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 :)
Tuesday, August 14, 2012
Wednesday, July 11, 2012
Analog's Pulse Instant Photos
In my last post, I mentioned that one of the three photo walks that took place during the Analog's Pulse weekend in Cleveland, Ohio was an instant photo walk. This was probably my favorite walk of the day, as I was able to use two of my favorite cameras - The Polaroid SX-70 Land Camera and the Polaroid SX-70 Sonar One Step with ND filter. While I didn't place in the instant photo contest, I did create a few images that I'm very happy with. Below are some of the fruits of that walk. Enjoy!
![]() |
| Camera: Polaroid SX-70 Land Camera Film: Impossible Project PX70 Cool |
![]() |
| Camera: Polaroid SX-70 Sonar One Step w/ ND Filter Film: Impossible Project PX600 Silver Shade UV+ Black Frame |
![]() |
| Camera: Polaroid SX-70 Land Camera Film: Impossible Project PX70 Cool |
![]() |
| Camera: Polaroid SX-70 Sonar One Step w/ ND Filter Film: Impossible Project PX600 Silver Shade UV+ Black Frame |
![]() |
| Camera: Polaroid SX-70 Land Camera Film: Impossible Project PX70 Cool |
![]() |
| Camera: Polaroid SX-70 Sonar One Step w/ ND Filter Film: Impossible Project PX600 Silver Shade UV+ Black Frame |
Sunday, July 8, 2012
Analog's Pulse
I have a number of blogposts on the horizon and I thought I would start them off with an overview of a great event that I attended last week. The event was a three day film photography extravaganza (digital shooters were welcome too) in Cleveland, Ohio. Analog's Pulse was coordinated by Scott Meivogel, photographer and owner of Aperture: A Photography and Variety Store in the Tremont neighborhood of Cleveland and was sponsored by A and A Studios, Film Photography Project and Old School Photo Lab.
As the title of the event implies, this event was focused on film photography. While digital technology has been flooding the photography landscape for the past decade, there has been an increasing number of shooters switching to film or rediscovering film. There is a movement taking place and there is a clear energy behind it. It's a very exciting time to be a photographer, especially one that loves to shoot film. Regardless of your personal opinions, it's clear that Lomography and The Impossible Project have helped to foster this rejuvenation; all which led to an event like this being held in my home state of Ohio.
The event kicked off on Friday night with a "social hour" opening reception at Aperture. A group of approximately 20-25 people attended from different areas of the U.S. (even Canada), enjoyed some frosty beverages and listened to opening remarks by Scott, Michael Raso of the Film Photography Project and Jake Bouchard of Old School Photo Lab. After we went over the itinerary for Saturday and purchased our film, we went our separate ways. I had the pleasure of having dinner with a few individuals at Prosperity Social Club. Jared, a relatively new photographer from Point Pleasant, West Virginia (home of the "famed" Moth Man) and Chris and Katie, two amazing photographers from Milwaukee, were my company for the evening. We enjoyed great food, beer and conversation. Chris and Katie regularly travel Route 66 and document it with the help of Polaroid cameras and film. In fact, they just released a book, six years in the making, entitled Polaroid Photos from Route 66. In addition to that, they run a site entitled "Fading Nostalgia," they're Urban Explorers and Chris is an amazing night photographer. It was a pleasure to meet these great individuals and it was the perfect kick off to the weekend.
