parks? Or fun?
It's a tough job, but someone's got to do it. ;-) Seriously, though, I do think the project does have some inherent challenges which are ever present in my mind when working. Mainly, this subject matter is rather well worn and it's difficult to bring a fresh perspective to it. So many photographers have explored this subject through their own lenses. When I visited Coney Island in 2008, for example, I was struck by the number of photographers I ran into while working. I think that place is to urban photographers what Yosemite National Park is to zone system photographers. I even found a few lens caps lying in the street during the day of my visit. I kid you not.
So as I work on this project, I am keenly aware that I risk taking cliche or nostalgic images when photographing this subject matter. I hope I've managed to avoid these pitfalls and bring a new vision to this subject.
Now that this project is about 2 years old, I am now facing a new set of challenges: how can I photograph this subject in a way that fits within the existing body of work yet isn't too redundant with other images in the series? Toward the end of this summer, this question bubbled to the surface, and it's one I'll be wrestling with during the off-season.
"Coaster At Dusk, Hershey Park, PA" (Gelatin Silver Print)
I know you mentioned in a recent article that the rides terrify you - have you ever been on one? Would you go on one in order to get THE shot?
I have been on many rides and enjoyed them when I was younger. My fear actually arose as I got older. But even as an adult, I've gone on rides thanks to my (now 12-year old) niece, Francesca, who loves amusement parks and begs me to go on rides with her. I agree as long as she holds my hand. ;-)
I shot "Point Pleasant, #1" when I was with Francesca one summer evening in 2006.
"Point Pleasant, NJ #1" (Gelatin Silver Print)
This image kept tugging at me and eventually inspired my Thrills and Chills project. So I have my niece to thank for this work.
I have certainly gone on rides for this project and felt it was important to make images while I was in the throes of my fear. For example, "Girls on Buccaneer, Hershey Park, PA" was taken in August 2008 while I was a passenger on that ride. It's not easy to compose an image and then advance film manually while on a ride that's making you feel ill! I went on that ride several times in a row in hopes of getting a shot like this one. I am fascinated by the complex emotions people exhibit as they surrender themselves to these rides. In many instances, their experience is anything but amusement.
"Girls on Buccaneer, Hershey Park, PA" (Gelatin Silver Print)
Unfortunately, this past summer I was unable to go on any of the rides because I had recently herniated a disc in my neck, which was very frustrating. I hope next summer I'll be able to go on some rides, but I think I'll have rely mostly on capturing reaction shots from the sidelines. ”Girl on Tilt A Whirl” was taken from this vantage point.
"Girl on Tilt-a-Whirl, Coney Island, NY" (Gelatin Silver Print)
Favourite film(s)?
For B&W film, I'm very fond of Ilford HP5. For those relatively rare occasions in which I shoot color, I use Kodak Portra VC 400.
Your favourite Holga photo that you've taken?
My favorite image is always the one that I haven't taken yet that will give me my next creative high. I am only half joking here. In the fall of 2008, I saw Sally Mann talk at the MFA Boston. Toward the end of the lecture, an audience member asked her what she feared. She paused and then said that she fears never taking another great picture. She talked about how restless she gets after taking an image she really likes. It's as if the image taunts her: "Oh sure, I'm a great image, but can make another one?" Several of us in the audience laughed and squirmed when we heard these words because we could relate to this experience. Sally's honest answer was a gift to the artists in the audience that day. Since then, when I've felt that way I was comforted by the fact that someone as brilliant and accomplished as Sally Mann experiences these very same fears.
As a more direct answer to your question: one image that I took this summer that I'm particularly smitten with is "Dangling Legs". Although I love the happy accidents that occur with Holga images, this image turned out exactly as I had pre-visualized it, and I still get a little flutter in my stomach when I view it.
"Dangling Legs" (Gelatin Silver Print)
Favourite amusement park food?
I'm a vegetarian and share most (if not all) of Michael Pollan's views on food, which means I frequently have a tough time finding food I'd actually want to eat at an amusement park. There are days in which I subsist largely on french fries and soft serve ice cream. I have joked with friends that Pepcid AC is the proud sponsor of this project. I was very happy to find a veggie burger and very decent salad on the Wildwood Boardwalk. Both are rarities in amusement parks. Still, I have a weakness for fresh cut french fries with salt and vinegar and fresh squeezed lemonade.
Thank you Isa for taking the time to answer my questions and for letting me showcase your work!
Isa also has a series on her website entitled Elderly Animals, which I love and would highly recommend you check out!
"Moonie, Age 32" (Archival Pigment Print)
Isa’s web site: http://www.isaleshko.com
Facebook Page: http://www.facebook.com/IsaLeshkoPhoto
Twitter: http://twitter.com/IsaLeshko
Flickr: http://www.flickr.com/photos/isaleshko/sets/
All files are copyright Isa Leshko
Edition size for each image is 20; call or e-mail for availability.
