Creative Photography

August 2011 | Issue 04

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.

ContributorsOlav Ljone Skogaas (flickr.

com/olavls), Olav Njaastad

(flickr.com/55565060@

N08), Christos Christou

(flickr.com/25thc), Jay

Panelomo (flickr.com/

jaypanelo), Simon Garnier

(flickr.com/sjmgarnier),

Daniel Polidori (flickr.

com/56501339@N06), Tim

Kirman (flickr.com/

guinavere), Tom Welland

(flickr.com/64569522@N07),

Eric Wilcox (letitunwind.

tumblr.com), James

Whineray, Rebecca Cox

(flickr.com/rebeccacox),

Urban Hafner (flickr.

com/ujh), Glenn Eugen

Ellingsen (flickr.com/

eugen89).

(aprilleaphoto.carbonmade.

Paul Murphy Editor

Editorial

Welcome to Issue 4 of View-f inder Magazine .

This month we speak with s treet photographers in Oslo fo l lowing the tragic events of Ju ly 22 . We a lso speak with the curator of the ‘ I Refuse to be your Enemy’ exhibi t ion taking p lace in Oslo at the moment .

We travel to Lon-don to meet with Leica s ta f f and Leica users to see why the camera manufactur-er i s so highly regarded.

We a lso ta lk to the d irector of ‘S tand your Ground ’ , a re-cent documentary made for the

Inside this month’s issue

Lomography have launched a new website dedicated to sprocket hole photography.

www.sprocket-ho le-photog-raphy.com is a one stop shop guide for anyone thinking of exploring the relm beyond the standard frame of 35mm fi lm.

Sprocket holes are the l i t t le square holes which run along

the top and bottom of 35mm fi lm. Their main function is to help wind on f i lm and move your camera on to the next frame.

They are unique to 35mm fi lm but the special thing about them is that they are actual ly part of the f i lm. The material between the sprocket holes re-acts to l ight and can capture and image just l ike the rest of the f i lm, however, they are usual ly not exposed.

Exposing the sprocket holes

actual ly gives you nearly 40% in your image and give photo-graphs a very unique look and feel that can only ever be made using 35mm fi lm.

Most regular 35mm cameras do not al l for exposing sprocket holes . Lomography have a range of cameras and backs avai lable that wil l help release the ful l po-

tential of 35mm fi lm emulsion.The Lomography Sprocket

Rocket, Spinner 360, Diana F+ 35mm back and the Lubitel 166+ have the abi l i ty to expose sprocket holes .

Lomography also sel l a Digi-taLIZA, a special scanning mask to aid in scanning negatives with the sprocket holes exposed.

Fl ick to our technique sec-tion for a detai led guide to scan-ning sprocket hole photography. Pages 44-47.

Features

Lomography sprocket guide

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I refuse to Be Your enemy

Picture: Lomography.com

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The streets of Oslo

The bomb went of f a t 3 .26pm and that was two or three b locks away from my of f ice so we heard the rumble and looked at each other . My inst inct was to grab my camera and run to-wards the smoke. I t was l ike walking into a war zone. I t was surrea l .

On the saturday a f ter , we went down into the c i ty cen-tre and i t was rea l ly s trange because there weren ’ t a lot of people out and about where we l ived but as we came c loser to the c i ty centre there were more people . I t was eer i ly quiet . People walked around in shock I think. What rea l ly got to us was see ing mi l i tary so ldiers in fu l l combat gear at cordons , and pol ice with guns , because that does not happen in Nor-way. For me i t was important to document this . What was d i f f icul t was taking pictures with guns . I d idn ’ t fear that these conscr ipts f rom the Royal Guard would s tart shoot ing at me, or anything l ike that , but s t i l l - so ldiers in fu l l combat gear with machine guns in my c i ty - I mean, what ’ s going on?

The front of the Oslo Ca-thedra l was the main outpour-ing of publ ic gr ie f . I went down there looking for p ictures of the f lowers and candles that people had put up. I turned around and saw a woman walking towards me and prefocused. I shot this with a Leica M7. I wai ted for her to walk into the focus area and frame her . That took about a second. I d idn ’ t rea l i se the ex-press ion on her face unt i l I saw the negat ive . That was one of the shots that I was rea l ly ex-c i ted about see ing.

