Viewfinder Magazine - Issue 3 - july 2011

Creative Photography

July 2011 | Issue 03

Source : f l i ckr .com/nesster

the VF team

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

ContributorsApril-lea Hutchinson

(aprilleaphoto.carbonmade.

com), Sam Clark (flickr.

com/ sammiepops), Eoin

Williams, Riccardo

Fisichella (flickr.com/

sunseya), Jonathan

Garrett (flickr.com/

jongarrett777), Justin

Gellerson (flickr.com/

justingellerson), Paddy

Murphy (flickr.com/

spudmurf), NoIdentity

(flickr.com/noidentity),

Neuro Diaz (lomography.

com/homes/neurodiaz),

Barry Cregg, Ana

Caldas (flickr.com/

31434401@N02).

Paul Murphy Editor

Editorial

Welcome to Issue 3 of View-f inder Magazine , a magazine that ce lebrates a l l forms of cre-at iv i ty found in photography.

This month we take a specia l look at the 2011 PhotoIre-land Fest iva l , which at t ime of publ ica-t ion was ha l f over .

We at tended as many exhibi t ions as we could and crammed in as many reviews as our pages would f i t .

Our featured pho-tographer this month i s the very amazing Apri l - lea Hutchinson, a Polaroid fanat ic with a pas-s ion for a l l th ings f i lm.

Inside this month’s issue

Adult Enterta inment photog-rapher Anton Fury i s s t i l l none the wiser s ince CNN made pub-l ic , l as t month, the images he found of Mari lyn Monroe in 1980.

Publ i shed on his b log on 4 June 2011 Fury s tated : ‘ I had hoped to learn s o m e t h i n g about these p h o t o s / n e g a -t ives , but as of today, I don ’ t know any more, than I knew then. I have gotten dozens of ca l l s and emai l s f rom a l l over the world… a l l f rom press . With a l l this coverage , I ’m amazed that nobody has any information. So, the negat ives have gone back into the drawer – actua l ly a sa fety deposi t box – where they ’ l l s tay for perhaps another 30 years ’ .

Fury had hoped that f rom CNN publ i shing the images that they would spark somebody ’ s memory, and the photogra-pher can be ident i f ied . L .A. art dea ler David Streets , who helped Fury decide to make the

pictures publ ic sa id : ‘Hopeful-ly someone out there , perhaps another photographer , wi l l be able to shed some l ight on this . ’

In 1980 Fury was at a garage sa le in New Jersey and pur-chased an envelope conta ining 33 negat ives , for $2 .

After de-veloping the negat ives in his home dark room, he re-a l i sed what he had s tum-bled upon. ‘ I couldn ’ t be-l ieve what I was see ing. I t was frea-kin ’ Mari lyn Monroe! ’ but for 30 years Fury fa i led to track down

the photographer behind the photographs .

Needless to say this proved to be qui te a b ig task , and as Fury sa id in a recent interview with the New York Dai ly News: ‘When I found them there was no Internet , there were l imited resources to research them. ’

According to Streets , the im-ages are from the ear ly 1950 ’ s when Monroe was only 24 . This month she would have turned 85.

FEATURES

Magnum Contact Sheets

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2120

http ://apri l leaphoto.carbonmade.com/

A p r i l - l e a H u t c h i n s o n

Feature : PhotoIreland Festi -

val 2011

A look at this year ’ s Pho-toIre land fest iva l which runs throughout Ju ly .

Featured Photographer

This month ’ s most inspir ing photographer i s a pass ion-ate Polaroid photographer and model .

Sean O’Flaherty Creative Editor

Andy Doyle Podcast Producer

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

Canon EOS 7D ex-pert but from time to time he swaps his DSLR for his old Praktica and Lubitel cameras.

flickr.com/analoguepaul

flickr.com/seanof

flickr.com/andywithcamera

Festival timeWe also g ive you a quick and

easy way to make your own red-sca le f i lm.

Also , ins ide you ’ l l f ind our regular ga l lery of the best pho-tographs submit-ted to us , here , a t Viewfinder in the las t month as wel l as the la test news and we take a spe-c ia l look at the Di-ana camera .

The Viewfinder team a lso produce a monthly podcast ,

which i s a great accompani-ment to this magazine so whi le you ’re reading you can l i s ten to us a t vfpodcast .com

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Viewfinder Magazine [email protected]©2011 Viewfinder Magazine

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20

Creative Photography

July 2011 | Issue 03

- the VF Team

CompetitionDetails on the back cover.

Gallery

An exhibi t ion of the best pho-tographs submitted to View-f inder Magazine this month.

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Picture : Abandoned BarnPhotographer: Johnny BrianCamera: Holga 120NFilm: Rol le i Retro 400SFlickr: l imnidyt is

Picture : Unt i t ledPhotographer: Lasz lo Gerencser

Camera: Kodak EasyShare ZD710 ZoomFlickr: thewrongdevice

GALLERY

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WARNING please note that before you cont inue fo l low-ing this technique you must be aware that you may have to sac-r i f ice a ro l l of f i lm.

What we are going ot do i s take f i lm out of one canis ter and spool i t backwards into an-other canis ter .

For this you wi l l need to sac-r i f ice a ro l l of f i lm and pul l i t a l l the way out unt i l i t s tops . Now cut the f i lm, leaving avout three or four sprockets worth of f i lm st icking out of the canis ter .

Next cut the leader of f your other ro l l of C-41 f i lm and tape the two ends together .

Make sure that when you tape the two ends together that the sprockets are a l igned so that there i s no di f f icul ty spool ing the f i lm into i t s new redsca le canis ter .

Also be sure that the or-ange s ide of one f i lm meets the brown s ide of the other . You canis ters should now be oppo-s i tes of each other one normal and one upside down.

Now for the easy part , i f you have a darkbag, that i s . I f not

you need to f ind somewhere in tota l darkness . A good t ip i s to do this in the dea of night with the curta ins c losed and ins ide a jacket under the bed sheets .

You rea l ly need somewhere l ight t ight or your f i lm wi l l be ruined.

Once you have somewhere dark hold your f i lm canis ters and begin to turn the spool of the f i rs t f i lm canis ter , the one we took the f i lm out of , in an ant i-c lockwise d irect ion.

