The Aperture Journal by juanfrancisco drancisco

March, 2, 2017

$ 5, 00 Dollars Year 111 • N °41601 2 Books

The Aperture Journal Analogue Photography, Film & Arts

hotographers who refuse to abandon traditional film cameras. page 2

easons Photographers still choose to shoot film over digital. page 3

Total number of copies: Second Edition 28 445 Total Run 40 094

ilm photography is making a stounding comeback. Page 5

Photographers of the month: -Cassoday Harder-Theo GosselinWhat is analogue Photography.

A quick guide to all what you need to know. The term ‘Analogue Photography’ refers to photography using an analogue camera and film...

Large Format Portraits

The Light Eater: The biggest challenge.

Index: The photographers who refuse to abandon traditional film cameras 2 / 6 reasons photographers still choose to shoot film over digital 3 / Cassoday Harder 4

/ Film photography is making a stounding comeback 5 / The light eater: The biggest challenge for large format photographers 6 / What is analogue photography 7 / Theo Gosselin 8 /

2 March, 2, 2017

The photographers who refuse to abandon traditional film cameras Digital photography’s ever-increasing sophistication - especially in the cameras found on our smartphones might have something to do with film’s revival, he believes. “Everybody has a phone which will do pretty good images so there is a bit more satisfaction to be able to say that this is a ‘real photo’ that I actually shot on film myself,” England says. Like the recent vinyl resurgence, this reappraisal has been under way for some time. England saw a niche starting to emerge back in the mid-2000s.

ilm photography was supposed to have been killed off by the digital era ut a committed band of enthusiasts refuse to abandon the traditional camera. Stephen Dowling finds out why for some, film never went out of fashion.

“These old cameras can disarm people and can be the starting point for some great portraits. There’s something more friendly about film cameras, even quaint, and I try and make that work for me.” Joust’s refusal to move to digital might seem seriously out of step, given that the vast majority of images are now taken on a digital sensor.

Photographer Patrick Joust spends a great deal of time on the streets of his native Baltimore, drawn to capture both the city’s residents during the day and the lamp-lit solitude at night. He does all of this on film. “It’s the medium that works best for the kind of work I want to do,” says Joust, who often lugs three cameras around the streets, loaded with different kinds of film.

But he’s part of a growing wave of photography enthusiasts who remain committed to the old technology. Some are returnees who used film in years past, but many are younger photographers too young to have used it the first time around. That blossoming interest fuelled Film Photography Day, which took place on 11 April, encouraging photographers to swap mega pixels for film.

But the apparent death knell for film first rang as far back as 1975. In December of that year, Steve Sasson, a young engineer working for photographic giant Kodak, built the first working example of a digital camera. It may have weighed nearly eight pounds and stored its (black and white) images to a cassette tape, but Sasson’s experimental prototype was a revolutionary device. The digital genie was out of the bottle.

Edgar England, a manager at London’s West End Cameras, which specialises in film and film developing, says that a decade ago a pallet of hundreds of rolls of film might take six weeks to sell out. Now it only takes a few days. His store sells darkroom supplies and the wall behind the counter - and it’s a long counter - is piled high with various films. His lab even develops black and white film by hand.

The heralding of film photography’s “death” would take some time to come, but by the early 2000s digital cameras were cheap enough to replace the happy-snappy film compact camera for holidays, and digital SLRs (single-lens reflex) were reliable enough to convince many professionals and serious photographers to make the switch. With each passing year the industrial giants that had churned out rolls of film in their hundreds of millions stuttered or shuttered. Brick and mortar, high-street cam-

era stores and the labs that had developed film closed their doors. The smartphone revolution delivered a camera small enough to fit in a pocket, documenting the most mundane minutiae of our lives. No more loading cameras with rolls of film and winding on. No more running out of film at the perfect moment. No more getting prints back from the lab to find that a “perfect” shot had been ruined by a stray thumb or a dose of red eye. No negatives to get scratched, or lost, or covered in dust. No maddening maths

to contend with in order to get a properly exposed picture on a clunky, clockwork camera. And when digital is so convenient, why would you stick with film, with all its frustrations, its flawed and failed photograph? The reasons must be as individual as each photographer who refuses to conform. Some may want to work with much larger formats (their digital equivalents can be very expensive), while others may prefer the look of film’s grain, or the less saturated colours of certain films. Some want to be in control of the entire process, from the taking of the pictures to developing their photos. Feb 16, 2016 | Magazine

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6 Reasons photographers still choose to shoot film over digital

his year will mark forty years since the invention of the first functioning digital camera, and despite it being a measly 0.01 megapixels, it heralded a new age of digital photography and with it came a death cry for film.