Making the trans i t ion from a fu l ly automatic dSLR to shoot-ing Leicas for s treet with man-ual focus was hard. After a cou-ple of years , i t comes natura l ly . I t ’ s a d i f ferent approach and a d i f ferent way of see ing and an-t ic ipat ing. That ’ s something you have to do in s treet photog-raphy. You have to ant ic ipate the act ion, read what ’ s going on, and try to be there before the moment happens . That was the case with this shot . I don ’ t th ink she even not iced I was there .

In Norway, as wel l as a

large part of Western Europe and America , there has been an increase host i le rhetor ic , in part icular against Musl ims, but emigrants in genera l . For someone to s tand up and say , “ I wi l l not be your enemy” - I l ike i t . I t says something about us a l l be ing people , even though there i s an ‘us and them’ phi-losophy of thinking behind some of the rhetor ic and how people to l ive . I t ’ s a matter of rea l i s ing that ‘ them’ are s imi lar to ‘us ’ . We’re a l l people . We a l l have our problems, and gr ie fs , and worries . Be you Musl im, or Chris t ian, or Hindu, Buddhist , socia l i s t , l ibera l or conserva-t ive , we ’re a l l people and we a l l have our worries . The fact that the perpetrator was a white Norwegian who ca l led himsel f a Chris t ian fundamenta l i s t , and the fact that he was caught fa ir ly quickly had helped a lot in the unity and outpouring of gr ie f and the sense of commu-nity that came af ter the bomb-ing and the shoot ings . Had this been, for instance , and Al Qa-eda , or Al Qeada inspired p lot , the s i tuat ion would have been

Norwegian street photographers Olav Njaastad and Olav Ljone Skogaas tell us what it’s been like shooting street photog-raphy in Oslo since the tragedy of July 22

Olav Ljone SkogaasFlickr: olavls

I Refuse to be Your Enemy

A poignant audio and photo ex-hibi t ion tear ing down the wal l that keeps us from peace .

The Streets of Oslo

Norwegian s treet photogra-phers te l l us what i t ’ s been l ike taking s treet photography in Oslo s ince the tragedy of Ju ly 22 .

Sean O’Flaherty Creative Editor

Andy Doyle Deputy Editor

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

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

Osloparanoia debate at the recent London Street Photography fest iva l .

Our featured photographer this month cre-at ive ly sp l i t s h is f rames .

We have a spe-c ia l scanning tech-nique and we re-view Lomography ’ s la test creat ion.

We a lso have the regular ga l lery of the best submis-s ions to us and the la test news.

This month ’ s podcast fea-tured extended interviews from features in the magazine l i s ten to i t a t www.v i ewf indermag . com

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Viewfinder Magazine info@viewfindermag.com©2011 Viewfinder Magazine

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10

Creative Photography

August 2011 | Issue 04

- 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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www.f l ickr .com/photos/25thc

C h r i s t o s C h r i s t o u

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Picture : NYCPhotographer: Jay PanelomoCamera: LC-A+Film: Lomography Xpro 200Flickr: j aypanelo

Picture : The Thinker in the CityPhotographer: Simon Garnier

Camera: Lumix GF1Flickr: s jmgarnier

Gallery

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the way to the edges of 35mm f i lm is easy .

Rather than us ing your s tan-dard 35mm mask you can put your negat ive s tr ip in the me-dium format mask.

This wi l l , however , l imit you to scanning one or two frames at a t ime as opposed to the reg-ular four or s ix or in some cases twelve .

The problem, usual ly , i sn ’ t with the scanner i t se l f but with scanning sof tware . I f you use the sof tware that came with

your scanner then you wi l l need to work with i t in i t ’ s most ad-vanced s tate , g iv ing you the widest range of opt ions for scanning, to get the best resul ts .

The things to look out for are ‘ cont inous auto exposing ’ and ‘ thumbnai l creat ion ’ you need to s top your scanner from trying to f ind s tandard s ize im-ages to scan.

These set t ings wi l l need to be turned of f so that your scan-ner g ives you a preview of the fu l l s tr ip of f i lm and not s ingle frames .

From here , you wi l l be able

to mark what sect ions , of the s tr ip , you want scanned.

Unless your s tr ip of 35mm is f i rmly grasped by the medium format mask then there can be a s l ight ra ise or bend in the f i lm as i s be ing scanned.