I t ’ s around this point you might want to s ing your fa-vouri te song to yourse l f as this

35mm Redsca le f i lm is a very easy to make and makes for very interest ing photographs .

The important thing to know f irs t i s what s tandard colour (C-41 process) f i lm consis ts of . F i lm has many di f ferent layers of emuls ion.

The f i lm base i s coated with these emuls ion layers each one, however , i s only sens i t ive to a certa in colour Although f i lm layers are much more com-pl icated and actua l ly conta in mult ip le layers for each colour each with di f ferent speed, con-trast and other character is t ics , for the purposes of i l lustrat ion here we ’re keeping i t s imple .

You s tandard C-41 has a red sens i t ive layer , a green sensi-t ive layer and a b lue sens i t ive layer there i s a l so some s i lver in there somewhere which ac-tua l ly means you can process C-41 f i lm with b lack and white chemica ls but that ’ s another experiment .

So when we load our 35mm f i lm into any s tandard 35mm camera not ice that the more or-ange s ide of the f i lm is where the image i s be ing captured and the back of the f i lm is the dul l dark brown s ide .

When we shoot the normal

way l ight hi ts the b lue sens i-t ive layer f i rs t and then comes through to the green and f ina l ly onto the red .

So i f we want to shoot red images we need to shoot on the ‘back ’ of the f i lm. Unfortunate-ly , however , i t ’ s not usual ly a s imple case of f l ipping over the canis ter as most 35mm cameras are made to f i t the 35mm canis-ter a part icular way.

But there i s a quick and easy way around this a l l you need i s a sc i ssors , some tape and a dark space .

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

TECHNIQUE

Flip your f i lm over and shoot the world in red and maybe a few yel-lows. Words and Photos: Paul Mur-phy and Sean O’Flaherty.

How to make redscale film

process can become tedious .Once you have success fu l ly

spooled a l l the f i lm into your redsca le canis ter cut the f i lm near the o ld canis ter .

Next , depending on what camera you use 35mm f i lm with you might have to cut yourse l f a leader on the redsca le f i lm.

Next s tep i s to load and shoot . Redsca le f i lm is three s tops be-low i t ’ s or ig ina l s trength. I f you used 800 ISO f i lm shoot the redsca le as i f i t was 100 ISO f i lm. I f you used 400 ISO f i lm expose for 50 ISO etc . Over ex-posing redsca le wi l l resul t in

Standard Colour Film Roll Sacrificed Roll The Magic of Sticky Tape

cheap phenol ic p last ic , with the except ion of the spr ing loaded shutter tr igger and the e lec-tr ica l wires for the f lash sync . Even the lens i s a s ingle e le-ment piece of p las t ic . But don ’ t be fooled by a l l th is p las t ic ta lk , the Diana produces beaut i fu l dreamy images that wi l l have you hooked.

The Diana i s a box camera that records an image pr imar-i ly on the medium format (120) f i lm. The f i rs t thing you wi l l not ice i s how l ight i t fee l s when you pick i t up, and the second thing you wi l l not ice i s the v iewfinder . The viewfinder i s in no way associated with the lens and i s bas ica l ly a rough guide as to what image you want to record. This throws the whole aspect of composi t ion out the window, a l though i f you own a Diana you probably d idn ’ t buy one for i t s composi t ional

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REVIEW

Diana F+

The Diana F+ camera , that pop-ulates the shelves of many pho-tographic s tores today, i s an updated copy of an o ld f lower power era camera , and f i rs t ap-peared for sa le on Amazon.com back in 2003.

The or ig ina l Diana was f i rs t manufactured in the ear ly 1960 ’ s by a Hong Kong based compa-ny, the Great Wal l P last ics Fac-tory . Most of the cameras pro-duced there were exported to the USA and UK markets , and were mainly d is tr ibuted as nov-e l ty cameras . Sometime during

the 60 ’ s an American compa-ny, the Power Sa les Company of Pennsylvania , imported the Diana and sold them wholesa le for roughly 50 US cent a unit . Today the Diana + and f + are manufactured and sold by the Lomography.

The a l lur ing charm of the Diana, which has sparked cre-at iv i ty among profess ional and amateur photographers a l ike , can be at tr ibuted to i t s s im-pl ic i ty and the dreamlike un-predictable images i t produces . The ent ire camera i s made from

44

meri ts . But this a l so encourag-es the fun and unpredictabi l i ty shoot ing from the hip br ings .

The Diana i s a s imple cam-era , There are four aperture set t ings ; c loudy, part ia l ly c loudy, sunny and pinhole , which equate to approximate ly f ’11 , f .13 , f .19 and f .120 respec-t ive ly . When i t comes to your shutter there are two set t ings , N and B. When you set the cam-era to N i t wi l l g ive you a ba l l -park shutter speed of 1/60th of a second, and when you f l ick the switch to B you ’re on the tradi t ional Bulb set t ing, which keeps the shutter open for as long as you have the tr igger depressed.

The Diana F+ i s a fu l ly cus-tomisable l i t t le fe l low with Lo-mography of fer ing wide angle , f i sheye , c lose up and te lephoto lenses as wel l as 35mm and in-stant backs .

Technique: How to Make

Redscale Film

Paul Murphy and Sean O’Flaherty show you how to make your own redsca le f i lm.

Review: Diana F+

The ever inspir ing p last ic fan-tast ic Diana F+ gets the VF treatment .

4

30

40

44

NEws

Composing with Images Press (CWIP) have put out a ca l l for entr ies to toy camera photogra-phers everywhere .

CWIP are looking for im-ages of the theme ‘p lay ’ taken with toy cameras that explore , compl icate , and represent in compel l ing ways the concept of ‘p lay ’ .

The ca l l for images by the independent not-for-prof i t publ i shers has gone out to he lp chi ldren of the USA in areas ravaged by the 2011 tornadoes .

Winning entr ies wi l l be publ i shed in a photo book with a l l sa les proceeds donated to The Marine Toys for Tots Foundat ion.

Jody Shipka of the Univers i ty of Maryland, Bal t imore County , and Nic Nichols of Four Corner Store and toycamera .com are on board to se lect the winning photos and edi t the book.

