This is going to be a much shorter post than normal, but I just had to share this today. One of the photographers I follow, Nate Matos, released the first episode of his newest project, Pdexposures.TV today.
Nate is a Portland, Oregon based creative that has a vast portfolio of work (both client based and personal project) and has an affinity for shooting film and experimenting with different cameras. In fact, Nate is the reason that I found the Film Photography Project. I came across an image of a camera he donated to the FPP on his Flickr account and I was hooked (on both FPP and his photography) ever since. Nate's been doing some really amazing project work over the past couple of years, completing not one, but two instant film based Project 365s. You can check them out here.
Pdexposures.TV is an extension of Nate's YouTube channel where he reviews cameras that he picks up. He's typically shot those episodes on a web cam but those constraints are gone as he takes to the streets of Portland to shoot and review cameras. In the premiere episode, Nate reviews the Rollei 35. It's refreshing to see a web based show about film photography launch in 2013. Nate's got more than camera reviews planned for upcoming episodes, so it should be quite an exciting year following his adventures. I know I can't wait to watch!
Showing posts with label Photography blog. Show all posts
Showing posts with label Photography blog. Show all posts
Wednesday, January 9, 2013
Tuesday, January 8, 2013
2013 Photo Resolutions
As with kissing at midnight, eating sauerkraut, pork and black-eyed peas on New Year’s Day, the photo resolution post has been a tradition over the past two years for me. It allows me to “verbalize” my goals for the coming year; provides me with a format to revisit my goals should I lose focus; serves as a template to review my year and allows me to progress as a photographer and as an artist. This annual post has been very instrumental in my development and I am glad I decided to do it two years ago. This year is no different. I feel as if I progressed the most as a photographer in 2012 and the only way to continue progressing is setting goals and working towards those goals. I’d like to think that 2013 will be a great year for me; however, I’ve literally gotten off on the wrong foot as I’m dealing with a foot injury that is hindering my mobility. Regardless, I’m going to set out to accomplish the following resolutions along with some non-photography related personal goals. So, without further ado, here are my 2013 Photo Resolutions:
(2) Rededicate myself to instant film-I fell in love with instant film in 2011 and last year I resolved to experiment more than I had before. Unfortunately, I felt I did not live up to that resolution. I began the year exclusively shooting Impossible Project PX600 Silver Shade UV+ Black Frame for a project. I pushed the SX-70 and the film to the limit for the project and I was very happy with the result; however, that was the end of my experimentation. I casually shot instant film throughout the year, trying out various Impossible Pioneer films while also snagging up old generation film and special editions. I didn’t experiment with emulsion lifts or transparency techniques or any other time tested Polaroid manipulations. That is going to change in 2013. I’m loaded with a fridge of Impossible Project PX70 PUSH! and PX600 Silver Shade UV+ Black Frame film and I’m currently working out ideas for a possible project. In addition to that, I resolve to try the new films immediately and learn their intricacies instead of purchasing them and letting them sit in my fridge until I go on a trip. Instant film is wonderful and I want to embrace it now more than ever.
(3) Continue forward progress with my major photo project, while also developing side projects along the way-I've been working on a major photo project for the past two years. The first year was what I call the conception phase. I went through source material, developed ideas, redeveloped those ideas and started to formulate a plan for creating the photographic images. Last year, I continued to research source material, further tweaked the original ideas and actually began shooting the project. To date, I have three completed images for the project. I haven’t finished the final prints for those images yet, but I do have working prints which have allowed me to assess if my vision was realized with each image. I can proudly say that I’m very happy with the direction the project is headed and I look to continue that progress in a major way in 2013. I’ve already begun preparations for the next image in the series (I’ll be shooting test rolls in the next week or so) and I hope to be creating final prints of some of the images by the end of the year. Besides this project, I need to continue to work on side projects that I’ve been working on for the past couple of years. I have a few that are in various stages of development and I have some ideas for other projects I would like to start. For me, it’s really a balancing act. I can’t become too focused on one project because it would prevent me from working on other things or missing photographic opportunities. As long as I stay focused on the long term goals but not lose sight of what’s in front of me, it should be a very fruitful year for my photographic projects.
(4) Bring at least one project to completion-Following up on the third resolution, I would like to complete one of the projects I have in development this year. Completion of a project for me is to produce finished, exhibition quality, darkroom prints; a book and/or a solo or joint show. Along with that, I would like to add the work to my websites and social media pages. I’ve had so much work in the development phase the past year that I haven’t even posted (what I consider to be) my best work for anyone to see. If I can at least get one project checked off my list for 2013, that would be a great accomplishment.
(5) Finally shoot something on Lomokino/Super 8-I've been dancing around this resolution for the past couple of years. It initially started with creating a stop motion video with my photographs and evolved into shooting Super 8. It’s now developed into the resolution that you see here. I’ve been flirting with video in a number of ways for the past couple of years. I’ve created, shot and edited a number of service line videos for work using a flip video camera; I shot a tutorial on the coffee pour over method for a school project; I produced a video review for the Diana F+ camera and I helped a friend of mine shoot a short film for his video production class. It’s time I stop talking about shooting something for myself and do it. This past Christmas I was given a Lomography Lomokino camera. For those of you that don’t know, a Lomokino is a video camera that takes 35 mm film. It divides each frame into four, providing you with 96-140 shots on one roll of film. Once developed and scanned, those exposures are combined into a video editing program to make a short film. It’s very lo-fi, but can produce excellent shorts. As I mentioned in resolution three, I’ve been working on a major project for the past couple of years. I’ve been batting around ideas of how to incorporate the Lomokino and/or Super 8 into that project. I feel like I’m very close and once I have the idea solidified, I’ll be entering into the world of moving pictures. It’s meant to compliment my work with still cameras, not replace it. 2013 is a great year to finally start and I believe there’s no better year to accomplish this resolution.
(6) Become better in the darkroom-After accomplishing my resolution of getting into the darkroom, I feel this is the perfect time to remind myself that the work has only just begun. Mastering a craft requires dedication and repetition and no where is that more true than in the darkroom. If I didn’t continue darkroom work throughout this year, I would be no better than I am now. There are so many variables, techniques and processes that I can learn to make my printing and developing better, it would be a crime to stop now. I want to build on what I’ve started and take my photography to new heights. The old adage “practice makes perfect” is true and I plan on exercising it in the darkroom this year.