This can resul t in a s trange shape in your f ina l scan. I f th is occurs there i s a s imple Photo-shop f ix .

Open your sprocket hole p icture and se lect ‘warp ’ within the ‘Transform’ menu. This wi l l he lp you s tra ighten out your f i -na l photograph.

In order to prevent this

People have been able to shoot on the sprocket holes of their 35mm f i lm, us ing other for-mat cameras , for a long t ime but recent ly i t ’ s seen a surge in popular i ty .

The Lomographic society can be large ly credi ted with this r i se in popular i ty of per-ferat ion exposures due to the re lease of some of i t ’ s recent cameras , namely the Spinner 360 and the Sprocket Rocket .

The 35mm back that i s avai l -able for the Diana F+ a lso a l low for shoot ing a l l the way to the edge of s tandard 35mm f i lm.

Although they are not neces-sary as you can run 35mm f i lm through any medium format camera with a s l ight modif ica-t ion and pract ice , the Lomogra-phy cameras , however , are very he lpful in knowing how large each frame i s so there i sn ’ t un-wanted over lapping and mul-t ip le exposures .

However , many analogue and toy camera enthusiasts can be faced with a daunt ing task of f iguring out how to scan their sprocket hole photography.

Scanners , l ike cameras , come on a l l shapes and s izes and so i t i s important not to assume that your scanner wi l l not scan

sprocket holes .Lomography se l l a spe-

c ia l 35mm mask for scanning sprockets , however , you may be able to scan them a lready with-out rea l i s ing i t .

While there i s a wide var iety of f i lm scanners on the market this tutor ia l i s for regular f la t-bed negat ive scanners but the technique can be adapted for many other types of negat ive scanners .

I f your scanner has a medium format holder then scanning a l l

Technique

Sprocket hole photography is great but many struggle with scanning it , we show you how. Words and Photos: Paul Murphy.

Scanning your Sprockets

happening ensure that your 35mm f i lm is f i rmly he ld by the scanning mask.

I f you have been toying with the idea of going down the road of sprocket hole photography you can know be comfortable knowing whether or not your scanner has the abi l i ty to scan a l l the way to the edges of your f i lm.

Remember you might not need a new camera . A s imple modif icat ion to a medium for-mat camera wi l l suf f ice in cov-er ing the ent ire surface of your 35mm emuls ion.

A regualar flatbed medium format holder insert your 35mm film

in your hand.The 22mm lens means you

have to get c lose to your subject which ads a greater int imacy between photographer , camera abd subject .

The La Sardina a l so makes very l i t t le noise when the shut-ter i s re leased so the a larm is never ra ised that a candid pho-to has been taken. The wind on i s quick and easy so you ’re v ir-tua l ly a lways ready to shoot .

The camera has a bulb , nor-mal and mult ip le exposure set-t ing which a l lows for a large amount of creat iv i ty .

I t a l so has a tr ipod mount and can take a s tandard ca-ble re lease . I t ’ s f i lm rewind i s smooth and there i s a shutter lock feature .

The La Sardina cameras comes in four d i f ferent var i-et ies the Sea Pr ide , (p ictured) , E l Capitán, Fischers Fr i tze and Marathon, each uniquely de-s igned and inspired by sardine cans .

The La Sardina range a l so sees the introduct ion of Lomog-raphy ’ s f i rs t f lash with mult ip le d is tance set t ings .

The Fri tz the Bl i tz f lash has a unique f lash connect ion to f i t the La Sardina cameras . Al-though, i t does come with a hot shoe adapter . The f lash g ives greater control over f lash pho-tography that hasn ’ t previos ly been avai lab le with Lomog-raphy cameras because of i t ’ s three d is tance set t ings .

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Review

La Sardina

Lomography ’ s la test invent ion i s a sardine can inspired wide angled oceon of fun.

Released re letavi ly soon af-ter the Lomo LC-W, an up market 17mm lens camera , the La Sardina range of cameras gave Lomography fans another 22mm lens camera at a very a f-fordable pr ice .

Although bas ica l ly a point and shoot camera . This wide an-gle f ixed shutter speed (1/100) and aperture ( f/8) camera i s a dream of a toy camera for those who love to shoot from the hip .