Deadl ine for submiss ions i s

The Dubl in ga l lery and work-shop Block T, in Smithf ie ld , has announced a range of pho-tographic darkroom tra ining courses .

The courses are : Introduc-t ion to the Black and White Darkroom, Intermediate Black and White Darkroom Tech-niques and Advanced Darkroom Print ing 1 & 2 .

The Darkroom has a range of enlargers enabl ing pr int ing from 5x4, 120 to 35mm f i lms.

The courses are l imited to a maximum of s ix s tudents per

toy camera photos for tots appeal

New darkroom courses in Dublin

1st August 2011.

T h e r e i s an en-try fee of $25 for the f i rs t three s u b m i s -s ions and a further $5 per im-age there-af ter , up to a maximum of f ive pho-tographs .

C W I P was found-ed by Bi l l Wolf f and Bi l l ie Hara , they pub-l i sh photo and art books that br ing together images and text to engage creat ive , socia l , and cul tura l i ssues within a par-t icular theme. Their f i rs t books

benef i ted BP oi l sp i l l c leanup ef forts and were immediate best se l lers .

For more info v is i t CWIP www.compos ingwi t h images . com

c lass . There are s ix enlargers in Block T ’s darkroom, which wi l l mean each s tudent wi l l have the use of an enlarger for

the durat ion of their se lected course .

Block T wi l l provide a l l chemica ls needed for the dura-t ion of the courses and paper for the f i rs t few weeks . For the advance c lasses I l ford 8x10 f i -bre based papers wi l l a l so be provided.

The course lecturers a l so have a weal th of knowledge and experience in photography and pr int ing.

For further information, p lease e-mai l smi t hf i e ldar t s@

gmai l . com

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This November wil l see the landing on our shelves one of the most eagerly anticipated photo books in recent memory.

Publishing house Thames & Hudsen wil l release a 508 page hardback book containing over 120 contact sheets from Magnum photographers.

Was it the outcome of what a pho-tographer had in mind from the outset? Did it emerge from a di l i-gently worked sequence?

These con-tact sheets wil l give many people a new insight into some of the most memorable and inspiring photos from the very esteemed photographic agency.

Readers wil l be able to see other frames from the day Rob-ert Capa and Salvidor Dali de-cided to throw a few cats around a room, and the terrifying scenes as the tanks rol led in to Tianan-men Square in 1989.

There is a lso great insight into the Normandy landings by Capa, Che Guevara by René

Burri , the Paris r iots of 1968 by Bruno Barbey, Malcolm X by Eve Arnold, and New York street scenes by Bruce Gilden

Contact sheets unvei l the story of what went into a photo-graph. Was the right shot a mat-ter of being in the right place at

the right t ime? These con-

tact sheets re-veal the cre-ative methods, strategies , and edit ing pro-cesses used by some of the a c k n o w l e d g e d greats of pho-tography, from legends such as Henri Cartier-Bresson and El l iott Erwitt to Magnum’s

latest generation, including Jo-nas Bendiksen, Trent Parke, and Alec Soth.

With supporting texts by the photographers or by those selected by the estates of de-ceased Magnum members, and anci l lary material such as press cards, notebooks, and f i led cap-tions, this landmark publication provides a depth of understand-ing and a crit ical analysis of the back-story to a photograph.

Magnum Contact sheets

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FEaturEs

7

9

Al though PhotoIre land fest i-va l of f ic ia l ly k icked of f on Ju ly 1st , for over 100 photogra-phers i t a l l s tarted the fo l low-ing day when D-l ight Studios opened their doors to photog-raphers for this year ’ s Homeless Gal lery .

Now in i t s second year , the Homeless Gal lery of fers pho-tographers , who can ’ t a f ford the high costs of putt ing on their own exhibi t ion, a space to house their works and exhibi t them for a short per iod.

The 100+ photographers , who regis tered for the event , l ined up outs ide the s tudio as they waited for the doors to open and then ran to f ind what wal l space they could , with some invent ive exhibi tors br inging their own stands to ut i l i se the s tudio ’ s large f loor space . Exhibi tors were encour-aged to think outs ide the box when i t came to putt ing their works on display , with some ce i l ings and f loors being put to good use . Others took interest-ing takes on s ta ircases and, of course , the res ident mini .

The exhibi t ion opened to the publ ic on Sunday Ju ly 3rd and c losed Wednesday Ju ly 6th . Opening day saw more than 900 vis i tors to the exhibi t ion,

Homeless Gallery kick starts festival at D-light

which turned into one big party when the fes t iv i t ies began at 6pm with DJs and free vodka.

There was a l so a guest ex-hibi t ion on display from the Pol i sh documentary photogra-phy group the Visavis .p l Pho-tographers ’ Col lect ive whose Non-Season al Changes exhibi-t ion consis ted of a ser ies of im-ages depict ing the Pol i sh town of Niepołomice , a p lace dra-mat ica l ly transformed s ince Po-land ’ s entry to the EU in 2004.

The ga l lery housed every-thing from Polaroid to mobi le phone images , no matter what your interests are in photogra-phy someone at this exhibi t ion had photographs on display that were going to match your tas te .

There were works on dis-play from fashion, portra i t , abstract , f ine art , s treet , docu-mentary and wi ld l i fe photogra-phers and every turn you took, another photographer and s ty le presented i t se l f .

There was no moderat ion, curat ion or censorship in the Homeless Gal lery . Any photog-rapher who regis tered was wel-come to exhibi t whatever they wanted. There were a l so no constra ints on quant i ty , qual i ty or format . This exhibi t ion had i t a l l . P M

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take another Left

Take another le f t showcased the work of two photogra-phers whose photographic s ty le and eyes could have fooled some into be l ieving the ex-hibi t ion was the work of one photographer .

The pictures , hung in a wel l thought out , non-l inear d irec-t ion, not only prevented the v iewer from bobbing their head a long and miss ing a scene but a l so served to enhance the d is-be l ie f that this was the work of separate photographers .

S ince meet ing in 2004,

Grogan and Connaughton have been col laborat ive ly explor ing the medium of photography.

They have worked together in para l le l and have been mutu-a l ly inf luent ia l on each other ’ s pract ice .