Saturday was a jam packed day with three themed photo walks, with the first set to start at 8:30 a.m. We were to meet in between Gund Arena and Jacob's Field (now Quicken Loans Arena and Progressive Field) and start out on a street photography themed walk. While the numbers weren't to the level of RSVP's received on Facebook, there were still a good number of people that showed up for this event and we added individuals as the day went on. We made our way through the Gateway District, E. 4th Street and ended at Public Square. The walk was very informal, with Scott pointing out various landmarks as we walked. Shooting took place sporadically, with different groups forming and advancing along the path. For the first part of the day, I decided to keep my shooting pretty mindless and went with two "point and shoot" film cameras. I broke out the Olympus XA2 loaded with Ilford HP5 Plus black and white film (I'll post those results once the roll is developed) and my Holga micro 110 camera loaded with Lomography's new Orca 110 black and white film. I was able to finish my roll of HP5, but didn't shoot my 110. The morning started out hazy with drizzle and the fixed aperture and shutter speed of the micro Holga coupled with the 100 speed of the film didn't lend itself to being used. By the end of the first walk, the haze and drizzle lifted, the sun came out and the heat began to intensify. I enjoyed the walk, but after attending several meet-ups, I've come to the conclusion that this type of event doesn't lend itself to my style of shooting. I'm a solitary photographer that takes a lot of time to line up a shot, using my exposures sparingly and prefers to shoot with a tripod versus hand held. However, it's fun to meet new like minded people and geek out about cameras, film, photography and beer :)
After a bit of a break and some rest, the instant cameras came out to play and the instant photo walk began. Most attendees were shooting multiple cameras, with a mixture of Polaroid pack film cameras and Polaroid integral film cameras being used. I sported my original Polaroid SX-70 loaded with Impossible Project PX70 Cool film and my Polaroid SX-70 Sonar One Step with ND filter loaded with PX600 Silver Shade UV+ Black Frame. This walk featured a contest for the best instant photo submitted (with three wonderful prizes at stake as well as pride) and spanned through the Warehouse District and the Flats. It was a great walk, hearing the beautiful Polaroid sound coming from many integral cameras and other individuals pulling and peeling pack film. I have a number of images from that walk that I'll also post once I have them scanned. After the walk, we all chose our one best shot for the contest and headed back to E. 4th Street for lunch. We decided on Flannery's Pub at the corner of Prospect and E. 4th. I had a wonderful Reuben sandwich, enjoyed some beer and wonderful company. We had about a total of two hours before the next walk was set to start. I had a brief issue with my Hasselblad back (which seems to be fine now) and so instead of shooting a roll of slide film for the next walk in my medium format beauty, I had to switch it up to a roll of 35mm slide film in my Canon AE-1P with 50mm lens. Since my hotel was right down the street, I switched out cameras, unloaded some gear and grabbed an iced coffee at the Erie Island Coffee Company before we headed out for the third and final walk of the day - the cross process walk. We headed out to the theater district of Cleveland and snapped away using film provided courtesy of A and A Studios. Jake Bouchard from Old School Photo Lab gave us a few pointers on shooting the film for cross processing and we trekked across the theater district and ended up in an old cemetery right behind Jacob's Field. I had fun on this walk, but I had to change gears as a shooter, seeing as how I had to get through 36 frames within two hours. Anyone that knows my photographic style and how I shoot knows that the task set before me is a tough one. However, I was able to finish, although I had about 10 "throw away" exposures and candids at Panini's, which was where we ended the day. Scott said a few words, announced the winners of the instant photo shoot, and we all drank and enjoyed each other's company. After awhile, everyone began to go their own way and soon the night was over.
Even though a few attendees headed out on Sunday for a large format walk, my Analog's Pulse experience was over. It was a great time and I'm glad I could take part in the event. I met a lot of great photographers and people for that matter, enjoyed great food and company and got to shoot the cameras that I love so much. It was the second time that I've been to Cleveland in the past few months and I'm really beginning to dig the city. I want to return to shoot some of the areas by myself; where I can set up my tripod and just take my time. Regardless, I would participate in this event again. I know something is brewing for next year, so stay tuned to Scott's website and get excited for F8 in 2013. Until then, cheers and keep shooting!
As the title of the event implies, this event was focused on film photography. While digital technology has been flooding the photography landscape for the past decade, there has been an increasing number of shooters switching to film or rediscovering film. There is a movement taking place and there is a clear energy behind it. It's a very exciting time to be a photographer, especially one that loves to shoot film. Regardless of your personal opinions, it's clear that Lomography and The Impossible Project have helped to foster this rejuvenation; all which led to an event like this being held in my home state of Ohio.
The event kicked off on Friday night with a "social hour" opening reception at Aperture. A group of approximately 20-25 people attended from different areas of the U.S. (even Canada), enjoyed some frosty beverages and listened to opening remarks by Scott, Michael Raso of the Film Photography Project and Jake Bouchard of Old School Photo Lab. After we went over the itinerary for Saturday and purchased our film, we went our separate ways. I had the pleasure of having dinner with a few individuals at Prosperity Social Club. Jared, a relatively new photographer from Point Pleasant, West Virginia (home of the "famed" Moth Man) and Chris and Katie, two amazing photographers from Milwaukee, were my company for the evening. We enjoyed great food, beer and conversation. Chris and Katie regularly travel Route 66 and document it with the help of Polaroid cameras and film. In fact, they just released a book, six years in the making, entitled Polaroid Photos from Route 66. In addition to that, they run a site entitled "Fading Nostalgia," they're Urban Explorers and Chris is an amazing night photographer. It was a pleasure to meet these great individuals and it was the perfect kick off to the weekend.