The camera ’ s wide angle and two s imple focus opt ions 0 .6-1m and 1m-inf ini ty make this the essent ia l toy camera for s treet photographers .

I t s cute , innofensive and l ight weight des ign can be he ld with great ease by your s ide with the shutter button under your thumb ready to shoot at any second.

The compact des ign i s s l ight ly larger than your aver-age sardine can, as i t needs to house 35mm f i lm, but i t i s the perfect s ize to fee l confortable

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Technique: Scanning your

Sprockets

Paul Murphy guides you through scanning sprocket hole photography.

Review: La Sardina

We turn our at tent ions to Lo-mography ’ s la test creat ion this month.

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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

Featured Photographer

This month ’ s most inspir ing photographer i s extremely cre-at ive with sp l i t t ing the frame.

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Leica, by Leica

Leica , as to ld by the Leica s ta f f and the people who use them.

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photographer had access to the changing rooms af terwards , the d iscrete M9 might be the per-fect tool for that s i tuat ion.

We would suggest that most photographers would have in excess of 12-15 bodies . Photog-raphers have a knack of co l lect-ing cameras . I ’m gui l ty of i t my-se l f . But i t ’ s not just co l lect ing. Cameras for a profess ional are

Dave Price - MD, Leica UK

Leica ’ s Phi losophyAs a company we are a re la-t ive ly smal l , i f you compare us to the l ikes of Nikon or Canon. Our phi losophy i s to dare to produce products which are a l i t t le b i t d i f ferent , a l i t t le b i t adventurous . That might be a lens for example that ’ s 21mm f/1 .4 . I t might be a camera that looks retro but has the la test technology.

What I love about working for Leica i s that not only are we a smal l number of people , we a l l have a spir i t . There ’ s wel l documented per iods in our his-tory where we were s truggl ing. I th ink many readers may know that we came from a very iconic and i l lustr ious past .

I think the i ssue for us a t the moment i s to become re levant again and to become more lead-ing edge . What we ’ve tr ied to do in the past two years , par-t icular ly with products l ike

the S2 and the M9 is to re-late to the pros , which in turn makes us more re levant to the enthusiasts .

Leica PhotographersI f a photographer were to shoot , for example , Manchester United p laying our M-Series would be complete ly wrong for that appl icat ion. I f that same

While on a visit to Leica, in Lon-don, Andy Doyle got talking to Leica staff and some of the big-gest names in photography, using Leica cameras, to see why they are held in such high regard.

Leica, by Leica and the people who use them

Picture: Joi

tools . You need di f ferent tools for d i f ferent jobs .

We have a photographer here who shadows David Cam-eron. The M9 is perfect for that . I f you were a fashion pho-tographer and you wanted to have dynamic pictures - i f you wanted to have a large frame product in your hand, the S2 would be perfect .

But , we would never suggest that Leica answers every appl i-cat ion. We st i l l make f i lm cam-eras . We love f i lm cameras .

We have a phi losophy, but we a l so have a s ty le . I t ’ s very important to us to have that s ty le .

Another photographer here today, Tom Stoddart , a war photographer , he ’ s been us ing the M ser ies for over 30 years . He ’ s tota l ly fami l iar with that equipment .

He now uses an M9, but i t ’ s s t i l l an extension of his hand. That takes years of use to get that int imate re lat ionship

where you don ’ t have to think about the product or what you ’re doing, you can do i t natura l ly .

The M9The M9 is a progress ion from the M8. The M8 is s t i l l a very good b lack and white d ig i-ta l camera , but the M9 is fu l l f rame.

One of the i ssues we had i s that we didn ’ t want to change the d imensions of the camera to honor the past , and so that the exis t ing lenses would f i t .

That gave us a very smal l constra ints in which to get the image. As the rays of l ight pass through the Leica lens , they have to converge to a sensor .

In a dSLR, you ’ve got a b ig-ger chamber to do that phys-ics . I t was the advent of a fu l l s ize sensor with minute micro mirrors that could enable us to broaden the image onto a fu l l f rame, which we couldn ’ t do at the t ime of the M8.

Product ionWe’re very sorry that we can ’ t keep up with demand. Part icu-lar ly on M lenses .

We actua l ly are making far more lenses than we were a few years ago. I t takes , for example , f ive years to tra in a lens maker . You can ’ t suddenly switch these things on.

PanasonicWe have an associat ion with Panasonic .

