Viewfinder Magazine - Issue 3 - july 2011 by Viewfinder Magazine

Creative Photography July 2011 | Issue 03

S o u r ce : f l i ckr.com/nesster

the VF Team

Paul Murphy E ditor

Shoots on 18 film cameras from little plastic lens toys to pro SLR. Also shoots digital on a Canon EOS 450D. flickr.com/analoguepaul

Editorial

Festival Time Welcome to Issue 3 of Viewfinder Magazine, a magazine that celebrates all forms of creativity found in photography. This month we take a s pecial look at the 2011 PhotoIreland Festival, which at time of publica tion was half over. We attended as many exhibitions as we could and crammed in as many reviews as our pages would fit. Our featured photographer this month is the very amazing April-lea Hutchinson, a Polar oid fanatic with a passion for all things film. Creative Photography July 2011 | Issue 03

S ean O’Flaherty C reative Editor

Shoots with a Canon EOS 5D and 450D and a 35mm Pentax SP1000. Is also not a stranger to the world of the Diana F+. flickr.com/seanof

We also give you a quick and easy way to make your own redscale film. Also, inside you’ll find our regular gallery of the best pho tographs submitted to us, here, at Viewfinder in the last month as well as the latest news and we take a spe cial look at the Diana camera. The Viewfinder team also produce a monthly podcast, which is a great accom pani ment to this magazine so while you’re reading you can listen to us at vfpodcast.com

- the VF Team

A ndy Doyle P odcast Producer

Canon EOS 7D expert but from time to time he swaps his DSLR for his old Praktica and Lubitel cameras. flickr.com/andywithcamera

Contributors April-lea Hutchinson (aprilleaphoto.carbonmade. com), Sam Clark (flickr. com/ sammiepops), Eoin Williams, Riccardo Fisichella (flickr.com/ sunseya), Jonathan Garrett (flickr.com/ jongarrett777), Justin Gellerson (flickr.com/ justingellerson), Paddy Murphy (flickr.com/ spudmurf), NoIdentity (flickr.com/noidentity), Neuro Diaz (lomography. com/homes/neurodiaz), Barry Cregg, Ana Caldas (flickr.com/ 31434401@N02).

Competition Details on the back cover.

Inside this month’s issue Feature: PhotoIreland Festi val 2011

FEATURES

Magnum Contact Sheets A d u l t E n t e r t a i n m e n t p ho t o grapher Anton Fury is still none t h e w i s e r s i n ce C N N m a d e p u bl i c, l a s t m o n t h , t h e i m a g e s he found of Marilyn Monroe in 1980. Published on his blog on 4 J u n e 2 0 1 1 F u r y s t a t e d : ‘ I ha d hoped to learn something about these photos/negatives, but as of today, I don’t know any m o r e , t ha n I knew then. I have gotten d o z e n s o f ca l l s and emails from all over the world… all from press. W i t h a l l t hi s co v e r a g e , I’ m amazed that nobody has any i n f o r m a t i o n . So , t h e n e g a t i v e s h a v e g o n e b a ck i n t o t he d r a w e r – a ct u a l l y a s af e t y d e p o s i t b o x – w he r e t h e y ’ l l s t a y f o r p e r h a p s a n o t he r 3 0 y e a r s’ . Fury had hoped that from C N N p u b l i s hi n g t he i m a g e s t ha t they would spark somebody’s m e m o r y , a n d t h e p h o t o g r ap h e r ca n b e i d e n t i f i e d . L .A . a r t d e a l e r D a v i d S t r e e t s , w ho h e l p e d F u r y d eci d e t o m a k e t he

p i ct u r e s p u b l i c sa i d : ‘ H o p e f u l ly someone out there, perhaps a n o t he r p h o t o g r a p h e r , w i l l b e a b l e t o s h e d s o m e l i g ht o n t h i s .’ In 1980 Fury was at a garage s a l e i n N e w J e r s e y a n d p u rch a s e d a n e n v e l o p e co n t a i n i n g 33 negatives, for $2. After developing the negatives in his home dark r o o m , he r e alised what h e h a d st u mbled upon. ‘I co u l d n ’ t believe what I was seeing. I t w a s f r e akin’ Marilyn Monroe!’ but for 30 years Fury failed to t r a ck down t h e p h o t o g r a p h e r b e h i n d t he photographs. Needless to say this proved t o b e qu i t e a b i g t a s k , a n d a s F u r y s a i d i n a r e ce n t i n t e r v i e w w i t h t h e N e w Yo r k D a i l y N e w s : ‘ W h e n I f o u n d t he m t h e r e w a s no Internet, there were limited r e s o u r ce s t o r e s e a r ch t he m . ’ A cco r d i n g t o S t r e e t s, t h e i mages are from the early 1950’s when Monroe was only 24. This month she would have turned 8 5 .

A look at this year’s Pho toIreland festival which runs throughout July.

Featured Photographer This month’s most inspiring photographer is a passionate Polaroid photographer and model.

April - lea Hutchinson h t t p : / / a p r i l l e a p h o t o .ca r b o n m a d e . co m /

Gallery

GALLERY

An exhibition of the best photographs submitted to Viewfinder Magazine this month.