![]() |
| Camera: Canon AE-1P Lens: 50mm Film: Fuji Provia 100 (XPro) |
![]() |
| Camera: Canon AE-1P Lens: 50mm Film: Fuji Provia 100 (XPro) |
![]() |
| Camera: Canon AE-1P Lens: 50mm Film: Fuji Provia 100 (XPro) |
![]() |
| Camera: Canon AE-1P Lens: 50mm Film: Fuji Provia 100 (XPro) |
Sunday, June 10, 2012
Random Camera - Mamiyaflex C2
Sorry I've been off the grid for awhile, but I've been busy shooting and working on a few projects that have kept me from dedicating as much time to this photography blog as I would like. To end the drought of posts, I've decided to give you the next feature in my Random Camera/Random Film series. For this installation, I'll be discussing the Mamiyaflex C2 TLR camera. I stumbled upon the Mamiyaflex C2 after grabbing coffee with one of my good friends. His father was heavily into photography and the Mamiyaflex was a camera that he used regularly. My friends' father no longer uses the camera and he graciously let me borrow it. So, like any new camera (old) camera, I grabbed a roll of film and took it for a test drive.
For those of you that don't know, a TLR camera is also known as a twin lens reflex camera. A TLR has two lenses, both of the same focal length and one is used for taking the image while the other is used for composing the image. The composing lens, also known as the TLR's viewfinder system, is typically a waist level viewfinder. According to Wikipedia, TLRs were first introduced sometime around 1870, primarily to reduce the amount of time it took creating an image. The most iconic of the TLRs is the Rolleiflex. It was introduced to mass market around 1929 and many of the TLRs that came after owe their design to that camera. It was the camera of choice for many past photographers as well as photographers of today. In fact, Vivian Maier, whose amazing photos have been popping up in galleries all over the world the past few years, primarily shot with a Rolleiflex. Once I get my hands on one of these, I'll probably write a number of blog posts, but today I'm going to discuss the Mamiyaflex C2.
Mamiya entered into the TLR business in 1948 with the introduction of a fairly straight forward offering, the Mamiyaflex Junior. They continued to make changes to the design and added more features to each camera that came after the Junior; it wasn't until 1956/1957 that Mamiya went for the professional market with their TLRs. They released the professional series, also known as the C series, with the introduction of the Mamiyaflex C. The major design change to this line and any other TLR at the time was the inclusion of bellows for close focusing and a wide variety of interchangeable lenses. The C model didn't last very long and is extremely rare because Mamiya improved the design with one major change and released the C2 in 1958. This major change was the addition of a second focusing knob; allowing for a left-handed or right-handed photographer to easily focus the camera.
The first thing I noticed about the Mamiyaflex C2 (and any medium format camera from the same era) is its' weight. These cameras were built to last; they're solid, heavy and are a far cry from the Lomography cameras (Holga, Diana F+, Fisheye 2) that I also use. This camera was the second professional medium format kit that I've been able to experiment with. Like my Hasselblad 500 cm, the Mamiyaflex C2 takes 120 film, has a waist level viewfinder, interchangeable lenses and produces a beautiful square image. In addition to the camera, I was given two lenses, an 80mm and a 180mm, to work with. I chose the 180mm because the shutter speeds weren't firing correctly on the 80mm. This was okay in my book because I'm used to shooting with a 150mm on my Hasselblad. After getting my hands on an old manual, it was time to load the camera and create some images. I decided I would start with one of my favorite films, Adox CHS 50; however, the film loading/winding didn't go as I planned and I ended up winding through the entire roll. Without a dark bag or darkroom to rewind the film, I had to switch to another roll. The film loading process isn't particularly hard, it was just a bit different from what I was used to. I popped in a roll of Kodak Tri-X 400 without any issues and I was off.