They make their own range of cameras and we help them. We started working together about f ive years ago. Panason-ic ’ s s trength was in domest ic goods and TVs.

I th ink your readers wi l l know that Panasonic won quite a few awards recent ly for their cameras .

Those Panasonic cameras deploy Leica technology in the lens , and they ’ve done some work for us so i t ’ s a mutual s i tuat ion. 20

Stand Your Ground

The short f i lm that showcases the s truggle s treet photogra-phers face with paranoia .

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company, and Dermot Robin-son, f rom the Metropol i ton Po-l ice . We were try ing to engage them and show them the f i lm and make i t c lear to them that there i s qui te a long way to go in terms of the pr ivate securi ty f i rms. ’

In l ight of the recent r iots in the UK and London, in part ic-ular , there i s potent ia l that the paranoia wi l l cont inue to grow especia l ly as the media he lp to bui ld ‘mistrust and fear of each other , the r iots could increse that [mistrust] unless they are dea l t with in the proper way. ’

The f i lm highl ights what poor communicat ion and tra in-ing of securi ty s ta f f can lead to and i t i s important for photog-raphers to know their r ights when i t comes to photograph-ing in publ ic space .

Hannah ’s advice to photog-rapher ’ s who may not be aware of their r ights i s to ‘be very aware that you are a l lowed to photograph anything or any-one as long as you are on pub-l ic property . Don’ t fee l l ike you can ’ t take a p icture i f your on publ ic land. ’

‘ Increas ingly , ’ she added ‘more and more publ ic land i s be ing pr ivat i sed . Olympic park i s going to be the f i rs t fu l ly pr i-vate park in the UK. Technica l-ly the people who wi l l run that can s top people doing anything l ike taking a photograph or eat-ing a sandwich. ’

What s tarted out as a v ideo for use as an a id to the debate ‘Why does s treet photography make us paranoid? ’ , a t the recent London Street Photography Fest iva l , ‘S tand Your Ground ’ has become much more than a v isua l a id .

The photographers David Hoffman, Toby Smith, Phi l ip Wolmuth, Pennie Quinton, Michael Grieve and founder of the ‘ I ’m a photographer not a terror is t ’ group Grant Smith were approached to do this f i lm when director Hannah White , who had met with Grant , de-c ided i t woul ld be a good idea to ‘photograph senset ive areas , that should not be senset ive , ’ around London c i ty .

The f i lm shows the photog-raphers being requested to s top photographing by pr ivate secu-r i ty f i rms who ins is t that they are not a l lowed to take pictures . On three occass ions the pol ice were ca l led . The pol ice , howev-er , are the polar opposi te of the paranoia and obstruct iveness of the pr ivate securi ty f i rms. They expla in to them that the pho-tographers have every r ight to do what they are doing and that there i s no lege l reason to ins is t that they cease .

However , i t i s not the indi-vidual securi ty s ta f f ’ s faul t as Hannah White expla ins : ‘ they ’ re just doing their jobs . They have been to ld from higher up what to do, ’ ‘perhaps they are not

to ld enough about why they should s top people , who they should s top. There just needs to be a l i t t le b i t more educat ion. ’

When the securi ty workers are faced with a photographer expla ining their r ights i t rea l ly shows the ‘ l ack of knowledge ’ that exis ts .

The reason for these ar-eas being senset ive i s due to an increase in paranoia to-wards people with cameras . I t s tarted when pol ice , the world over , ‘got suspic ious of pho-tographers a f ter 9/11 and then 7/7. ’ There has been a ‘mass ive change in the at t i tude of the pol ice but this has not f i l tered down to the pr ivate securi ty f i rms, which i s what the f i lm is t ry ing to highl ight . ’ expla ins Hannah.

The pol ice used to quote Sect ion 44 of the Terrorism Act 2000 which did not require a pol ice of f icer to have ‘ reason-able suspic ion ’ that an of fence had been committed, to s top photographers taking photos in publ ic p laces , which became a widely suspic ious act as para-noia of terror at tacks grew.

‘One of the photographers in the group, Pennie Quinton, success fu l ly took sect ion 44 to the European Court and i t i s now no longer in use beacuse i t was unfa ir . ’

‘ In the debate we had a Terry Hanley , f rom Knights-br idge Guarding, a b ig securi ty

On 21st June 2011 six photogra-phers were assigned different ar-eas of London to photograph. Pri-vate security f irms got suspicious.

