Whattaroll Issue 1 - Selfies

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THE EDITOR'S

ORD Flooded with all the digital technology, we have forgotten the tangible, analogue world. We want to push out from our consciousness everything that we consider to be imperfect. In pursuit of the unattainable perfection, we have even stopped looking at people. We now prefer their ideal versions created on Photoshop. Analogue photography shows us the beauty of the world as it is. It does not need intermediaries, it does not require processing. Light itself is painting the images. Film doesn't lie. It simply is, and it pays back every time if you treat it with respect.

So we met somewhere, sometime, watching one another's works, from all over the world (we are still looking for Australians!). And we decided to create something that we are missing.

Thus, we have created Whattaroll! Magazine and it is dedicated to all of you, our current and future readers and anyone who has ever felt the magic of capturing time on film.

INTERVIEW

WORDOGRAPHY

THE SELFIES

A LA MODE

07-10

11-14

15-46

47-54

MANAGING ANALOGUE

MAD MECHANICS

WORLD OF PRINTING

WHATTADEBATE

55-56

57-60

61-66

67-70

5 sec

02

7sec

10 sec

14 sec

20 sec

H O WE ARE!

The sun rises and sets on us everyday, but not at the same time. We come from different backgrounds, we have different cultures, we work for different industries. But we had a vision and a thirst that could hardly be quenched. So from all over the world we got together, amalgamated by a burning love and nostalgia for that which has almost been forgotten, driven by one common goal, to attempt to satisfy an undeniably ubiquitous need.

And we are single-minded in our determination. Individually, behind the greater purpose, this is who we are...

Describing herself as the procrastination queen, this señorita is in fact a very capable multitasker! The Spanish blood running through her veins means she’s enthusiastic as she is talented!

This analogue shooter, serial mix tape producer and soon-to-be architect will be curating our little project.

MARTA SPAIN

Editor-in-Chief and Managing Editor

Mainly based in LAlaland (aka Los Angeles), this dreamer and wanderer loves the simple joys of life - baby bears, green meadows, coastlines, Belle and Sebastian, the color blue, and hedgehogs. But don’t let that soft exterior fool you; inside Michelle packs a powerful punch, her words, photos, and feet being her main tools. She’s really made of blue sky and hard rock and she will live this way forever.

MICHELLE USA

Copy Editor and Online Content Manager

Cursed with the idea of being an artist, he tried to be normal once and graduated in architecture. 25% graphic designer, 25% analogue photographer, 25% architect and 25% VIP. He thinks he can dance and he worships Adobe. Made in Serbia and spiced up with talented skills, is there anything this guy can´t do!

MARKO SERBIA

Creative and Art Director

Polish contribution to Art has always been notorious. Some say it’s because in Poland they drink vodka instead of water. The creative mind of this project has a noble name, talented eyes and unlike other Poles, he prefers wine. Don´t be shy now, come and show him what you are capable of. Adrian Norbert Cuper doesn’t bite (much)!

ADRIAN POLAND

Executive Editor

How can a group of misfits be complete without the token china man! Part Jackie Chan, part dwarf mixed with a hint of falcon, this British born beast of a man is an art lover, analogue shooter, philosopher and hopeless romantic. He also carries a rubber duck with him named Butch. Don’t ask as he won’t tell.

KAM UK

Copy Editor and Marketing/PR

04

R I T E R S

A N D

C ON T RI BU T ORS “If it's good, we don't want any of it!�

These may sound like the words of a mad man but it is in fact the mantra of our team here at Whattaroll Magazine. In our minds, why settle for good when there is great?

So when it came to finding contributors, we applied this exact ethos. We set ourselves strict rules so as to filter out the great from the good;and in our humble yet honest opinion, we think we have found them.

Harun likes to cultivate harmonious incongruity. Born in Yugoslavia, became French. Studied business, became anti-capitalist. Reads Dostoievsky and Rimbaud but Listens to Nas, Tupac and Thelonious Monk… heck he even recorded a hip hop album. Hates propaganda, works in Marketing. Loves high tech yet shoots analog! He literally is a statistical error, some doubt he even exists!

HARUN FRANCE

Literar y Writer

A catatonic catwoman; a catastrophe! Erin is a published writer and a film photographer from Manila and the founding editor-in-chief of Parallel Planets. Follow her updates on www.flavors.me/basterda

ERIN ITALY

Writer

Most of the time, he is a student of photography. In his spare time, he plays xbox and pisses off his girlfriend. He's a self-confessed prince charming without a horse and he's always cooking something in his photolab.A unicorn (in her own world) and a student of graphical engineering and design (in the real world), Jelena is a mythical creature that eats butterflies, makes cyanotypes, crafts handmade jewelry, and has the power to convince you that the sky is green and grass is blue.

MILOS&JELENA SERBIA

Writers

Pizza, pasta, mandolino, mafia, Da Vinci, arte, bello… Truth to be told, the doctor is “in da house”! We have an Italian doctor in our staff, adding some aspirin and heartbeat to this project… Prepare yourself for the most politically incorrect and unconventional photographer of the magazine with weird opinions, technical skills and Portuguese/Brazilian-dependence!

ALESSANDRO ITALY

News and Technical Writer

Léa Gendrot is a 19-year-old photography student from Paris who loves fashion and shooting portraits with slide films. She loves to create melancholic atmospheres in her photos.

Check out her work at http://leagendrot.tumblr.com

LEA FRANCE

Photographer

A native of Los Angeles, Sean Lotman lives in Kyoto, Japan.

His website is www.seanlotman.com and he has an ongoing Diana F+/ haiku project, which can be viewed at http://www.idohaikuyou.com

SEAN USA

Photographer

06

INTERVIE

Rolling Habits Some time ago, eye-catching photographs started curiously showing up on walls in the streets of Madrid. Everybody wondered if it was part of some commercial propaganda or advertising stunt or if it was just some new street tagging craze that was getting big. If you looked closer and paid enough attention to the photographs though, you could tell from the execution and the details that it wasn't just some kids vandalizing; you could tell that there was a lot of talent behind them.

Intrigued, I started doing research to find out who exactly was responsible for these incredible pieces, which I have since found out are called paste-ups. I wanted to meet this nameless artist and talk to him (or her) about these inspiring images that are being displayed in my home city for everyone to see. I moved heaven and hell and did some serious stalking (a skill that, I have a sneaking suspicion, I have gotten quite good at!).

Finally, one day, my hard-work paid off and I found the man behind the art.

Madrid-based street artist and black-and-white photographer Rolling Habits is the force behind the city's massive paste-ups. Bearded, with a punk-fresh attitude and an engaging personality , he is a creative and passionate analogue photographer that has a very unique approach to and vision about the craft. His style is simple, capturing snapshots of people and everyday things in a way that many would construe as nonchalant, yet one cannot help but be captivated by his images, which are almost like glimpses to his subjects' souls.

ROLLING HABITS

A N A L O G U E

P H O T O G R A P H Y

“Most of my memories are related to photographs that produce new memories for me, and take me to places I wouldn’t have remembered if I hadn´t looked at them.

All my memories are in my photographs”

Analogue photography vs Digital Analogue photography gives

First picture you took I’ve been shooting since the

I have finally understood the concept of sincereness in art that

Why Black and White photography?

My photography is not as much

For me, black and white

artsy as it is documental; I shoot

me many things that the digital

very beginning. I got an Indiana

my teachers taught me when I

developing is the process I can

what happens to me in my daily

can´t. I started shooting film and

Jones kit that included a camera

was studying Photography and

control the most, it’s easy and

and conventional stages.

when I moved to digital, I lost part

as a communion present. I would

Digital Creation in Catalonia - do

direct. I am now getting into

Process of a photo

of the magic. Everything became

be lying if I said I remember my

what you feel and what motivates

colour developing but everything

more automatic. But I am only

first picture, but I do have a lot of

you, without trying to please

is more complicated with the

speaking for myself; anyone

albums and pictures with memoÍ

anybody or force it to become like

temperatures, etc.

should do what makes them feel

ries. I have to say that most of my

someone else’s work.