(7) Learn to shoot large format- Shooting large format was a resolution that I set out to accomplish last year. Unfortunately, it was one that was lower on my priority list and I wasn’t able to accomplish it. I’m still very interested in learning to shoot large format and that’s why I’m putting it on my resolution list for the second year in a row. I’ve seen the detail in a 4x5 and 8x10 negative and it’s quite amazing. Large format would be just another way for me to bring my photography to another level.
(8) Learn at least one alternative process by the end of the year- Again, this was another resolution that was on the list last year that I didn’t get around to. However, because I just started work in the darkroom during the last quarter of 2012, I really wasn’t able to dive into the processes used by photographers from the pioneering days of this art form. So, with the basics under my belt and a whole year of darkroom work ahead of me, I plan on learning at least one alternative process by the end of 2013. I really like the look of these historic processes and I believe they could enhance a few projects that I’m currently working on. To be able to to still create art the way they did centuries before me is just an astounding and beautiful thing that I want to be a part of.
(9) More studio work- I’ve never been a big fan of studio work. Not that I didn’t like the look of the final image, but I’ve never really been drawn to the elaborate lighting set ups, backgrounds and posed shots. Maybe it’s because I have this idea of a “canned” senior picture portrait studio in my mind. I worked with still life a great deal in 2012 and I even purchased a small beginner’s table top lighting kit. I love natural light but I did enjoy using selective lighting in a number of my images from the past year. I would like to expand on this; possibly picking up some bigger lights and backgrounds and doing more conceptual still life and portrait work. I believe this could add another dimension to my photography and it’s definitely worth exploring.
(10) Better market myself as a photographer- Over the past four years I’ve grown as a photographer. I went from an eager beginner with a point and shoot digital camera to amateur with a DSLR to a conceptual film shooter that works in the darkroom. I have entered regional, national and international competitions and I’ve begun to gain recognition among my peers in the area. I’ve even sold a few prints. However, if I ever want my work to be known outside of this region, I need to better market myself as a photographer and artist. I’m a marketer during the day, so this should be no problem, right? Part of the process is putting myself out there, which is something I sometimes have trouble with. I need to start making better connections and networking with artists, galleries and arts councils. I need to be visible outside of just photo competitions. I need to have a better web presence and I need to start sharing more of my work. By doing these things, my hope is that the images I create will reach a greater audience. I have a few things planned for 2013 that will hopefully help accomplish this. Regardless, I’m looking forward and upward and that’s the only way that I’ll achieve more than what I have to this point.
I can’t think of a better way to end this post than by looking forward. I’m grateful for finding photography and finding an outlet for this creativity and vision I have inside me. I want to continue to improve and pay homage to a craft that has been wonderful to me these past four years. I also want to say thank you to the readers and followers of this blog and my work. I appreciate you and I hope you enjoy this journey as much as I do. Here’s to another wonderful year in photography. Cheers and keep shooting!
Monday, December 31, 2012
2012 - Year in Review
It’s December 31,2012, even though it doesn’t seem possible. It literally feels like I was just sitting in downtown Sonoma, California, contemplating how my year in photography had ended up and what my resolutions for 2012 would be. I was proud of my progress over the course of that year, but I was focused on not settling for what I had accomplished to date. As I look back at my 2012 photo resolution post, I feel like I made some lofty goals for myself. While I might not have accomplished everything on the list, I can walk away fully satisfied with the year I’ve had and an eye for even better things to come in 2013.
To recap, here were the resolutions I set for myself in 2012:
- Shoot more
- Shoot more film
- Experiment more with Polaroid (Impossible Project)
- Begin working in the darkroom
- Start shooting large format
- Expand my participation in art shows
- Expand my participation in photo clubs
- Participate in another solo show or a joint show
- Start shooting Super 8
- Experiment with alternative processes
Again, as I look at this list, I can’t help but think it’s a lofty list. Regardless, here’s how I fared in 2012. When I set the resolution of shooting more, it didn’t mean to shoot more in regards to quantity. It meant to shoot more in regards to quality and to go on more dedicated photo excursions. As I look back through my work from 2012, I can honestly say that I didn’t come near the quantity that I shot in 2011, but I certainly increased the quality of my work. I feel that I’m my own worst critic; however, I would select almost any of my “best” images from 2012 and put them up against what I considered to be my best in 2011. I really feel like my photography has taken a huge step forward in regards to the conceptual nature of what I create. Don’t get me wrong, I still have a long ways to go, but I feel as if I’m heading in the correct direction. In regards to the second part of the resolution, I did set aside more time for dedicated photo shoots/excursions. In addition to the three vacations we took (Seattle, New York City, Upstate New York), I went to an analog photography weekend event in Cleveland, Ohio and I set up numerous photo shoots around my area for a few projects that I’m working on. I believe those dedicated sessions were very integral in helping me to create more quality work in 2012.
The second resolution was to shoot more film and I can say with a certainty that 2012 was most definitely a year of film. I have already shot more rolls of film than I did last year with a few outstanding rolls to be finished up before the year’s end. I rarely touched my digital gear, only picking it up for a few shoots. I used it for work, a few small projects and a family portrait shoot. The rest of my year was spent producing black and white negatives I shot with (mostly) my medium format cameras. Shooting film has completely altered the way I approach the creation of an image and has given me a finer appreciation for the finished product - a print. There’s something to be said for the process of using film. It’s the antithesis of immediate gratification. You’re limited in the number of frames you have to shoot with and you can’t see the result instantaneously. There’s a bit of anxiety involved, but the feeling of pulling your film out of the developing tank and seeing the images you took for the first time is something that absolutely can’t be replicated.
The next resolution was an extension of the shoot more film resolution. It involved my continued experimentation with instant film. I developed a love for instant photography in 2011 and I looked to continue that in 2012. This was a resolution that I feel I didn’t fully accomplish. I shot a lot of instant film over the course of the year, but I didn’t feel that I explored it’s full creative potential like I hoped for. While I experimented with new types of film released by the Impossible Project, loaded up on their older formula films and started a project that had been in the conception stage for a year with their silver shade black frame film, I didn’t spend a great deal of time doing emulsion lifts, transparencies or reclaiming my negatives. This is something I hope to rededicate myself to in 2013, but I’ll leave that for my 2013 photo resolutions post.
