Chatting with Melissa Love for #KodakMoment

Melissa Love Photo

Selfie of Melissa Love

Mother, graphic designer and photographer, Melissa Love was the very first person we featured in our #KodakMoment series in the UK, where we ask people to tell a story in three photographs. Melissa moved from Brighton to the beautiful fishing village of Fowey in Cornwall two years ago and finds that photography provides her with the perfect opportunity to be creative and relax. We caught up with her to ask her what makes her tick…

You can see Melissa’s three #KodakMoment photos below:

Probably the most photos I take are of my kids when they don’t know I’m there. I tuck myself out of the way. They don’t pose – they’re bored of me!

Q: What drives you to take photographs?
A: Once you start seeing something you get into the habit of good composition, and with my graphic design background you see everything with a good frame. I find it very relaxing.

Q: What cameras do you use? Film vs digital?
A: I use both film and digital. I have a digital SLR Canon 5D MK2, and sometimes my smartphone is easily enough for my needs – I have a lot of camera apps on my phone. I’m a big Instagrammer. I like the discipline of using film too, and I also have an old Polaroid camera.

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Melissa’s daughter Grace having fun with the sprinkles during a baking session

Q: What inspires you to get out there and shoot?
A: What doesn’t! I usually get inspired when I’m out somewhere with my kids, taking them to the beach. I also do a lot of street photography – any situation can inspire me. It can be mundane, or it could be a shot of dream weather. I have to consciously not take the camera with me sometimes.

Q: What are your favourite subjects to photograph?
A: Probably the most photos I take are of my kids when they don’t know I’m there. I tuck myself out of the way. They don’t pose – they’re bored of me! They’re used to it, as I’m not up in their faces. Grace is a complete show-off, and Lily doesn’t want to be left out.

Q: Which photographers do you admire and why?
A: Alain Laboile. He takes pictures of his kids – he lives on a muddy farm and his photos are stunning and very different. He has really inspired my work. My favourite photo of all time would be one of his.

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Grace larking about outdoors during stormy weather

Q: Do you like having your photo taken?
A: I’m trying not to mind it. There’s only one photo of me together with my children, and my new year’s resolution is to ask a photographer to take a photo of all of us together. I love looking back at old photos of my Mum and I want my children to know how I looked at various points in my life, too. You can’t wait forever – you just need to get on with it.

Q: What is your guilty pleasure?
A: I eat lunch at my desk – as I don’t have that much time due to working within school hours, I will be eating a bowl of noodles while working, while being on the phone to a client – sometimes they can hear me slurping.

Q: What would be the first thing you’d rescue in a house fire?
A: After my children, my Mac!

Q: Tell us a secret about yourself.
A: I can make balloon animals, including a sausage dog, a cat and a bird on a swing!

Smelly Business Photo

Grace signalling to a family friend that changing nappies is a smelly business

To see more of Melissa Love’s photos visit: Website www.melissalove.co.uk Twitter @melissarachlove; Instagram @melissalove

Want to get involved with #KodakMoment? If you can tell a great story in three photos, get in touch with us on the UK Facebook page

Film Friday: Talking with Jonathan Canlas

Cruise through Jonathan Canlas’ instagram account, and its clear – his two greatest passions are his adorable family and film photography. Canlas, isn’t just an extremely talented photographer, but he’s also the founder of Film Is Not Dead. He calls Hawaii home but travels the globe conducting his wildly popular FIND Workshops. He’ll head to the UK in February and team with the UK Film Lab to put on one of his two-day workshops. These workshops, in Canlas’ words, are part of a “community, family, a belief, a journey, centered around FIND-ing your unique voice through film photography.” If you’re lucky enough to be in Brighton this February, get your spot http://filmisnotdead.com/#workshopsektar100     We asked Jonathan to share some of the top 5 questions he receives in each workshop. Perhaps some of you have had these questions.

KodakPortra400We’re also lucky enough to have some of Jonathan’s work as well. For more of his work, visit ALOHA.KodakPortra160VC

1. Will shooting film make me a better photographer?

The answer to this is yes and no.