Picture: Abandoned Barn Photographer: Johnny Brian Camera: Holga 120N F i l m : R o l l e i Re t r o 4 0 0 S Flickr: limnidytis

Picture: Untitled P h o t o g r a p h e r : L a s z l o G e r e n cs e r Camera: Kodak EasyShare ZD710 Zoom F l i c k r : t h e w r o n g d e v i ce

30 TECHNIQUE

Technique: How Redscale Film

WARNING - you may have to sacrifice a roll of film

’’

Flip your film over and shoot the world in red and maybe a few yel lows. Words and Photos: Paul M urphy and S ean O’Flaherty. 35mm Redscale film is a very easy to make and makes for very interesting photographs. The important thing to know first is what standard colour (C-41 process) film consists of. Film has many different layers of emulsion. The film base is coated with these emulsion layers each one, however, is only sensitive to a certain colour Although film layers are much more com plicated and actually contain multiple layers for each colour each with different speed, con trast and other characteristics, for the purposes of illustration here we’re keeping it simple. You standard C-41 has a red sensitive layer, a green sensitive layer and a blue sensitive layer there is also some silver in there somewhere which ac tually means you can process C-41 film with black and white chemicals but that’s another experiment. So when we load our 35mm film into any standard 35mm camera notice that the more orange side of the film is where the image is being captured and the back of the film is the dull dark brown side. When we shoot the normal

Paul Murphy and Sean O’Flaherty show you how to make your own redscale film.

‘‘

How to make redscale film

Make

way light hits the blue sensitive layer first and then comes through to the green and finally onto the red. So if we want to shoot red images we need to shoot on the ‘back’ of the film. Unfortunate ly, however, it’s not usually a simple case of flipping over the canister as most 35mm cameras are made to fit the 35mm canister a particular way. But there is a quick and easy way around this all you need is a scissors, some tape and a dark space.

WARNING please note that before you continue follow ing this technique you must be aware that you may have to sacrifice a roll of film. What we are going ot do is take film out of one canister and spool it backwards into an other canister. For this you will need to sacrifice a roll of film and pull it all the way out until it stops. Now cut the film, leaving avout three or four sprockets worth of film sticking out of the canister.

Standard Colour Film Roll

Sacrificed Roll

The Magic of Sticky Tape

Next cut the leader off your other roll of C-41 film and tape the two ends together. Make sure that when you tape the two ends together that the sprockets are aligned so that there is no difficulty spooling the film into its new redscale canister. Also be sure that the orange side of one film meets the brown side of the other. You canisters should now be oppo sites of each other one normal and one upside down. Now for the easy part, if you have a darkbag, that is. If not

you n e e d t o f i n d so m e w h e r e i n total d a r k n e s s . A g o o d t i p i s t o do thi s i n t h e d e a o f n i g h t w i t h the cu r t a i n s cl o se d a n d i n s i d e a jacket u n d e r t h e b e d s h e e t s . Yo u r e a l l y n e e d so m e w he r e light t i g h t o r y o u r f i l m w i l l b e ruine d . On ce y o u ha v e s o m e w he r e dark h o l d y o u r f i l m ca n i s t e r s and b e g i n t o t u r n t h e s p o o l o f the fi r s t f i l m ca n i s t e r , t h e o n e we to o k t h e f i l m o u t o f , i n a n anti-cl o ck w i se d i r e ct i o n . It’s a r o u n d t h i s p o i n t y o u might w a n t t o si n g y o u r f avouri t e so n g t o y o u r s e l f a s t h i s

p r o ce s s ca n b e co m e t e d i o u s . O n ce y o u h a v e s u cce s s f u l l y spooled all the film into your r e d sc a l e ca n i s t e r cu t t h e f i l m n e a r t he o l d ca n i s t e r . Next, depending on what ca m e r a y o u u s e 3 5 m m f i l m w i t h y o u m i g h t h a v e t o cu t y o u r s e l f a l e a d e r o n t h e r e d s ca l e f i l m . Next step is to load and shoot. Re d s ca l e f i l m i s t hr e e s t o p s b e l o w i t ’ s o r i g i n a l s t r e n g t h. If y o u u s e d 8 0 0 IS O f i l m s ho o t t h e r e d s ca l e a s i f i t w a s 1 0 0 IS O f i l m . I f y o u u s e d 4 0 0 IS O f i l m e x p o s e f o r 5 0 I S O e t c . O v e r e xp o s i n g r e d s ca l e w i l l r e s u l t i n

REVIEW

Review: Diana F+

Diana F+

The Diana F+ camera, that pop ulates the shelves of many photographic stores today, is an updated copy of an old flower power era camera, and first ap peared for sale on Amazon.com back in 2003. The original Diana was first manufactured in the early 1960’s by a Hong Kong based compa ny, the Great Wall Plastics Fac tory. Most of the cameras produced there were exported to the USA and UK markets, and were mainly distributed as nov elty cameras. Sometime during 44

the 60’s an American compa ny, the Power Sales Company of Pennsylvania, imported the Diana and sold them wholesale for roughly 50 US cent a unit. Today the Diana + and f + are manufactured and sold by the Lomography. The alluring charm of the Diana, which has sparked creativity among professional and amateur photographers alike, can be attributed to its simplicity and the dreamlike un predictable images it produces. The entire camera is made from

cheap phenolic plastic, with the exception of the spring loaded shutter trigger and the electrical wires for the flash sync. Even the lens is a single ele ment piece of plastic. But don’t be fooled by all this plastic talk, the Diana produces beautiful dreamy images that will have you hooked. The Diana is a box camera that records an image primar ily on the medium format (120) film. The first thing you will notice is how light it feels when you pick it up, and the second thing you will notice is the viewfinder. The viewfinder is in no way associated with the lens and is basically a rough guide as to what image you want to record. This throws the whole aspect of composition out the window, although if you own a Diana you probably didn’t buy one for its compositional

merits. But this also encourages the fun and unpredictability shooting from the hip brings. The Diana is a simple camera, There are four aperture settings; cloudy, partially cloudy, sunny and pinhole, which equate to approximately f’11, f.13, f.19 and f.120 respectively. When it comes to your shutter there are two settings, N and B. When you set the cam era to N it will give you a ball park shutter speed of 1/60th of a second, and when you flick the switch to B you’re on the traditional Bulb setting, which keeps the shutter open for as long as you have the trigger depressed. The Diana F+ is a fully cus tomisable little fellow with Lomography offering wide angle, fisheye, close up and telephoto lenses as well as 35mm and instant backs.