My fourth resolution involved a different type of experimentation - the traditional darkroom. For me, this was the most important resolution of 2012. I felt as if I couldn’t take my photography to the next level until I learned to work in the darkroom. Darkroom work didn’t start until the third and fourth quarter of 2012, but I’m glad to say that I accomplished this resolution. I had a lab at my disposal and a willing teacher ready to teach me through my connection with Edison Community College and the Edison Photo Society; however, due to the society’s transitional position with the college, that fell through. After that, I went on a search for a public darkroom in my area and I came across one in the city of Kettering. It simply required an orientation session and a small fee per use. With a facility at my disposal, all I needed was some instruction and I was ready. Luckily, a friend I met through the Film Photography Project, Mat Marrash, offered one-on-one workshops catered to the individual needs of the student. I contacted him and he set up a two weekend workshop that would teach me the basics of film developing and the finer aspects of optical printing. I have now successfully developed four rolls of film and have printed numerous contact sheets and a variety of working prints, all on my own. I’m constantly learning and I love spending a few hours in the darkroom making my photography come to life. I look forward to expanding my skills to print quality enlargements for future exhibitions and projects.
Resolution number five was to start shooting large format. This is one resolution that I didn’t get around to. I’m still very intrigued by large format and I plan on shooting it sometime in the future, it just wasn’t in the cards for 2012. However, The Impossible Project recreated 8x10 instant film and I was able to secure an old 8x10 Polaroid processor from a friend, so I very well may be heading down the path to shooting 8x10. If that is the case, Mat Marrash is an avid 8x10 shooter, so I’m sure another workshop could be developed if that’s the direction I want to take.
The next resolution was to expand my participation in art shows and competitions. I’m proud to say that this was a resolution that I easily accomplished. I competed in more exhibits (juried and non-juried) than I ever have before. I exhibited my work all over the region and I even entered a few national and international competitions. It was a very good year for awards and recognition, but I don’t plan on stopping there. I already have an ongoing list of exhibits that I would like to enter in 2013; if I keep to that list, I should easily surpass my participation from 2012. I just hope that I have as much success and luck in the coming year as I did this past year. In addition to my increased participation in art shows and competitions, I resolved to expand my participation in photo clubs. While I didn’t join any additional clubs this past year, I spent a great deal of time helping the existing members of the Edison Photo Society decide the fate and direction of our struggling club. A unanimous decision among members led us to break our affiliation with the college and refocus our efforts on the activities and presentations that mattered most to each of us. We’re still on shaky ground, but the club is still together and now has a clearer vision of what the future may hold. With that being said, I did participate in a photography critique at one of the local art councils and I met a number of other regional photographers due to my increased competition presence from the past year. Whether or not I participate in any additional clubs in the coming year, I do look to build on the relationships with the people I met in 2012 to enrich my overall photography experience.
My eighth resolution was to participate in another solo show or a joint show. I didn’t participate in a solo show in 2012 and this was mainly due to the fact that I didn’t feel any of the work/projects that I’ve been working on were complete. I don’t want to exhibit my work in a solo show capacity unless I feel that it’s finished, acceptable and worthy of public viewing. I have a few projects in the works and I’ll see how the year plays out. If you count any of the juried shows that I made my way into, those could be seen as joint exhibits, but outside of that, I didn’t obtain this resolution.
My last two resolutions were also resolutions that I didn’t get around to this year. One of them was to start shooting Super 8. While this resolution is something that I do want to achieve, other items took precedent in 2012. I am throwing around a few ideas for a “moving picture” as part of one of my projects and I recently was given a Lomography Lomokino for Christmas. I plan on exploring this concept and hopefully it’s something that will come to fruition in 2013. The last resolution was to start experimenting with alternative processes. I was unable to achieve this resolution, but that’s mainly due to timing. I didn’t start darkroom work until the end of the year and once I have a better handle on the basics, it will be natural for me to move to alternative processes. I have a great network of individuals familiar with these processes and it will be very easy to obtain basic knowledge regarding these techniques.
In numbers, I obtained 4 of the 10 resolutions I set out to accomplish. Three of the remaining six resolutions were touched on in different ways and three were not achieved. Overall, I’m happy with my progress, as I mentioned earlier. I progressed my photography and I look to follow that up with a great 2013. Stay tuned for my 2013 Photo Resolutions and thanks for following along in my adventures; I really appreciate it.
Thursday, November 29, 2012
Clauss Family Portraits
If you’re a follower of this blog or of my work in general, it’s evident that I don’t typically photograph people. On occasion, you may see an image or two of a human being here or on my Flickr stream, but it falls into one of a few different categories: (1) my wife, my muse; (2) street photography; (3) travel photography; (4) project-related photography and (5) work shoots (of which you won’t find on my personal photography sites). Outside of those instances, family portraits, senior pictures, wedding/engagement pictures and child portraits have never been featured. I consider myself a fine art photographer with a focus on still life, inanimate objects, architecture, decay, project-based photography and generally subjects that don’t require human interaction. Yes, individuals are unique and fascinating (in most cases); however, it’s not what interests me when I’m behind the lens.
I’ve begun to establish myself photographically over the last four years and while I’m happy with this fact, it brings about many requests from friends and family members. It’s been my experience that the general public unknowingly thinks of photographers as having one specific purpose – portraiture work. If I speak to someone outside of the photography or art world and I tell them that I’m into photography, they usually ask if I take senior pictures, family pictures, etc. For some reason, that’s what’s been ingrained in their memories when someone says photography. Ansel Adams, Annie Leibovitz, Henri Cartier-Bresson, Alfred Stieglitz, Robert Frank, Diane Arbus, etc. are never thought of. Perhaps it’s because our (America’s) lack of focus on art education; I’m not sure, but that’s a debate for another blogpost. Regardless, my photography has automatically been associated with the aforementioned styles. Most of the time I politely decline; other times, I have agreed, but for one reason or another, participants change their mind about having the portraits. Well, a few weeks ago I was asked by good friends if I would be willing to take family portraits. Normally, this wouldn’t have been a complicated request, but this shoot would include their newest family member - their two month old son. I thought about it for awhile and I decided that I would go ahead and help them out.
If I was going to break out of my comfort zone, I wanted to do it my own way. I immediately asked if they would mind if I shot black and white and instant film in addition to digital. They didn’t mind, so I began brainstorming. I checked out some of the portrait photographers in the area to see what type of work my new clients might be expecting or hoping for. I developed a creative shot list and started thinking about different locations to use. We initially set the shoot for a weekend day during the week of Oct. 21, but the weather forecast was not being kind to us. With temperatures in the mid 70s during the week, I was able to accommodate a shoot on the evening of Oct. 25 with the option of a follow-up shoot on Oct. 28. I asked them to meet me at Menke Park in Troy at 5:30 p.m. I arrived early to scope out locations, lighting, leaves, etc. Once they arrived, I was ready to get to work. I knew we had very little time to work with the light changing every minute, but little did I know I was in for an even bigger surprise.