I mean, putting film in your hands is not going to make you see the world differently or make you magically better at your craft.  Meaning if you don’t see light, understand composition, or have a strong voice, film is not going to just give that skill to you.  HOWEVER, when film is put in your hands it forces you to slow down and shoot very differently than if you were shooting digitally.  With a digital camera that has cards that have the capacity to hold thousands upon thousands of images it is easy to just click away, taking multiple captures of one thing.  With no real limitation with digital in how many photos you can take, the discipline to take one and move on is just not needed.  It is really easy to get loose about what you are shooting with that mentality.  However, on film, every time you click it costs money and a certain discipline is usually adapted when shooting film.  With more intention combined with a slower pace, it will literally make you analyze everything that is going in your frame. And this I think can make you a better photographer in the long run.  Where the opposite can make you a sloppy photographer.  It makes you a lot more intentional that is for sure.

Another way it will make you a better photographer is it will force you to learn your exposures.  Obviously, there is no chimping with film.  And to get the perfect negative that requires no time behind a computer requires the perfect exposure.  And if you stick with one ISO for even one full day, you’ll really get to learn really quickly the exposures in different lighting situations.

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2. What limitations does film have?

Some, but not many.  I still think digital is king in low light situations in terms of shooting in color.  Even if I can underexpose KODAK PROFESSIONAL PORTRA 400 up to 3 stops, it has to be the right light and that light is not always available nor is your subject going to always just be hanging out in that light.  But on the b/w side of things, KODAK PROFESSIONAL TRI-X is incredible.  I’ve seen it pushed to 6400 iso and shot in the darkest of dank receptions and have amazing amazing results.  Other than the low light limitation in terms of color, its abilities outweigh the limitations.  The dynamic range is incredible along with color and most importantly, how images look straight out of camera when scanned by a good lab like the lab I use theFINDlab (http://thefindlab.com).

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3. How can I shoot film and not have it break the bank as digital costs me nothing?

I think the myth needs to be busted that shooting digitally does not “cost” you anything.  First, there is the initial cost of your DSLR, which as time has shown, is usually upgraded every year and some change.  Combine that with the depreciation of your “old” DSLR and you’ve got quite some costs accumulating.  Then there is the “cost” of the time of editing your images.  I don’t know many (any for that matter) that deliver clients images straight out of their camera.  Some time is needed to edit those images and as they say, time is money.  I honestly think that shooting film and shooting digitally the costs are the same.  Either I can shoot film and not have to sit behind a computer or I can “save money” and shoot digitally and then be stuck behind a computer.  Also, touching on the answer of question number 1, when you shoot film, you are not burning through thousands of exposures.  Less editing time and more keepers equals a lot of “money” saved.  Remember, time is money, no matter how you try to rationalize it.

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4. What is the best film stock to use in multiple lighting situations?

I have found KODAK PROFESSIONAL PORTRA 400 to be the best film for this.  I can effectively have an ISO of 50-3200, without having to change how I develop the roll.  That means I can overexpose up to 3 stops (I’ve even done up to 4 before) and under-expose up to 3 stops all on the same roll without having to pull/push the roll.  The Vision 3 technology in the new PORTRA 400 is absolutely incredible.  Now mind you, you can’t just underexpose PORTRA 400 by 3 stops and think it will look amazing.  You have to find the right light to be able to do this.  Meaning, when you shoot underexposed like this, you need to make sure that whatever you are shooting is lit or has some kind of luminosity to it.  You can’t shoot into a cave with no light and expect it to look ok.  However, if you have some dimly LIT subjects, try underexposing PORTRA 400 and be amazed by the results.

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5. I know you say FILM IS NOT DEAD but is it close?

No, not at all.  A good friend of mine, Mark Sperry, said something in regards to this recently.  Basically it has never been better for film shooters than it is today.  Even with all of our limitations.  We are missing a TON of different film stocks, camera makers, and labs that used to be around say 10-15 years ago are long gone.  But the ones we do have right now are the best of the best.  We have only a handful of film stocks to choose from but the abilities of said film (the new Kodak Portra line) stocks are amazing.  We only have a couple companies still making film cameras, but we have a HUGE surplus of cameras that people are no longer using and can be snatched up for pennies on the dollar.  And the labs that are open and thriving today (theFINDlab) are labs that are mostly run by film shooters and know how to scan color neg film.  It is a great time to be a film shooter that is for sure.  Arguably the best time.