I split my shooting of this camera in three different locations, spread out over a number of weeks. I shot on an overcast day in a cemetery, a sunny day with some abandoned structures and a day in a low light barn. The camera and film choice performed quite well in all three scenarios. Outside of my Lomography cameras and my 35mm, I typically don't like to hand hold my cameras. I prefer to mount them on a tripod and since I didn't have a camera strap for the Mamiyaflex C2, I opted to stick with that practice. It worked well on a tripod and I'm sure it works just as well for any individual wanting to hand hold or street shoot with it. Overall, I really liked how this camera performed in the field. It was rugged and solid, performed in all situations I tested it in and was easy to use. Below are some of my observations:
For those of you that don't know, a TLR camera is also known as a twin lens reflex camera. A TLR has two lenses, both of the same focal length and one is used for taking the image while the other is used for composing the image. The composing lens, also known as the TLR's viewfinder system, is typically a waist level viewfinder. According to Wikipedia, TLRs were first introduced sometime around 1870, primarily to reduce the amount of time it took creating an image. The most iconic of the TLRs is the Rolleiflex. It was introduced to mass market around 1929 and many of the TLRs that came after owe their design to that camera. It was the camera of choice for many past photographers as well as photographers of today. In fact, Vivian Maier, whose amazing photos have been popping up in galleries all over the world the past few years, primarily shot with a Rolleiflex. Once I get my hands on one of these, I'll probably write a number of blog posts, but today I'm going to discuss the Mamiyaflex C2.
Mamiya entered into the TLR business in 1948 with the introduction of a fairly straight forward offering, the Mamiyaflex Junior. They continued to make changes to the design and added more features to each camera that came after the Junior; it wasn't until 1956/1957 that Mamiya went for the professional market with their TLRs. They released the professional series, also known as the C series, with the introduction of the Mamiyaflex C. The major design change to this line and any other TLR at the time was the inclusion of bellows for close focusing and a wide variety of interchangeable lenses. The C model didn't last very long and is extremely rare because Mamiya improved the design with one major change and released the C2 in 1958. This major change was the addition of a second focusing knob; allowing for a left-handed or right-handed photographer to easily focus the camera.
The first thing I noticed about the Mamiyaflex C2 (and any medium format camera from the same era) is its' weight. These cameras were built to last; they're solid, heavy and are a far cry from the Lomography cameras (Holga, Diana F+, Fisheye 2) that I also use. This camera was the second professional medium format kit that I've been able to experiment with. Like my Hasselblad 500 cm, the Mamiyaflex C2 takes 120 film, has a waist level viewfinder, interchangeable lenses and produces a beautiful square image. In addition to the camera, I was given two lenses, an 80mm and a 180mm, to work with. I chose the 180mm because the shutter speeds weren't firing correctly on the 80mm. This was okay in my book because I'm used to shooting with a 150mm on my Hasselblad. After getting my hands on an old manual, it was time to load the camera and create some images. I decided I would start with one of my favorite films, Adox CHS 50; however, the film loading/winding didn't go as I planned and I ended up winding through the entire roll. Without a dark bag or darkroom to rewind the film, I had to switch to another roll. The film loading process isn't particularly hard, it was just a bit different from what I was used to. I popped in a roll of Kodak Tri-X 400 without any issues and I was off.
I split my shooting of this camera in three different locations, spread out over a number of weeks. I shot on an overcast day in a cemetery, a sunny day with some abandoned structures and a day in a low light barn. The camera and film choice performed quite well in all three scenarios. Outside of my Lomography cameras and my 35mm, I typically don't like to hand hold my cameras. I prefer to mount them on a tripod and since I didn't have a camera strap for the Mamiyaflex C2, I opted to stick with that practice. It worked well on a tripod and I'm sure it works just as well for any individual wanting to hand hold or street shoot with it. Overall, I really liked how this camera performed in the field. It was rugged and solid, performed in all situations I tested it in and was easy to use. Below are some of my observations:
- Pay attention to the exposure correction scale on the camera- On the side of the camera, when you extend the bellows for focusing, you'll find an exposure compensation scale etched into the metal. Due to the lens being moved away from the film plane, exposures may need to be altered slightly from the metered scene to compensate for the additional distance. The exposure compensation scale lists the lens size and will give you a corresponding exposure compensation to factor based on the length of the extension. It's very easy to use and in my case I didn't have to refer to it often based on the length of the lens I was using.
- Parallax correction in the viewfinder- In the viewfinder, there are two horizontal lines that run across the top of the screen. These are guidelines for where the top of your image will be. These correspond to the exposure correction scale. The line that will be the top of your image moves lower the higher the exposure correction.
