Comments on: Camera Shock

By: mark

mark — Mon, 06 Jul 2009 20:05:54 +0000

dirk, i found this to be a very interesting post on the creative working process, and how the tools chosen relate to them. i have similar situations, but mine involve more the medium that i chose to work in(drawing, photography, printmaking, film, or animation etc.) i do tend to alternate frequently through these, and i feel that the work in each medium constantly fuels ideas for the other processes. its possible that when a slight natural slump occurs, working with a new camera could be a productive way of continuing to think ideas through. the important thing may be to find the connections to those original ideas, regardless as to whether you chose to return to those original tools, or change up to another. it is, as you say, about how you involve the required discipline with the working process.

By: Danny Diaz

Danny Diaz — Fri, 03 Jul 2009 06:53:41 +0000

Hi Marc, I really enjoyed the interview with Hirosh Kikai so thanks for the link. Sometimes these old timer photographers have more relevant things to say than the modern ones and their photos seem timeless.

@ Clive – I wish I could dig out my Holga but I butchered the lens so I’ll have to get another one.

By: Marc

Marc — Fri, 26 Jun 2009 14:37:52 +0000

I did an interview last year with a photographer who is currently being (re)discovered in Japan, Hiroh Kikai. He has shot all of his portraits with the same Hasselblad 500CM since 1969. I asked him whether he worries about what kind of impact the loss of that camera would mean to his work, and he told me that he recently became quite nervous about it and bought exactly the same camera as an emergency back-up. In his case I feel like the use of this same camera for over 30 years contributed to his ability to make his series of portraits very difficult to associate with a particular time (my way of avoiding the use of the word 'timeless').

By: richo

richo — Tue, 16 Jun 2009 09:12:11 +0000

Funny to read all these challenges you have with multiple cameras.

I have one camera essentially for years even I went from analog to digital the handling stayed same. For me the best camera is the one I forget about when I take pictures.

For me camera is not the tool to create my creative stimulation. It is a tool to capture and tool not to disturb my imagination.

By: Clive France

Clive France — Sun, 07 Jun 2009 03:57:59 +0000

Mike, I’ve never considered the Holga to be a Lomo and, like you, I am suspicious of the whole Lomo thing. However, and perhaps ironically, Lomo may be the biggest contributor to the survival of film.

Danny, dig out your Holga!

By: Mike Dougan

Mike Dougan — Sat, 06 Jun 2009 14:17:09 +0000

Clive,

As you discovered my “Anti-Lomo” site I have an admission to make. It was a Holga that got me into film photography! I still have it and love good “Toy Camera” photography but as you know I don’t like “Lomo”.

By: Danny Diaz

Danny Diaz — Sat, 06 Jun 2009 09:39:57 +0000

Hey Clive, I agree. I checked out your site and very much enjoyed your Holga photos. I used a Holga for about 6 months before I got into photography somewhat seriously and it it very liberating.

By: Clive France

Clive France — Sat, 06 Jun 2009 04:18:21 +0000

I wonder what that Araki means by a “good” camera. In the last few years, I’ve found shooting with krap-kams to be a remarkably liberating experience, and one that has opened the door wide to experimentation and further development.

By: Christoph Hammann

Christoph Hammann — Fri, 05 Jun 2009 15:32:37 +0000

Here’s kind of a reply, Dirk. I like a camera to disappear when I use it, and I don’t need a thief for that

Best regards, Christoph

By: Mike Dougan

Mike Dougan — Fri, 05 Jun 2009 12:41:45 +0000

I have a range of 1950′s folders, Agfa Super Isolette, Cert Six, Balda Baldalux and Zeiss Super Ikonta, These give lovely period style images, the Agfa has the look of a Hasselblad, the Certo is soft and feels pre-War, the Balda just feels late 40′s early 50′s in the way it paints an image and the Zeiss has quite high contrast but is extremely sharp so it has an unusual period feel but also with a feeling of being a modern optic.

Then we have the TLR’s, Rolleiflex, several Yashica Mat’s, Seagull and a Start 66. Again like above each one has it’s relative plus’s and minus’s but the Rollei is my favourite for its early 60′s optic’s, sharpness and moderate contrast.

I could go on, and on and on……… It’s an addiction but at least its not as harmful to my health as previous addictions.

Just for the record… the two mate with whom we run Rangefinder Filipinas, one has over 300 cameras, the other (a TV producer) has over 800, so my 38 is rather small…..