Kodak Alaris, Kodak Professional and PhotoPlus Expo 2013

Tomorrow kicks off the annual PhotoPlus Expo and Conference in New York. While our team works on getting the booth up and running, I wanted to tell you a little bit about what you’ll see from Kodak Alaris in the coming days.

First, you’ll see our new name – Kodak Alaris. We’re excited to show how our new company preserves the heritage and legacy of the KODAK brand, while quickly addressing needs and changes of the professional market.

Sarah Vaughan PPE 2013 Tanja Lippert PPE 2013

As always, we’ll have our full portfolio of KODAK PROFESSIONAL Media and KODAK PROFESSIONAL Film on hand. You’ll see those products brought to life by through the photography of Jeff Yeats, Tanja Lippert, Sarah Vaughan and Martin Grahame-Dunn in our booth, printed on our KODAK PROFESSIONAL ENDURA Premier Paper.

MGD PPE 2013 Jeff Yeats PPE 2013

In addition to showcasing his photography in our booth, Grahame-Dunn will also present two sessions at PhotoPlus, entitled  “Collections: Elevate your expertise; Control your future!” on Thursday 11:15-12:00 and Friday 2:15-3:00 in the PhotoPlus Show Floor Theater.

Grahame-Dunn’s presentation illustrates the value of our new solution for photographers and professional labs, called KODAK PROFESSIONAL Collections and Creations Software. The solution is designed to help both professional labs and photographers deliver products in a way that more directly aligns with how consumers purchase today. Consumers crave immediacy. Let’s meet that craving.

How do we meet that craving? We provide them the soft-copy. That’s right. A company that creates some of the highest quality media available for photographic printing says “give consumers the digital file.” As an industry, we need to meet today’s consumers on their terms.

But note, we don’t say “give them the soft-copy for free,” which is where the nuance lies. We believe that any photographer who simply gives away the digital content leaves money on the table. At the same time, we believe any photographer who doesn’t offer digital content missed opportunities as well. Our message is to offer today’s consumer a Collection of photo products that include soft-copy offerings in conjunction with prints, albums, books, keepsakes and more to commemorate life’s treasured moments. Once you’ve provided the option for the soft copy and have captured the consumers’ interest, you then show them just how much more they can do with the professional content to preserve their memories for a lifetime.

With the Collections and Creations Software, products are organized into thoughtfully created sets that follow a logical flow to help photographers guide their clients through the story-telling process, from start to finish.  Photographers will be able to show how they take the professional content and deliver an experience that creates an emotional connection among the consumers, their images and their story.

This in turn, enables the consumers to:

•Promote their memories by sharing with family and friends anytime, anywhere

•Produce their memories in story form

•Preserve their memories for a lifetime

The goal of the solution is enabling photographers to function as consultants, artists and trusted advisors for their clients, rather than providers of a commodity. Because we believe that’s what photographers, in conjunction with their lab partners, are. They are consultants who have made the investment, in the form of equipment, time and energy to develop a craft that includes a vision and a skill to make beautiful photographs that tell a story that preserves memories for a lifetime.

We hope you’ll come by the booth in New York to learn more. We’ll be at booth #855 in Javits Conventions Center Thursday – Saturday.

Rebecca Szuniewicz: Calling all Photographers of any level!

Every year, in August, the Pittsford Carriage Association takes Walnut Hill Farm back to the late 19th century to host the Walnut Hill Carriage Driving Competition.  For five days in August the farm transforms, to a time where the horse and carriage was the main source of transportation, and also represented social status.

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I have attended this event the last couple of years.  It is a wonderful opportunity to get some beautiful and unique photographs.  The farm is decorated beautifully with thousands of flowers, which in itself is great for photographs. The carriages are restored pieces of art from early Americana, and are a must see! The outfits are truly remarkable and add to the authenticity of this event.

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And, of course saving the best for last, the horses!  They alone command attention and respect the minute they enter the ring.  They will definitely give you reasons to keep your shutter clicking away.  Once you start taking pictures of these majestic creatures, you won’t stop. Put the whole package together-flowers, carriage, outfit and horses, and you have yourself a brilliant afternoon full of tons of photo opportunities. And besides your photographs you will truly enjoy the afternoon at this unique international competition.