The ever inspiring plastic fantastic Diana F+ gets the VF treatment.

News

Toy camera photos for tots appeal Composing with Images Press (CWIP) have put out a call for entries to toy camera photogra phers everywhere. CWIP are looking for im ages of the theme ‘play’ taken with toy cameras that explore, complicate, and represent in compelling ways the concept of ‘play’. The call for images by the independent not-for-profit publishers has gone out to help children of the USA in areas ravaged by the 2011 tornadoes. Winning entries will be published in a photo book with all sales proceeds donated to The Marine Toys for Tots Foundation . Jody Shipka of the University of Maryland, Baltimore County, and Nic Nichols of Four Corner Store and toycamera.com are on board to select the winning photos and edit the book. Deadline for submissions is

1st August 2011. T h e r e is an entry fee of $25 for the first three s u b m i s sions and a further $5 per im age thereafter, up to a maximum of five photographs. C W I P was founded by Bill Wolff and Billie Hara, they publish photo and art books that bring together images and text to engage creative, social, and cultural issues within a particular theme. Their first books

benefited BP oil spill cleanup efforts and were immediate best sellers. For more info visit CWIP www.composingwit himages.com

New darkroom courses in Dublin The Dublin gallery and work shop Block T , in Smithfield, has announced a range of photographic darkroom training courses. The courses are: Introduction to the Black and White Darkroom, Intermediate Black and White Darkroom Techniques and Advanced Darkroom Printing 1 & 2. The Darkroom has a range of enlargers enabling printing from 5x4, 120 to 35mm films. The courses are limited to a maximum of six students per

class. There are six enlargers in Block T’s darkroom, which will mean each student will have the use of an enlarger for

the duration of their selected course. Block T will provide all chemicals needed for the duration of the courses and paper for the first few weeks. For the advance classes Ilford 8x10 fibre based papers will also be provided . The course lecturers also have a wealth of knowledge and experience in photography and printing. For further information, please e-mail smit hfi eldarts@ gmail.com

Magnum Contact Sheets This November will see the landing on our shelves one of the most eagerly anticipated photo books in recent memory. Publishing house Thames & Hudsen will release a 508 page hardback book containing over 120 contact sheets from Magnum photographers. Was it the outcome of what a photographer had in mind from the outset? Did it emerge from a diligently worked sequence? These contact sheets will give many people a new insight into some of the most memorable and inspiring photos from the very esteemed photographic agency. Readers will be able to see other frames from the day Robert Capa and Salvidor Dali decided to throw a few cats around a room, and the terrifying scenes as the tanks rolled in to Tiananmen Square in 1989. There is also great insight into the Normandy landings by Capa, Che Guevara by RenĂŠ

Burri, the Paris riots of 1968 by Bruno Barbey, Malcolm X by Eve Arnold, and New York street scenes by Bruce Gilden Contact sheets unveil the story of what went into a photograph. Was the right shot a matter of being in the right place at the right time? These contact sheets reveal the creative methods, strategies, and editing processes used by some of the acknowledged greats of photography, from legends such as Henri CartierBresson and Elliott Erwitt to Magnumâ&#x20AC;&#x2122;s latest generation, including Jonas Bendiksen, Trent Parke, and Alec Soth. With supporting texts by the photographers or by those selected by the estates of deceased Magnum members, and ancillary material such as press cards, notebooks, and filed captions, this landmark publication provides a depth of understanding and a critical analysis of the back-story to a photograph.

Features

Homeless Gallery kick starts festival at D-light Although PhotoIreland festival offi cially kicked off on July 1st, fo r over 100 photographers it all started the following day when D-light Studios opened their doors to photog raphers for this year’s Homeless Gallery. Now in its second year, the Homeless Gallery offers photographers, who can’t afford the high costs of putting on their own exhibition, a space to house their works and exhibit them for a short period. The 100+ photographers, who registered for the event, lined up outside the studio as they waited for the doors to open and then ran to find what wall space they could, with some inventive exhibitors bringin g their own stands to utilise the studio’s large floor space. Exhibitors were encouraged to think outside the box when it came to putting their works on display, with some ceilings and floors being put to good use. Others took interesting tak es on staircases and, of course, the resident mini. The exhibition opened to the public on Sunday July 3rd and closed Wednesday July 6th. Opening day saw more than 900 visitors to the exhibition,

which turned into one big party when the festivities began at 6pm with DJs and free vodka. There was also a guest ex hibition on display from the Polish documentary photography group the Visavis.pl Photographers’ Collective whose Non-Season al Changes exhibi tion consisted of a series of images depicting the Polish town of Niepołomice, a place dra matically transformed since Po land’s entry to the EU in 2004. The gallery housed e very thing from Polaroid to mobile phone images, no matter what your interests are in photography someone at this exhibition had photographs on display that were going to match your taste. There were works on display from fashion, portrait, abstract, fine art, street, docu mentary and wildlife phot ographers and every turn you took, another photographer and style presented itself. There was no moderation, curation or censorship in the Homeless Gallery. Any photog rapher who registered was welcome to exhibit whatever they wanted. There were also no constraints on quantity, quality or format. This exhibition had it all. PM 9

Take Another Left Photographic exhibition by Shane Connaughton and Diarmait Grogan Block T, Smithfield. 7th - 12th July

Take another left showcased the work of two photographers whose photographic style and eyes could have fooled some into be lieving the exhibition was the work of one photographer. The pictures, hung in a well thought out, non-linear direc tion, not only prevented the viewer from bobbing their head along and missing a scene but also served to enhance the disbelief that this was the work of separate photographers. Since meeting in 2004,