The moment baby Logan was taken out of the car, my carefully planned shot list went out the window. Having a two month old on a photography set is like playing roulette. He was tired, cranky, happy, crying, content and hungry, but never the emotion you were hoping for at a specific time. I realized that my Hasselblad would have to stay in the bag and I was going to focus on getting what I could with my digital camera and my Polaroid SX-70. I shot for a little over an hour, using the remaining light and providing a small amount of direction. I decided it was best to let them naturally interact with each other and just shoot. This is the exact opposite of how I normally approach my photography. I take a great deal of time to set up a shot, use one to two exposures and then move on. Moments with family and children sometimes happen so quickly that I found myself firing away. I don’t prefer this type of shooting, but it served its purpose for this job. Afterwards, I immediately went home to look at the images. I was surprisingly happy with the shots, but I pushed for one additional shoot with the hopes of using some different techniques and cameras.
The second shoot was scheduled for Sunday, Oct. 28 at Charleston Falls around 12:30. It was chilly and windy, but I was hopeful that the overcast day would provide nice lighting and I could experiment a little more than I did the prior shoot. I found some great locations and I was upbeat about the possibility of Logan being in a better mood for this shoot. That, unfortunately, didn’t happen. He was crying more than the previous shoot and the colder air didn’t help him or his parents. We shot at about half the locations I had planned to and the Hasselblad stayed in the bag for a second consecutive time. I got a nice mixture of usable shots that complimented the images from the other shoot.
While it didn’t go exactly as I planned, I adapted to the situation, I enjoyed the nice change of pace in subject matter and I delivered images that I was satisfied with. I hope that they enjoy and cherish them as much as I enjoyed shooting them. I wouldn’t mind doing a shoot like this again, but I would prefer to have more control over the situation so that I could shoot more conducive to my style and output. As they found out, regardless of the true style or nature of the photographer, it never hurts to ask.
Monday, November 5, 2012
Traveling and Photography - A Realization
While this blog has primarily been dedicated to photography
(techniques, meet-ups, industry news, practicing artists/past legends, shoot
reviews, etc.), it’s also served as a spot for me to reflect on my
travels. To me, traveling and
photography go hand in hand. It’s been
ingrained in us since we were children that one of the most natural things to
do while on vacation is to take pictures.
It serves as a reminder of where we were and what we did with our
friends and family as we travel through life.
After having hung up my Kodak Star 110 camera as a child and
not touching a camera for years, I developed a new found love for photography
and the photographic image in 2008. This
was brought about by my first trip to New York City and my desire to capture
elements of this iconic city on camera.
But not just the standard “I was here and I took a picture” shots; I
wanted to create something different from the standard tourist shots that I was
used to seeing. Since that time, I see
traveling as an opportunity to capture something that I can’t see while I’m home. Maybe it’s the change in surroundings that
allow my eyes to see new possibilities for images everywhere; maybe it’s the
ability to capture the true sense of a city that only a photographer and the
bond with his camera can; or maybe, at the very least, it’s a need to document
a piece of my own personal history. When
an image is created via film, it becomes a tangible object that can continually
be revisited. The same can be said of a
digital image that is printed. The
things we see and encounter on our travels become real, tangible memories that
can be held in our hands. There’s
something magical about that.
I tend to get overly excited about what cameras and film I’ll
be taking on a trip. It takes longer for
me to pack my camera bag than it does to pack my suitcase and I’m usually
traveling with no less than five cameras.
I may not use every camera that comes along, but at least I’m prepared
for whatever shooting situation might arise.
Even with a large supply of film and an array of cameras at my side, I
often find myself being disappointed with the amount of images I come back
with. I always wish I would’ve shot
more. It’s funny, because when I
regularly shot digital when traveling, I came back with an abundance of
images. The images weren’t all keepers
and the majority of them are simply taking up valuable storage space on my hard
drives. One of the reasons that I l
began shooting film more is that it’s allowed me to slow down, examine the
scene and use my exposures wisely. I
began shooting film because I wanted to craft my photos from hand (using film,
chemistry and making optical prints) and I was tired of the over-processed, too
perfect look of digital and now I find myself wishing I had the quantity of
pictures that I did when I was shooting digital.
It took awhile, but I think I’ve realized that I will never
take as many pictures when traveling as I did in the past. There are a few reasons for this:
(1)
I’ve been shooting film avidly for almost two years now. I’m in the mindset that I have a limited
number of exposures and I want to use them wisely. I have trained myself to be even pickier than
I was before. I will never go back to
firing off exposures because I can.
(2)
When traveling, I have a limited amount of time in a location with an
abundance of things to see and do. In
order to accomplish all that is planned while on vacation, sacrifices have to
be made. One of those sacrifices can
sometimes be the amount of time spent photographing a particular location or
the aimlessly wandering around taking photographs that can be easily
accomplished while you’re at home.
(3)
These travels are not specific photography excursions, where the entire
day will be spent photographing whatever it is that I want. I’m trying to create experience and memories
with my wife and those don’t always include a camera.
At some point in my life, I’ll travel to destinations for
the sole purpose of photography. Until
then, I have to stop putting so much pressure on myself to come back with rolls
upon rolls of film after a four, five or even seven day vacation. I’m still shooting while on vacation, just
not to the same degree that I shoot while I’m not on vacation. I also have to accept the idea that sometimes
it’s alright to shoot something to show that “I’ve been there.” Vacations and travels are about experiencing
local cultures, enjoying a new landscape and taking in this massive world that is
outside of our doorsteps and comfort zones.
I briefly touched on it in my last blog post about Seattle, but the
feelings and the memories that you bring back should resonate with you longer
than any tangible item. Engulf yourself
in the city, become part of the local culture and reflect often. It’s the true essence of travel; if I embrace
this idea, my travel photography will come much easier and may even break down
the rut that I seem to find myself in.
Saturday, October 27, 2012
Seattle
This year, my annual anniversary trip took my wife and I to Seattle. Seattle has been on both of our travel lists for awhile now and it is one of the premier cities, if not the premier city, in the Pacific Northwest. Seattle is situated on a narrow strip of land between two bodies of water; the salt waters of Puget Sound and the fresh waters of Lake Washington. The area was first settled in 1851 and they originally dubbed the settlement "New York," but after moving to what is now known as Pioneer Square, they soon renamed it Seattle.