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The event takes place Aug 14th-18th at 397 West Bloomfield Rd in Pittsford, NY.  Walnut Hill is handicapped accessible (call ahead for a staffed golf cart to meet your car), provides ample free parking, and dog friendly.  For full details and schedule of events please visit www.walnuthillfarm.org

- Rebecca Szuniewicz

Films Not Dead winner – Guillaume Périmony

Recently, when Film’s Not Dead (F.N.D.)ran its  Kodak Moments competition, hundreds of photographers submitted pretty amazing images shot on Kodak film. F.N.D., founded by Charlie Abiss, Tori Khambhaita and Jamie Rothwell, brings together like-minded photographers who enjoy the benefits that film photography offers and to provide information on film availability within the UK, while sharing imaginative, thought provoking images.  Together, the group, after reviewing all the submissions, named French photographer Guillaume Périmony, as the winner. We’re thrilled to feature Périmony, 28,  who tells us why he shoots film and allows us to share some of his favourite black and white pictures shot on KODAK PROFESSIONAL Tri-X film. Thank you to F.N.D. for its commitment to the film community and congratulations to Périmony on his award winning submission. – Lars

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I’ve been shooting film since I took up photography in 2002, so have been using it for more than ten years. The process of using film requires much more patience,  desire and passion, however the result of shooting film gives me a unique feeling of satisfaction and professionalism about my photography skills.

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I shoot using an Olympus OM1 camera and most often load Kodak Tri-X, not only is it the most cost efficent black and white film to use, I also find it the easiest to shoot.  Tri-X brings a classic look and feel to my images and you can still have a good shot even if you miss your exposure.

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More importantly for me as an amateur film photographer is that I find that shooting film enables my cameras to have a longer usage span.  I don’t have to worry about my camera not being the latest technology, or it not supporting specific software etc. That coupled with the added benefit of knowing that my printed images will last a lot longer than digital images and aren’t going to be stored away on a drive that may become corrupt or ‘out of date’means a lot to photographers like me. Shooting film and printing images means that I can simply enjoy the camera I want, the way I want, with the film I want – which I am much more confident about and the end result is something slid and touchable!”

- Guillaume Périmony

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As a keen skateboarder, Périmony spends a lot of his time on the street and this is often where he shoots, both still and action shots of the ‘life in a skate park’ etc.  When not on four small wheels, Périmony likes to shoot images of interesting people.   You can see more of Périmony’s work on his Flickr gallery http://www.flickr.com/photos/guiom/.

You can also find out more about Périmony and his winning image ‘Burmese Days’ on the Films Not Dead blog.

ESSENCE Festival™ Photo Booth Powered by Kodak

EF2013_Official 4COLOR

The ESSENCE Festival™ kicks off starting on the Fourth of July running unti Sunday, July 7 in New Orleans. Kodak will be adding to the fun at the Festival by powering a photo book where guests can get a photo on an ESSENCE cover or with other cool backgrounds.

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Look for the ESSENCE Festival™ Photo Booth Powered by Kodak  in the Fan Zone and other high-traffic locations in the Convention Center as well as Woldenberg Park during Family Reunion Day and the Superdome for each night of concerts. Photos are $20 each.

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Wedding season and Kodak Picture Kiosk

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It’s wedding season and I was fortunate to attend two so far. The first one was my little sister’s. Of course I show up with my camera. Now both of the weddings had a professional photographer. You don’t want to leave the pictures of an event like this to your sister who might get distracted by the cake *ahem* and miss the big shot. Always invest in a pro photographer who will make sure every moment is captured beautifully for you to remember for years to come.

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I like to take pictures myself so I have something to post to Facebook and make prints for the fridge right away.

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This past weekend I went to the lake-side nuptuals of my friends Taylor and Andrew. What a great backdrop for photos of the bride and groom!

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I especially like taking photos of the wedding details… flowers, table settings, cake, dresses… even the bride’s nails and shoes! I think it’s because I know how much work goes into making those elements of the big day special.