rompted by this incredibly dull article published recently by the BBC, I decided to ask some fellow photographers what reasons they had for still shooting the so-called “outdated” technology. Here’s the list of what they told me… #1: It Slows You Down This reason can fall into both pro and con categories for a reason to choose film over digital, however the more accomplished photographer will tell you that a methodical approach is a much preferred way of achieving your goals. A typical roll of film only has

images and declaring somewhat obnoxiously “I’ll fix it in Photoshop later”. You see, getting it right in-camera also provides the added benefit of not having to sift through hundreds of frames to choose the perfect composition.

photographs from the beginning of the digital age have either already vanished or are at high risk of never being seen again. There is indeed talk of a forgotten century because of our reliance on digital technology over tangible objects.

#2. The Pictures Are Permanent

#3. For the Imperfections

How old is the oldest digital photograph you have, and where is it stored? Unless you’re incredibly organized, much of your first digital archives have already been lost. All it will take is one little knock and the hard drive with the last five years of holiday

The growing Lomography movement is, if you like, the militia of film photography. These photographers are film to the bone and nothing digital (apart from social media) will stop them in their quest to bring light leaks, plastic toy cameras and imperfections back to photography. Taking enjoyment from a poor aesthetic photography is what Lo-fi or Lomo is all about, and this can have fantastic serendipitous results. #4. The Element of Surprise

about 24 exposures compared to the 10,000+ JPEGs you can store on a 32GB memory card (or 347,000 on a 512GB).

snaps and your only backup of them could suddenly be gone permanently – technology isn’t built to last forever.

Simply applying this fixed restriction will make you think twice about everything that’s in the frame rather than rattling off another 100 digital

The advent of digital photography brought with it some problems of its own, namely ephemerality. Both by intention and by accidental loss,

The youth of today will have absolutely no idea what it’s like to walk home from the chemists with a pack of freshly developed film and prints, bursting with excitement for the hidden gems that are concealed. Do you take a sneaky look now or wait until you’re home? It’s been a week since you’re on vacation and you’re laughing inside at how that photo of Stephanie on the trampoline has come out or if you managed to capture those people on the beach with that cheeky hip shot.

H #5. You Don’t Need Electricity When the world as we know it comes to an end and the zombie apocalypse finally descends upon the human race electricity will not be as ubiquitous as it once was. Turning on a generator to charge up your D-SLR will be a no-no, it might attract walkers for a start. From start to finish you can create photographic negatives and in turn make prints from them without the need for any electricity at all. In fact, didn’t someone in the Walking Dead start doing that in season 5? There is certainly something nice about being creative on

ow old is the oldest digital photograph you have, and where is it stored? your own without the dependence on technology. This is simply not possible with digital photography. #6. It “Just Looks Better” It’s difficult to not take issue with this reason as there are plenty of Lightroom filter packs that can emulate different types of film photography, so in fact a RAW digital file has a great deal more scope on the final look.

Apr 25, 2015 | Sam Cornwell

4 March, 2, 2017

Cassoday Harder Film photographer

lthough this Sunday Style isn’t quite fashion based it certainly has a style of it’s own. I first came across photographer Cassoday Harder’s work when she was featured as the photo of the day on Photo Vogue. Her use of lighting, film, model choice, and location create a nostalgic aesthetic that is hard to not want more of. I became completely obsessed with Cassoday’s work and in one sitting downloaded over 200 of her photos for daily eye candy. This young girl has never taken a photography class and yet has managed to learn how to catch these breath taking intimate and almost spiritual moments that pass us by everyday. Her style is evident in every one of her photos

whether it be a girl laying in a field or a piece of toast in the morning. I had to learn more about who this tantalizing girl was behind, and sometimes in front of the camera. How did you first become interested in photography?

My mom has always been interested in photography so I guess that’s who really got me into it. I just took her camera and started messing around with different shotsat first it started as just a hobby, but eventually I got pretty serious about it.

Who/what are your inspirations? I find inspiration everywhere- people, songs, books, clothing, other photographers. Ideas come to me at random times. Your photography has such a romantic aesthetic to it. Is this on purpose and if so why? Hmm yes, I think so. I love grain and I love the soft, vintage style, I think it’s beautiful. It’s kind of part of my personality, too. Most of my favorite photographers use similar techniques. If you had to describe yourself in one word what would it be? Emotional.