It's funny that the first settlers named the city New York, because I compared the two cities frequently during the trip. The similarities between them are obvious (at least in my eyes): intellectuals are in abundance, foodies have many choices, culture and diversity is appreciated and celebrated, iconic landmarks are present and each city is made up of very distinct and different areas. Where they differ is the pace of each cities' inhabitants. Seattle is much more laid back than New York. The people seem friendlier and things seem to move at a more relaxed and "chill" manner. Don't get me wrong, I love visiting New York, but it's not a place that I would consider living. However, I could see myself living in Seattle. There's something about the Pacific Northwest and Seattle specifically that's very appealing. Maybe it was the fact that I was visiting during my anniversary with my wife or that we had wonderful weather and we were able to experience a lot that the city had to offer. Regardless, I really connected with the city and I feel as if I was really able to take in the environment and surroundings.
It's funny that the first settlers named the city New York, because I compared the two cities frequently during the trip. The similarities between them are obvious (at least in my eyes): intellectuals are in abundance, foodies have many choices, culture and diversity is appreciated and celebrated, iconic landmarks are present and each city is made up of very distinct and different areas. Where they differ is the pace of each cities' inhabitants. Seattle is much more laid back than New York. The people seem friendlier and things seem to move at a more relaxed and "chill" manner. Don't get me wrong, I love visiting New York, but it's not a place that I would consider living. However, I could see myself living in Seattle. There's something about the Pacific Northwest and Seattle specifically that's very appealing. Maybe it was the fact that I was visiting during my anniversary with my wife or that we had wonderful weather and we were able to experience a lot that the city had to offer. Regardless, I really connected with the city and I feel as if I was really able to take in the environment and surroundings.
Our stay was split into two areas (Belltown and Downtown). It didn’t matter a great deal because Seattle
is a very easy city to get around in and the hotels were literally a few miles
apart on the same street. Walking to
various locations is very feasible and for areas that are a little farther from
your accommodations, the bus is a cheap and easy mode of public transportation. All it takes is a little consulting of the King County Metro Transit
website and you will have the entire trip planned out for you. During specific times of the day and year, the
bus is free within a set downtown Seattle Radius. We began our trip in Belltown, a cool, little
neighborhood featuring some fabulous dining spots and interesting boutique
shops. It’s within walking distance of
Pike Place Market, the Seattle Waterfront and Seattle Center. One of the gems of that neighborhood was our
hotel, The Ace Hotel. The Ace is a hip, boutique hotel which occupies a historical building.
The décor can be described as hip, funky, Pacific Northwest chic. The pricing is outstanding for a downtown
Seattle hotel and the staff will recommend cool spots that won’t be found in a
guidebook or by your fancy hotel concierge.
If you’re ever in Seattle, I highly recommend staying there. A few other cool spots to visit in the
Belltown area are Macrina Bakery, Local 360 and Bedlam Coffee.
.
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| Camera: Polaroid SX-70 Film: Impossible Project PX100 UV+ Test Film |
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| Camera: Polaroid SX-70 Film: Impossible Project PX100 UV+ Test Film |
On our very first night in Seattle, we did the touristy
thing and headed over to the Space Needle.
If you weren’t aware, the Space Needle is currently celebrating its 50th
Anniversary. It was built in 1962 as the
symbol of the World’s Fair which eventually lead to it being the symbol of
Seattle. It’s one of the most
recognizable structures in the world and is worth seeing in person. The ride up to the top is bit of a tourist
trap, but it’s worth doing once to see the Seattle skyline from a 360 degree
view. As a photographer, it’s hard to
approach a subject so iconic because it’s been “photographed to death” by
countless individuals. However, I tried
to use my unique approach to photography as well as draw inspiration from Zeb Andrews’ Eiffel Tower series to shoot the Space Needle differently. I was happy with what I was able to capture.
 |
| Camera: Canon AE-1P Film: Kodak Tri-X 400 |
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| Camera: Canon AE-1P Film: Kodak Tri-X 400 |
 |
| Camera: Canon AE-1P Film: Kodak Tri-X 400 |
Our first full day in the city began on a bike. We took a two hour bike tour
of the city, visiting many different areas like Pioneer Square, the
International District and the Seattle Waterfront. Our guide also provided us with a great deal
of history about Seattle and the various areas that we saw. It was a great tour, but buyers beware when
biking in Seattle; the hills are killer.
From a couple that usually bikes an average of 10 miles per bike ride,
we thought it would be rather easy.
Trust me, you find out how flat Ohio is after biking in Seattle. After our tour, we walked a few blocks to
Pike Place Market. It was super crowded
(as it was every time we passed it) and loaded with tourists but it featured
some of the freshest fruit, vegetables, seafood, flowers and goods you can
find. We picked up a few lunch items,
including some amazingly delicious peaches, and enjoyed lunch while overlooking
the waterfront. We did some shopping and
stopped back at the hotel; from there we headed to another area called
Ballard. Ballard is off the beaten path
in Seattle and is an old railroad/shipping town. We didn’t spend much time there, but we were
treated to some authentic Comida Tipica Mexican food at Senor Moose. If you like authentic Mexican, then this hole in the wall restaurant is definitely a place to look up. After scoring a table upon arrival, the
place was at capacity and there was a steady 35-45 minute wait for patrons from the moment we were seated until after we left. It was also voted best
Mexican Restaurant in 2012 by Seattle Weekly as well as Best Margarita. Believe me; it lived up to the hype. Afterwards, we then headed to the super hip
Capitol Hill neighborhood for drinks and dessert at an ultra cool prohibition
style bar named Tavern Law.
 |
| Camera: Polaroid 440 Automatic Land Camera Film: Fuji FP-100C |
Our last two days in Seattle were packed with
activities. After some antiquing on the
waterfront, we hopped a ferry to Bainbridge Island. Bainbridge is a 30 minute ferry ride from
Seattle and is about 28 square miles and has a population of a little over
23,000 people. To give you an example of
its’ size, Manhattan is about 23 square miles in size but has a population of
about 1.6 million. It’s a little bigger than NYC, but with only 1% of the
population. The community is vibrant,
artsy and quaint. The town center,
Winslow, is bustling with boutiques, shops, bistros, cafes, galleries and
museums. It’s a great place to spend a
day. After exploring on foot, we decided
to rent bikes for the afternoon and make the trek to an organic distillery about
2.5 miles away from the town center.
Again, we were faced with the harsh reality of Washington State hills.