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Again with the flowers. I like to get close ups of these beauties.

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Sometimes I can’t wait to get home and look at the pictures I captured of the happy couple! I pick the best for Facebook and then I start printing! Kodak Picture Kiosk has lots of choices for creative ways to use those wedding photos.

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I made a collage of pictures I took at my sister’s bridal shower. You can choose to let the Kiosk auto fill all the spots or fill them yourself. Either way you can still move them around and edit each picture until it is just right. I love these for framing or hanging on the fridge or at the office. It looks much tidier than nine separate photos.

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Our grandmother couldn’t make the wedding so I made prints in order for to see all the activity. You have the option to add a border to your prints which make them frame-ready or just add a little extra something to where ever you might display them. There are plenty of borders to choose from so it can compliment the photo.

photo-book

Naturally photo books are great for remembering a wedding. My sister is moving overseas and has a lot to pack so I made her a wee little photo book that won’t take up much room.

calendar

Here is something you can make the newlyweds that they will really love. Use photos of their wedding to make a calendar. I made this one page calendar which is nice for pinning to a corkboard message center. A twelve page monthly calendar would be really nice too. Fun for the couple to look at throughout their first year of marriage!

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This is one of the coolest things I think you can make at a Kodak Picture Kiosk… a canvas print! These turn out super cute and ready to hang, no need for a frame. It has a painterly aspect to it. I can’t wait to give this one to the newlyweds!

To make any of these photo gifts check here to find a Kiosk near you that makes that particular product.

I have also pinned lots of great wedding photo projects on Pinterest that you can repin too!

Cole Barash, Iceland and Kodak Film

On the very first portrait Cole Barash went to shoot for his feature on Iceland, “64.133 ºN/21.9333 ºW” in this month’s Relapse Magazine, one of his lights blew up.  Blew. Up.

“Yeah, it’s not like you’re able to run to Adorama and pick up a new light,” said Barash. “So I just stripped my kit to basically a one-light set up with a fill option. It pushed me a little bit to use just that and not have so many options. OK.”

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At 25, Barash has photographed campaigns for Adidas, Nike, Rag and Bone, Brixton and Burton. A die-hard film user, Barash’s laid-back persona belies the strength of his creative vision, his disciplined approach to photography and respect for the medium and its history. That drew Relapse Editor Ian Frisch to his work.

“The concept of film in relationship to his photography even furthers my view of him as a true photographer,” said Frisch. “Rather than picking up the newest and flashiest equipment, Cole utilizes the history and foundations of photography, in a physical sense, to capture moments in a way that people have been doing for decades that, in some instances, the younger generation has lost touch with. His passion for photography, across the board, is something that is very rare now-a-days, and something that I hold in the highest respect.”

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Barash headed to Iceland with 100 rolls of film to shoot a personal project. When Frisch heard about Barash’s trip, he asked him to do a shoot for Relapse featuring the increasingly influential arts and fashion scene in Iceland. Relapse, founded in 2012, showcases edgy, progressive fashion photography and provocative culture journalism.

With not a lot of time or pre-planning, Barash moved quickly to find and create compelling portraits of designers and artists who make up this community and culture.  That same creative vision and work ethic he uses in the back bowls of Canada worked in the studios of Reykjavík.

“Shooting snowboarding out in the back country has taught me a lot. You can’t exactly run 200 feet through waist deep snow to go check an angle,” said Barash. “You really start to put yourself in that 200 foot position and how it’s going to frame up and what it’s going to look at. You need to go find the best angle quick.”

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In Iceland, when shooting designers, “as soon as I got into their studio, I made some quick decisions on how their brand and how they as a person would be interpreted to me – light and flashy, dark and moody, vibrant and atrocious.”

For the bands, Barash wanted to create photographs that conveyed the feeling of Iceland, as well as the band members themselves.

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In all cases, Barash moved fast – deciding how he wanted to shoot, the tools he would use to shoot and the need to focus his energy on making a connection with the subjects.

“I knew the tools I had and what I could do with them. I kind of quickly made decisions about the environment – where I wanted to shoot them and how I wanted to light it. Then I just started shooting.”