Stand your ground

Picture: David HoffmanListen to more from the interview with Hannah White in this month’s podcast www.vi ewfindermag.com

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NEws

Austr ian art photographer Andreas Franke has taken his work under water for a very unusual exhibi t ion.

Vandenberg: Li fe Below the Surface br ings Franke ’ s pho-tography to new depths on board the Gen. Hoyt S . Van-denberg, a former Air Force miss i le tracking ship that l ies 93 feet be low the ocean ’ s sur-face of f Key West , F lor ida .

A diver himsel f Franke took photos of the ship wreck las t year and then combined these images with others to g ive a very surrea l exhibi t ion.

The 12 large pr ints are mounted, on the weather deck of ship , with very powerful magnets so as not to harm the wreck. They are encased in p lexig lass and mounted on s tee l f rames sea led with s i l i cone to keep the water out .

The images are l ike ghosts on the ship and as Franke puts

Leica Camera Ltd and interna-t ional fashion des igner , Paul Smith, have jo ined forces for the f i rs t t ime to of fer two ex-c lus ive , l imited edi t ion leather cases for the high-performance compact d ig i ta l camera , Leica D- Lux 5 .

Avai lable from October 2011, just 300 of the premi-um qual i ty cases wi l l be avai l -able – 150 in a smooth choco-late brown ca l f leather with the famous Paul Smith vintage mult i s tr ipe on the s ides , and 150 in a l ight grey , croc-sty le

Florida ship wreck exhibition

Leica team up with designer Paul smith

i t ‘The shipwreck i t se l f , to me, i s a dead thing but I thought that i f I put people on i t , then there would again be l i fe on that ship . ’

There has been no t ime l im-i t put on the exhibi t ion, with some hoping that i t wi l l remain mounted on the purpose ly sunk vesse l for the rest of the year .

embossed leather with a luxuri-ous purple l in ing. The cases are hand-craf ted in England and embossed with Paul Smith for

Leica on the back. Both des igns a l so feature an e legant match-ing shoulder s trap.

The Paul Smith for Leica cases wi l l be so ld at Leica ’ s London-based s tore , the Lei-ca Store Mayfa ir a t 34 Bruton Place , W1 and at Paul Smith s tores throughout the UK. The cases wi l l reta i l a t £200.

In business for more than 40 years , Paul Smith has es tab-l i shed himsel f as the preeminent Bri t i sh des igner with show-rooms and shops a l l around the world .

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Making a case for fashion: Leica announces collaboration with British designer Paul Smith Two limited edition ‘Paul Smith for Leica’ leather cases for Leica D-Lux 5 digital camera to be available for Christmas 2011

27 July 2011: Leica Camera Ltd and international fashion designer, Paul Smith, have joined forces for the

first time to offer two exclusive, limited edition leather cases for the Leica D-Lux 5 digital camera.

Available from October 2011, just 300 of the premium quality cases will be available – 150 in a smooth

chocolate brown calf leather with the famous Paul Smith vintage multi-stripe on the sides, and 150 in a

light grey, croc-style embossed leather with a luxurious purple lining. The cases are hand-crafted in

England and embossed with Paul Smith for Leica on the back. Both designs also feature an elegant

matching shoulder strap.

The Paul Smith for Leica cases will be sold at Leica’s London-based store, the Leica Store Mayfair at

34 Bruton Place, W1 and at Paul Smith stores throughout the UK. The cases will retail at £200 including

VAT (SRP).

About the Leica D-Lux 5 digital camera

The Leica D-Lux 5 is a high-performance compact digital camera offering full

creative control. Its high quality Leica zoom lens, with focal lengths equivalent

to 24 to 90mm (35mm equivalent), combined with a comprehensive range of

features and manual settings, makes the D-Lux 5 a versatile camera suitable for a broad spectrum of

photographic situations – from macro and wide-angle architecture and landscape photography to

reportage and portrait photography. Its exceptionally fast maximum aperture also makes it an ideal

camera for ‘available light’ photography, for example, when shooting indoors or in difficult lighting

conditions.