- The viewfinder- The viewfinder on the Mamiyaflex C2 is not as bright as the viewfinder on my Hasselblad. This is my biggest complaint with this camera. My Hasselblad viewfinder is very bright and it's very easy for me to achieve sharp focus; it took more time and multiple looks before I felt the image was focused just as I wanted.
- Provides beautiful bokeh- The Mamiyaflex C2 had wonderful range; Fine details were present with the larger depth of field and the shallow depth of field lent itself to separating the subject from the background and providing Hasselblad quality bokeh.
- The film back can be removed- There were a number of accessories made for the Mamiyaflex C2. In fact, the film back can be removed and replaced with a single exposure plate. I've yet to find one of these lurking around on the net or eBay, but I'm very intrigued as to what size single exposures this camera can take. If I find one, I would love to give it a go.
Overall, I was very impressed with the Mamiyaflex C2. It's a quality medium format camera with a few unique features that has the capability of producing fine images. If you've never shot a TLR before, it takes some getting used to. Once you get the hang of them, they're great cameras. I would recommend the Mamiyaflex C2 to anyone looking to shoot a TLR. It's a sturdy medium format kit that will provide a quality shooting experience. In addition to various accessories, the range of lenses is quite nice and provides you with many shooting options. While it's not a Rolleiflex, it is the perfect camera to get acquainted shooting TLR before you drop the money on a Rollei. Below are a few images from the Mamiyaflex C2:
Lens: 180mm
F22 @ 1/8 second
Lens: 180mm
F5.6 @ 1/125 second
Lens: 180mm
F22 @ 1/125 second
Lens: 180mm
F16 @ 1 second
Sunday, April 22, 2012
Good News ( A little self promotion)
Things have been quite busy lately. Outside of work, I've been working on a number of things. I've been camera testing an antique Kodak camera that's been modified to accept 120 film. I've had some light leak issues and once I get those taken care of, I'll post a video review as well as some sample images. I shot a pinhole camera for the first time (which I plan to do more of in the future) and I ran a test roll through a Mamiyaflex C2 that I plan on purchasing. Outside of that, I've been working on a project that's been in the conception stage for over a year. I started creating images for this project in January and I'm happy with the progression, although it's still a long way from being completed. Maybe when I feel compelled to show some of this work, I'll post something here. In addition to that, I have some good news to report. I don't typically use the blog to convey this type of information, but I've had a number of positive things happen this week, so I thought I would share.
I typically enter a number of regional competitions over the course of a year. I've decided to branch out and enter a few national and international competitions in 2012. Curious Camera is an organization that was started in Arizona in 2009. They embrace the photography created by "curious" cameras including, but not limited to plastic/toy cameras like the Holga, pinhole cameras, antique cameras, instant cameras and phone cameras. They've been hosting an annual competition of images created with these cameras and I decided to enter a few of my instant images. They select a first, second and third place winner and then 30 honorable mentions out of hundreds of entries from around the world that will then hang in an exhibit at the ArtsEye Gallery in Tucson, AZ. The image below won an honorable mention. It's posted in the Curious Camera online winner's gallery here and you can see it in person from April 28-July 31 in Arizona.
As you know, I've become an avid instant photographer and I love the Impossible Project. Last year they launched a special film in conjunction with the Ace Hotel. In addition to that film, Ace Hotel created an online gallery where photographers could upload their Impossible photos. In the fall of this year, a number of curators will select images in this massive online gallery to hang in a physical exhibit in NYC. In the meantime, they've been selecting monthly winners. I found out this week that the image below was selected as one of April's winners. You can see the post on Ace Hotel's blog here as well as Impossible Project's blog. Keep your fingers crossed that I get into the physical exhibit.
There is a magazine dedicated exclusively to film photography called Films and Grains. They have themes in every issue that photographers can submit their work to. They also have an open theme section dedicated to instant photography. I decided to submit a few images to the instant gallery and one of them was chosen to be published! The piece is entitled "Gallery" and was taken on a Polaroid 440 Automatic Land Camera with Fuji FP-100C film. The piece will be in Issue 5 of Films and Grains slated to be released on May 4. You can purchase it here on May 4.
That's it for now. I'll hopefully be back soon with more work to show, cameras reviewed and the next installation of the Artist Spotlight Feature. Keep shooting and I'll see you soon!