I would really shoot more colour if

more comfortable or productive.

memories are related to photoÍ

In my case, it’s way easier to edit

graphs that produce new

them in analogue since I pay

memories for me and take me to

more attention to what I am doing

places I wouldn’t have rememÍ

and shoot only 30 times instead

bered every time I look at them.

of 300 or even 3000. The

All my memories are in my

process is better for me since

photographs.

although I’ve been using several programmes for many years now, I am still not a big fan of computÍ

Photography as way of leaving It’s actually not my way of

Improvised sessions vs planned It’s mostly improvisation. When I shoot portraits, I would lie if I’d said I don´t influence the way the models move or pose. I like to confront them, to get more direct, spontaneous and fast pictures. I have also done some commercial photo shoots for work and those

ers. I prefer the manual and

living, because I consider

come with more preparation. But I

mechanic process, and of course

photography as something

like the difference between those

the results. I think we are just

personal. I’ve created a small live

two worlds.

guinea pigs of digital photograÍ

video mapping production

There are many people that can

phy and even at its best, we

company, and I approach

use both at the same time (good

haven´t reached even 15% of

photography the way I feel about

for them!), but in my case it’s

what we have done in analogue

it – in a sincere way.

totally the opposite and I think it

photography.

will always be this way.

08

I had the cash to make the copies in Lab35 (Greetings to them!!

Haha). It would be great if I could have copies of all my negatives for only 7 Euros but that day hasn´t arrived yet! ;) As for modifying things in the developing process, I know many people here are involved with Lomography, but I already shot with many different cameras and made lots of mistakes with them.

Now I enjoy having a good lens and getting crisp pictures when I do photography. I take too many pictures and I don´t have to the time to experiment with weird development processes.

This is a portrait of a heavy metal teenager at the door of FNAC in Gran vía. I was working there helping some friends with a production last Christmas and I saw these kids. I really liked their attitude, their hair, their fresh pre-teen look… so I went over to them, told them that I liked their vibe, and asked them if I could take photos of them. I had a compact camera with me. I processed the shots in my lab and we pasted them up on San Bernardo Street. If you stop by, you can still see some of the photos! Normally, they would stay up there from 10 to 30 weeks!

ROLLING HABITS

M A D R I D

A S

P L A Y G R O U N D

“Police are always around so we have to do it quickly: we take 20 posters, a bucket and two long sticks, aiming for the highest, most disturbing or nicest city spots”

Describe Madrid in 3 pics

Strategy We do the bombing

My work has been published in a

Right now I would choose

technique. I've always liked graffiti

fanzine together with two other

three of the ones I already

and have worked with graffiti artists

artists, Maya Cohen and Alberto

preselected for the exhibition that I

in the past so I already know how it

Feijó. We were selected by

mentioned.

all works with them . In the city

Roberto Vidal to exhibit in Conde

This is my friend Angel; I love

centre, Police are always around so

Duque our works (in my case 10

shooting portraits during after

we have to do it quickly: we take

pictures) related to Malasaña, an

parties, I’ve realised people are

20 posters, a bucket and two

area in that city.

very sincere at 10 am haha.

long sticks, aiming for the highest,

Paste ups idea

These are some staircases from

most disturbing or nicest city spots.

Street vs Exhibitions Yes I am open to anything

the Pez Street, and this portrait I have to say that I always liked the idea; I think it’s a great

of the man you see.

technique.

It’s a powerful image, isn´t it?

Obviously the most important

but, as I said before, I don´t want

reference I have is JR, one French

to condition my work and

artist that I really admire. He

creative process (even though it

produces really big things and he

sounds a bit presumptuous), I

is very mediatic, even though I

don´t want to intoxicate it. I’ve

find him a bit repetitive

taken part in several competitions

sometimes.

but the thing is you really lose the time you could be using shooting on the street. But if someone likes my photography and believes in me… so be it!

just shows the big rounded head

3 Pics you admire

Rolling Habits The truth is that Rolling Habits is not a collective, it only involves me. I created that pseudonym a couple of years ago, because it fits to several of the things I’m interested in. And bike is the only transportation I use, rolls are my photography base… and some other things people can easily figure out. ;) But in some ways, Rolling Habits is a collective since I have this video production company called SNACK! where my mate Guille

García Álix has great photoÍ

and I work together on both

graphs defining Madrid. I was

personal and business projects.

really impressed by the portrait of

Besides him, I have many others

a rocker guy; this might be one

helping me. There are always

of the photographs that made me

some friends willing to glue things

want to say “Yeah! This is what I

up for me! I don´t understand it,

want to do for living.”

it’s a funny thing!

I would also add any of the street photographs from Cartier Bresson or Ed Templeton

Soon I’ll be going to the United States and, as I said before, I’m a big fan of cycling so I am going to travel from New York to Los Angeles, taking pictures with my Leica M6 and my Hasselblad. I have the route in my Moleskine, and I will take the US-50 road, also called the loneliest road in America.

ROLLING HABITS

P

E

R

S

O

N

A

L

S

I

D

E

S

“My inspiration is daily life. My family, friends and people that inspire some feelings in me.

I need to feel a connection, there must be something that catches my attention in a good way”

I normally use the same films.

With Black and White, I like Kodak Tmax 100 and 400. They’ve just stopped producing the 3200 and it’s a pity because I liked that more than the Ilford one, which is not as rough and grainier, and gives a greyish

If I suddenly see a guy vomiting in

With Analogue, you have to use

We have 5 types of lenses, 4

Photography in social medias

the street, I prefer to portrait him

your head; you get to use that

gears… and when you see the

I basically like to go with the flow

in the moment when he is

knowledge that is stored in your

portfolio of a photographer, it

but more as a spectator really

stumbling while getting up rather

head more in a more physical

seems there are pictures from 15

than an active user on social

than the morbidity of the action

way.

different people in there. That’s

media that cater to photography.

itself. I might shoot both moments

The light, the composition… I think

why I took the decision of moving

I use them not to promote my

but I would definitely choose the

this is part of the style of the

to Analogue, life is easier to me

photography but as an easy access

other one during editing.

photographer, but nowadays it

this way. I know when I have to

to my work.

seems to have been forgotten.

take my camera, when I want to

When I need to know any specific

tone to the image. With the Hasselblad, Any style you are scared of?

I use the same films but in 120.

For colour, I liked Kodak Portra VC but since it has also been stopped, I will stay with the NC, which is good as well.

Shooting predilections

Personal style is not about taking

shoot and what I want to express

data about some photography,

"I think when you're finding your

cool pictures, because there are

myself with it.

it’s always helpful to have a record

own style, you end up sticking with

many people able to do that.

that anyone can has access to.

For example, I’m sure that some

Sources of inspiration

the type of photography where you feel most comfortable with, and the

people from the older generation

person that denies this is a big liar

who are reading this interview had

haha! Although I’ve studied

a great photography style back in

photography, there have been many their day because they used one things that I wasn´t able to do

single camera and they were

as a local-colour photographer,

properly; but lately I’ve been

always in the same places and

and I have to admit I think it’s a

achieving good results. I have fewer

atmosphere… These days,

good definition. I am attracted

mistakes, and I am sure this is

determining your style is very

because I work with analogue

difficult because we are living in

photography. When you work with

the consumerism era. We have

Madrid-local details. I don´t like

digital, the mistake is spotted via

plenty of different plans, encounter

degenerated photography

computer screen."

different people, and see many

People have described me

to the image of a heavy-look guy I see in the streets, I like the old men chatting in bars… very

which is so popular at the

changing scenarios.

moment.

10

My inspiration is daily life. My family, friends and people that inspire some feelings in me. There were many times when I was with a friend and he said, “Look! Take a pic of that freaky

***

guy there!” But the thing is I can´t

Rolling Habits is a photographer and

really shoot a person I don´t have a

street artist based in Madrid, Spain.

connection with, there must be

He just finished traversing the expanse

something that catches my attention

of land between New York and

in a good way.

Los Angeles by bike to photograph the people he meets along the way.

Check out his work at http://rollinghabits.tumblr.com/

ORDOGRAPHY FORTY

When the man inhales, even in normal eupnea, that is when the heart rate is steady, the breathing calm, and the mind at peace, he is committing a slow but nonetheless determined suicide. You see, scientists - those who do studies in all the seriousness of a white blouse, on rats and all that - they’ve shown that oxygen is really the cause of natural death.

The idea is that oxygen is‌ well, toxic. I guess what it does is it oxidizes you from the inside, attacking your arteries, your veins and all that bloody business causing you to age at the same rate with which time elapses.

Forty-nine seconds.

Forty-nine seconds.