Grogan and Connaughton have been collaboratively exploring the medium of photography. They have worked together in parallel and have been mutually inf luential on each other’s practice. It’s difficult to pigeonhole the sty le of these artists into one simple category but the coming together of grain, dark ness, bursts of light and trails of movement culminate in a distinct view of the world. There are subtle differences to thei r work, with Grogan’s

self printing in a home dark room, and Connaughton’s lean ing towards the use of colour. They have many thematic concerns in common which allows their work to share a similarity in its experimental approach. The exhibition mapped each photographer’s experiences as they contemplatively docu ment their own lives. Refracted through the prism of the artists’ own subjectivity they vividly express their individual perspectives on life. PM 11

Liquidity - On the Chair Exposures by Mella Travers Block T, Smithfield. 30th June - 16th July

When a photographer know ingly sets about destroying their original images, in the name of experimentation, there is always a pause and a deep breath in the hope that it all works out. For Mella Travers it probably worked out better than she had expect ed. Her Polaroid lifting technique and adaption of darkroom techniques has al lowed her to print the lifted Polaroid images in a large format. The final images, six years in the making, hung, unframed, as if drying in a darkroom across two walls on the top floor of Block T, with light boxes containing the Polaroid lifts mounted near the entrance.

The combination of relaxed portraiture and the effect of the large printing, of the emulsion lifts, makes it feel as though you’re peering into some sort of distant world. The one constant in the images is an old nursing chair with a high back and low arms. A chair , which Mella attributes to giving her the opportunity to create different, intimate portraits as each subject re laxed in it. It’s easy to see from the images that the portraits are far from a quick sit, snap, next, photo shoot. In fact, none of the sitters were ever scheduled as part of a planned shoot. The portraits

were taken whenever the op portunity presented itself, over a period of twelve months. But when it came time to experiment with her Pola roids, Mella had to learn to ‘let go’ which is the most difficult step in any photographic experiment. As each Polaroid went through the lifting process, it stood the chance of being lost forever. Each lift gave her an unpredictable and unique im age, which she put onto glass. The glass lifts are positive and these were made into paper negatives in the darkroom and from that, large positive black and white prints were produced. PM

Life Imitating Art by Jeanette Lowe

The Black Mirror by Seamus Sullivan

The Long View, at the Gallery of Photography

Peppe Italian Restaurant, Smithfield. 1st - 31st July

The Swan Centre, Rathmines. 6th - 10th July

Gallery of Photography, Temple Bar. 1st July - 28th August

Janette Lo we investigates the relationship between Photo graph and Painter by digitally ‘painting’ her photographs of Dublin. The choice of venue is not unusual as the restaurant itself is featured in the works along with other well-known Dub lin venues such as Neary’s Pub, Metro Cafe and Butler’s. These images have been selectively edited in the same way a painter can choose to emit el ements of a scene if they do not fit into the artist’s vision. The photographs have been digitally de-cluttered removing unwant ed signs, rubbish, advertising, wires and anything else deemed unnecessary by the artist which gives the images a dream like feeling. Viewers at this exhibition will observe familiar local scenes, but in a detached, some what surreal way. AD

The Black Mirror is a collection of images by Galway born pho tographer Seamus Sullivan and curated by Dublin art writer Laura McGovern. The main focus of the collection is to show the traditional picturesque view of landscape, cruelly interrupted by man’s disregard for his environs. As notable as the images themselves is the sheer size of some of the prints. They are all large format Lambda prints, ranging from a subtle 24in x 24in to the monstrous 48in x 48in. They were hung in an unconventional manner as the artist chose to have them unframed, held in place using alli gator clips suspended from the wall . The great detail and superb colour tones of the images can be attributed to the 40 year old camera Seamus used to capture the views. SOF

In a world of disposable digital photography, The Long View takes a distinctly considered approach. Photos are displayed in a series of collections which are the product of sustained work over months, years, or even decades in some cases. Subject matter varies widely and includes cultural identity, modernity, globalizat ion, the troubles and Ireland’s ‘disappeared’. These works required an investment of time from the photographer and require a similar investment from the viewer. On first sight, the im ages appear mundane but on noticing subtle details and realising the context of each shot, they take on a deeper meaning. Artists include David Farrel, Anthony Haughey, Richard Mosse, Jackie Nickerson, Paul Seawright, and Donovan Wylie and is curated by Tan ya Kiang and Trish Lambe. AD

Anger by Niall O’Brien

Blindschleiche und Riesenblatt by Anne Schwalbe

Mexican Worlds : 25 Contemporary Photographers

Block T, Smithfield. 7th - 12th July

Severed Head Gallery, Dublin 2. 8th July - 13th August

Sebastian Guinness Gallery, Dublin 4. 1st - 31st July

Dublin’s Block T becomes part exhibition space, part abstract movie theatre as Niall O’Brien exhibits his moving-picture depictions of anger. In a moment of anger, time seems to speed up as our brain gets a jolt of adrenaline, but O’Brien chose to slow down his footage to scrutinise how our outward expressions change as we go from a calm state to an angry one. The unconventional audio used to accom pany the visuals in this analysis of anger creates a feeling of discomfort in the viewer. A native of Dublin, Niall studied fine art in the renowned Dun Laoghaire Institute of Art, Design and Technology. To date he has received many awards including the Irish Professional Photographer’s Association Rex Roberts Medal and two main categories in the ICI Photographers of the year award. AD

Anne Schwalbe’s Blindschleiche und Riesenblatt is a collec tion of images from her self titled book of the same name which explore environments defined by stillness, emptiness and light. Spaces in which man exists only as a trace denoting the existence of an ambiguous present -absence The framed prints are large but unimposing as the detailed scenes show the natural world, allowed to exist without the interference of man, in its full majestic natural colour and beauty. These images express the natural poetry found in the world we live in. Schwalbe graduated from the School of Photography, Berlin, in 2009 an has exhibited world wide, including Self Publish, Be Happy, London, the Ulsan In ternational Photography Festival, South Korea, and the New York Photo Festival. PM