I typically enter a number of regional competitions over the course of a year. I've decided to branch out and enter a few national and international competitions in 2012. Curious Camera is an organization that was started in Arizona in 2009. They embrace the photography created by "curious" cameras including, but not limited to plastic/toy cameras like the Holga, pinhole cameras, antique cameras, instant cameras and phone cameras. They've been hosting an annual competition of images created with these cameras and I decided to enter a few of my instant images. They select a first, second and third place winner and then 30 honorable mentions out of hundreds of entries from around the world that will then hang in an exhibit at the ArtsEye Gallery in Tucson, AZ. The image below won an honorable mention. It's posted in the Curious Camera online winner's gallery here and you can see it in person from April 28-July 31 in Arizona.
As you know, I've become an avid instant photographer and I love the Impossible Project. Last year they launched a special film in conjunction with the Ace Hotel. In addition to that film, Ace Hotel created an online gallery where photographers could upload their Impossible photos. In the fall of this year, a number of curators will select images in this massive online gallery to hang in a physical exhibit in NYC. In the meantime, they've been selecting monthly winners. I found out this week that the image below was selected as one of April's winners. You can see the post on Ace Hotel's blog here as well as Impossible Project's blog. Keep your fingers crossed that I get into the physical exhibit.
There is a magazine dedicated exclusively to film photography called Films and Grains. They have themes in every issue that photographers can submit their work to. They also have an open theme section dedicated to instant photography. I decided to submit a few images to the instant gallery and one of them was chosen to be published! The piece is entitled "Gallery" and was taken on a Polaroid 440 Automatic Land Camera with Fuji FP-100C film. The piece will be in Issue 5 of Films and Grains slated to be released on May 4. You can purchase it here on May 4.
That's it for now. I'll hopefully be back soon with more work to show, cameras reviewed and the next installation of the Artist Spotlight Feature. Keep shooting and I'll see you soon!
Saturday, March 17, 2012
Artist Spotlight Feature - Alfred Stieglitz
Towards the end of 2011, I mentioned that I wanted to introduce an artist spotlight feature. One in which I could profile a photographer; whether it be a great photographer that helped shape the state of photography as we know it or a newer photographer that's trying to create their own identity in the medium. I wasn't able to launch this feature when I initially wanted to, but I'm happy to report that today is the day that it will finally appear on Imagery As Art. For this first feature, I'm concentrating on Alfred Stieglitz. He may not be the most well known photographer, but he was certainly instrumental in making photography an accepted medium of the fine arts. As I was taking an art history course, his work was an inspiration; additionally, I find him to be one of the most important photographers and artists of the 20th century.
New directions and ways of thinking were seen as possible and plausible in all forms of life in America during the 20th century; it was as if a new "spirit" was taking over the country. Alfred Stieglitz was born in 1846 and died in 1946; during his life, America saw some of the most rapid and radical changes to occur in society and culture (American Masters: Alfred Stieglitz, n.d.). New York became a bustling metropolis; skyscrapers were a symbol of a new age and abstract movements in art were in full effect. Stieglitz was a major contributor to this art shift, but like the time period he lived in, his art took on different directions and encompassed a different spirit throughout different points of his life.
Stieglitz was born in Hoboken, NJ and was educated as an engineer in Germany (Hostetler, 2004). He picked up a camera in 1883 and shot for the better part of 50 years. It was in 1890, when he moved back to New York, that he began to elevate photography to the fine art form that it is now. In 1891, Stieglitz joined the Society of Amateur Photographers of New York (Jeffrey, 2009). The following year, he began to use a hand camera; this was typically frowned upon by professional photographers but it allowed him to shoot on the street and capture scenes and happenings as they occurred (Jeffrey). 1897 came along and he founded a journal for the Camera Club of New York, which was known as Camera Notes. Stieglitz was very strict in his editorial policies and the work he published in Camera Notes; he believed in the potential of photography as a medium and he published to those standards (Hostetler). This angered a number of the members and in 1902, Stieglitz, along with other like-minded individuals, broke away from the group and formed Photo-Secession (Hostetler). The group was founded on the principles of the craftsmanship of photography; employing intensive print making techniques (Hostetler). While Stieglitz was a great printer and craftsman, he often favored compositional choices and elements to create the perfect image (Hostetler).