As I mentioned earlier your photos are very soft and involve a lot of light to create that softness. Do you set your camera on a high ISO? When using digital, yes, I usually set it on a higher ISO. For most of my personal work I use film though, so that’s where a lot of the softomes from. Sept 02, 2016 | Ashley Garner

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Film photography is making a stounding comeback as Kodak Portra designed specifically to be scanned, reflecting the preference of many modern film users to have scans rather than prints as an end product. Kodak’s one-time rival, Fujifilm, is also still producing camera film, but focuses primarily on its Instax line of instant camera paper. This reflects one of the many unexpected trends in analogue photography; sales of Instax cameras have risen steadily since 2013, and are expected to hit five million units this year. This pattern is firmly being fueled by a young demographic—typically those born and raised in the digital age, for whom a printed photograph is something of a novelty.

anufacturers need to continue to respond to the market and innovate as much as they can.

ales of photographic film have been steadily rising over the last few years, with professionals and amateurs alike rediscovering the artistic control offered by manual processes and the creative satisfaction of a physical end product.

went from processing in the region of 5,000 rolls of film per day to 20 percent of that in a six-month period; as you can imagine, there were many casualties”, said Professor Steve Macleod, Director of Metro Imaging, a professional photography lab.

In the early 2000s, the world of photography changed forever. Though digital cameras had been widespread since the mid-1990s, the technology did not produce sufficiently high-quality results for professional and serious amateur photographers.

For a decade after this crash, sales of camera film steadily dropped as digital camera technology continued to improve; however, all was not lost for the analogue world. According to Kodak Alaris, a spinoff of legendary film manufacturer Kodak, sales of Kodak Professional film grew more than five percent worldwide between 2013 and 2015. Of course, this figure is not even close to reaching the dizzy heights of yesteryear, when film was

Around 2003, however, this changed, and vast swathes of professionals made the jump from analogue to digital, decimating an entire industry in the process. “Companies

UK-based Ilford Photo, another of the few major players to survive the crash, confirmed this trend last year after a survey found that 30 percent of film users were under 35 years old, and 60 percent had only started using film in the last five years.

the only tool available to photographers, but that might not even matter. Indeed, it seems the future role of analogue photography is not to challenge the dominance of digital, but to rest alongside it in a particular niche. Legends of the Past Perhaps the best-known film producer in the world, Kodak, is still operating in the aforementioned form of Kodak Alaris. What’s more, the company is continuing to innovate, with new films such

Such is the enthusiasm among this small but dedicated group that newer companies have even managed to find success in analogue photography—Lomography, born from a bizarre collective of photographers obsessed with low-fi Russian cameras, has also seen film sales rise steadily throughout this decade, with products such as Purple XR (a film that warps the colour spectrum) squarely aimed at the youth demographic.

Creative Control The question that these findings inevitably raises is: why? Why shoot film, when digital cameras are so advanced? In a sense, this line of enquiry is born of a misunderstanding. For many, there is an impression that film is an expensive medium compared to digital, which is ‘free’ in a sense, once the initial equipment has been purchased. “This is a myth. The cost of shooting analogue is im-

mediate and physical: you have to buy film, you have to pay to have it processed and scanned. With these criteria, digital appears less expensive and many wonder why anyone would choose to shoot film. However, people fail to build into their costing how long it takes to edit digital photos. If they were to cost out how long it takes to edit and prepare digital files for production, it would be equivalent or near to the cost of shooting analogue; they balance out in the end”, said Macleod. Similarly, there is often a lack of understanding of the experience of shooting film; the vast majority of digital camera users nowadays have never actually tried shooting with an analogue camera. Aug 16, 2016 | Temor Iqbal

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The Light Eater: The biggest challenge of Large Format portraiture

hooting portraits in large format film is extremely rewarding. There’s a simplicity of the process, from the posing to the static camera position, that helps ground both the photographer and the subject in the moment.

eautiful images may be your reward for such patience, but it’s not without its challenges. For me, the biggest challenge shooting portraiture is not working with the camera, but the insane amount of light you need to throw at it. For the uninitiated, here are some facts about the format and its light-eating characteristics that you may need to consider. When I decided that I would use my 4x5 camera for my portraits for my American We project, I hadn’t considered the amount of light I’d have to regularly throw at my subjects. I quickly found that

my pared down kit of speedlights and umbrellas wasn’t going to cut it. Here’s why. The Lenses One of the first things you’ll notice, especially if you’re coming from a 35mm sized frame or sensor, is that the maximum lens apertures are much smaller than the format you’re used to. A top quality 35mm portrait lens will usually have a maximum aperture of f/1.4 or f/1.2. You don’t need to throw a lot of light at it to get a proper ex-