I t ’ s d i f f icul t to pigeonhole the s ty le of these art i s ts into one s imple category but the coming together of gra in , dark-ness , bursts of l ight and tra i l s of movement culminate in a d is t inct v iew of the world .

There are subt le d i f ferences to their work, with Grogan ’s

se l f pr int ing in a home dark-room, and Connaughton ’s lean-ing towards the use of co lour .

They have many thematic concerns in common which a l lows their work to share a s imi lar i ty in i t s exper imenta l approach.

The exhibi t ion mapped each photographer ’ s exper iences as they contemplat ive ly docu-ment their own l ives . Refracted through the pr ism of the art-i s ts ’ own subject iv i ty they viv-id ly express their individual perspect ives on l i fe . P M

Photographic exhibition by shane Connaughton and Diarmait Grogan Block t, smithfield.7th - 12th July

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Liquidity - On the Chair Exposures

When a photographer know-ingly sets about destroying their or ig ina l images , in the name of experimentat ion, there i s a lways a pause and a deep breath in the hope that i t a l l works out .

For Mel la Travers i t prob-ably worked out bet ter than she had expected . Her Polaroid l i f t ing technique and adapt ion of darkroom techniques has a l-lowed her to pr int the l i f ted Po-laroid images in a large format .

The f ina l images , s ix years in the making, hung, unframed, as i f drying in a darkroom across two wal l s on the top f loor of Block T, with l ight boxes conta ining the Polaroid l i f t s mounted near the entrance .

The combinat ion of re laxed portra i ture and the e f fect of the large pr int ing, of the emuls ion l i f t s , makes i t fee l as though you ’re peer ing into some sort of d is tant world .

The one constant in the im-ages i s an o ld nurs ing chair with a high back and low arms. A chair , which Mel la a t tr ibutes to g iv ing her the opportunity to create d i f ferent , int imate portra i ts as each subject re-laxed in i t .

I t ’ s easy to see from the im-ages that the portra i ts are far f rom a quick s i t , snap, next , photo shoot .

In fact , none of the s i t ters were ever scheduled as part of a p lanned shoot . The portra i ts

were taken whenever the op-portunity presented i t se l f , over a per iod of twelve months .

But when i t came t ime to experiment with her Pola-roids , Mel la had to learn to ‘ l e t go ’ which i s the most d i f-f icul t s tep in any photographic experiment .

As each Polaroid went through the l i f t ing process , i t s tood the chance of being lost forever . Each l i f t gave her an unpredictable and unique im-age, which she put onto g lass .

The g lass l i f t s are pos i t ive and these were made into paper negat ives in the darkroom and from that , l arge pos i t ive b lack and white pr ints were pro-duced. P M

by Mella traversBlock t, smithfield.30th June - 16th July

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Janette Lowe invest igates the re lat ionship between Photo-graph and Painter by d ig i ta l ly ‘pa int ing ’ her photographs of Dubl in .

The choice of venue i s not unusual as the restaurant i t se l f i s featured in the works a long with other wel l -known Dub-l in venues such as Neary ’ s Pub, Metro Cafe and But ler ’ s .

These images have been se-lect ive ly edi ted in the same way a painter can choose to emit e l -ements of a scene i f they do not f i t into the art i s t ’ s v is ion. The photographs have been dig i ta l ly de-c lut tered removing unwant-ed s igns , rubbish, advert i s ing, wires and anything e l se deemed unnecessary by the art i s t which g ives the images a dream l ike fee l ing .

Viewers at this exhibi t ion wi l l observe fami l iar loca l scenes , but in a detached, some-what surrea l way. A D

The Black Mirror i s a co l lect ion of images by Galway born pho-tographer Seamus Sul l ivan and curated by Dubl in art wri ter Laura McGovern.

The main focus of the col lec-t ion i s to show the tradi t ional p icturesque view of landscape, cruel ly interrupted by man ’s d isregard for his environs .

As notable as the images themselves i s the sheer s ize of some of the pr ints . They are a l l l arge format Lambda pr ints , ranging from a subt le 24in x 24in to the monstrous 48in x 48in . They were hung in an unconvent ional manner as the art i s t chose to have them un-framed, he ld in p lace us ing a l l i -gator c l ips suspended from the wal l .

The great deta i l and superb colour tones of the images can be at tr ibuted to the 40 year o ld camera Seamus used to capture the v iews. S O F

In a world of d isposable d ig i ta l photography, The Long View takes a d is t inct ly considered approach. Photos are d isp layed in a ser ies of co l lect ions which are the product of susta ined work over months , years , or even decades in some cases .

Subject matter var ies widely and inc ludes cul tura l ident i ty , modernity , g lobal izat ion, the troubles and Ire land ’ s ‘d i sap-peared ’ . These works required an investment of t ime from the photographer and require a s imi lar investment from the viewer . On f irs t s ight , the im-ages appear mundane but on not ic ing subt le deta i l s and re-a l i s ing the context of each shot , they take on a deeper meaning.

Art is ts inc lude David Far-re l , Anthony Haughey, Richard Mosse , Jackie Nickerson, Paul Seawright , and Donovan Wylie and i s curated by Tanya Kiang and Trish Lambe. A D

Life Imitating artby Jeanette Lowe

Peppe Italian restaurant, smithfield.1st - 31st July

the Black Mirror by seamus sullivan

the swan Centre, rathmines.6th - 10th July

the Long View, at the Gal-lery of Photography

Gallery of Photography, temple Bar.1st July - 28th august

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Dubl in ’ s Block T becomes part exhibi t ion space , part abstract movie theatre as Nia l l O ’Brien exhibi ts h is moving-picture de-pict ions of anger . In a moment of anger , t ime seems to speed up as our bra in gets a jo l t of adrenal ine , but O ’Brien chose to s low down his footage to scrut inise how our outward ex-press ions change as we go from a ca lm state to an angry one.

The unconvent ional audio used to accompany the v isua ls in this analys is of anger creates a fee l ing of d iscomfort in the v iewer .