One of the greatest achievements to come from the Photo-Secession was the publication entitled Camera Work. Stieglitz produced this piece until 1917; a fifteen year run with 50 total issues. This publication was printed on Japanese tissue from original negatives. The publication featured such greats as Edward Steichen, Gertrude Kasebier and Frank Eugene. Steichen, who designed the cover of Camera Work, also donated studio space. This space became known as the Little Galleries of the Photo-Secession and later was simply called "291" (Hostetler, 2004). Stieglitz organized numerous exhibitions for the photographers of the Photo-Secession and later expanded to other forms of art at the time; including European modernism (Hostetler).
Stieglitz was a visionary; he saw the potential in photography as a true art form and he worked diligently to present the medium in that fashion. He altered the face of the photography as well as the face of art by championing European modernism in the states. He exhibited Picasso, Rodin and Matisse; he helped publish a Dadaist magazine; and he photographed Marcel Duchamp's Fountain for a publication. Fellow photographers and the art world owe a great deal to Mr. Stieglitz. Photography wouldn't be what it is today without the images and the pioneering of this man.
References
New directions and ways of thinking were seen as possible and plausible in all forms of life in America during the 20th century; it was as if a new "spirit" was taking over the country. Alfred Stieglitz was born in 1846 and died in 1946; during his life, America saw some of the most rapid and radical changes to occur in society and culture (American Masters: Alfred Stieglitz, n.d.). New York became a bustling metropolis; skyscrapers were a symbol of a new age and abstract movements in art were in full effect. Stieglitz was a major contributor to this art shift, but like the time period he lived in, his art took on different directions and encompassed a different spirit throughout different points of his life.
Stieglitz was born in Hoboken, NJ and was educated as an engineer in Germany (Hostetler, 2004). He picked up a camera in 1883 and shot for the better part of 50 years. It was in 1890, when he moved back to New York, that he began to elevate photography to the fine art form that it is now. In 1891, Stieglitz joined the Society of Amateur Photographers of New York (Jeffrey, 2009). The following year, he began to use a hand camera; this was typically frowned upon by professional photographers but it allowed him to shoot on the street and capture scenes and happenings as they occurred (Jeffrey). 1897 came along and he founded a journal for the Camera Club of New York, which was known as Camera Notes. Stieglitz was very strict in his editorial policies and the work he published in Camera Notes; he believed in the potential of photography as a medium and he published to those standards (Hostetler). This angered a number of the members and in 1902, Stieglitz, along with other like-minded individuals, broke away from the group and formed Photo-Secession (Hostetler). The group was founded on the principles of the craftsmanship of photography; employing intensive print making techniques (Hostetler). While Stieglitz was a great printer and craftsman, he often favored compositional choices and elements to create the perfect image (Hostetler).
One of the greatest achievements to come from the Photo-Secession was the publication entitled Camera Work. Stieglitz produced this piece until 1917; a fifteen year run with 50 total issues. This publication was printed on Japanese tissue from original negatives. The publication featured such greats as Edward Steichen, Gertrude Kasebier and Frank Eugene. Steichen, who designed the cover of Camera Work, also donated studio space. This space became known as the Little Galleries of the Photo-Secession and later was simply called "291" (Hostetler, 2004). Stieglitz organized numerous exhibitions for the photographers of the Photo-Secession and later expanded to other forms of art at the time; including European modernism (Hostetler).
![]() |
| The Terminal, 1892, Alfred Stieglitz |
By 1917, the year "291" closed, Stieglitz's thoughts on photography began to change and it was evident in his work. It was no longer about creating a polished, manipulated print that was of the same aesthetic as a painting, drawing or watercolor (Hostetler, 2004). It became more about capturing a moment, a feeling; something that was a natural strength of the medium. During this time, Stieglitz produced hundreds of portraits of Georgia O'Keeffe; who later became his wife. He also created a stunning series of clouds entitled Equivalents. In the latter part of his life, Stieglitz spent the majority of his time running his gallery; when he did photograph, he usually shot something from the gallery window. Those photos were striking compositions of New York City skyscrapers and the geometric forms that had taken over the city. They were simply a reflection of art and the times; the evolution of art during Stieglitz's lifetime; the evolution of photography; the evolution of America and lastly, the evolution of Stieglitz.