Image size for each image: 9 x 9 inches; paper size: 11 x 14 inches. Larger print sizes available depending upon the image.
Image Copyright James Goncalves
How did you get introduced to your first Holga and how long have you been shooting?
My first photography teacher, Ri Anderson (http://rianderson.com/) gave me my first Holga about six years ago when I visited her studio (which was then located in Boston). We were chatting about my work and I complained to her that I couldn't afford a medium format camera. She reached for a Holga on her shelf, and immediately gave it to me. Prior to that, I had only worked with a 35 mm camera and had done mostly street photography. But, I longed to shoot medium format because I was finding myself drawn increasingly to square format images. I also liked the increased detail of a 120 negative. And it seemed all the cool kids were shooting medium or large format. ;-)
That Holga though sat unused for several months until my summer shooting began. I took it to Salisbury Beach, a boardwalk in MA which was a favorite spot of mine to shoot at that time. From that first roll came the image, "Salisbury Beach, #5"
I was absolutely stunned when I printed that image in the darkroom for the first time. I loved the wrinkles in the fabric and was amazed by the detail rendered through a plastic lens. But what hooked me was the quick falloff in sharpness and brightness which contributed to the dreaminess of the image. I will admit though that this image was purely a lucky shot since I had no idea what was I doing with the Holga. The rest of the frames on that roll certainly confirmed this fact. But this image encouraged me to learn more about the camera and seek out the work of other toy camera photographers.
What is it about the Holga that draws you to it? Why do you shoot with it?
There are the usual reasons that most toy camera photographers talk about: the lack of technical controls gives me the freedom to focus on the composition and emotional content of my image. But I think that this camera is helping me exorcise some personal demons. I am a perfectionist in my day to day life, which is not always a healthy trait to have. Creating images with an inherently flawed camera helps me find beauty in imperfection. That said, after the moment I click the shutter, I am obsessive about getting the highest quality prints possible from these negatives, which as you know is not always easy. So there is a definite tension between immediacy and precision that runs throughout my work.
I am fortunate to have found an incredibly talented master printer, Paul Sneyd of Panopticon Imaging, who is my collaborator in the darkroom. Although I learned to print in gang darkrooms, I don't have access to a truly archival darkroom to create exhibition-quality prints for sale. So I began working with Paul a few years ago. He understands that I need to retain creative control of my work and I'm by his side when we're printing my images. He respects my vision, and helps me achieve exactly what I'm looking for in a given print....
I also find working with a Holga camera to be inherently challenging, and not because of its obvious technical limitations. There are a number of critics of toy camera imagery who think of it as gimmicky. I disagree with any blanket criticism about a photographic process or technique, particularly one I'm using. ;-) But I do see their point of view. I try hard to resist the temptation to use visual artifacts of the Holga as a creative crutch. When I'm editing my work, I ask myself: Is there more to this image beyond its vignette and blur? Needless to say, a lot of work ends up on the cutting room floor!
Finally, I highly value how light and indestructible toy cameras are. I have two herniated discs in my back and one herniated disc in my neck. As much as I love the look of a 4 x 5 negative, I have a difficult time lugging around heavy gear. I love that I can take these cameras with me everywhere and not worry about them getting damaged. When I shot images from my beachscapes series, I would lie down at the water's edge as the tide was coming in. I would never do such a thing with expensive camera gear.
Your "Thrills and Chills" series has been receiving a lot of (well deserved!) attention lately. Could you tell me a little bit about it and how you go about your shooting process?
I feel very fortunate by the reception my work has been receiving lately....Thrills and Chills is a project which explores both the fantastic and sinister place amusement park rides hold in my imagination. I think the Holga is the perfect camera for this project; the quirkiness of the plastic lens enables me to disrupt the sense of scale when I'm shooting these rides. I frequently shoot these rides against the open sky so that they lack context. I like that it's not always clear that these human-machine hybrids are amusement park rides (as is the case with ”The Claw”). Shooting in black and white also helps me strip any sense of time and place from these ride-centric images. I deliberately print the work dark to reflect the murky-realm that I envision these mechanical beasts inhabiting.
As I'm shooting, I try to remember how I felt as a child looking up at these rides for the first time. That's why the vantage point for these images is frequently shot from below. I frequently lie down on the ground to shoot these rides to exaggerate their height. I also typically have 6-8 cameras dangling from my neck and arms when I'm trolling for pictures. (Yes, I do attract strange looks as I'm working!)