posure. When you’re dealing with typical large format portrait lenses, say a 210mm in 4x5, an f/5.6 might be as wide as you can get. So right off the bat, you’re losing about four stops of light if you want to shoot wide open. That’s fine in daylight outdoors, but when you start shooting indoors, you’re going to need strobes with some power to get any action stopping going on. Either that or you’re going to have to have a very, very still subject. Don’t be disheartened by that large number, though. There’s roughly a four-stop difference in depth of field from 4x5 to 35mm. So, f/11 on 4x5 would be the same depth as about f/2.8 on 35mm. And that’s another reason you’ll need more light: you don’t need to shoot wide open on 4x5 to get shallow depth. In fact, if you want optimum lens sharpness, just like with 35mm, you’ll want to stop down a bit. More light gone. There are some lenses that have wider maximum apertures, but they don’t usually fit into traditional leaf shut-

ters, so you’d need a camera with a focal plane shutter to use them, such as a Speed Graphic. The Bellows Factor When dealing with the large format, you’re more than likely using a camera with bellows. The bellows is the light-tight accordion looking thing that connects the front and rear standards of the camera and lets you adjust the distance between the lens and film plane so that you can focus. They’re very handy and let you pull off some great effects and movements. However, because of the nature of bellows-focusing, the distance between the lens and film plane can vary greatly, and that needs to be compensated for. In order to compensate for it, there’s a formula that you use. I use an app on my phone. Yes, I’m lazy. If you’re as lazy as me but you’re an iPhone user, try this one. On my wooden field camera, if my bellows are fully extended and I’m using my 210mm, I’ll easily lose an additional 1.5 stops of light. When you’re doing macro work on a big studio

totally feel that it’s worth dealing with the light issues of large format. The results are beautiful and different from anything captured with a smaller frame” camera, the light loss can be even more significant, as the closer you need to focus, the further the lens needs to be from the film plane. Even at medium distances, you still will easily lose a half a stop of light to bellows compensation. Ways to Compensate -Lighting First of all, if you want to use artificial lighting at all, get powerful strobes. Most large

format lenses have sync ports on their shutters so you can sync with no problems using cords or your favorite wireless solutions. I use PocketWizards with no issues. I use Einsteins and a Godox AD600 in the field and I’ve never been wanting for power. But that’s typically shooting at nozzz smaller than f/16 (roughly f/4 equivalent on 35mm). If you plan on doing really close work in studio, you may want even more power. A pack and head solution, such as a Dynalite or Profoto Acute2 might be the way to go for you.

March 2, 2016 | Hans Rosemond

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A Quick Introduction to Analogue Photography

he term ‘Analogue Photography’ refers to photography using an analogue camera and film. A roll of film is loaded into the camera and the magic begins once you start clicking: light interacts with the chemicals in the film and an image is recorded. The pictures collected in your film roll come to life when the film is processed in a photo lab. When it comes to choosing a film camera, it’s important to remember that different cameras shoot different kinds of film. Some cameras use 35mm film, some require 110 format film, some shoot 120 (aka ‘medium-format’) film and some use Instant film. The most common among these choices is 35mm film, which can be processed in your local photo lab, drugstore or supermarket. 35mm film comes in canisters and is characterized by its sprocket holes – little perforations which run along the edge of the film strip. 120 film, on the other hand, is larger and delivers square photos; this film doesn’t have sprocket holes. 110 format film is used with pocket cameras and produces small photos. Lastly, Instant photos do not require photo lab processing; they magical-

ly develop within a few seconds! What’s So Fun About Analogue Photography?

WHAT IS ANALOGUE PHOTOGRAPHY? A Lomography Guide

Pop-art icon Andy Warhol was once quoted as saying, “The idea of waiting for something makes it more exciting,” and it perfectly applies to analogue photography. There is no LCD screen to check your photos and you’ll only see what you have captured after the film roll has been processed, scanned and printed. Ask any analogue photography devotee and they’ll tell you that the wait is part of the thrill! Once you get into analogue photography, you’re sure to find it creatively fulfilling. Modern-day apps and software have tried to emulate the effects that you get with film photos, but nothing beats the original; it’s more rewarding when you create it yourself rather than with a filter. Of

course, the results may vary (depending on the lighting conditions, the film and camera used and the mood of your photo lab operator, etc.) but overall the analogue look is unmistakable. Colors are richer, the saturation is more dramatic (or ‘wild’ if you wish), and the film grain adds soul and character to your images, they seem to evoke nostalgic and dream-like memories. Experimentation and the thrill of the unknown drive us in our love for analogue. What to Expect in Analogue Photography Light leaks, blank shots and happy accidents – these are normal with your first few rolls. But don’t give up! It takes some practice but you’ll get the hang of it. Our tip? Make sure that you read the instructions. Sometimes even film photography veterans forget about taking the lens cap off! Experimenting with your photos by trying out techniques can give you bizarre results, so don’t feel too bad if your photos are noth-

ing like how you planned them to be. Want to try some tips? Check out the Lomography Tipster page for some ideas!