A nat ive of Dubl in , Nia l l s tudied f ine art in the renowned Dun Laoghaire Inst i tute of Art , Des ign and Technology. To date he has received many awards inc luding the Ir i sh Profess ional Photographer ’ s Associat ion Rex Roberts Medal and two main categories in the ICI Photogra-phers of the year award. A D

Anne Schwalbe ’ s Bl indschle iche und Riesenblat t i s a co l lec-t ion of images from her se l f t i t led book of the same name which explore environments def ined by s t i l lness , emptiness and l ight . Spaces in which man exis ts only as a trace denot ing the exis tence of an ambiguous present-absence

The framed pr ints are large but unimposing as the deta i led scenes show the natura l world , a l lowed to exis t without the interference of man, in i t s fu l l majest ic natura l co lour and beauty . These images express the natura l poetry found in the world we l ive in .

Schwalbe graduated from the School of Photography, Ber l in , in 2009 an has exhibi ted world-wide , inc luding Se l f Publ i sh , Be Happy, London, the Ulsan In-ternat ional Photography Fest i-va l , South Korea , and the New York Photo Fest iva l . P M

Mundos mexicanos , or Mexican Worlds , i s a co l lect ion of pho-tographs by 25 contemporary Mexican photographers curated by Ale jandro Caste l lanos .

The col lect ion presents some of the most s igni f icant works in the las t decade across three main themes, the individual , the community and place , shown through depict ions of Mexican Culture captured throughout the g lobe .

The re lat ionship between the photographer and their surroundings comes across s trongly in these images , f rom the image of the Lucha Libre wrest lers to the individuals dressed as superheroes in New York. The ga l lery i s conta ined on the ground f loor of Con-nacht House , Bur l ington Road, which i s current ly vacant pro-viding the perfect space to v iew these images , as there i s p lenty to consider and admire . S O F

anger by Niall O’Brien

Block t, smithfield.7th - 12th July

Blindschleiche und riesenblattby anne schwalbe

severed Head Gallery, Dublin 2.8th July - 13th august

Mexican worlds : 25 Con-temporary Photographers

sebastian Guinness Gallery, Dublin 4.1st - 31st July

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This col lect ion of 30 images by Manchester born photog-rapher Kevin McNicholas cap-tures f leet ing moments from the s treets of Dubl in , New York and var ious other c i t ies around the world .

They are an at tempt to de-pict the of ten unseen order that can present i t se l f in the mun-dane chaos of ordinary l i fe . These images look to record the parts of everyday l i fe where many of us forget we exis t , lost in out own thoughts and idea l s i tuat ions .

While present ing the v iewer with a certa in voyeur fee l ing the images a l so g ive of f a sense of the observat ion, as wel l as t iming, of the photographer . The capt ions , which accompany the images , descr ibe the scene in deta i l and portray the pho-tographers thought process for taking, and displaying, these part icular images . S O F

Contemporary Japanese pho-tographer Motoko Fuj i ta s tud-ied the works of James Joyce before coming to Dubl in in 2003.

Armed with Olympus OM cameras she walked in the shad-ow of Joyce through Chapel-izod to capture the essence of a world that he had captured, in words , in his las t great master-piece ‘F innegans Wake ’ .

Through her s tunning, p ic-turesque, b lack and white , p ig-ment on archiva l baryta pa-per pr ints , Motoko guides the v iewer through a world which hardly looks to have changed s ince Joyce penned his words more that 70 years ago.

But even for those unfamil-iar with the works of James Joyce this exhibi t ion i s a must see as Motoko has success fu l ly captured Dubl in in a l ight that most people would not have thought poss ib le . P M

Photographs 1908-1940 i s a co l lect ion of images from Span-ish photographer Luis Ramon Marin who i s regarded, by many, as one of the masters of photography. The exhibi t ion explores the hidden and forgot-ten s tory of the years before the Spanish Civi l War.

The images re inforce his h igh regard as you marvel a t the natura l f raming, precis ion and composi t ion of each and every photograph.

The col lect ion documents many di f ferent walks of l i fe , f rom iconic Spanish motorcy-c l i s t s to the King of Spain, Al-fonso XIII . Throughout his ca-reer Marin amassed over 18 ,000 negat ives , 15 ,000 of which are g lass p lates . After the c iv i l war , for fear of retr ibut ion, h is widow Eduarda Plá hid these negat ives behind a wal l in her k i tchen where they remained for decades . S O F

Between a & B by Kevin McNicholas

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

the shadow of James Joyce by Motoko Fujita

the James Joyce Centre, Dublin 1.8th June - 24th July

Photographs 1908-1940by Luis ramón Marín

Instituto Cervantes Dublin, Dublin 2.7th July - 23rd september

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Exhibitions

The Long View at the Gallery of

Photography

Gallery of Photography, Temple Bar,

Dublin.

1st July - 28th August

Martin Parr’s Best Books of the

Decade

National Photographic Archive, Temple

Bar, Dublin.

15th - 31st July

Versions and Diversions Curated by

Karen Downey

Temple Bar Gallery & Studios, Temple Bar,

Dublin.

14th July - 20th August

History of Disappearance by The

Franklin Furnace, New York

Book & Magazine Fair, FilmBase, Temple

Bar, Dublin.

15th - 31st July

Out of the Dark Room: The David

Kronn Collection

Irish Museum of Modern Art, Royal Hospi-

tal, Kilmainham, Dublin.

20th July - 9th October

RHA Annual Exhibition 2011

Royal Hibernian Academy, 15 Ely Place,

Dublin.

25th May - 30th July

Photographs 1908-1940, by Luis

Ramón Marín

Instituto Cervantes Dublin, Lincoln House,

Lincoln Place, Dublin.

7th July - 23rd September

Home, group show

13 North Great George’s Street, Dublin.

1st - 15th July

Long Way To Paradise


Bar, Dublin

15th - 31st July

Mexican Worlds: 25 Contemporary

Photographers

Sebastian Guinness Gallery, Connaught

House, Burlington Road, Dublin.

1st - 31st July

60 Years – Stories of Survival and

Safe Haven

The Complex, Smithfield, Dublin.

8th - 18th July

Pride ‘n’ Prejudice by IADT 3rd Years

City Arts, 15 Bachelors Walk, Dublin.

9th - 15th July

Images of Germany. 8 photographic

positions. Agency Ostkreuz


8th - 28th July

Sommes-nous ? by Tendance Floue

Collective

Alliance Française Dublin, Kildare Street,

Dublin.