Ten seconds.

total number of heart beats in the

It never was my intention to hold on

I put the camera on its stand. The

I’m inhaling slowly so as to move as

duration of a lifetime; the elephant,

this long, by God I swear… but I just

aperture is set to minimum. The

little as possible. At this hour, the night

the century old bowhead whale, the

happened to enjoy it more than it

shutter is locked. I take a deep

was paranoid and so was I. See, you

sloth, and I, we will beat one billion

was healthy for me. At first, the

breath and take the cap off; and in

don’t belong here, I was thinking to

times no matter which waltz we’re

whole thing was supposed to last just

the same movement run to the

myself; not in this millennium, not in

dancing. It’s the frequency of your

a bit longer than a dozen… but

location I decided to occupy. I lean

this century, not in this decade… not

beating heart that varies, and with it,

what have you, I stood there filled

back on the truck, take another deep

in this era and not on this wintery

the speed with which you distribute

with silence and, in return, filling

breath and the count starts. It was all

street. They’ve got the whole thing

that oxygenated poison through your

silence with personal noise. Man is

very candid at first. Me standing

wrong, the others. We were

system. Fast heart rate and steady

just too weak for certain drugs.

there, looking past the cars in front of

supposed to become

breathing is the reason rats snap so

I had heard earlier that a super

me and through the houses in a

Supermen, not trans-humanistic

quickly. Imagine that! The most

moon was predicted to occur that

timeless void. In contemplation.

spiritless ersatz of the Sapiens specie.

elementary process of life, that

very night; it just so happened that a

I’m really no scientist, and the shape

Sapiens… ha! The wise men? What

breathing reflex, is also the most

super cloud obstructed the sky taking

of the universe eludes me. But I

a joke. Who is sapiens?

certain and inescapable way to the

away the show. It was six in the

swear that, in my reverie, looking

That man who is so convinced that he

ground, and this is true until they

evening and London was as dark as

straight ahead, it was me that I was

loves his job, a very dutiful believer

perfect cryopreservation techniques,

midnight. So there I was, walking

seeing. In a strange visual circumam-

in modern times, wakes up at six,

which the most cynical of us have

home, joint in mouth, camera

bulation, an earthly pilgrimage all

leaves the house before the kids are

been waiting for the longest time.

hanging over my shoulder. The

around, I could see myself there,

up, works diligently taking lunch at his

streetlights were shinning orange,

standing. No! floating on a cloud of

desk, only to come back home after

and the snow, white as six Fs, was

snow, being overlooked by my

nine and kiss his kids good night? He

reflecting the light intensely. The set

camera. In an ultimate judgment she

works weekends too, postponing for

was there, and I too. That simple

was playing all roles - jury, prosecu-

when he’ll retire all the work around

realization, my there-ness sort to

tor, district attorney and stenotype - at

the house. You must understand, the

speak, triggered a tumultuous train of

once, printing what is, weighing

man really loves the job.

thoughts. Because I really wished I

carefully what was and what will be.

Or is it that other man? He’s not

was somewhere else.

I was there; that I can see, and yet it

working; or to be more precise, he

was somewhere else I wanted to be.

only works a few hours a week, only

So they figured, mind you, that species have a relatively equivalent

as much as he’s willing to sacrifice.

That’s what he thinks, that work is a sacrifice and he is only willing to sacrifice himself so much. He wants to be doing only what he wants to do.

Watch movies. Have a coffee at 3pm on a random Tuesday. Read. He probably has the following kind of reasoning: Do you realize how many books have been written? How many masterpieces there are that must be consumed?

Even now, as I speak, someone somewhere is writing, and I’m slagging behind… why would I want to work? To what purpose?

Or could it really be that guy who hates his job? That man who works, well, because he has to work and because London rent is too damn high. Every day the same routine, the same fight to the tube, the same humid ground, the same horrible boss; all he got left is the Friday and Saturday night, MDMA and blow.

Or am I?

12

25 seconds.

31 seconds.

44 Seconds.

48 seconds.

My lungs are full and yet I’m inhaling still.

Holding my breath.

At this point, I’m struggling to hold my

I’ve exhaled a lungful of carbon dioxide.

I need not to give up now.What has the

I was still floating in the dense London

breath. I don’t want to move, I don’t want

My ethereal counterpart is fixed, opaque,

world been reduced to? Fast food feast

air; but I changed my vantage point

to blur; but really it is more than that. It is

ghostlike, ready to disappear but without

and famine, fast friends, fast faith and

towards the camera. The film was being

time that I’m trying to hold. Alas I can’t,

ever having been present. I was wrong

Facebook travelers. Those guys who go

hit by photons now. All of myself

I’m beaten and I start exhaling.

though, now I can admit it. We were, at

to places only so they can have a social

was being captured on it; some things

See, all of it is on there. Captured as I

that moment, and still are to this day, in a

proof they’ve been there: the traditional

you can see, some others you can’t,

said. Funny expression, because

contrapuntal motion, a line, chromatic

selfie before the Mona Lisa, from fifteen

but I’m entirely there. The totality of my

here is really the place of my encapture-

cliché. But me, I don’t belong here and

meters away, she’s tiny and you

asymmetries – an exhaustive list

ment. The film was setting me

that’s what’s so frustrating, for I’ll never be

can barely see her through the crowd.

which includes my right eyebrow, slightly

free, latent, eternal. As the energy is

anywhere else but here, no matter which

I was thinking I could have done better. I

higher than the left one, a feature that is

hitting the silver-halide grains I realize that

direction I go. Schlack! The shutter closes.

don’t know, New York in the 70s?

even more noticeable with my glasses as

the more time goes, the more there are

He’s gone; all that’s left is me, alone, stuck

Sure people were dying at faster rates,

it makes them look crooked; my scoliosis,

two of us. Me, floating here, and my

in static. Verdict: guilty. Sentenced to

but back then, it usually happened

the little inflammation on my right wrist

subject, me, being liberated. I am all that

prison in life without parole.

after they had lived.

caused, most likely, by a chronic use of

became of him, he’s everything that once

Trying to gaze my way back into that

Could it really be that Gil Scott Heron

the mouse at work; my bipolar

was I;

state, I stood there for a minute, but

died? And what happens to us now,

inclination, totally invisible of course and

I was thinking.

just as surely as I ran out of air earlier, I

today, in the dystopic present of ours?

yet it is there; and the incurvation of my

am now out of film to take me other

Most of us go around believing

genital appendage. To that, and just to

places. I look at my phone, a text

we’re better off, the revolution will be

stay concise, I must add the little hole

message. It’s T. with one of his

blogged about, they say! The fools

above my left ear; there are only four

unintelligible sentences that always make

are completely missing your point Gil. An

people I know that have this extraordi-

so much sense. “Nor let those shake your

apathetic admission of surrender

nary characteristic, amongst whom is my

firmness”, he said, “who have themselves

or a mere symptom of awakening, that’s

mother who has been blessed with one

no certainty of faith.” Whatever he

all a tweet can ever be.

hole on the right ear, my brother, lucky

wanted to tell me, “let yourself be”, is

enough to carry the tiny emptiness on

what I understood. If you’re in this world,

both of his and, weirdly, T., a

you might as well let everyone know.

complete stranger to my family but

And that’s exactly what I tweeted.

became my brother the day I spotted

A little later I went home, and had

our shared anomaly.

topinambour soup. I’m not there yet, Gil.

Contrapuntal Elaboration of Static Harmony

Harun Osmanovic

14

THE SELFIES

ORLD As photographers, we spend the majority of our time behind the lens. For the most part, we find strange comfort in this routine. We choose to hide because we are shy, because we are unhappy with our own image. However, in that rare moment of insanity when we do decide to step in front of the camera, we are entirely liberated from all our insecurities. We are vulnerable, yet the most powerful we've ever allowed ourselves to be. We are seen, we exist.

As masters of our self-image, we release into the world our twisted yet honest versions – whether they be (A)rtisctic, (D)eep (P)ersonal, (EXP)erimental, (H)idden, or (N)arcissistic - of who we are meant to be.

a Christ Jeth www.chrisjeth.tumblr.com www.flickr.com/photos/56851584@N06/

Yashica mg1 TriX400

Small bird's flying around us, screaming for freedom.

My personal work for me must be surreal to succeed. It has something to do with my inner self, every time I take a photograph feel I reborn. I like to photograph my life, my own people. It’s my world that I have dived in to cultivate my existence.

16

Sounds funny but I never miss to have a look at those rooms of apparently low importance - compared with the high cultural purpose of a museum or buildings alike. Not uncommonly, they tell another story. Love the extra wide angle of the Lomo LC-W and to exhauste its opportunity to get really very close!