It took us 45 minutes to get the distillery and we were exhausted. The distillery, Bainbridge Organic Distillers,
was a fun pit stop. While their operation
is small and they’re still trying to perfect their formulas, they have managed
to create a gin that is very distinctive and they have a waiting list for their
whiskey, which was still aging in the barrels.
After a few samples and a bike ride back to the ferry, it was time to
head back to Seattle for the evening.
 |
| Camera: Canon AE-1P Film: Kodak Tri-X 400 |
Our last day was spent exploring, shopping, eating and
drinking in the Capitol Hill neighborhood.
We briefly explored this area when grabbing a drink at Tavern Law, but
this time we had more time and were able to explore it in daylight. Like other areas of Seattle, Capitol Hill is
situated on a hill and is east of the central business district. This neighborhood is very hip and reminds me
a lot of the Lower East Side in NYC. If
you’re looking for a variety of things to do and a vibrant night life, then
this neighborhood is the perfect place to spend your time. After a fulfilling brunch at Oddfellows,
vinyl, book and vintage shopping, coffee and espresso at Espresso Vivace and a
few brews at Elysian Brewing Co., we headed to the Bumbershoot festival. This is Seattle’s annual Labor Day Music and
Arts Festival. It’s a three day event
that features countless music acts (including some fairly big names),
comedians, arts and food vendors. We had
a great time at the festival and were able to watch sets from City and Colour
and M. Ward. It was the perfect end to
our wonderful trip.
 |
| Camera: Polaroid SX-70 Film: Impossible Project PX70 Cool |
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| Camera: Polaroid SX-70 Film: Impossible Project PX70 Cool |
 |
| Camera: Polaroid SX-70 Film: Impossible Project PX70 Cool |
After a morning coffee run at Stumptown Coffee Roasters, it
was time to hop a cab to the airport and head back to Ohio. In my research for the trip, I came across a
quote from an article by Travel + Leisure’s Gary Shteyngart. He was writing about a recent trip to the
city and a waitress said to him: “You
have to leave it to love it.” I think
that quote sums up Seattle – you don’t know how magical it is until after
you’ve visited. Being with the right
people helps, but there’s just something about this city. It will stick with you and that’s greater
than any souvenir you can purchase.
That’s how traveling should be; the feeling and memories of your short
time in locations and destinations should resonate with you longer than the
magnet or trinket you brought back home.
Embrace the city, become part of the local culture and reflect
often. It’s the true essence of travel
and you’ll never forget.
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| Camera: Canon AE-1P Film: Kodak Tri-X 400 |
Sunday, September 16, 2012
The Lucie Foundation International Photography Awards
2012 International Photography Awards Announces
Winners of the Competition
I've been working on an ongoing series, photographing abandoned prisons and mental institutes. Below is the five image series "Solitude" and a companion piece that I submitted to the competition.
Solitude emphasizes the quality of being or living alone. We are born into this world in a state of solitude and we leave it in the same manner. From a young age, we are taught to stand on our own two feet regardless of the countless interactions we may encounter through our existence. What path those two feet lead us down depends on a series of choices that we, alone, make. The juxtaposition of our choices should allow us an unveiled view of the outcome; however, the world in which we live is filled with in betweens and blurred boundaries. Black and white become grey, light and dark become neutral and right and left become moderate. Regardless, one choice has to be made and each choice will bear a consequence which we must accept. In the end, aren’t we simply making choices that somehow further our solitude in one way or another?
The 2012 International
Photography Awards received nearly 18,000 submissions from 104 countries across
the globe. IPA is a sister-effort of the Lucie Foundation, where the top three
winners are announced at the annual Lucie Awards gala ceremony. The Foundation's
mission is to honor master photographers, to discover new and emerging talent
and to promote the appreciation of photography. Since 2003, IPA has had the
privilege and opportunity to acknowledge and recognize contemporary
photographer's accomplishments in this specialized and highly visible
competition. Visit www.photoawards.com.
I'm very excited to announce that I was awarded in the International Photography Awards Competition for the following:
I'm very excited to announce that I was awarded in the International Photography Awards Competition for the following:
- Honorable
Mention in Architecture - Buildings category for the winning
entry"Solitude."
- Honorable
Mention in Architecture - Historic category for the winning
entry"Solitude."
- Honorable
Mention in Architecture - Interior category for the winning
entry"Solitude."
- Honorable
Mention in Architecture - Other category for the winning
entry"Solitude."
- Honorable
Mention in Deeper Perspective - Deeper Perspective category for the
winning entry "Solitude."
I've been working on an ongoing series, photographing abandoned prisons and mental institutes. Below is the five image series "Solitude" and a companion piece that I submitted to the competition.
Solitude emphasizes the quality of being or living alone. We are born into this world in a state of solitude and we leave it in the same manner. From a young age, we are taught to stand on our own two feet regardless of the countless interactions we may encounter through our existence. What path those two feet lead us down depends on a series of choices that we, alone, make. The juxtaposition of our choices should allow us an unveiled view of the outcome; however, the world in which we live is filled with in betweens and blurred boundaries. Black and white become grey, light and dark become neutral and right and left become moderate. Regardless, one choice has to be made and each choice will bear a consequence which we must accept. In the end, aren’t we simply making choices that somehow further our solitude in one way or another?
Show Season
We're halfway through September and a week away from the official start of fall. Football (High School, College and NFL) kicked off the last couple of weeks and in Ohio the shift in seasons is evident. In the art world in west central Ohio and elsewhere, it also happens to be show season. One of my photo resolutions for 2012 was to put my work on display more than I have before and part of that requires entering shows. Although my blog posts have been spread out this year, I've been producing a lot of work, it's just that it's all been part of bigger projects that I've not been ready to unveil to everyone yet. However, for those of you that would like to see some current and past work, here's where you can find me right now:
Gateway Arts Council 1st Biennial Photography Show
216 N. Miami Ave.
Sidney, Ohio 45365
September 10 - September 28
10 a.m. - 4 p.m.
http://www.gatewayartscouncil.org/photo.html
Pieces on display: "Fallen," "Man on the Street" and "Untitled"
*Second Place- Still Life
Piqua Arts Council 20th Annual Art Show
Apple Tree Gallery
405 N. Main Street
Piqua, Ohio 45356
September 14-September 21
Pieces on display: "Free," "Prohibition," and "Solitude"
*Honorable Mention- Photography
Greenville Art Guild Annual Fall Show
Shawnee Prairie Preserve and Nature Center
4267 St. Rte. 502
Greenville, Ohio 45331
September 29 - October 3
Pieces on display: "Alone," "Free," and "Solitude"
*Second Place- Professional Photography
2nd Annual Holga Out of the Box International Competition - Juried Show
TCC Photo Gallery
207 N. Center St.
Longview, TX 75601
October 5 - November 30
http://tccphoto.com/gallery/
Pieces on display (web only): "Stop"
Wassenberg Art Center 35th Annual Photography Exhibit - Juried Show
Wassenberg Art Center
643 S. Washington St.
Van Wert, OH 45891
October 6 - November 2
Pieces on display: "Alone," "Solitude," "Ed," "Fallen," "Gone by Night" and "The Same, but Different"
*Best in Show (Black and White) and First Place- Nighttime Photography
So, if you're in the mood to look at some great local art, I recommend checking out these great exhibits. If you're interested in more of my work, head over to my Flickr page.