![]() |
| The Steerage, 1907, Alfred Stieglitz |
Stieglitz was a visionary; he saw the potential in photography as a true art form and he worked diligently to present the medium in that fashion. He altered the face of the photography as well as the face of art by championing European modernism in the states. He exhibited Picasso, Rodin and Matisse; he helped publish a Dadaist magazine; and he photographed Marcel Duchamp's Fountain for a publication. Fellow photographers and the art world owe a great deal to Mr. Stieglitz. Photography wouldn't be what it is today without the images and the pioneering of this man.
I've selected a number of Stieglitz's images to display. These images are classic Stieglitz; they clearly demonstrate his aesthetic and his progression as a photographer. The Terminal and The Steerage are two selections from his early work. They are classic examples of Stieglitz's ability to capture a scene or a moment in time. They have a photo journalistic quality to them, yet they convey emotion. Even with street scenes or standard everyday occurrences,the true fiber of the moment was communicated in his final print. This continued and evolved with Stieglitz's later work, especially in his portraiture work. I've selected two images from over hundreds of images he created of his wife Georgia O'Keeffe. He had a unique perspective when it came to portraits. His images are clearly not the "stuffy" portraits that were so common in his time period. He approached portraiture as if it was a dance; he masterfully moved around his subject and focused on characteristics that aren't typical of a studio head shot. Many of his O'Keeffe images focus on her hands. This was brilliant, because to know her hands is essentially to know her. Her hands were one of the most important tools she used in life. They display emotion; they convey the struggles and the triumphs that she has lived through; they show pain; they show joy and they show passion. As I look at her hands, I feel as if I'm looking into her soul. To convey this type of feeling with an image is the real power of photography. His powerful photography continued with his Equivalents series and in the final images that he produced from his window. Even while spending most of his time tending to his gallery, he still contributed his own vision of the world, even if it was simply by looking through a window. Stieglitz opened more than a window for photography and for that, I'm eternally grateful.
![]() |
| Georgia O'Keeffe, 1918, Alfred Stieglitz |
![]() |
| Georgia O'Keeffe, 1920, Alfred Stieglitz |
![]() |
| Equivalent, 1926, Alfred Stieglitz |
![]() |
| Looking Northwest from the Shelton, 1932, Alfred Stieglitz |
References
American Masters: Alfred Stieglitz (n.d.). Retrieved from
http://www.pbs.org/wnet/americanmasters/database/stieglitz_a.html on March 17, 2012.
Hostetler, L. (2004). "Alfred Stieglitz (1864–1946) and American Photography". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.
Jeffrey, I. (2009). How to Read a Photograph. New York: Abrams.
http://www.pbs.org/wnet/americanmasters/database/stieglitz_a.html on March 17, 2012.
Hostetler, L. (2004). "Alfred Stieglitz (1864–1946) and American Photography". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.
Jeffrey, I. (2009). How to Read a Photograph. New York: Abrams.
Sunday, February 5, 2012
More Holga Fun
I've become quite fond of my Holga 120N camera over the past year. I've ran a number of different film styles through it and I've shot it in various lighting conditions and settings. I've had great results; I've had good results and I've had bad results. It's all part of the fun with film and the Holga. My latest Holga experiment came on my recent trip to San Francisco and Sonoma. I shot a roll of Lomography 100 Color Negative film and a roll of Kodak Tri-X 400 (which was shot with a Holga red filter). The color negative was shot on Alcatraz and around Fisherman's Wharf. The Tri-X was shot in Sonoma and the rest of the roll was finished up in Ohio at the Hobart Nature Preserve. I was pleased with the results; I hope you enjoy them as well.
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N with Holga Red Filter
Film: Kodak Tri-X 400
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N with Holga Red Filter
Film: Kodak Tri-X 400
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N with Holga Red Filter
Film: Kodak Tri-X 400
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N with Holga Red Filter
Film: Kodak Tri-X 400
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N with Holga Red Filter
Film: Kodak Tri-X 400
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N with Holga Red Filter
Film: Kodak Tri-X 400
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N with Holga Red Filter
Film: Kodak Tri-X 400
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N with Holga Red Filter
Film: Kodak Tri-X 400
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N with Holga Red Filter
Film: Kodak Tri-X 400
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N with Holga Red Filter
Film: Kodak Tri-X 400
Camera: Holga 120N
Film: Lomography 100 Color Negative
Camera: Holga 120N
Film: Lomography 100 Color Negative
Subscribe to:
Posts (Atom)




























.jpg)