Neues Museum (Berlin) LC-Wide Kodak BW 400 CN

Christoph Mass www.lomography.com/homes/mapix

Lars Frantzen pictures.frantzen.info

Cologne, Germany Holga 120 CFN Lomography Color Negative 400 ISO (120)

Double exposure in front of a shop decoration in Cologne

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This shot was taken on my first roll of film through my LC-Wide. I was so excited when I pulled it out of its massive, black wooden box, I slapped a roll of Lomography Xpro 200 film into it and just wandered around my art studio shooting away. This was the second or third shot I took with this camera. I shot the clocks and dials first, where they sat on my studio shelf...then hit the mx button and turned the camera on myself. That is one of the things I love about the LC-Wide...I am pleasantly surprised by the results, much more often than I am not.

Issaquah, WA LC-Wide Lomography Xpro 200

Tracy V Moore www.sustainedconfusion.blogspot.com www.lomography.com/homes/tracyvmoore www.flickr.com/photos/tracyvmoore

Amanda Mason www.amandamason.com.au www.flickr.com/amamason

Sydney, Australia Camera SLR680 Film PX680 cp

"When we meet another, are we being true to ourselves, or are we trying to blend in? What are we afraid of? Why do we want to only find the commonalities, why do we feel more comfortable if we are similiar? Maybe if we took off the mask, we could celebrate our differences and learn to live with true acceptance."

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Lampenfieber This picture was taken with a polaroid automatic, really one of the biggest and most conspicuous cameras I own. It was taken inside and at night-time, using the lamp as only available lightsource. After taking the picture I reclaimed the negative from the packfilm and scanned it. Different to the positive, the negative showed a red-orange hue and more detail in the darker areas but still let my body and the background merge into each other. The title "Lampenfieber" is the german expression for stagefright, including the word lamp (in the meaning of spotlights).

R端then (Westfalia, Germany) Polaroid Land Camera Automatic 215 Fujifilm FP-100C

Jahn Benesch www.lomography.de/homes/jahn

Irina Munteanu www.facebook.com/skippedheartbeats www.flickr.com/skippedheartbeats

Constanța, Romania Yashica Fr I Kodak Film ISO 200

I capture feelings and emotions, scenes from my life, details of it. In this particular photograph I tried to capture a simple gesture in its complexity, all the tenderness and warmth standing in a touch. Love.

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I took that photo in a winter morning when I had nothing to do. I had no ideas and no models so I just decided to work on myself, on my body and on the sense of loneliness I use to feel during the winter. There was no light, I had a low quality film and scanner and I decided not to care about the objective quality of the photo.

Milan, Italy Zenit 122 cheap supermarket film, 400 iso

Giulia Bersani www.facebook.com/GiuliaBersaniPhotography www.giuliabersani.com

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Claudia Guariglia www.flickr.com/photos/enyouart

Civitavecchia Polaroid Colorpack II Polaroid 125i

www.facebook.com/pages/Enyou-Photography/104312786301496

It was twilight, the day was slipping into night, and I wanted to freeze that particular moment. So I took a self portrait, but decided not to stand still. Photography can freeze little moments, but they still go away, and it's the same for people. We're never still, not really.

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I use 35mm black and white film to explore and kind of get comfortable within my own skin, my surroundings and try to observe a lot of conflicts going on in my head. I try to convey the fragility, sometimes bruised outlook towards my own self and the world in general. To make as personal as possible I also develop and print/scan negatives myself. The effect you see on this particular photograph is because I developed the negative using coarse salt water

Montreal, Canada Nikon F3T Ilford HP5+ 400

Sarah Edwards www.analoguehead.tumblr.com www.society6.com/sarahedwardsphotography

Daniel Isael www.lomography.com/homes/peropero http://instagram.com/daniel_isael

Santiago, Chile Lubitel 166B Shanghai GP3 120mm

“Self portraits work so much better than mirrors, as they really show how others see you. Whenever I feel like checking how I am growing up, aging or simply how I look, I just snap a picture of myself.�

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This is the first time I'd been out of the country in 10 years and the lovely heat and light bathed me, and made me feel at home.

Catalonia, Spain SX-70 Sonar Impossible PX70 Cool

Leanne Surfleet www.leannesurfleet.com www.facebook.com/leannesurfleetphotography

Sarah SeenĂŠ www.facebook.com/WelcomeToSarahland www.sarahseene.tumblr.com

Poitiers, France Polaroid 636 Close up camera The Impossible project PX 100 Silver shade Black frame

'Trouble' is an intimate picture. It shows the dark part of me, both sides of my mind (the sad part and the closed eyes part)...

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Solo me reconozco cuando me disparo.

Buenos Aires, Argentina Pentax k1000 Fujifilm 200 Pushed to 800

Rocio Perna www.facebook.com/aarizonafoto www.flickr.com/photos/nonumb

Ratti Lam www.facebook.com/pages/Ratti-Lam/409016512514273

Thailand Nikon fm2 AGFA-APX100

No one knows me better than I do.That's why I love taking photos of myself.

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Inspired by the work of Andre Kertesz this image represents a personal point of view of the human psyche.

Novi Sad, Serbia Praktica BC1 ILFORD HP5 plus 400

Jelena Pajic jelenapajic.ns@gmail.com www.flickr.com/photos/jelenapajic

eXP Archie Campbell www.archiecampbell.co.uk

London, UK Hasselblad 500CM Ilford HP5+

This shot was taken around 3 years ago and was one of my first rolls of film, I developed it in a cupboard under the stairs at home.

The inspiration was wanting to experience the process that my Dad would have gone through. Since then I have definitely got the film bug and have shot countless rolls of B&W, colour neg and slides.

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I shot this in Le Bois de Vincennes during the very cold winter of last year in Paris. A friend just gave me a old 24mm lense so I took my little square mirror to test the focus and jumped into the snow!

Paris, France CANON AE-1 Program DM Paradies 400

Margot Gabel www.flickr.com/photos/-mrgtwww.facebook.com/MRGTphotography www.mrgt.tumblr.com http://www.flickr.com/photos/-mrgt-/

Laura Su Bischoff www.flickr.com/photos/laurasulilly

Berlin, Germany Polaroid SX70 Impossible Project Film

My style is dreamy, at times surreal, and earthy. By doubling lifts, I'm able to create and mould my moods and dreams in photographic form. I find the aesthetics of the emulsion lift process so appealing because, through thoughtful artistic manipulation, it can make pictures look like paintings of timelessly languorous, albeit slightly "rugged" beauty. And every handmade piece is unique.

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This photograph is one of the products of my research on the self-portrait. For me, it definitely has two meanings; it expresses my tendency to analyze myself and others from various points of view and it expresses the impression that some of my photographs precede me, are a step ahead of me, because it seems to bring forward an idea at the unconscious level and then take that knowledge later. Photography, especially the analogue, is my means of expression but also of discovery.

Sicily, Italy Rolleicord Kodak Portra 160

Veronica Laguardia www.flickr.com/photos/veronicalaguardia

Marco Ferrari www.peopleinphotobooth.it www.filmwaster.tumblr.com

London, UK Photobooth

The photobooth is usually seen as a limited space and people don't understand that is a camera like all the others. In my work I explore all its features using empty frames, filters, covering flashes, using external lamps etc. I am interested in people and in how they act in the booth.

I believe that every strip is a story told in four frames.

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This picture was taken in Berlin with an old Minolta that belonged to my life guide, my black haired witch, my love, my mother.

The elements I used were the blue case, the palm tree and the "moon", things that I followed or intended to reach. Symbolically, they mean the escapade, the Tropic and the night. The rest were just random beauty I wanted to catch wild in the frame.

Irene de la Selva www.irenedelaselva.net

Berlin, Germany Minolta Cheap color film 200 ASA

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Lauren Wilkins www.laurenwilkins.com www.shootpolaroid.com

Chicago, Illinois Photobooth Model-11 c.1955

I don't like taking photographs of myself but enjoy being in a chemical photobooth.

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I shoot my life, trying to make it as interesting as I can and without (my girlfriend) and my friends, my images would for sure be less fun to look at. Born and raised in Paris, I moved to the States in 2012. I am 22 years old.