Mundos mexicanos, or Mexican Worlds, is a collection of photographs by 25 contemporary Mexican photographers curated by Alejandro Castellanos. The collection presents some of the most significant works in the last decade across three main themes, the individual, the community and place, shown through depictions of Me xican Culture captured throughout the globe. The relationship between the photographer and their surroundings comes across strongly in these images, from the image of the Lucha Libre wrestlers to the individuals dressed as superheroes in New York. The gallery is contained on the ground floor of Con nacht House, Burlington Road, which is currently vacant providing the perfect space to view these images, as there is plenty to consider and admire. SOF 15

Between A & B by Kevin McNicholas

The Shadow of James Joyce by Motoko Fujita

Photographs 1908-1940 by Luis Ramón Marín

No Grants Gallery, Temple Bar. 7th - 28th July

The James Joyce Centre, Dublin 1. 8th June - 24th July

Instituto Cervantes Dublin, Dublin 2. 7th July - 23rd September

This collection of 30 images by Manchester born photog rapher Kevin McNicholas cap tures fleeting moments from the streets of Dublin, New York and various other cities around the world. They are an attempt to depict the often unseen order that can present itself in the mun dane chaos of ordinary life. These images look to record the parts of everyday life where many of us forget we exist, lost in out own thoughts and ideal situations. While presenting the viewer with a certain voyeur feeling the images also give off a sense of the observation, as well as timing, of the photographer. The captions, which accompany the images, describe the scene in detail and portray the photographers thought process for taking, and displaying, these particular images. SOF

Contemporary Japanese pho tographer Motoko Fujita studied the works of James Joyce before coming to Dublin in 2003. Armed with Olympus OM cameras she walked in the shadow of Joyce through Chapelizod to capture the essence of a world that he had captured, in words, in his last great masterpiece ‘Finnegans Wake’. Through her stunning, picturesque, black and white, pig ment on archival baryta pa per prints, Motoko guides the viewer through a world which hardly looks to have changed since Joyce penned his words more that 70 years ago. But even for those unfamiliar with the works of James Joyce this exhibition is a must see as Motoko has successfully captured Dublin in a light that most people would not have thought possible. PM

Photographs 1908-1940 is a collection of images from Span ish photographer Luis Ramon Marin who is regarded, by many, as one of the masters of photography. The exhibition explores the hidden and forgot ten story of the years before the Spanish Civil War. The images reinforce his high regard as you marvel at the natural framing, precision and composition of each and every photograph. The collection documents many different walks of life, from iconic Spanish motorcy clists to the King of Spain, Alfonso XIII. Throughout his ca reer Marin amassed over 18,000 negatives, 15,000 of which are glass plates. After the civil war, for fear of retribution, his widow Eduarda Plá hid these negatives behind a wall in her kitchen where they remained for decades. SOF

PhotoIreland Festival 2011 Programme* Programme only contains events that are running on dates after July 14, 2011

Exhibitions The Long View at the Gallery of Photography Gallery of Photography, Temple Bar, Dublin. 1st July - 28th August Martin Parr’s Best Books of the Decade National Photographic Archive, Temple Bar, Dublin. 15th - 31st July Versions and Diversions Curated by Karen Downey Temple Bar Gallery & Studios, Temple Bar, Dublin. 14th July - 20th August History of Disappearance by The Franklin Furnace, New York Book & Magazine Fair, FilmBase, Temple Bar, Dublin. 15th - 31st July Out of the Dark Room: The David Kronn Collection Irish Museum of Modern Art, Royal Hospital, Kilmainham, Dublin. 20th July - 9th October RHA Annual Exhibition 2011 Royal Hibernian Academy, 15 Ely Place, Dublin. 25th May - 30th July Photographs 1908-1940, by Luis Ramón Marín Instituto Cervantes Dublin, Lincoln House, Lincoln Place, Dublin. 7th July - 23rd September Home, group show 13 North Great George’s Street, Dublin. 1st - 15th July Long Way To Paradise Book & Magazine Fair, FilmBase, Temple Bar, Dublin 15th - 31st July Mexican Worlds: 25 Contemporary Photographers

Sebastian Guinness Gallery, Connaught House, Burlington Road, Dublin. 1st - 31st July 60 Years – Stories of Survival and Safe Haven The Complex, Smithfield, Dublin. 8th - 18th July Pride ‘n’ Prejudice by IADT 3rd Years City Arts, 15 Bachelors Walk, Dublin. 9th - 15th July Images of Germany. 8 photographic positions. Agency Ostkreuz The Complex, Smithfield, Dublin. 8th - 28th July Sommes-nous ? by Tendance Floue Collective Alliance Française Dublin, Kildare Street, Dublin. 1st July - 17th September The Arc of Realism 1911-1997, by Zofia Rydet Centre for Creative Practice, 15 Pembroke Street Lower, Dublin. 1st - 15th July

George’s Street, Dublin. 8th June - 24th July Photography in Contemporary Painting The Douglas Hyde Gallery, Trinity College, Dublin. 27th July Bleak Beauty, by Eugene Langan darc space, North Great Georges Street, Dublin. 1st - 29th July A Royal Wedding, by Five Eleven Ninety Nine La Catedral Studios, 7/11 Saint Augustine Street, Dublin. 1st - 30th July Traces Of The Real by Hugh McCabe The Workmans Club, 10 Wellington Quay, Dublin. 1st - 25th July Photo 2011 by Dublin Camera Club members Dublin City Library, Pearse Street, Dublin. 5th - 26th July

Blindschleiche und Riesenblatt by Anne Schwalbe Severed Head Gallery, 16 Lower Mount Street, Dublin. 8th July - 13th Aug