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Barash shot mostly with KODAK PROFESSIONAL PORTRA 160, with a bit of  KODAK PROFESSIONAL TRI-X thrown in.

“I love the tones on PORTRA, especially on the skin – I haven’t found anything better,” said Barash. “It’s very soft and fairly muted, but not so muted it feels desaturated; very good contrast.”

“TRI-X – generally the contrast and the grain is pretty spot on for what I like to shoot. Especially when you start developing different filters and process,” said Barash. “I think I’ve been shooting it for so long that I know how something’s going to look on a negative.”

The latest issue of Relapse Magazine is available now in New York at Barnes and Noble Union Square, Soho International News, McNally Jackson Bookstore, Lafayette Smokeshop, Bouwerie Iconic, and Bedford Exotics in Williamsburg, Brooklyn. It is also available through the iTunes Store on all participating mobile devices.

For more on Cole Barash, visit

ColeBarash.com

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Instagram: @nomadda.

And for more on Relapse Magazine, visit

http://relapsemag.com.

Instagram: @relapsemagazine

Film’s Not Dead Store and Film Photography Gallery

FND

Back in 2010, three friends and lovers of film photography, Charlie Abiss, Tori Khambhaita and Jamie Rothwell got together and formed the Film’s not Dead (FND) group. They intended to bring together like-minded photographers who enjoy the benefits that film photography offers and to provide information on film availability within the UK, while sharing imaginative, thought provoking images.

Today FND has nearly 5000 followers on Facebook and has a regular stall in London’s famous Brick Lane market. Due to that success, FND has yesterday opened a permanent store and film photography gallery in the West End of London.

Fans and followers of the Film’s not Dead page enjoy discussions, take part in exciting competitions – such as ones from Kodak ourselves, and locate nearby venues where people can buy film or have film developed.

Now with the opening of a new store and gallery, FND will offer film photographers and fans so much more. Each month, on the upper floor, the gallery will host a collection of images shot on film by professional and amateur photographers. To launch the new space, Film’s not Dead is proud to open its new store and gallery with a collection from one of its own, Tori Khambhaita, with her unique “Printers” exhibition, which was shot using Kodak’s Tri-X film.

Tori’s ‘Printers’ project gained national press and won her the coveted title of Young Black and White photographer of the year 2012.  This isn’t only a photographic show; it’s an awe-inspiring exhibition of skills and the unseen faces that have powered London’s photographic printing industry for decades.

Dennis Watson - ® Tori Khambhaita

Dennis Watson – ® Tori Khambhaita

Tori has created something truly original, which bridges the gap between the prints and the printers. The prints are truly one off’s, as each printer in the shots has illustrated their creativity and style, which can never be duplicated. This exhibition not only shows you the faces behind the London print industry, it also shows the skills behind those faces.

Klaus Kalde - ® Tori Khambhaita

Klaus Kalde – ® Tori Khambhaita

Tori, who works with some of the featured printers, gained exclusive access to the darkrooms of her subjects. After photographing either inside or outside of the darkroom, she herself would return to Klaus Kalde’s, where she would develop her own rolls of film.

Lee Williams - Raipd Eye - ® Tori Khambhaita

Lee Williams – Raipd Eye – ® Tori Khambhaita

Upon developing the negatives, Tori returned to the printers themselves and asked them to reflect their personal styles and preferences in the final image, again making each photograph unique.  Some have chosen to stay safe whilst others have gone all out, which will leave the viewer wide eyed and open mouthed asking ‘how?’.

Nick Jones - Photofusion - ® Tori Khambhaita

Nick Jones – Photofusion – ® Tori Khambhaita

Aside from the prints Tori also asked these highly skilled craftsmen to state the story that preceded them. These handwritten anecdotes beautifully entwine to create an absolutely fabulous narrative of life within London’s photographic printing industry.

Robin Bell - ® Tori Khambhaita

Robin Bell – ® Tori Khambhaita

This show is a testament to all that support traditional photography and recognise the years of acquired skill it takes to call yourself a darkroom printer. Tori’s exhibition and images celebrates the master craftsmanship and style of these artists committed to traditional photographic printing. The knowledge of the featured men and women in the photographs have acquired on their journey is invaluable! Tori’s ‘Printers’ exhibition will run from 3rd May 2013 – 28th May 2013 at the new Film’s not Dead gallery and store.