Paris, Rue Campagne Première Yashica T4 Kodak pro 400

Aurelien Heilbronn www.aurelienheilbronn.com www.instagram.com/aurelienheilbronn

Anna Marcell www.annamarcell.tumblr.com www.annamarcell.com www.flickr.com/photos/annamarcell

Watermill, NY Spectra SE Camera The IMPOSSIBLE Project, CP PZ680 Film

Secret Garden

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Disrupt the Order

Avellino, Italy Olympus 35 SP Kodacolor 200 film dipped in a solution of Sodium hypochlorite 50% diluted in water

Cattina Elettroshock www.elettroshock.com www.facebook.com/cattina

Rebecca Cairns www.rebeccacairns.com blog.rebeccacairns.com

Ontario, Canada. in a strange cut out cave, near a river fujica st705 kodak gc 400

I took the photograph by chance. I was passing through a forest that I had not visited in over a year after my return from Europe. It was strange to be in this space again- to see it in a new state, and a different season. I set my tripod up and took a few self portraits. I felt engulfed by the landscape and the beauty that existed within this space. My intent for the photograph is somewhat unclear- but it does mark a time that was very transformative for me. It brings me back to a distant memory every time I view it.

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Untitled Self

Rebekah Campbell www.flickr.com/photos/campbell_kallye21 www.rebekahcampbell.net

Savannah, GA Pentax K1000 AFGA 200

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Chris Kale www.ckalephoto.com www.snapitseeit.com

Charlotte, NC Mamiya RZ Fuji FP-3000B

The image is a self portrait taken on my Mamiya RZ using Fuji FP-3000B pack film.

Setup was simple, just me in my garage, shooting into a mirror with a single strobe as the lighting.

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When I took this picture, it was June. It was a very important moment in my life, a very important morning. I was going to school to give the last-most-important exam of high school. It was the end of a real hard period for me! and I was so moved and I cried for my happiness. The road you can see in the background was the one that I went through every morning for six years.

Contax T3 Velvia 400

Sara Zanella www.sarazanella.tumblr.com

Marijana Ristic marijana.risti@yahoo.com http://www.flickr.com/photos/98163266@N05

Belgrade, Serbia Minolta srt100X fuji provia 100F 35 mm

Highway

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dirty-deer.shwrm.com www.facebook.com/dirtydeer

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Dirty Deer was born in the fall of 2010. Originator and chief designer Nocna Mara (Nightmare), who has a passion for solving problems, started the brand to create

Who came up with Dirty Deer?

Whose brainchild is it?

a solution. One of the problems in the Polish market at that time was the lack of comfortable clothes made of high quality materials.

Passion turned into a mission. The mission was to create clothes that allow people to just "get it, get dressed and run on. " Thoughtful designs, rigid rules on what to wear - it's not for us. Get the clothes from the rack, put them on, and know that you look good.

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Tell us about the products you make and sell right now The latest collection is MADHOUSE. It's an affair of streetwear with a grunge design. An alternative version of streetwearu was addressed in the darker side, inspired by the human psyche. They’re classic, with simple forms broken by the raw finish, with discoloration, dyeing, and wrinkles.

Dark fabrics, wool, and shiny nylon are animated by contrasting white strings, drawstring, mesh, and hemlines. Long large hoodie sweatshirts made of fleshy fabric, warm knit pants with deep pockets, and asymmetrical wool jackets are especially suitable options for fall and winter.

Intriguingly, each piece of hand-dyed and hand-decolourised hooded tunics and hand-dyed capes is unique; no two are the same patterns. In addition to clothes, we just recently started selling accessories. In this collection are trichromatic, mottled backpacks and bags (sack bags) made of cotton denim.

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Analogue photography is a

Lastly, tell us how Dirty Deer, as clothing line, is contributin to the analogue revolution

kind of practice that connects art and craft - it requires patience, precision, time.

Similarly, the creation of Deer clothes, the way - from the ideas to the finished products is long and time-consuming and requires personal care of the designer on each copy.

There is no space for mass machine production.

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KODAK

ANAGING

ANALOGUE KODAK EMPLOYEES TO REVIVE THE DYING WORLD OF ANALOGUE PHOTOGRAPHY

Here’s the sitch: last I heard, while the entire Western world was still reeling from the most recent global economic crisis, one photography empire that shall remain unnamed… oh who are we kidding, it’s New York-based former business superpower Eastman Kodak... finally succumbed to bankruptcy protection on January of 2012.

Finally, right? It only took them forever to accept the inevitable truth that many analysts have known for a long time!

Since filing for bankruptcy, Kodak, as one of the most important companies and biggest employers in the modern world, and its employees have been to subject to major drama! Debts and creditors had to be paid with whatever cash and assets were left. Cutbacks on expenses and in departments that were deemed “obsolete” or “useless” had to be implemented. Film productions were suspended. Worst of all, employee benefit pension plans had to be abandoned.

And the employees, well, they weren’t having any of that. Thus began another heart-breaking battle for Kodak, this time with it’s own employees!

It seems, though, that this battle was handled pretty well. It seems that the company came up with settlements that were more than satisfactory to its employees, past and present. In fact, the $15M administrative claim that was part of its settlement with the Kodak Retired Employees Beneficiary Association (KREBA) was just paid in full in September! [1] Some of these settlements were more bizarre than others, though. One that particularly comes to mind is that unusual deal the company struck with its employees in the United Kingdom.

On April, Kodak and the beneficiaries of its UK Kodak Pension Plan (KPP) struck a bargain – to abandon the old pension plan and instead let some 15,000 current and former employees take over the company’s personalized and digital imaging businesses. Apparently, this has not been done before. Laura Quatela, Kodak’s president, was first to admit that it might be “the first of its kind.”

So essentially, this settlement just made the beneficiaries of KPP the new owners of Kodak’s businesses that cost $650M and cover “film capture, instant printing, photographic paper, theme park photography, as well as scanners and capture software.”

Not a bad deal, right? Well, that is if you try and forget the fact that KPP’s original claims totalled around $2.8B! Woah, that’s a lot of money they’ll never see again!

Oh well, acquiring those businesses is something at least.

Besides, this could be a very good thing – for the employees and for the world. I think one idea behind this was to preserve Kodak’s legacy and technology while taking its innovations to the 21st century. The fact that all these veterans are actually going to own these businesses, now officially collectively dubbed as Kodak Alaris, that pioneered photography could mean a bright future for film photography and for us film enthusiasts all over the globe!

After all, who else would know how to revive the dying world of analogue photography than the people who dedicated their whole lives to its existence?!

1 KREBA (2012). HOME. Retrieved October 12, 2013 from http://www.k-reba.com

by Alessandro Panelli & Michelle Rae

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A D MECHANICS

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Our story takes us back to the 19th century, a time that was besieged with drawings and paintings, until one man appeared. That man was William Henry Fox Talbot. Following the trends, he decided to try his luck at drawing, but no matter how hard he tried he just wasn’t good at it. Angered by that fact, he came up with a genius idea of capturing and freezing the world around him, without pencil and paper. After many hours of hard work and experiments, he managed to achieve something that his predecessors did not - to create, as he liked to call them, photogenic images, which we now know as photograms.

And that's how photography came to be.

Now, it's time for you to step inside Talbot's shoes and experience the magic! We think that every photographer, amateur or professional, should have at least one photogram in his portfolio. Also, learning how to make them will help you understand the basics of making a photographic image. And the process is so simple that all you need are a few ingredients and a little bit of imagination.

So put away your cameras, roll on your sleeves and let start.

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The first thing you'll need is a darkroom.

Your best choice is a bathroom without windows because at this point, light is your enemy. The good thing about bathrooms is that they have a constant water supply that you will need later on. But since in most cases bathrooms have windows, you must cover the windows with black plastic bags or black sheets.

The second thing you'll need is a red light, which is necessary for you to see in the dark.

The most important thing about the red light is that it will not interrupt the process and expose the photosensitive paper that you will work on. You can buy it in every photo store or you can go the cheap route and download an app for it in your mobile phone.

The third thing you'll need are those chemicals that analog photographers must not live without. There are two of them: a developer (for positives) and a fixer.

While there are no specific brand or type of developer you can or cannot use, any of them will do, but the best choice for beginners is the UNIVERSAL DEVELOPER FOR POSITIVES. Later, you can experiment with different kinds of developers depending on what you want to achieve.

You can buy the chemicals at any well-supplied photographic supply store.

The four thing you'll need are 4 developing trays 1. For the developer 2. For water 3. For the fixer 4. For water You can also buy these at any photographic supply store, but you can be creative and use all sorts of things like frying pans, bathtub, dishes, washbowls, etc. Just wash them afterwards!

The fifth you'll need is a photosensitive paper.

You can buy it at any photographic supply store or you can experiment and buy expired ones in the black photography market! There are different textures and sizes of papers, but any of them will do the job so it's up to you. The only thing you must remember about them is that you can ONLY OPEN THEM UNDER THE RED LIGHT OR IN ABSOLUTE DARKNESS; otherwise they will be ruined.