This past summer I visited the Wildwood, NJ, Dorney Park in Allentown, PA, and Cedar Point Amusement Park in Sandusky, OH. I recently moved to Houston, TX and plan on visiting fairs and parks throughout the South this summer.
Is it difficult shooting at amusement parks? Or fun?
It's a tough job, but someone's got to do it. ;-) Seriously, though, I do think the project does have some inherent challenges which are ever present in my mind when working. Mainly, this subject matter is rather well worn and it's difficult to bring a fresh perspective to it. So many photographers have explored this subject through their own lenses. When I visited Coney Island in 2008, for example, I was struck by the number of photographers I ran into while working. I think that place is to urban photographers what Yosemite National Park is to zone system photographers. I even found a few lens caps lying in the street during the day of my visit. I kid you not.
So as I work on this project, I am keenly aware that I risk taking cliche or nostalgic images when photographing this subject matter. I hope I've managed to avoid these pitfalls and bring a new vision to this subject.
Now that this project is about 2 years old, I am now facing a new set of challenges: how can I photograph this subject in a way that fits within the existing body of work yet isn't too redundant with other images in the series? Toward the end of this summer, this question bubbled to the surface, and it's one I'll be wrestling with during the off-season.
I know you mentioned in a recent article that the rides terrify you - have you ever been on one? Would you go on one in order to get THE shot?
I have been on many rides and enjoyed them when I was younger. My fear actually arose as I got older. But even as an adult, I've gone on rides thanks to my (now 12-year old) niece, Francesca, who loves amusement parks and begs me to go on rides with her. I agree as long as she holds my hand. ;-)
I shot "Point Pleasant, #1" when I was with Francesca one summer evening in 2006.
This image kept tugging at me and eventually inspired my Thrills and Chills project. So I have my niece to thank for this work.
I have certainly gone on rides for this project and felt it was important to make images while I was in the throes of my fear. For example, "Girls on Buccaneer, Hershey Park, PA" was taken in August 2008 while I was a passenger on that ride. It's not easy to compose an image and then advance film manually while on a ride that's making you feel ill! I went on that ride several times in a row in hopes of getting a shot like this one. I am fascinated by the complex emotions people exhibit as they surrender themselves to these rides. In many instances, their experience is anything but amusement.
Unfortunately, this past summer I was unable to go on any of the rides because I had recently herniated a disc in my neck, which was very frustrating. I hope next summer I'll be able to go on some rides, but I think I'll have rely mostly on capturing reaction shots from the sidelines. ”Girl on Tilt A Whirl” was taken from this vantage point.
Favourite film(s)?
For B&W film, I'm very fond of Ilford HP5. For those relatively rare occasions in which I shoot color, I use Kodak Portra VC 400.
Your favourite Holga photo that you've taken?
My favorite image is always the one that I haven't taken yet that will give me my next creative high. I am only half joking here. In the fall of 2008, I saw Sally Mann talk at the MFA Boston. Toward the end of the lecture, an audience member asked her what she feared. She paused and then said that she fears never taking another great picture. She talked about how restless she gets after taking an image she really likes. It's as if the image taunts her: "Oh sure, I'm a great image, but can make another one?" Several of us in the audience laughed and squirmed when we heard these words because we could relate to this experience. Sally's honest answer was a gift to the artists in the audience that day. Since then, when I've felt that way I was comforted by the fact that someone as brilliant and accomplished as Sally Mann experiences these very same fears.
As a more direct answer to your question: one image that I took this summer that I'm particularly smitten with is "Dangling Legs". Although I love the happy accidents that occur with Holga images, this image turned out exactly as I had pre-visualized it, and I still get a little flutter in my stomach when I view it.
Favourite amusement park food?
I'm a vegetarian and share most (if not all) of Michael Pollan's views on food, which means I frequently have a tough time finding food I'd actually want to eat at an amusement park. There are days in which I subsist largely on french fries and soft serve ice cream. I have joked with friends that Pepcid AC is the proud sponsor of this project. I was very happy to find a veggie burger and very decent salad on the Wildwood Boardwalk. Both are rarities in amusement parks. Still, I have a weakness for fresh cut french fries with salt and vinegar and fresh squeezed lemonade.
Thank you Isa for taking the time to answer my questions and for letting me showcase your work!
Isa also has a series on her website entitled Elderly Animals, which I love and would highly recommend you check out!
Isa’s web site: http://www.isaleshko.com
Facebook Page: http://www.facebook.com/IsaLeshkoPhoto
Twitter: http://twitter.com/IsaLeshko
Flickr: http://www.flickr.com/photos/isaleshko/sets/
All files are copyright Isa Leshko
Edition size for each image is 20; call or e-mail for availability.
Image size for each image: 9 x 9 inches; paper size: 11 x 14 inches. Larger print sizes available depending upon the image.