1st July - 17th September

The Arc of Realism 1911-1997, by Zofia

Rydet

Centre for Creative Practice, 15 Pembroke

Street Lower, Dublin.

1st - 15th July

Blindschleiche und Riesenblatt by

Anne Schwalbe

Severed Head Gallery, 16 Lower Mount

Street, Dublin.

8th July - 13th Aug

Ghost Shops, by Seán Hillen

Basecamp, 108-109 Middle Abbey Street,

Dublin.

12th - 30th July

Achill / Fictionary by Linda Brown-

lee/Holly McGlynn

KTcontemporary, 25-27 Donnybrook Rd,

Dublin.

1st - 28th July

SeeChange, Group Show


8th - 29th July

The Shadow of James Joyce, by Mo-

toko Fujita

The James Joyce Centre, North Great

George’s Street, Dublin.

8th June - 24th July

Photography in Contemporary

Painting

The Douglas Hyde Gallery, Trinity College,

Dublin.

27th July

Bleak Beauty, by Eugene Langan

darc space, North Great Georges Street,

Dublin.

1st - 29th July

A Royal Wedding, by Five Eleven Ninety Nine

La Catedral Studios, 7/11 Saint Augustine

Street, Dublin.

1st - 30th July

Traces Of The Real by Hugh McCabe

The Workmans Club, 10 Wellington Quay,

Dublin.

1st - 25th July

Photo 2011 by Dublin Camera Club

members

Dublin City Library, Pearse Street, Dublin.

5th - 26th July

A Calculated Attack: Gueril-

la Exhibition/Cork Analogue

Photographers

Street Art on Drury Street, Dublin.

1st - 31st July

Glamour in the Blood by Debbie

Castro

Inspirational Arts, 7 Herbert Street, Dublin.

5th - 31st July

Photo 19, by DIT 3rd Year Students


21st - 31st July

Documentary: Heroes without

Arms. Photographers of the Spanish

Civil War



14th, 21st & 28th July

Jewellery Box-Ireland’s Hidden

Gems, by Daragh Muldowney

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

18

TileStyle, Ballymount Retail Centre, Bally-

mount Road Upper, Dublin.

6th - 31st July

Chasing Shadows II

Centre for Creative Practices, 15 Pembroke


18th - 31st July

Life Imitating Art by Jeanette Lowe

Peppe Italian Restaurant, 31 North Bruns-

wick Street, Smithfield, Dublin.

1st - 31st July

Conversations About Culture by

Matthew Thompson

Temple Lane South, Temple Bar, Dublin.

15th - 24th July

Disclosures, group show

Block T, Haymarket, Smithfield, Dublin.

21st - 26th July

Marín: Guided Tours by the Festival

Director



19th & 26th July

Four Floors Show at MadArt Gallery

MadArt Gallery and Studio, 56 Lower Gar-

diner Street, Dublin.

19th - 31st July

Africa: The Experience, by Bobby Kerr

Barista Cafe, Sandyford Industrial Estate,

Dublin.

21st July - 30th September

Landscapes of Cork, by Patrick Donald

Patrick Donald Gallery, Royal Hiberni-an Way, Dawson Street, Dublin.6th - 30th July

Between A & B, by Kevin McNicholas

No Grants Gallery, Temple Bar, Dublin.

7th - 28th July

Listen, group show

Block T, Haymarket, Smithfield, Dublin.

14th - 19th July

One Night in the Killy by Pete Smyth

The Killinarden House, Tallaght, Dublin.

9th - 24th July

Grey Area, by Arcadia Collective

Gallery 53, Capel Street, Dublin.

8th - 31st July

La Dolce Vita, by Joseph La Mela

La Dolce Vita, Cow’s Lane, Dublin.

3rd - 31st July

Workshops & Talks

Collaborative Change Symposium

Wood Quay Venue, Dublin 8

14th July

Martin Parr’s Lecture on Photobooks


Bar, Dublin

15th July

Bruno Ceschel Lecture on Self Pub-

lish, Be Happy


Bar, Dublin

16th July

Markus Schaden Lecture on

Publishing


Bar, Dublin

16th July

The Sunday Society by Brown & Bri


Bar, Dublin

16th July

The convergence of ideas by Brown

& Bri


Bar, Dublin

17th July

Blurb Presents SHOW


Bar, Dublin

16th July

On Irish Magazines: Source, Super-

MassiveBlackHole, and Blow


Bar, Dublin

24th July

Source Magazine: Stock Take


Bar, Dublin

23rd July

What is Photography?


tal, Kilmainham, Dublin.

23rd July

Art Form Evening – Tour

Royal Hibernian Academy, 15 Ely Place,

Dublin.

14th July

Presentation of Photobook Course

in Madrid


Bar, Dublin

16th July

Seán Kissane on The David Kronn

Collection


tal, Kilmainham, Dublin 8

23rd July

Bring Your Own Book


Bar, Dublin

24th July

The History of European

Photography


Bar, Dublin

17th July

Blurb Bookmaking Seminar


Bar, Dublin

16th & 17th July

Studio Lighting Workshop for con-

temporary art photographers

Centre For Creative Practices, 15 Pembroke

Street Lower, Dublin 2.

16th & 17th July

Presentation of PhotoIreland 2012


Bar, Dublin

17th July

Visual Artists Ireland Talk


Bar, Dublin

16th July

VAI Professional Development

Programme

La Catedral Studios, 7/11 Saint Augustine

Street, Dublin 8

23rd & 24th July

Fine Art Printing – Advanced

Techniques

Fire, The Copper House, Synge St., Dublin 8.

25th & 29th July

Photographic Archives – large format

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scanning as an archival resource

Fire, The Copper House, Synge St., Dublin 8.

18th July

Creating the Perfect Print support-

ed by Canon


Bar, Dublin

19th & 26th July

Chasing Shadows & Historical

Processes



28th July

Music Photography

Centre for Creative Practices, 15 Pem-broke Street Lower, Dublin.21st July

Pinhole to Digital Workshop for

young Adults

Gallery of Photography, Temple Bar, Dublin.18th - 22th & 25th - 29th July

Book Binding and Portfolio Options

for Photographers


Bar, Dublin

20th July

Wet Collodion 19th C. Photographic

Process

Annesbrook, Duleek, Co. Meath

23rd & 24th July

Panoramic Imaging



25th July

Film

Silent Britain (1898–1929)



26th July

Science Is Fiction: The Sounds Of Sci-

ence (1927 onwards)



19th July

Documentary Nights at Exchange

Fish Bowl Gallery @ Exchange Dublin,

Temple Bar, Dublin.