The sixth you'll need is a light source that you will use for exposing the paper. At this point, light is your friend! You can use your external flash, a pop up flash, or any kind of light-emitting device (battery lamps, lamps, light bulbs, etc.)

The seventh you'll need are the props for making a composition. Props are, simply said, objects that you intend to expose onto the paper (leaves, flowers, napkins, negatives etc.) They are final essence of making a photogram so choose wisely.

Now that you got all the stuff you'll need, we can start the procedure.

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When you enter your dark room, the first thing you ought to do is to arrange your developing trays and pour the water and chemicals in them.

TIPS AND TRICKS: _None of the chemicals that you are using are hazardous (unless you ingest them) but they do tend to smell so don't panic.

• Then turn off any kind of light in the room and turn on the red light so you can still see what the heck are you doing!

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_For better results, you should use transparent things like leaves, flowers, and napkins as props for your compositions.

At this point, you can open your pack of paper and pull out one sheet. Put it on a flat surface. Remember to reseal the pack afterwards!

_Use a brush soaked with developer and apply it onto the paper before exposing it and putting your props in place. Put your props onto the applied surface and then expose them to a light source. When your photogram starts to appear, immediately dip the paper in the water and then in the fixer.

Now you can put your props on it and expose the paper with a light source.

The exposure can vary on what light source you use and what paper you are working with. For flash exposure, you just have to trigger the flash once; but if you are using a lamp, then the exposure is longer. You will have to make test prints to figure out the correct exposure.

_If you are using a flash as your light source, try experimenting with the flashes power for different results.

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After that you dip your paper into the tray with the developer and watch the magic appear! You should hold the paper in the developer for about two minutes but you can take out the paper whenever you want depending on the results you want to have.

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You then bathe your paper into the tray with water to stop the developing and gently wash it in the tray for about 1’.

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Then extract the paper from the water and put it in the fixer for at least ten minutes.

_Try to keep the developer temperature at 21 degrees Celsius for the best results. _Try accidently spilling the developer onto the paper and then repeat the developer-soaked brush trick. _f your hands have come in contact with the fixer, wash them thoroughly before touching the developer again.

The fixer will ruin your developer!

• Lastly, extract the paper from the fixer, wash it in the last tray filled with water, and hang then it to dry.

And there you have it! Now you can gaze upon your very own photogram!

_Most importantly, JUST HAVE FUN!

by MIlos Cubrilo and Jelena Pajic

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A G I C WORLD OF

PRINTING

Without getting too scientific about it, we will begin at the end. Let us bypass film rolls, physics of light, optics of lens, etc. and discover first how to produce well-exposed black-and-white prints (colour prints can only be produced with the help of machines) directly from the negatives.

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Usually, when a photographer finds a good scene, he takes more than one shot of that scene in order to be sure that he will at least get that one perfectly exposed frame. He then will need to find and select the best frame from that series of shots before printing. That is where a proof sheet comes in handy.

A proof sheet is essentially a positive printed representation of the shots on the negative, the images exactly the same size as on the negative, which allows a photographer a better perception of each shot in that roll. It’s the best and most cost-effective way to choose the best frame for enlarging without using a film scanner. Of course, if you are digitally scanning the negatives, a proof sheet is not necessary.

To make a proof sheet, you’ll need the following: • A frame between two layers of clear plexiglass (or window glass) and a 7-watt light bulb in order to expose paper, keeping the distance between the paper and the frame constant (2 feet - 60,96 cm)

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o the dimensions, as you will see later, is really important when dealing with the temperatures o while the dimensions can be variable, the temperature must be precise because it will affect the final result drastically o keep the light bulb on for 10 seconds, this should result in a medium and fair exposure; there are some other ways to test and find out more scientifically the right exposure, as you will discover later in the Enlarging phase of this article.

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An enlarger – you won’t be enlarging too much, of course, since it is a proof sheet o Place the negative in the carrier, then put the carrier in the enlarger. o Set the lens of the enlarger at f/11 and expose for 8 seconds. You have to be careful when adjusting the height of the enlarger, so as to occupy correctly the tiny piece of paper with the image.

Since you’ll be using the same procedure, processing the exposed photo paper is described in a later paragraph (Processing).

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Before we move on to enlarging and printing your beloved frames, let us discuss set some ground rules to avoid any problems or unpleasant surprises.

• Before exposing your paper sheet, prepare your paper-processing solutions - paper developer, stop bath and fixer. You can use the same stop bath and fixer that you use to process your film rolls but you need to mix them correctly. Just read the instructions that come with your chemicals: most fixers require a 1:3 dilution for film processing and a 1:7 dilution for paper. This is crucial.

• Follow the instruction of the bottle to store and dispose your used chemicals.

• Before you start, prepare the chemicals in their trays, arranged from left to right, and (important) label them in the order of use: Developer, Stop Bath, Fixer, and Wash. The trays should be filled to a depth of 0,5 inch [1,27 cm] of solution. The “Wash” tray is filled with water.

• Both the solutions and water have to stay between 65°F and 70°F [from 18°C to 21°C]. Ensure this by immersing the trays in a bowl filled with water at that temperature. Just be careful not to spill any water in the solutions.

• Keep your hands clean and dry, since you have to handle both film and photo paper.

• Except for the safelight, which should be at least 4 feet from the paper, all other lights in the room must be turned off.

• Always remember to reseal the package of photo paper after taking out a sheet: the other sheets must not be exposed to light.

• The strip of negative has to be placed so that the emulsion side faces the emulsion side of the paper.

• In order to be perfectly horizontal, the paper should be covered with a glass layer.

EXPOSING STRIPS AND ENLARGING Exposing strips are similar to proof sheets, with two differences: The dimensions and their goal: Exposing Strips are not made to select the best frame: it’s purpose is so you can choose the right exposure time and contrast of the already selected frame.

So what are exposing strips?

Exposing strips are 1-2 inch-wide strips of photo paper, cut from a larger sheet of paper, that has the same dimensions of the picture we want as a final result. Like proof sheets, they’re purpose is to be cost-effective: it’s better to waste small strips of one paper sheet than to use up several sheets as you experiment with different exposure times. Moreover, exposing strips make it possible to really check the focus of the shot.

Because some of the steps in making exposure strips are the base for the Enlarging process and making the final print, these two have been combined here.

1.

Hold the negative by the edges and remove dust, preferably using a compressed air can, which is readily available in any photo or PC shop. Put the negative in the correct film carrier, making sure that the emulsion side is facing down at the area where you will put the paper later on. Put a scrap sheet of paper at first, using it as a guide.

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Turn on the enlarger light, set the widest aperture in the lens mount (the lowest f/ number). Raise or lower the enlarger head (where you put the negative) with the easel guides, in order to adjust the size and the compositions of the image.

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Adjust the focus control in the lens mount: choose the sharpest setting. Then set the lens aperture to f/8 and then turn off the enlarger light.

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Be sure that only the safelight is on. Take your strips of photo paper and place one of them in the easel, closing it; you will need only one paper strip for each final picture you’re going to print. Make sure to put the paper strip with the emulsion side UP so that emulsion sides of the negative and the paper will be facing each other. Put the strip in a position in line to the important part of the image, so that you will have a good sampling for testing and comparing the correct exposition. Hold the paper strip with some masking tape.

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Have a heavy cardboard, which is going to be sequentially moved, ready in order to create a series of different areas of the strips, with different time exposure. Now you’re ready to turn on the enlarger light:

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Make a 5-second exposure of the whole strip, then cover one fifth with the heavy cardboard; then expose for 2 seconds, cover another fifth; expose for 3 seconds, cover another fifth; expose for 4 seconds, cover another fifth andexpose for 6 seconds, cover another fifth.

When you’re done, turn off the enlarger light. The final strip will look like this (after the processing): 5 sec

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6. With only the safelight on, process the strip as described in the next paragraph. Try to compare the 5 areas of your strip (using the room lights, not the safelight), to select the best exposure and contrast for the final print. Remember that these two parameters are equally important!

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FI N AL P R O CESSING Follow these steps really carefully: 1. Take the exposed paper from the enlarger easel. Immerse the sheet completely in the developer emulsion, with the emulsion side down. Then turn the paper over and agitate gently, during the development time (this should be more or less 1 minute, but check the instructions on the bottle).

2. Take out the paper from the developer and let the sheet drain for 5 seconds. Immerse it in the stop-bath solution for at least 10 seconds, agitating.