A Calculated Attack: Guerilla Exhibition/Cork Analogue Photographers Street Art on Drury Street, Dublin. 1st - 31st July

Ghost Shops, by Seán Hillen Basecamp, 108-109 Middle Abbey Street, Dublin. 12th - 30th July

Glamour in the Blood by Debbie Castro Inspirational Arts, 7 Herbert Street, Dublin. 5th - 31st July

Achill / Fictionary by Linda Brownlee/Holly McGlynn KTcontemporary, 25-27 Donnybrook Rd, Dublin. 1st - 28th July

Photo 19, by DIT 3rd Year Students The Complex, Smithfield, Dublin. 21st - 31st July

SeeChange, Group Show The Complex, Smithfield, Dublin. 8th - 29th July The Shadow of James Joyce, by Motoko Fujita The James Joyce Centre, North Great

Documentary: Heroes without Arms. Photographers of the Spanish Civil War Instituto Cervantes Dublin, Lincoln House, Lincoln Place, Dublin. 14th, 21st & 28th July Jewellery Box-Ireland’s Hidden Gems, by Daragh Muldowney 17

TileStyle, Ballymount Retail Centre, Ballymount Road Upper, Dublin. 6th - 31st July

La Dolce Vita, by Joseph La Mela La Dolce Vita, Cow’s Lane, Dublin. 3rd - 31st July

Royal Hibernian Academy, 15 Ely Place, Dublin. 14th July

Chasing Shadows II Centre for Creative Practices, 15 Pembroke Street Lower, Dublin. 18th - 31st July

Workshops & Talks

Presentation of Photobook Course in Madrid Book & Magazine Fair, FilmBase, Temple Bar, Dublin 16th July

Life Imitating Art by Jeanette Lowe Peppe Italian Restaurant, 31 North Brunswick Street, Smithfield, Dublin. 1st - 31st July Conversations About Culture by Matthew Thompson Temple Lane South, Temple Bar, Dublin. 15th - 24th July Disclosures, group show Block T, Haymarket, Smithfield, Dublin. 21st - 26th July Marín: Guided Tours by the Festival Director Instituto Cervantes Dublin, Lincoln House, Lincoln Place, Dublin. 19th & 26th July Four Floors Show at MadArt Gallery MadArt Gallery and Studio, 56 Lower Gardiner Street, Dublin. 19th - 31st July Africa: The Experience, by Bobby Kerr Barista Cafe, Sandyford Industrial Estate, Dublin. 21st July - 30th September Landscapes of Cork, by Patrick Donald Patrick Donald Gallery, Royal Hibernian Way, Dawson Street, Dublin. 6th - 30th July

Between A & B, by Kevin McNicholas No Grants Gallery, Temple Bar, Dublin. 7th - 28th July Listen, group show Block T, Haymarket, Smithfield, Dublin. 14th - 19th July One Night in the Killy by Pete Smyth The Killinarden House, Tallaght, Dublin. 9th - 24th July Grey Area, by Arcadia Collective Gallery 53, Capel Street, Dublin. 8th - 31st July

Collaborative Change Symposium Wood Quay Venue, Dublin 8 14th July Martin Parr’s Lecture on Photobooks Book & Magazine Fair, FilmBase, Temple Bar, Dublin 15th July Bruno Ceschel Lecture on Self Publish, Be Happy Book & Magazine Fair, FilmBase, Temple Bar, Dublin 16th July

Seán Kissane on The David Kronn Collection Irish Museum of Modern Art, Royal Hospital, Kilmainham, Dublin 8 23rd July Bring Your Own Book Book & Magazine Fair, FilmBase, Temple Bar, Dublin 24th July

Markus Schaden Lecture on Publishing Book & Magazine Fair, FilmBase, Temple Bar, Dublin 16th July

The History of European Photography Book & Magazine Fair, FilmBase, Temple Bar, Dublin 17th July

The Sunday Society by Brown & Bri Book & Magazine Fair, FilmBase, Temple Bar, Dublin 16th July

Blurb Bookmaking Seminar Book & Magazine Fair, FilmBase, Temple Bar, Dublin 16th & 17th July

The convergence of ideas by Brown & Bri Book & Magazine Fair, FilmBase, Temple Bar, Dublin 17th July

Studio Lighting Workshop for contemporary art photographers Centre For Creative Practices, 15 Pembroke Street Lower, Dublin 2. 16th & 17th July

Blurb Presents SHOW Book & Magazine Fair, FilmBase, Temple Bar, Dublin 16th July

Presentation of PhotoIreland 2012 Book & Magazine Fair, FilmBase, Temple Bar, Dublin 17th July

On Irish Magazines: Source, SuperMassiveBlackHole, and Blow Book & Magazine Fair, FilmBase, Temple Bar, Dublin 24th July

Visual Artists Ireland Talk Book & Magazine Fair, FilmBase, Temple Bar, Dublin 16th July

Source Magazine: Stock Take Book & Magazine Fair, FilmBase, Temple Bar, Dublin 23rd July

VAI Professional Development Programme La Catedral Studios, 7/11 Saint Augustine Street, Dublin 8 23rd & 24th July

What is Photography? Irish Museum of Modern Art, Royal Hospital, Kilmainham, Dublin. 23rd July

Fine Art Printing – Advanced Techniques Fire, The Copper House, Synge St., Dublin 8. 25th & 29th July

Art Form Evening – Tour

Photographic Archives – large format

scanning as an archival resource Fire, The Copper House, Synge St., Dublin 8. 18th July