Featuring a particularly large sensor for a compact camera, the

D-Lux 5 produces brilliant high contrast images, with natural

colour rendition and superb sharpness. It also shoots in 1,280 x

720 HD video format, for high quality movie making.

The Leica D-Lux 5 is characterised by clear lines and a stylish,

uncomplicated design in an elegant black matt finish. Its formal

simplicity, clear and intuitive controls, and a focus on essential features, are typical of all Leica cameras.

Picture: ‘Maniac ’ by Andreas Franke

Lomography have launched a new website dedicated to sprocket hole photography.

www.sprocket-ho le-photog-raphy.com is a one stop shop guide for anyone thinking of exploring the realm beyond the standard frame of 35mm fi lm.

Sprocket holes are the l i t t le square holes which run along

the top and bottom of 35mm fi lm and their main function is to help wind on f i lm and move your camera on to the next frame.

They are unique to 35mm fi lm but the special thing about them is that they are actual ly part of the f i lm. The material between the sprocket holes reacts to l ight and can capture and im-age just l ike the rest of the f i lm, however, they are usual ly not exposed. Exposing the sprocket

holes actual ly gives you nearly 40% more in your image and gives photographs a very unique look and feel that can only ever be made using 35mm fi lm.

Most regular 35mm cam-eras do not always expose for sprocket holes . Lomography have a range of cameras and backs avai lable that wil l help re-

lease the ful l potential of 35mm fi lm emulsion.

The Lomography Sprocket Rocket, Spinner 360, Diana F+ 35mm back and the Lubitel 166+ have the abi l i ty to expose sprocket holes .

Lomography also sel l a Digi-taLIZA, a special scanning mask to aid in scanning negatives with the sprocket holes exposed.

Fl ick to our technique sec-tion for a detai led guide to scan-ning sprockets (Pages 44-47) .

Lomography sprocket guide

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Picture: Lomography.com

FEAturEs

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I refuse to Be Your Enemy

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‘Dear Oslo , d id you hear the voice of the young survivor saying ‘ i f one man can show so much hatred, imagine how much love we can show together . ’ ’

I Refuse to be Your Enemy is an outdoor audio and photo exhibi t ion at City Hal l Square , Os lo , presented by the Norwe-gian Peace Associat ion (NPA).

The exhibi t ion i s based on NPA’s s tudy tours to the West bank, v is i t ing Palest inian and Israe l i people and organiza-t ions that work for peace and reconci l ia t ion with non-violent means .

Using ‘ audio showers ’ , the exhibi t ion opens a d ia logue be-tween people regardless of na-t ional i ty , re l ig ion and pol i t ica l

a f f i l ia t ion. I t s use of innova-t ive technology, in the publ ic sphere , enables the inc lus ion of voices that are otherwise not heard.

This art insta l la t ion i s in-tended to break down barr i-ers and obl i terate geographica l d is tances .

Curator Dhita S iauw ex-pla ins to us how the exhibi t ion for peace came about . ‘When we were in Pa lest ine and Israe l , we met rea l people who were f ight ing for peace . Most people focus on conf l ic t in these p lac-es but when we asked what we could do to he lp , they to ld us to te l l their s tory . ’

On one occas ion whi le leav-ing Palest ine , a guard at the

border asked to see the photos on one of the photographers cameras . When he saw them, he cr ied .

The exhibi t ion takes i t s name from ‘a mass ive s tone that acts as a roadblock for the I srae l i army armored trucks on the way to the Nassar fami ly farm on the outskir ts of Bethle-ham, Pa lest ine . On the s tone i t i s wri t ten; I Refuse to be Your Enemy. ’

The exhibi t ion ’ s a im is to take people beyond the pol i t ics and the media ’ s a t tent ion. ‘See them dance , and serve their ‘ups ide down’ , share their fears , their hopes and their dreams. Hear the sounds from their s treets and hear their voices in

‘ ‘If one man can show so much hatred, imagine

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the sound showers . ’‘We wanted to br ing the ex-

hibi t ion to the people . ’ Thou-sands of people pass through that City Hal l Square , every month, and ‘we wanted to share i t with them rather than just those who at tended a conven-t ional exhibi t ion. ’

The exhibi t ion tr ies to le t people know there i s another s ide of the conf l ic t than the v io lence and the hopelessness projected in the mass media .