3. Remove the paper from the stop bath and drain it for 2 seconds. Immerse it in the fixer. Agitate frequently for 2 minutes. You can turn on the room lights after 30 seconds. Do not overfix!

4. Wash your print for 4 minutes with running water, at a temperature between 50°F and 85°F (10°C and 30°C). Avoid over-washing!

5. Remove the excess of water from the sheet of paper using a viscose sponge. Let the sheet dry on a flat surface (naturally or with a drying to speed dry your photo paper, in which case set the temperature of the artificial air, below 190°F / 88°C).

FI N AL EX P O SING

5 sec

7sec

10 sec

14 sec

20 sec

If you’ve taken a look at your exposing strip and cannot decide which combination of exposure time and contrast to use, a good option is to select your two favorites then use the exposure time in the middle. For example, if you like the 10-sec exposure but you also like the 14-second exposure, just expose your final photo for 12 seconds.

Once you’ve chosen the exposure, you’re ready to print your photo. To do this, just follow the instructions under “Exposing Strips and Enlarging”. The only part that’s different is the fifth step: 5. Turn on the enlarger light, expose for X seconds (X is the amount of exposure time you’ve decided on from your exposing strips.), and then turn off the enlarger light.

To process your exposed photo paper, follow the same steps under “Processing”.

by Alessandro Panelli

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HATTADEBATE Inspired by MTV’s now defunct Celebrity Deathmatch, Whattaroll is spicing things up by sending two photographers from different parts of the world to a battle of wits and expertise in a segment, which we shall now dub Whattadebate! (Blood and gore sold separately.)

LG S L I D E

M

F I L M

C O L O R N E G AT I V E M: Wow, that sounds fantastic! Did you see a lot of great photos?

LG: Yes, I specially loved the work of Mohammad Ainsul Hoque, a Bangladesh photographer M: Really? I should look him up!

LG: And how are you?

M: I'm terrific. Been so busy with projects but can't complain.Have you been shooting lately?

LG: I did a shoot with a friend last week, in a ranch, because he's a professional rider. It was really fun!

M: Cool! I love horses so I love photos with horses on them! What film did you use?

LG: I principally used a digital camera this time, but I made "making-of" photos with a Diana Baby 110 and a black and white film...

M: Nice! I hope to see the results soon!

LG: I'd be glad to show you M: Nice! I hope to see the results soon!

LG: I'd be glad to show you

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M: I've noticed you shoot a lot of slide film. Do you prefer them?

LG: Yes, it's true! I much prefer slide films for several reasons.

First of all, I find them more contrasted so it gives an intense and dramatic effect, most of the time...

LG: Don't you think? Or you prefer color negatives films?

M: I mean, yes I think that slide films have more contrast but I just prefer a more subdued, earthy feel to the photos... more lifelike, I guess... I feel like slide films can get unrealistic sometimes, especially when people do not know what their doing… What do you think?

LG: You're absolutely right! Slide films are better for photographers who want to transcend the reality or achieve a more surreal atmosphere. Color negative films are more natural and realist. It depends what you want to obtain...

M: Yes, it depends on what you're trying to achieve. Although I have to say, color negatives are a lot cheaper and more accessible! Even the chemicals to develop them are cheaper.

LG: I can't deny that. But don't you think the quality is more important than the price? I would rather pay much and shoot a bit less than only think of the price it will cost me...

M: Well, I think that some color negatives are amazing and they cost a fraction of the price of slides. Kodak Portras, for example, have great contrast and vibrance but still yield true-to-life colors!

LG: Of course! Here’s the thing though, slide films have another advantage: their grain are much finer than color negatives... So you have more details and you can get larger prints!

LG S L I D E

M

F I L M

C O L O R N E G AT I V E M: That is true. Although, I do feel like with slide films you have to be really careful with the exposure. It doesn't have a lot of leeway with overexposures and underexposures.So it takes more practice... I have heard that if a slide film is underexposed more than 1 stop, it gets really hard to scan.

LG: Yes, slide films may be more complicated to expose. But with a bit of experience or a goo d light metering, you won't have bad surprises!

The amazing thing about slide films is they reconstitute all the shades of the light so much better. And in essence, it's the first vocation of photography, which means means "writing with or by the light"!

M: Haha, well I can’t argue with that. It’s just that I guess with slide films, it takes more practice. And since they're much more expensive, you can’t really just go around wasting each shot. You have to make them count.

I must say though, I have seen a lot of photographers do wonders with color negatives.

Besides, color negative films have much more latitude and are more forgiving. They can tolerate large metering errors so they are easier to handle in case of overexposure or underexposure.

LG: So you can try out with color negatives and when you're at ease... you only shoot with slide films! haha M: I was just thinking that, actually. I guess when you're really just starting out and on a budget, color films are definitely recommended. And then when you get better, you can start using slides.

LG: That’s what I think!

M: And also it depends on what the photographer is trying to achieve?

LG: I think so. For realistic and natural photos, use color negatives. For more unreal and artistic photos, use slides.

M: I still prefer color negatives though! Haha LG: Well fortunately everybody, both exists and we have the choice!

M: Thank god for that!

LG S L I D E

M

F I L M

C O L O R N E G AT I V E

LĂŠa Gendrot is a film and digital photographer based in the city of lights. She considers photography her way of transmitting the aesthetics and moods within her. She loves fashion photography and portraits and is inspired by the melancholy and timeless works of Tim Walker and Paolo Roversi. She is a lover of slide films.

For her work, check out her websites

http://leagendrot.tumblr.com Flickr account http://www.flickr.com/photos/leagendrot/

by Michelle Rae

70

SOCIAL

M E D I A CORNER In this digital age, it seems that most of the connections we make, whether fleeting or lasting, are made through social media. It has been proven time and time again how effective social media is in getting people together, especially those with one common interest. And so we thought we'd reach out to all of you, our followers, our suppo rters, our fellow analog lovers, through simple yet thoughtful Facebook updates on things that glue us together as one, no matter where we are in this world.

Mondays, we decided, are the perfect days to get your gears working, to get some oxygen back into your weekend-addled brains. And what perfect way to do that than holding little photo guessing contests in a section we dubbed, Who Wants to be a Photonerd? We presented you with beautiful photographs and in turn, you guys shared your amazingly well-informed guesses.

But alas, there could only be one winner at a time! So now, we want to show our appreciation by giving them a special section in our magazine. And as it turns out, they're not only great guessers, they're also talented photographers.

WINNER: AndrĂŠ Bensch www.lomography.com/homes/sushi_9009 Berlin, Germany

WINNER: Julian Brombach www.flickr.com/brombach Wunstorf, Germany On Tuesdays, we turned the tables on you. Every week, we asked you an analogue photography question and happily, you indulged us with your awesome answers. When we asked you which camera you would have if you can only have one camera in the world, surprisingly a good number of you answered with the cameras you already have while only a few answered with the more obvious Leicas and Hasselblads. We also asked you what time of day you love to shoot in and we got different answers; our favorite, we think, is "late afternoon in an autumn day". And lastly, we had asked you to share with us your most favorite photo that you have taken and we got a lot of responses on that too!

On Wednesdays, we honored the photographers themselves, the brains and talents behind the lens, the creators and the innovators, the heroes of the week. We featured Canadian surreal portraits photographer Rebecca Cairns, who's haunting photographs celebrate the imperfections of film; Nashville instant photographer Penny Felts, who has an uncanny ability to capture her subjects with openness and intimacy; and Berlin-based landscape and urban photographer Frank Machalowski, who's black and white images are as inviting as they are ghostly.

Every fourth day of the week, we brought you the best news from the analogue world. We talked about Indie Film Lab's upcoming documentary about the film revolution; CineStillFilm's tungsten film, which is the newest film to hit the more-alive-than-ever film world; and the wonderful 12.12 Project, an Instant film photography project whose aim is to take 12 women photographers our of their comfort zones.

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Then came, last but not least, Fridays, when every week we featured an amazing photographer and gave you, our readers, the rare opportunity to "interview" and ask that photographer the most creative questions you could come up with, in a section which we called, Ask the Shutterbug. We were lucky enough to feature both wonderful photographers Giulia Bersani and Anna Marcell; and we are now glad to share Giulia's questions and answers with you.

Adi from Indonesia: This seems a cliche question but here it goes.. What is your favorite film? Why? I saw a lot of great portraits in your page.

Giulia: Thank you. I answered a lot of times to this question and every time it’s funny. The fact is that I can’t see a big difference between a film and another one, so I just choose the cheapest ones since they work.

Andaru from Indonesia: Who is your photography inspiration? Who do you look up to?