Creating the Perfect Print supported by Canon Book & Magazine Fair, FilmBase, Temple Bar, Dublin 19th & 26th July Chasing Shadows & Historical Processes Centre for Creative Practices, 15 Pembroke Street Lower, Dublin. 28th July Music Photography Centre for Creative Practices, 15 Pembroke Street Lower, Dublin. 21st July Pinhole to Digital Workshop for young Adults Gallery of Photography, Temple Bar, Dublin. 18th - 22th & 25th - 29th July Book Binding and Portfolio Options for Photographers Book & Magazine Fair, FilmBase, Temple Bar, Dublin 20th July Wet Collodion 19th C. Photographic Process Annesbrook, Duleek, Co. Meath 23rd & 24th July Panoramic Imaging Centre for Creative Practices, 15 Pembroke Street Lower, Dublin. 25th July Film Silent Britain (1898â&#x20AC;&#x201C;1929) Centre for Creative Practices, 15 Pembroke Street Lower, Dublin. 26th July Science Is Fiction: The Sounds Of Science (1927 onwards) Centre for Creative Practices, 15 Pembroke Street Lower, Dublin. 19th July Documentary Nights at Exchange Fish Bowl Gallery @ Exchange Dublin, Temple Bar, Dublin. 15th July

April - lea Hutchinson h t t p : //aprilleaphoto.carbonmade.com/

Self-Por trait

fact box : N a m e : A p r i l - l e a H u t chi n s o n Location: Toronto, Canada Website: http://aprilleaphoto.carbonmade. co m / Favourite camera: Polaroid Land Camera 420. Favourite film: Any expired Pol a r o i d ( 6 6 9 ) a n d IP F B l u e t o n e , I l ford Delta 3200 Pro. Favourite thing to photograph: Women and really anyone I find u n i qu e o r w i t h t o n s o f cha r a ct e r . Person you would most like to photograph: It’s a toss up bet w e e n t h e D a l a i L a m a o r C h r i s t opher Walken. I n s p i r a t i o n : Fr i e n d s , f i l m s, m u s i c a n d p h o t o g r a p h e r s s u ch a s B e t t i n a Rh e i m s , S a u d e k , S a l l y Mann &, Newton. I n t e r e s t s o u t si d e p h o t o g r a p h y : Travel, modeling, yoga, hanging o u t a t ca f e s o r a n o l d b o o k s t o r e , r u m m a g i n g t hr o u g h s e co n d h a n d stores and anything in nature.

I shoot film first and foremost because it sees what I see, more purely than digital. To me, film is just magical. I’m a big fan of old school vintage cameras and I like to experiment with different film emulsions. I love the grain of film. It just suits me and my personality. Most of the time I shoot where I live but now that the nicer weather is here I’m shooting more on location. My shoots take around 2-3 hours, some times more. When I shoot with a friend and we’re hanging out,

the shoot could last a whole day. Usually they’re very laid back. I once did a shoot where the model had just done a fash ion shoot, the day before, and I could tell. I asked her to take a timeout and relax before get ting back to shooting. I work with a lot of the same models too, so we already have a connection formed. About two we eks ago, I took a drive to the countryside with my friend. She’s also a model and we just spent the day hanging around. We went to this horse farm and

smoked a couple of cigarettes and hung out by the car. It was very relaxed and it was so nice and sunny out. It was one of those shoots where it just feels like I’m just hanging out with a friend. The images from those shoots are very rewarding . I’ll be back in New York, modeling and doing my own photography and taking a road trip up north to Georgian Bay soon. I’ll probably take about ten cameras and plenty of film with me. Hopefully, I’ll also get my book out this year. 29

Gallery

Picture: Pitstone Windmill Double Photographer: Sam Clark C a m e r a : S p r o ck e t Ro c k e t Film: Lomo Xpro 200 Flickr: sammiepops 30

Picture: Signs of Human Activity 06 Photographer: Eoin Wi lliams Camera: Mamiya RB 67 Film: Fuji Velvia 50 Transparency

P i c t u r e : A r r i v o o o o o o o o o oooooooooooooo P h o t o g r a p h e r : Ri cc a r d o Fisichella C a m e r a : Y a s h i ca F x - 3 Film: Ilford HP5 400 Flickr: sunseya 32

Picture: Alone #2 Photographer: Jonathan Garrett Camera: Canon A1 Film: Kodak BW400CN Flickr: jongarrett777 33

P i c t u r e : J u g B a y , U pper Marlboro, Maryland P h o t o g r a p h e r : J u s t in Gellerson C a m e r a : P o l a r o i d 6 00 F i l m : E x p i r e d P o l a r oid 600 F l i c k r : j u s t i n g e l l e r son 34

Picture: Zoo Wall, Chorzow Photographer: Paddy M urphy Camera: Nikon F50 Film: Konica VX 200 Flickr: spudmurf 35

Picture: Last Standing Photographer: NoIdentity Camera: Canon AE-1 Fim: Legary Pro 100 Flickr: noidentity 36

Picture: Green, as black and white Photographer: Neuro Diaz Camera: Lomo Smena 8M Film: Lucky SHD 100 Lomography: neurodiaz 37

P i c t u r e : U nt i t l e d Photographer: Barry Cregg Camera: Nikon FM Film: Ilford FP4+ 125

Picture: Spark Photographer: Ana Caldas Camera: Canon PowerShot SX20 IS Flickr: Ana.Caldas

Technique

How to make redscale film F l i p yo ur film over and shoot the wo rl d i n red and maybe a few yel l ow s . Words and Photos: Paul M urphy a n d S ean O’Flaherty. 35mm Redscale film is simple to make and can create very in teresting photographs. The important thing to know, first, is what standard colour (C-41 process) film con sists of. Film has many different layers of emulsion. The film base is coated with these emulsion layers. Each one, however, is only sensitive to a certain co lour. Although film layers are much more complicated and ac tually contain multiple layers for each colour. Each with different speed, contrast and other characteristics. For the purposes of illustration we’re keeping it simple. Your standard C-41 has a red sensitive layer, a green sensitive layer and a blue sensitive layer. There is also some silver in there somewhere, which actually means you can process C-41 film with black and white chemistry but that’s another experiment. So when you load your 35mm film into any standard 35mm camera notice that the more orange side of the film is where the image is being captured on and the back of the film is the dull, dark brown side. 40

When you shoot the normal way, light hits the blue sensitive layer first, then the green and finally the red. So if you want to shoot red images you need to shoot on the ‘back’ of the film. Unfortunate ly, however, it’s not usually a simple case of flipping over the canister as most 35mm cameras are made to take the 35mm can ister a particular way. But there is a quick and easy way around this. All you need is a scissors, some tape and a dark space.