15th July

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http ://apri l leaphoto.carbonmade.com/

a p r i l - l e a H u t c h i n s o n

29

I shoot f i lm f irs t and foremost because i t sees what I see , more pure ly than dig i ta l . To me, f i lm is just magica l . I ’m a b ig fan of o ld school v intage cameras and I l ike to experiment with di f-ferent f i lm emuls ions . I love the gra in of f i lm. I t just sui ts me and my personal i ty .

Most of the t ime I shoot where I l ive but now that the nicer weather i s here I ’m shoot-ing more on locat ion. My shoots take around 2-3 hours , some-t imes more . When I shoot with a fr iend and we ’re hanging out ,

the shoot could las t a whole day . Usual ly they ’ re very la id back. I once did a shoot where the model had just done a fash-ion shoot , the day before , and I could te l l . I asked her to take a t imeout and re lax before get-t ing back to shoot ing.

I work with a lot of the same models too, so we a lready have a connect ion formed. About two weeks ago, I took a dr ive to the countrys ide with my fr iend. She ’ s a l so a model and we just spent the day hanging around. We went to this horse farm and

smoked a couple of c igaret tes and hung out by the car . I t was very re laxed and i t was so nice and sunny out . I t was one of those shoots where i t just fee ls l ike I ’m just hanging out with a f r iend. The images from those shoots are very rewarding.

I ’ l l be back in New York, model ing and doing my own photography and taking a road tr ip up north to Georgian Bay soon. I ’ l l probably take about ten cameras and plenty of f i lm with me. Hopeful ly , I ’ l l a l so get my book out this year .

FACT BOx:

Name: Apri l - lea HutchinsonLocation: Toronto, CanadaWebsite : h t tp ://apr i l l eaphoto .carbonmade .com/Favourite camera: Polaroid Land Camera 420.Favourite f i lm: Any expired Po-laroid (669) and IPF Blue tone, I l -ford Del ta 3200 Pro.Favourite thing to photograph: Women and rea l ly anyone I f ind unique or with tons of character .Person you would most l ike to

photograph: I t ’ s a toss up be-tween the Dala i Lama or Chris to-pher Walken.Inspiration: Fr iends , f i lms, mu-s ic and photographers such as Bett ina Rheims, Saudek, Sa l ly Mann &, Newton.Interests outside photography: Travel , model ing, yoga , hanging out a t cafes or an o ld book s tore , rummaging through second hand s tores and anything in nature .

self-Portrait

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Picture : P i t s tone Windmil l DoublePhotographer: Sam ClarkCamera: Sprocket RocketFilm: Lomo Xpro 200Flickr: sammiepops

GaLLEry

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Picture : S igns of Human Act iv i ty 06Photographer: Eoin Wil l iams

Camera: Mamiya RB 67Film: Fuj i Velvia 50 Transparency

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Picture : Arr ivoooooooooooooooooooooooPhotographer: Riccardo Fis ichel laCamera: Yashica Fx-3Film: I l ford HP5 400Flickr: sunseya

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Picture : Alone #2Photographer: Jonathan Garret t

Camera: Canon A1Film: Kodak BW400CN

Flickr: jongarret t777

Picture : Jug Bay, Upper Marlboro, MarylandPhotographer: Just in Gel lersonCamera: Polaroid 600Film: Expired Polaroid 600 Flickr: jus t ingel lerson

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Picture : Zoo Wal l , ChorzowPhotographer: Paddy Murphy

Camera: Nikon F50Film: Konica VX 200

Flickr: spudmurf

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Picture : Last StandingPhotographer: NoIdent i tyCamera: Canon AE-1 Fim: Legary Pro 100Flickr: noident i ty

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Picture : Green, as b lack and whitePhotographer: Neuro Diaz

Camera: Lomo Smena 8MFilm: Lucky SHD 100

Lomography: neurodiaz

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Picture : Unt i t ledPhotographer: Barry CreggCamera: Nikon FMFilm: I l ford FP4+ 125

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Picture : SparkPhotographer: Ana Caldas

Camera: Canon PowerShot SX20 ISFlickr: Ana.Caldas

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WARNING: p lease note that before you cont inue fo l low-ing this technique you must be aware that you may have to sac-r i f ice a ro l l of f i lm.

What you need to do i s take f i lm out of one canis ter and spool i t backwards into another canis ter .

For this , you wi l l need to sacr i f ice a ro l l of f i lm and pul l i t a l l the way out unt i l i t s tops . Now cut the f i lm, leaving about three or four sprockets worth of f i lm st icking out .

Next , cut the leader of f your

35mm Redsca le f i lm is s imple to make and can create very in-terest ing photographs .

The important thing to know, f i rs t , i s what s tandard colour (C-41 process) f i lm con-s is ts of .

F i lm has many di f ferent lay-ers of emuls ion. The f i lm base i s coated with these emuls ion layers . Each one, however , i s only sens i t ive to a certa in co-lour . Al though f i lm layers are much more compl icated and ac-tua l ly conta in mult ip le layers for each colour . Each with di f-ferent speed, contrast and other character is t ics . For the purpos-es of i l lustrat ion we ’re keeping i t s imple .

Your s tandard C-41 has a red sens i t ive layer , a green sensi-t ive layer and a b lue sens i t ive layer . There i s a l so some s i lver in there somewhere , which ac-tua l ly means you can process C-41 f i lm with b lack and white chemistry but that ’ s another experiment .

So when you load your 35mm f i lm into any s tandard 35mm camera not ice that the more or-ange s ide of the f i lm is where the image i s be ing captured on and the back of the f i lm is the dul l , dark brown s ide .

When you shoot the normal way, l ight hi ts the b lue sens i-t ive layer f i rs t , then the green and f ina l ly the red .

So i f you want to shoot red images you need to shoot on the ‘back ’ of the f i lm. Unfortunate-ly , however , i t ’ s not usual ly a s imple case of f l ipping over the canis ter as most 35mm cameras are made to take the 35mm can-is ter a part icular way.