Gateway Arts Council 1st Biennial Photography Show
216 N. Miami Ave.
Sidney, Ohio 45365
September 10 - September 28
10 a.m. - 4 p.m.
http://www.gatewayartscouncil.org/photo.html
Pieces on display: "Fallen," "Man on the Street" and "Untitled"
*Second Place- Still Life
Piqua Arts Council 20th Annual Art Show
Apple Tree Gallery
405 N. Main Street
Piqua, Ohio 45356
September 14-September 21
Pieces on display: "Free," "Prohibition," and "Solitude"
*Honorable Mention- Photography
Greenville Art Guild Annual Fall Show
Shawnee Prairie Preserve and Nature Center
4267 St. Rte. 502
Greenville, Ohio 45331
September 29 - October 3
Pieces on display: "Alone," "Free," and "Solitude"
*Second Place- Professional Photography
2nd Annual Holga Out of the Box International Competition - Juried Show
TCC Photo Gallery
207 N. Center St.
Longview, TX 75601
October 5 - November 30
http://tccphoto.com/gallery/
Pieces on display (web only): "Stop"
Wassenberg Art Center 35th Annual Photography Exhibit - Juried Show
Wassenberg Art Center
643 S. Washington St.
Van Wert, OH 45891
October 6 - November 2
Pieces on display: "Alone," "Solitude," "Ed," "Fallen," "Gone by Night" and "The Same, but Different"
*Best in Show (Black and White) and First Place- Nighttime Photography
So, if you're in the mood to look at some great local art, I recommend checking out these great exhibits. If you're interested in more of my work, head over to my Flickr page.
Tuesday, August 14, 2012
Random Camera- Olympus XA2
Hello again! It's time for another entry into my random camera/random film series. Today, I will be discussing the Olympus XA2. Typically, when I create posts for this series, I've at least shot the camera or film in question a number of times; however, I've only used the Olympus XA2 once. I feel that I have a pretty good handle on this camera after one use and since the images were from the Analog's Pulse event in June, I figured it would be a nice way to wrap up that experience.
The Olympus XA (predecessor of the XA2) was introduced in 1979 and quickly became the standard for the XA series. It was a true rangefinder with aperture priority exposure and a six element lens. It is a compact, but mighty little camera and was the first of four cameras within the XA series. Now that you have a brief overview of the original, let's talk about the camera that I have - the Olympus XA2.
The XA2 was introduced in 1980, a year later than the XA and was a more simplistic version of the XA. The first noticeable difference between the two cameras is the focusing. The rangefinder focusing of the XA was replaced with a zone focusing system of 3 feet to infinity. Aperture priority exposure was replaced with an automatic exposure system and the six element lens was replaced with a four element f3.5 lens. What started as a tiny rangefinder became a tiny point and shoot 35mm camera. I happened to obtain this camera almost by accident. I was at an auction about a year and a half ago. The auction featured a multitude of old film cameras; most of them grouped into box lots. I was present when the auction began and waited for a few hours, but only a few boxes had been auctioned off. I was discouraged and didn't want to waste the entire day away, so I left. After lunch and a few other errands, I decided to go back to see if anything was still left. Sure enough, the majority of the cameras were still waiting to be auctioned off. The auctioneer began auctioning off box lots for small amounts of money. I had my eye on numerous Polaroid SX-70s and ended up winning two boxes for the low price of $11. I obtained three different SX-70 models in addition to a number of other cameras and accessories. Hidden in one of those boxes was an untouched Olympus XA2 with accompanying A11 flash unit. I replaced the batteries and the camera worked like a charm. It set in my never ending stack of cameras until I decided that Analog's Pulse would be the perfect time to use it.
There are two things that stand out to me when I talk about this camera. First is the clam shell cover that slides open to essentially turn on the camera and subsequently reveals the lens. It's a typical feature for Olympus compacts, but there's something that I love about it. It's almost as if it was created for spies instead of consumers; the cover masking the main thing that makes it a camera - the lens. However, it pales in comparison to the wonderful Minox spy cameras that are an engineering marvel and are still available and functional today. Regardless, it brings a bit of intrigue (at least for me) to the camera. The second thing is the shutter. The shutter is a square red button on top of camera. This is the most sensitive shutter that I've ever encountered. A fellow film photographer that I met on Analog's Pulse, John Meadows, made the comment that he didn't want to get too close for fear that he might sneeze and set off the shutter. His comment is not too far from the truth. In fact, the first time I was introduced to a member of the XA series, I set off the shutter and didn't even realize it. In addition to its sensitivity, it's also very quiet and functions in such a stealthy manner that it again brings about visions of spies during the Cold War.
In regards to the camera's functionality, it's fairly straight forward and can pretty much be used "right out of the box." There is an "aperture" button on the front of the camera for you to determine the distance to your subject. Once selected, simply point, compose and click the shutter. The camera chooses the appropriate shutter speed and aperture and does all of the work for you. Simply wind the film and follow those steps continuously until your roll is fully exposed. One thing to remember about this camera is that every time you close the clam shell cover, the focus button resets itself; so, make sure you have the correct distance selected before you fire the shutter. The camera seems to handle fairly well in a number of different lighting situations. I used the camera to begin the day when it was overcast and rainy; I went into a few darkened alleys and I shot it when the sun was blazing overhead. It performed quite well for a compact point and shoot.
A few things I noticed about this camera:
- There is a green light that occasionally comes on in the viewfinder. It's actually hard to notice, as I didn't even realize there was a light until the end of my roll. Apparently this is to alert you to under/over exposure. It still allows you to take a shot, but there is the potential for the exposure to be off a bit. When reviewing the images, there were a few that were a bit darker with more grain, but nothing unusable. So, I assume that the light was flashing when I was creating those exposures.
