n o v e m I I
Photo by Lara Kantardjian
The ANALOGUE STREET COLLECTIVE
“A diverse and eclectic group of photographers united by their desire to capture the soul of city streets—using (mostly) the irreplaceable medium of traditional film photography” - Alexander Strecker, Collectives Spotlight LensCulture Magazine
Photo by Paulo Abrantes
novem II
Photo by Lara Kantardjian
FOREWORD DON SPRINGER
DIRK VOGEL . 21 MANOLO L B MANTERO . 43 ANDO FUCHS . 65 MICHAEL GEHLING . 87 FRIEDER ZIMMERMANN . 109 LARA KANTARDJIAN . 131 MARIE-PIERRE LAMBELIN . 153 CYRIL JAYANT . 175 PAULO ABRANTES . 197
Foreword
What is it that divides the analog process from the digital process of photography? There are probably a number of things, depending whom you ask. I will tell you this, from my experience, Nah, from my love affair with photography and its processes. The thing is, that basically, we all start with a camera. We make the photos we desire on the street or anyplace at all. Then we process to make a print. I use the word print carefully and it means making the digital file, same as a paper print. So in just these few words and thoughts lives the quest for satisfaction in finding and adopting a process to live and work by. I was 16 years old and went to Atlantic City to see the first concert of the Rolling Stones. My friend Lynn went with me. She was younger than me but smart. We stood at the stage and Brian Jones was no more than 8’ away. Lynn pulled out a small 126 format camera. I knew nothing about anything she had or was doing. She pointed the camera to Brian Jones and hugged me and Brian smiled for us as Lynn snapped a photo. I paid no attention to anything she was doing. Two days later she showed me a small photo of Brian and I was like in awe. I wanted the photo but Lynn had it. We went to my mother’s friend’s house whose son had a darkroom. He took us in this magical portal. I could hear gurgling of water and a smell of vinegar but different. David put the picture in this thing and we saw the image large on the machines base. My eyes perked up. It was dark but like some yellow light that was hard to see. David put paper on the base and the image projected on the paper. We turned around and David put the paper in some liquid and in a moment, I could see the image but it was kinda black and white but I immediately understood it. My heart was racing, I was trembling and my stance didn’t seem strong. There in front of my eye, the magic of the alchemy of photography grasped my very heart and soul. Brian Jones was in our presence. This was before the word analog applied to photography.
I wonder how many people have been captured by this mysterious, magical, alchemy. Surely there are many that are captivated by this process. They call it analog and I suppose it is. There is magic and the love of just loading a roll of film in your favorite camera. Putting a roll of Tri-x in my Leica M4 was a religious experience. I relished the very touch of the film and the camera. Exposing the film was like an awakening and transporting to the Land of Zen. When the moment arrives that frame 35 is present, then starts the excitement of getting into the darkroom and making the negs. The experience of all you are and all you were on the street is re-born when you see the negs.
I’m not going to explain about the technical aspects of developers etc. You can read about that in many places. I will tell you that living the analog life of photography provides a oneness and a closeness to your very essence as a photographer and thus your life. Your soul will put forth a breath of life into every exposure you do. Each exposure has the possibility of making a Final Print that exhibits your love and respect for a craft that goes back well over 100 years. The Collective
Perhaps this sounds very esoteric and it certainly is. You are not alone in your quest for the
analog life of your photography. There are many groups that support yours and others processes, feeling and vision. These collectives help one establish any number of issues that pop up in your work and try to resolve them. So, the real question comes down to this. Not what is analog photography and how it differs from digital photography, but what and how does this difference affects life, life on the street.
Analog work is a religious experience. There is Father Time and Mother Light to contend with and you need to find a way to mix yourself with them. This takes time. Time supports a slower, deeper experience for each individual image. This implies a sort of Zen experience. It’s a long Tactile Decisive Moment vs the digital representation of a tactile experience. Lara’s collective is made up of like minded and open hearted photographers. Each shooter has a unique vision and experience.
Don Springer Street Shooter and Co-founder of Inspired Eye Magazine
DON
SPRINGER
Photo by Don Springer
Photo by Don Springer
Photo by Don Springer
Photo by Don Springer
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www.theanaloguestreetcollective.com