Giulia: I take inspirations everyday from a lot of different places (internet, books, reality on the streets, publicity, films etc.). Talking about young contemporary photographers, I especially follow Olivia Bee and talking about the big ones, Nan Goldin is a great inspiration. They both work (at least in part) on their personal lives.

Ray from the UK: Why do you shoot what you shoot - why not landscapes or high fashion or anything else for that matter? Also - why film?

Giulia: I think to take photos is a way for me to reflect on the human (and especially the feminine) condition. I see myself in the girls I take photos at, so it’s a kind of therapy. I tried even both landscape and fashion photography, but if I can chose I prefer girls portraits. Why film? Just because I’m lazy and I feel I can handle it (while with digital I should start all from the beginning).

Real Rampage from France: Many of your portraits have a soft focus, giving a dreamy and romantic side I think. Is it deliberated, not to let the subject stand out more openly? What emotion would you like to create in your audience?

Giulia: It’s my choice to use a Zenit camera, which is really hard to focus and to use a really opened diaphragm. I think what you can’t see perfectly is powerful because it has a big suggestive potential. Everyone can associate that moment to a moment of his own life, a familiar situation or a personal fantasy and feel his own emotion.

Marta from Spain: How do you normally act with the models that pose for your pictures? Do you give them some guidelines or is it basically improvised? What's your relationship with them?

Giulia: I give a lot of confuse guidelines just to give them something to do and to make them move but at the same time I observe their natural movements and I work on them. When I see a situation I like, I tell them to stop and I work on it. With my models I try to be really friendly and honest and I think they can notice how grateful I am.

Lua from Spain: Most of your photographs are located in daily life situations, with very few staging. Do you normally plan your sessions a lot or do you just shoot when you see the moment is perfect or something gets your attention?

Giulia: A mix… The most of the times I plan the shooting without organizing nothing. I meet the model and we look for a situation to create. Other times I’m just spending some time with my friends and I notice something so I say “stop as you are, I want to take you a photo”. It’s like if, during the shooting, my models become my friends and my friends become my models; the shooting become truth and vice versa.

Blaine from the US: When it comes to shooting analogue photos; what's the biggest obstacle you face in the medium?

Giulia: The biggest obstacle (but even the beautiful thing of it) is his materiality. It becomes an obstacle in the moment I have to print a photo for an exhibition and the negative is ruined or disappeared. I’m not really tidy, so it’s hard..

Kam from the UK: The majority of photographers I know are camera shy and would much prefer to stay behind the camera than in front of it. How do you feel when taking self portraits and what are the reasons as to why you do them?

Giulia: Me too, I’m really shy and I don’t like to be photographed; it’s really hard for me to keep a natural expression when someone is taking a photo. With self portraits is different, there is just me and I can’t notice the camera since I know there is no one behind it. It becomes just an object so I don’t care and I can relax. The reason why I continue with self portraits is really simple; sometimes I see a beautiful corner or I feel the needing of taking a photo and there is no one but me, so I use myself. And it works even as self-respect therapy since I receive some compliments from those photos.

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P A R A L L E L P L A N E T S ’

W ORLDS

In collaboration with Parallel Planets, we created this special series called Wandering Worlds.

In it, we traverse the corners of the world through a film photographer ’s emulsions and emo tions. In it, we aim to quench our lust for wandering, to visualize a window into another planet, and to fuel our desires with wonde rment.

I'm a native of Los Angeles who has been living in Japan for about ten years, most of them in Tokyo, the last two in Kyoto. I've been shooting exclusively with film for five years and recently began printing in the darkroom. Kyoto is famous for its temples, but the city has a modern downtown center, so its atmosphere can feel sort of hybridized—kimono-clad grannies and straw-hatted monks shuffling past peacock-haired trendily suited touts: perfect confusion for photographers inspired by juxtaposition.

When Parallel Planets and Whattaroll offered me the opportunity to contribute, I was on my way to Okinawa for a writers' conference in Naha where I was presenting my haiku-photo project, I Do Haiku You. Afterwards, I vacationed in the Yaeyama Islands in south Okinawa, which is almost 2000 kilometers from Tokyo. The atmosphere couldn't be more different—the sub-tropical climate, the mangrove forests, the palm fronds, wildlife and birdsong, the warm, relaxed attitude of local farmers and small town folk, all of it so endearingly wonderful. I got up early and spent my early mornings walking, launched into a sentimental mood by dawn's twilight spectrum, memories conjured higgledy-piggledy, blown wildly by an offshore breeze.

My wife and I were in the area for six days. Though we were active in our trekking, boulder dashing, and cycling, this is island life and the natural pace is slow. We rented a car in Iriomote and Ishigaki, but we also hitchhiked and there are enough hippies on the islands that pick up travelers. Hot in the day even in November, in the late afternoons we found ourselves chasing the light, following the road just yonder past the clouds, making it just in time.

The roll I shot was with a Diana F+ toy camera, using Portra 400 film. The photographs are from the islands of Ishigaki, Taketomi, Iriomote, and Yuba. The Yaeyama archipelago is Japan's farflung frontier, a dreamy paradise of soft light, lingering clouds, quiet, empty roads, and a night sky that, when clear, and the twinkling lights of the Milky Way scintillate in the heavens.

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Sean Lotmas is a Los Angeles native writer and photographer now based in Kyoto, Japan.

He writes the Pop Zeitgeist column for Heso Magazine and frequently contributes to the Japanese travel magazine, TRANSIT. Since 2010, he has been working on I Do Haiku You, a project combining haiku and photography.

To see more of Sean’s work, visit his website at www.seanlotman.com Don’t forget to read his original Parallel Planets feature at http://www.parallelplanets.com/2013/10/sean-lotman-running-across-blue-sky.html Check out the wonderful work that they do at www.parallelplanets.com Photos and Story by Sean Lotman Introduction by Erin Emocling

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Aleksandr

Alice

Amanda

Ana

Zuev

Pam

Zito

Mercedes

Anggia

Anne-Kristin

Axel

Chema

Risma Putri

Schellhase

GĂźlcher

Sin Vertigo

Conrad

Cynthia

Daiana

David

Bauer

Hernandez

Marcon

Delalouf

David

Devin

Eike

Fers

La Tache

Blaskovich

Schoening

Vengali

THANK YOU!

When we first put out our call for submissions, we never ever expected such an incredible response. Our mailbox was literally brimming with gorgeous submissions from enthusiastic photographers from all over the world along with an outpouring of support for what we are trying to do. Without you, this issue would never have happened. And while it we could only feature a certain number of photographs in this issue, we cannot deny that we still had many strong entries that didn’t quite make the cut. So as a sign of our enduring gratitude, we dedicate this small gallery to all of you who made Whattaroll possible.

Thank you.

Francesco

Giona

Giuseppe

Graziella

Pugliese

Andreani

Zappala

Ines

Greny

Guido

Hussein

Hussein

Gutierrez

Pantoni

Nabhan

Nabhan

Ist

Jay

Joy

Georgia

Bees

Rathheim

Kasia

Kasia

Kim

Leanne

Leyre Alcalde

Lipinska

Pham

Surfleet

Gordo

Logan

Lostinagoodway

Chinn

Michele

Milos

Panno

Cubrilo

Paola

Pavlo

Raisa

Rocio

Cognigni

Danilevych

Ramos

Mendez

Ryo

Sarah

Scott

Sossio

Sakamoto

Sprouse

Stetenga

Giordano

Stefania

Steven

Jane

Stojak

Tamara

Txema Ruiz

Veronica

Zeester

Laguardia

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WA N T YOU As photographers… nay , as artists, we have those moments when we hit a wall or realize that we have been exhausting the same technique for a long time and we feel this overpowering, sometimes debilitating, need to make a change, to step out of our comfo rt zones, to move ourselves to do something… well… di fferent.

For our next issue, we want you to do exactly that - to push yourselves to your limits and do something completely o ff-the-wall. In fact, we want you to go over that wall. We want you to go out there and create most bizarre images you'll ever take. We want the twisted. We want the fantastical. We want the unexpected.

And we want you to send it over to us. Who knows, your strangest work ever might just be what we need in our most surreal issue yet!

Submit your images in JPEG fo rmat, along with the title, a sho rt statement, your location, and the camera and film used, via our Flickr group at http://ww w.flickr.com/groups/whattaroll/ or by email at whattaroll@gmail.com Please limit your submissions to up to 10 images.

Let's see what you've got!

TWISTED ISSUE

by MIlos Cubrilo and Jelena Pajic

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