- While the compact size makes the Olympus XA2 a great traveling companion, I found it to be a bit awkward in my hands. I'm typically used to shooting larger medium format cameras or a standard 35mm SLR, so this more delicate than I'm used to. It doesn't necessarily take away from the camera, but it took some getting used to on my part.
- The Lomography LC-A+, the flagship Lomography camera, is a sleek, portable, highly coveted 35mm camera. As great as it may be (I haven't had the privilege of using one yet), it does come with a steep price tag. The Olympus XA2 (or one of the other XA models) is the perfect substitute. Yes, the Lomo LC-A+ boasts a 32/2.8 Minitar lens, has multiple apertures, a multiple exposure switch and has the capability to add numerous accessories, but you can still apply the same Lomo rules and attitude when shooting the Olympus XA2. So, if you want a similar camera and don't won't to shell out a fortune, pick up an Olympus for a fraction of the price. You can always upgrade later.
Overall, shooting the Olympus XA2 was a nice change of pace for me. Coupled with Ilford HP5+ 400 black and white film, I was able to produce some decent, higher grain, photos during the first photo walk of Analog's Pulse. I tend to prefer shooting my SLR and Medium format cameras, so I'm not sure how often I'll use this. However, I can't rule out that this won't end up in my camera bag on the next outing :)
The Olympus XA (predecessor of the XA2) was introduced in 1979 and quickly became the standard for the XA series. It was a true rangefinder with aperture priority exposure and a six element lens. It is a compact, but mighty little camera and was the first of four cameras within the XA series. Now that you have a brief overview of the original, let's talk about the camera that I have - the Olympus XA2.
The XA2 was introduced in 1980, a year later than the XA and was a more simplistic version of the XA. The first noticeable difference between the two cameras is the focusing. The rangefinder focusing of the XA was replaced with a zone focusing system of 3 feet to infinity. Aperture priority exposure was replaced with an automatic exposure system and the six element lens was replaced with a four element f3.5 lens. What started as a tiny rangefinder became a tiny point and shoot 35mm camera. I happened to obtain this camera almost by accident. I was at an auction about a year and a half ago. The auction featured a multitude of old film cameras; most of them grouped into box lots. I was present when the auction began and waited for a few hours, but only a few boxes had been auctioned off. I was discouraged and didn't want to waste the entire day away, so I left. After lunch and a few other errands, I decided to go back to see if anything was still left. Sure enough, the majority of the cameras were still waiting to be auctioned off. The auctioneer began auctioning off box lots for small amounts of money. I had my eye on numerous Polaroid SX-70s and ended up winning two boxes for the low price of $11. I obtained three different SX-70 models in addition to a number of other cameras and accessories. Hidden in one of those boxes was an untouched Olympus XA2 with accompanying A11 flash unit. I replaced the batteries and the camera worked like a charm. It set in my never ending stack of cameras until I decided that Analog's Pulse would be the perfect time to use it.
There are two things that stand out to me when I talk about this camera. First is the clam shell cover that slides open to essentially turn on the camera and subsequently reveals the lens. It's a typical feature for Olympus compacts, but there's something that I love about it. It's almost as if it was created for spies instead of consumers; the cover masking the main thing that makes it a camera - the lens. However, it pales in comparison to the wonderful Minox spy cameras that are an engineering marvel and are still available and functional today. Regardless, it brings a bit of intrigue (at least for me) to the camera. The second thing is the shutter. The shutter is a square red button on top of camera. This is the most sensitive shutter that I've ever encountered. A fellow film photographer that I met on Analog's Pulse, John Meadows, made the comment that he didn't want to get too close for fear that he might sneeze and set off the shutter. His comment is not too far from the truth. In fact, the first time I was introduced to a member of the XA series, I set off the shutter and didn't even realize it. In addition to its sensitivity, it's also very quiet and functions in such a stealthy manner that it again brings about visions of spies during the Cold War.
In regards to the camera's functionality, it's fairly straight forward and can pretty much be used "right out of the box." There is an "aperture" button on the front of the camera for you to determine the distance to your subject. Once selected, simply point, compose and click the shutter. The camera chooses the appropriate shutter speed and aperture and does all of the work for you. Simply wind the film and follow those steps continuously until your roll is fully exposed. One thing to remember about this camera is that every time you close the clam shell cover, the focus button resets itself; so, make sure you have the correct distance selected before you fire the shutter. The camera seems to handle fairly well in a number of different lighting situations. I used the camera to begin the day when it was overcast and rainy; I went into a few darkened alleys and I shot it when the sun was blazing overhead. It performed quite well for a compact point and shoot.
A few things I noticed about this camera:
- There is a green light that occasionally comes on in the viewfinder. It's actually hard to notice, as I didn't even realize there was a light until the end of my roll. Apparently this is to alert you to under/over exposure. It still allows you to take a shot, but there is the potential for the exposure to be off a bit. When reviewing the images, there were a few that were a bit darker with more grain, but nothing unusable. So, I assume that the light was flashing when I was creating those exposures.
- While the compact size makes the Olympus XA2 a great traveling companion, I found it to be a bit awkward in my hands. I'm typically used to shooting larger medium format cameras or a standard 35mm SLR, so this more delicate than I'm used to. It doesn't necessarily take away from the camera, but it took some getting used to on my part.
- The Lomography LC-A+, the flagship Lomography camera, is a sleek, portable, highly coveted 35mm camera. As great as it may be (I haven't had the privilege of using one yet), it does come with a steep price tag. The Olympus XA2 (or one of the other XA models) is the perfect substitute. Yes, the Lomo LC-A+ boasts a 32/2.8 Minitar lens, has multiple apertures, a multiple exposure switch and has the capability to add numerous accessories, but you can still apply the same Lomo rules and attitude when shooting the Olympus XA2. So, if you want a similar camera and don't won't to shell out a fortune, pick up an Olympus for a fraction of the price. You can always upgrade later.
Overall, shooting the Olympus XA2 was a nice change of pace for me. Coupled with Ilford HP5+ 400 black and white film, I was able to produce some decent, higher grain, photos during the first photo walk of Analog's Pulse. I tend to prefer shooting my SLR and Medium format cameras, so I'm not sure how often I'll use this. However, I can't rule out that this won't end up in my camera bag on the next outing :)
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