WARNING: please note that before you continue following this technique you must be aware that you may have to sacrifice a roll of film. What you need to do is take film out of one canister and spool it backwards into another canister. For this, you will need to sacrifice a roll of film and pull it all the way out until it stops. Now cut the film, leaving about three or four sprockets worth of film sticking out. Next, cut the leader off your

‘‘ WARNING - you may have to sacrifice a roll of film’’

Standard Colour Film Roll

Sacrificed Roll

The Magic of Sticky Tape

other roll of C-41 film. Tape the orange side of one film to the brown side of the other. Your canisters should now be opposites of each other, one normal and one upside down. Make sure that when you tape the two ends together the sprockets are aligned so that there is no difficulty spooling the film into its new redscale canister. Now for the easy part, if you have a dark bag, that is. If not, you need to find somewhere in total darkness. A good trick is to do this in the dead of night

under a duvet. You need some where light tight or your film will be ruined. Once you have somewhere dark hold your film canisters and begin to turn the spool of the empty canister, the one you took the film out of, and feed your C-41 roll into its new canister. Once you have successfully spooled all the film into your redscale canister cut the film Be sure to cut a new leader on the redscale film to make for easy loading into your camera. Next step is to load and shoot.

Redscale film is three stops be low its original strength. If you used 800 ISO film shoot the redscale roll as if it was 100 ISO film. If you used 400 ISO film expose for 50 ISO, etc. Over exposing redscale will result in the other colours, green and blue, interrupting your otherwise red and yellow world. The good news for those who sacrificed a roll is that you’ll never have to do it again as you now have an empty can ister, with a small piece of film sticking out, ready to house a new roll of home made redscale. 41

For your chance to win some of our own VF Redscale film see the back cover 43

Review

Diana F+

The Diana F+ camera that pop ulates the shelves of many photographic stores today is an updated copy of an old flower power era camera and first ap peared for sale on Amazon.com back in 2003. The original Diana was first manufactured in the early 1960â&#x20AC;&#x2122;s by a Hong Kong based company, the Great Wall Plas tics Factory. Most of the cameras produced there were export ed to the USA and UK markets, and were mainly distributed as novelty cameras. Sometime 44

during the 60â&#x20AC;&#x2122;s an American company, the Power Sales Com pany of Pennsylvania, imported the Diana and sold them wholesale for roughly 50 US cent a unit. Today the Diana+ and F+ are manufactured and sold by Lomography. The alluring charm of the Diana, which has sparked creativity among professional and amateur photographers alike, can be attributed to its simplicity and the dreamlike un predictable images it produces. The entire camera is made from

cheap phenolic plastic, with the exception of the spring loaded shutter trigger and the electrical wires for the flash sync. Even the lens is a single ele ment piece of plastic. But don’t be fooled by all this plastic talk, this camera produces beautiful dreamy images that will have you hooked. The Diana is a box camera that records an image primarily on medium format (120) film. The first thing you notice is how light it feels when you pick it up, and the second thing is the viewfinder. The viewfinder is in no way associated with the lens and is basically a rough guide as to what image you want to record. This throws the whole aspect of composition out the window, although if you own a Diana you prob ably didn’t buy one for its com positional merits. This can also

encourage the fun and unpredictability of just pointing the camera and shooting. The Diana is a simple camera. There are four aperture settings; cloudy, partially cloudy, sunny and pinhole, which equate to approximately f.11, f.13, f.19 and f.120, respectively. When it comes to your shutter there are two settings, N and B. When you set the camera to N it will give you a ballpark shutter speed of 1/60th of a second and when you flick the switch to B you’re on the traditional ‘bulb’ setting, which keeps the shutter open for as long as you have the trigger depressed. The Diana F+ is fully cus tomisable with Lomography of fering wide angle, fisheye, close up and telephoto lenses as well as 35mm and instant backs for the little plastic box camera. 45

Submit to the Magazine How to submit your work to Viewfinder Magazine: Website: www.viewfindermag.com/submit Flickr: flickr.com/groups/viewfindermag/ Tumblr: viewfindermag.tumblr.com Email: submissions@viewfindermag.com

Submission Guidelines 1. By submitting an image to the magazine, you give us permis sion to use that image on our website and in our magazine. 2. Pictures must be at least 300dpi and at least 2000 pixels on the shortest side. 3. Pictures can be taken on any camera, analogue or digital. 4. If submi tting analogue work please have the camera and film type included in either the metadata, tags, or caption.

5. Your submission may be refused without reason, as due to the nature of the publication we cannot contact everyone in dividually to explain why work was not accepted. 6. We cannot pay photogra phers for their work; any mon ey earned from the Magazine is immediately put back into im proving the magazine and the accompanying podcast. 7. You can only submit your own work. Work that is found

to have been taken from some one else will not be accepted. 8. By submitting a photo you are assuring Viewfinder that you are the sole copyright owner of the photograph and as such should any question about ownership arrive after publication of the image you are accepting full liability and res ponsibil ity if it turns out that you are not the copyright owner of the photograph.

Source: flickr.com/nesster