But there i s a quick and easy way around this . Al l you need i s a sc i ssors , some tape and a dark space .

tECHNIquE

Flip your f i lm over and shoot the world in red and maybe a few yel-lows. Words and Photos: Paul Mur-phy and Sean O’Flaherty.

How to make redscale film

41

other ro l l of C-41 f i lm. Tape the orange s ide of one f i lm to the brown s ide of the other . Your canis ters should now be opposi tes of each other , one normal and one upside down.

Make sure that when you tape the two ends together the sprockets are a l igned so that there i s no di f f icul ty spool ing the f i lm into i t s new redsca le canis ter .

Now for the easy part , i f you have a dark bag, that i s . I f not , you need to f ind somewhere in tota l darkness . A good tr ick i s to do this in the dead of night

under a duvet . You need some-where l ight t ight or your f i lm wi l l be ruined.

Once you have somewhere dark hold your f i lm canis ters and begin to turn the spool of the empty canis ter , the one you took the f i lm out of , and feed your C-41 rol l into i t s new canis ter .

Once you have successfu l ly spooled a l l the f i lm into your redsca le canis ter cut the f i lm Be sure to cut a new leader on the redsca le f i lm to make for easy loading into your camera .

Next s tep i s to load and shoot .

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

Redsca le f i lm is three s tops be-low i ts or ig ina l s trength. I f you used 800 ISO f i lm shoot the redsca le ro l l as i f i t was 100 ISO f i lm. I f you used 400 ISO f i lm expose for 50 ISO, etc . Over exposing redsca le wi l l resul t in the other colours , green and b lue , interrupt ing your other-wise red and ye l low world .

The good news for those who sacr i f iced a ro l l i s that you ’ l l never have to do i t again as you now have an empty canis ter , with a smal l p iece of f i lm st ick-ing out , ready to house a new rol l of home made redsca le .

standard Colour Film roll sacrificed roll the Magic of sticky tape

43

For your chance to win some of our own VF Redscale f i lm see the back cover

rEVIEw

Diana F+

The Diana F+ camera that populates the shelves of many photographic s tores today i s an updated copy of an o ld f lower power era camera and f i rs t ap-peared for sa le on Amazon.com back in 2003.

The or ig ina l Diana was f i rs t manufactured in the ear ly 1960 ’ s by a Hong Kong based company, the Great Wal l P las-t ics Factory . Most of the camer-as produced there were export-ed to the USA and UK markets , and were mainly d is tr ibuted as novel ty cameras . Sometime

during the 60 ’ s an American company, the Power Sa les Com-pany of Pennsylvania , imported the Diana and sold them whole-sa le for roughly 50 US cent a unit . Today the Diana+ and F+ are manufactured and sold by Lomography.

The a l lur ing charm of the Diana, which has sparked cre-at iv i ty among profess ional and amateur photographers a l ike , can be at tr ibuted to i t s s im-pl ic i ty and the dreamlike un-predictable images i t produces . The ent ire camera i s made from

44

cheap phenol ic p last ic , with the except ion of the spr ing loaded shutter tr igger and the e lec-tr ica l wires for the f lash sync . Even the lens i s a s ingle e le-ment piece of p las t ic . But don ’ t be fooled by a l l th is p las t ic ta lk , th is camera produces beaut i fu l dreamy images that wi l l have you hooked.

The Diana i s a box camera that records an image pr imari ly on medium format (120) f i lm. The f i rs t thing you not ice i s how l ight i t fee l s when you pick i t up, and the second thing i s the v iewfinder . The viewfinder i s in no way associated with the lens and i s bas ica l ly a rough guide as to what image you want to record. This throws the whole aspect of composi-t ion out the window, a l though i f you own a Diana you prob-ably d idn ’ t buy one for i t s com-posi t ional meri ts . This can a l so

45

encourage the fun and unpre-dictabi l i ty of just point ing the camera and shoot ing.

The Diana i s a s imple cam-era . There are four aperture set t ings ; c loudy, part ia l ly c loudy, sunny and pinhole , which equate to approximate ly f .11 , f .13 , f .19 and f .120, re-spect ive ly . When i t comes to your shutter there are two set-t ings , N and B. When you set the camera to N i t wi l l g ive you a ba l lpark shutter speed of 1/60th of a second and when you f l ick the switch to B you ’re on the tradi t ional ‘bulb ’ set t ing, which keeps the shutter open for as long as you have the tr ig-ger depressed.

The Diana F+ i s fu l ly cus-tomisable with Lomography of-fer ing wide angle , f i sheye , c lose up and te lephoto lenses as wel l as 35mm and instant backs for the l i t t le p las t ic box camera .

submit to the Magazine

1. By submitt ing an image to the magazine , you give us permis-s ion to use that image on our websi te and in our magazine .

2 . P ictures must be at least 300dpi and at least 2000 pixe ls on the shortest s ide .

3 . P ictures can be taken on any camera , analogue or d ig i ta l .

4 . I f submitt ing analogue work p lease have the camera and f i lm type inc luded in e i ther the metadata , tags , or capt ion.

submission Guidelines

How to submit your work to Viewfinder Magazine :

Website : www.viewfindermag.com/submit

Flickr: f l i ckr .com/groups/viewfindermag/

Tumblr: viewfindermag.tumblr .com

Email : submiss [email protected]

5. Your submiss ion may be re-fused without reason, as due to the nature of the publ icat ion we cannot contact everyone in-dividual ly to expla in why work was not accepted.

6 . We cannot pay photogra-phers for their work; any mon-ey earned from the Magazine i s immediate ly put back into im-proving the magazine and the accompanying podcast .

7 . You can only submit your own work. Work that i s found

to have been taken from some-one e l se wi l l not be accepted.

8 . By submitt ing a photo you are assur ing Viewfinder that you are the so le copyright owner of the photograph and as such should any quest ion about own-ership arr ive a f ter publ icat ion of the image you are accept ing fu l l l iabi l i ty and responsibi l -i ty i f i t turns out that you are not the copyright owner of the photograph.

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Source : f l i ckr .com/nesster

Viewfinder Magazine - Issue 3 - july 2011

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