Most Lomographers are actually happy to find light leaks – these are white or red streaks on film created by stray light that enters a camera body - and “m i s t a k e s” that occur as they shoot – these “flaws” make your photographs even more interesting and unique! It’s also best to keep in mind that different film labs do not use the same chemicals and calibrations, so you’ll get varied results with your photos.

dream-like square photos. If you’re aiming for sharp shots, go for a premium 120 camera such as the Belair X 6-12. Instant - Instant photography allows you to enjoy the tactile experience of analogue photography in a swift instant. It’s a great choice for spontaneous moments; once you click the shutter, the camera ejects the photo which develops in less than a minute. An excellent choice for shooting creative and fun instant photos is the Lomo’Instant. What sets this apart from other instant cameras is the creative flexibility that it offers: 2 shooting modes, advanced lens system, multiple exposure function.

What’s The Ideal Film Camera To Start With? 35mm - A 35mm camera such as the Lomo LC-A+ or Lomo LC-Wide uses all kinds of 35mm film which can be conveniently developed in your local photo lab. Both cameras are recommended for beginners, because they’re easy to use; the compact size allows you to shoot easily and get impressive results. These cameras produce photos with radiant colors and vignettes that frame your subject; plus, they’re equipped with creative settings for artistic photographs. 120 - Once you’ve mastered the 35mm format, you may want to explore the more advanced medium-format territory. You can start with the Diana F+, a classic camera that emits soft-focused,

About This Guide This handy guide is lovingly prepared for you by Lomography, a community dedicated to creative and experimental photography. We have been championing our passion for analogue photography for over 20 years! As Lomographers we are passionate about the unpredictable beauty in film photography – the chunky film grain, light leaks, rich colors and surprising results. We know you’ll love it, too. Rest assured that we will help make your first foray into the analogue lifestyle comprehensive and fun.

8 March, 2, 2017

Theo Gosselin Capturing his wanderlust-inducing life on the road Those who suffer from any form of severe wanderlust would likely do best to stop reading now. Speaking with the freewheeling French photographer Théo Gosselin, it’s difficult not to fall under the spell of his infectiously bright spirit — discussing road trips, camping, and just spending time in nature with his friends and family, many of whom make appearances in his work. His work, quite simply, transports you – it’s as though you can actually feel

the breeze through the open window of his van rustling your hair, the sun warming your skin. Born in Le Havre, a small harbor city in Normandy, Gosselin grew up under the spell of the ocean and an ingrained love of the outdoors. His love for photography was shaped at an early age, growing up in a house that was filled with his parents’ analog cameras: “I saw [my parents] taking pictures throughout my childhood, and at around 14, I started taking pictures. Shitty ones–of butterflies and the flowers in our garden.” Despite his shaky beginnings, what seemed like simply a hobby became much more than that after studying at an art school in Amiens, France.

“My friends and our lives became my principal subject, not as a photographer, but as a teenager who wants to capture memories just like everyone else.” “THIS IS MY LIFE. THESE ARE THE PEOPLE I LOVE.” Along the way, Gosselin took notes from the liberated ways of the American underground culture of the 20th Century. From beatniks like Jack Kerouac and Bob Dylan, to rebel filmmakers like Larry Clark, and the punk movement of the 70s and 80s, the themes

that were so prevalent in these influential cultural moments are the same ones motivating Gosselin to pick up his camera. “I think we just love the same things, but at a different period in time,” he says. “Freedom, adventures, friendship, living at 1000 km/h, rocked by the music.” In his mind, these underground cultures sought to promote a world of “young adults trying to find an idea of freedom to make their lives extraordinary.” He admits that it’s hard to live every day like this, but feels that life on the open road has been an unwavering influence on his work. This zest for travel prompted Gosselin to set out on a three month journey across the United States in 2012, a trip which resulted in the publishing of

his first book, Avec le Coeur, meaning “with the heart.” A mixture of photos from 2011-2012 and those from the time spent travelling from New York to Los Angeles, Gosselin describes the book as “everything I love, rallied into 109 pages.” It ranges from landscapes and travel shots to images of intimate moments shared. Feb 21, 2016 | Michelle Smith