Monday, January 18, 2010
News and other Tidbits
From the Ice Age Series
December 2009
I am excited to share that my image "Wonder" has been accepted into Rayko Photo Center's annual juried Plastic Camera Show! If you are in the San Francisco area, I'd highly recommend you stop in to see the show. It runs from February 26 to April 17, with the opening reception on Feb 26 from 6-8 pm. It's nice to be in such great company, I wish I could be there in person!
Wonder
Toronto, Ontario
If you have a moment today please vote for me in the Power of Self competition here. The deadline was extended, and there are now two days left. Thank you!
Thursday, January 14, 2010
Winter Winter go away...
A couple more photos to make you go "brrrrr!"
There is still a bit of time left to vote for me in this self portrait contest. Thank you to everyone for your support so far! You can vote every 24 hours:
Click Here: HolgaJen's Portfolio
There is still a bit of time left to vote for me in this self portrait contest. Thank you to everyone for your support so far! You can vote every 24 hours:
Click Here: HolgaJen's Portfolio
Monday, January 11, 2010
Please vote for my Self Portraits
I've just entered a self-portrait contest on Artists Wanted - there is a "People's Choice" award in addition to the judging, and I would be very grateful if you could spare a moment to click on this link and vote for me.
You can vote every 24 hours, but there are only a few days left in the contest anyhow.
Here is the link: HolgaJen's Portfolio
Thank you!
Thursday, January 7, 2010
Holga on Etsy - Second Edition!
I took another wander around Etsy and found some more Holga related goodies, and some lovely prints... have fun!!
Click Simple Holga Pouch by Homako
PDF Mini Embroidery Pattern - Say Cheese by wildolive
Lomography Cameras - Set of 4 - Art Prints by HeyHarriet
Ohh Snap Holga Tee by GenerationApparel
Prints
Holga Beach 8x10 Fine Art Print by ScooyouPhotography
And then they were bees (5x5 inch photograph) by mailelani
Swiss Tree Holga Print by Exmosis
Hidden Doorways in a Gothic Church - Fine Art Photography Print by Jenkiabaphotography
Arm's Length - Fine Art Black and White Photograph - Gelatin Silver Print by littlecowgirl
There are so many great Holga prints on Etsy - it's worth having a look around if you're looking for some lo-fi wall art or decorations! I'm hoping to get around to decorating my house soon and can't wait to go shopping!
Prints
There are so many great Holga prints on Etsy - it's worth having a look around if you're looking for some lo-fi wall art or decorations! I'm hoping to get around to decorating my house soon and can't wait to go shopping!
Wednesday, January 6, 2010
Ice Age
Grand Bend, Lake Huron, Ontario
December 2009
(yes that little bright circle is the sun!)
"And I learned when I was in school
It only moves an inch or two
Every other day
So I think we'll be okay
There's gonna be nice days
In the ice age"
I thought of this song when I got this photo back... it's quite lovely if you care to have a listen! One of the best Canadian musicians out there right now!
Tuesday, January 5, 2010
Sunday, January 3, 2010
Holga WPC - Take 1
I have wanted a Holga WPC (Wide Pinhole Camera) for a while now, ever since it first came out actually. Finally a couple of months ago, I broke down and ordered one. It's a very different looking Holga, I've heard it described as a stretch limo Holga, which is very fitting. It takes two medium format frames per shot, so you get 6 photos per roll if you use the 6x12 mask.
I took it to the shores of Lake Huron in early December to test it out for the first time. This was also my first time using a pinhole of any sort. I wasn't expecting great things, but was hoping that I at least had everything working properly so that I could get some images. I loaded it with some Ilford FP4 100 speed black and white film, and followed the guide on the back for exposure times. We got to the beach just as the sun was setting, it was dusk and there was just barely enough light to work with. Very pretty though, aside from the freezing cold windchill.
I discovered at the end of the shoot, that the shutter that covers the pinhole was sticking open (it's operated by a cable release), I was hoping it was just a one time thing and that I didn't end up with a defective camera. I figured that I probably didn't get any worthwhile shots if the shutter was stuck open the whole time. (I later on determined that it does this in the cold - once it warms up it works just fine again).
Well, by some miracle they turned out. They are a little bleak looking due to the low light and my first time-ness - but all in all I am very happy with them, and excited to shoot some more!
The beach is now covered in ice and snow and its impossible to even get to the shore line, so I suppose I will have to wait until spring to do anymore shoots here.
For more information on the Holga WPC
C. Gary Moyer wrote a review on it which appears in the current issue of Light Leaks Magazine (The Pinhole Issue)
Now that I'm snowed in, I'm off to do some indoor tests!
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