Film’s not Dead
13 Mount Pleasant
London
WC1X 0AR

Opening Times: Mon – Fri: 11.00 – 6.00

PEOPLE v. PLACES

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Last fall, on Twitter, we came across Stephanie Bassos and Timothy Burkhart collaborators on People vs Places. In this double exposure project, Stephanie exposes a full roll of 35mm film of only “people,” and Timothy reloads the film again into the same camera, to imprint only “places” and locations to the same roll. These images are all the end result of their ongoing series and are unedited negatives straight from the camera. After seeing their project on Tumblr, we wanted to know more.

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What prompted your project?  

Stephanie Bassos: We both meet at our full time job, where we both work on various photographic projects at an online-based startup. We do a range of things from basic photo editing to smaller studio shoots. Our friendship sparked from casual conversation about our love for photography and the projects we were both currently working on outside of work, as well as other artists we were into at the moment.  Our styles seemed to come from opposite ends of the photographic spectrum, and we had an admiration for what the other was doing.

I prefer working with people and shooting portraits, while Tim shoots mostly landscapes and places that don’t directly include people. We had entertained the idea of collaborating on a photo shoot or project, but we couldn’t really nail down how to make it happen. Tim had been shooting with some older film cameras at the time and had an instance where he unknowingly double exposed a roll of film resulting in double exposures. He then realized that his camera wasn’t rewinding film all the way and allowed the same roll to be loaded again fairly easily. This occurrence seemed to be the perfect vehicle for us to bring our two styles together into one image as well as series. We have been shooting for around nine months now and sticking to the formula of me shooting only people and Tim shooting only places, although we each don’t know the specifics outside of that.

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How do you choose your subjects and the order in which you shoot?

SB: The order we shoot is completely random.  We don’t have a specific way (people first, or places first.)  We were originally passing the same camera back and forth after we finished shooting our respective subject, but that slowed the process significantly.  If we both had a trip planned at the same time and only one had the camera, it seemed counter productive. To solve the issue we bought another one of the cameras we were using and tested it to find that it had the same rewind issue as the original. This allowed us both to shoot simultaneously.  Now we both have a roll in our cameras at all times, and whoever finishes first gives it to the other to re-load.

Timothy Burkhart: We choose our subjects by observing our surroundings and just going about our daily lives. The people Stephanie shoots are mostly her friends, or candid strangers. The places I shoot are in transit or traveling.  The project definitely has a point and shoot aesthetic and vibe to it.  It’s rare that we go out to a specific place or find a specific person to shoot with-shoots aren’t premeditated.  The camera is always on us, so we just constantly have it in the back of our minds and we shoot our life as it happens.

People Vs. Places (5 of 6)

Why did you choose Kodak film for this project?

TB: When we first started shooting we used what was most available. Lots of camera shops have been closing up around us in Chicago, so we were picking up Kodak Gold 200 at the local pharmacy or corner store, which fit our needs of availability.  Kodak films in general always have a bit more saturation and warmer color tones than other manufacturers and this was something we both liked aesthetically. After we shot on Kodak Gold for a bit to get a feel for the project we switched to Portra 400, which gave us a little less grain and even better tones.  Now we go back and forth between those two and shoot whatever we have available. People Vs. Places (6 of 6)

 How does this fit in with your overall photography work/style? 

SB: It’s a pretty perfect project for both of us to do outside of our own freelance. It gives us a chance to focus on what we love shooting most, and also comes with an element of surprise when the film is finally developed. It keeps us constantly creating and observing and thinking about photography in a different way.  Rather than focusing on composition and style to create the photo we want constantly, we surrender some of those decisions and leave it up to fate and cross our fingers hoping the great “people” shot was overlaid by a perfect “places” shot.

TB: It throws us both out of our comfort zones a little because we are not able control the frame in it’s entirety… but that’s good for us because it forces us to not think too much about one specific shot. The project looks a lot different than anything we both do.  We both shoot in our own ways and have a cleaner shooting style, so doing this project is a way to break away from our own personal process and have some fun with an old camera and some film.

People v Places image 1