Dhita to ld us how these sound-showers ‘o f fer a d irect audio l ink between Oslo , I srae l and Palest ine . ’ The sounds add to the eer ie truth that the trag-ic events that s truck Norway las t month, would turn a one

way exhibi t ion of images of the West Bank conf l ic t into a two way dia logue between people who want peace .

There are people on both s ides , f ight ing for peace and f ight ing to end the occupat ion, not with guns , rockets and bombs, but with inte l lect , cre-at iv i ty and their own humanity as their weapons .

There i s hope, and that hope i s found in the people who re-fuse to become each other ’ s enemies .

The exhibi t ion opened the same week as the bombing in Oslo and the massacre at Utøya .

‘On the day of the bomb-ing I was in Pa lest ine . I br ie f-ly thought ; ‘what ’ s the point

in f ight ing for peace? ’ . At the t ime I thought i t was a fore ign at tack , maybe Al Qaida . Lat-er , I rea l i sed that i t was more important than ever to f inish this project . I t ’ s more impor-tant than ever now to f ight for peace ’ .

‘Dear Oslo . . .As the rose pet-a ls are swept away, and we set of f in a quest of normal i ty . We hope this exhibi t ion can re-mind you of the s trength of the choices you have made in the las t few days - to not le t hatred overpower love , and to meet the insanity of terror with hu-manity and dignity . ’

The exhibi t ion runs at City Hal l Square , Os lo , unt i l Sep-tember 5th .

‘ ‘If one man can show so much hatred, imagine how much love we can show together’ ’

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the streets of Oslo

The bomb went of f a t 3 .26pm and that was two or three b locks away from my of f ice so we heard the rumble and looked at each other . My inst inct was to grab my camera and run to-wards the smoke. I t was l ike walking into a war zone. I t was surrea l .

On the Saturday a f ter , we went down into the c i ty cen-tre and i t was rea l ly s trange because there weren ’ t a lot of people out and about where we l ived. But as we came c loser to the c i ty centre there were more people . I t was eer i ly quiet . Peo-ple walked around in shock I think.

What rea l ly got to us was see ing mi l i tary so ldiers in fu l l combat gear at cordons , and pol ice with guns , because that does not happen in Norway.

For me i t was important to document this . What was d i f-f icul t was taking pictures with

guns . I d idn ’ t fear that these conscr ipts f rom the Royal Guard would s tart shoot ing at me or anything l ike that , but s t i l l , so ld iers in fu l l combat gear with machine guns in my c i ty , I mean, what ’ s going on?

The front of the Oslo Cathe-dra l was where the main out-pouring of publ ic gr ie f was . I went down there looking for p ictures of the f lowers and can-dles that people had put up. I turned around and saw a wom-an walking towards me and pre-focused. I shot this with a Leica M7. I wai ted for her to walk into the focus area and frame her . That took about a second. I d idn ’ t rea l i se the express ion on her face unt i l I saw the nega-t ive . That was one of the shots that I was rea l ly exci ted about see ing.

Regarding the ‘ I re fuse be your enemy’ exhibi t ion - I l ike i t . I t says something about us

a l l be ing people , even though there i s an ‘us and them’ phi los-ophy of thinking behind some of the rhetor ic and how people l ive .

I t ’ s a matter of rea l i s ing that ‘ they ’ are s imi lar to ‘us ’ . We’re a l l people . We a l l have our problems, and gr ie fs , and worries . Be you Musl im, Chris-t ian, Hindu, Buddhist , soc ia l i s t , l ibera l or conservat ive , we ’re a l l people and we a l l have our worries . The fact that the per-petrator was a white Norwegian who ca l led himsel f a Chris-t ian fundamenta l i s t , and the fact that he was caught fa ir ly quickly he lped a lot in the uni-ty and outpouring of gr ie f and the sense of community that came af ter the bombing and the shoot ings . Had this been, for instance , and Al Qaeda, or Al Qeada inspired p lot , the s i tua-t ion would have been quite d i f-ferent , unfortunate ly .

Norwegian street photographers Olav Njaastad and Olav Ljone Skogaas tell us what it’s been like taking street photog-raphy in Oslo since the tragedy of July 22.

Olav Ljone skogaasFlickr: olavls

Listen to more from the interview with Olav Ljone Skogaas in this month’s podcast www.vi ewfindermag.com

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The days and weeks a f ter the tragedy on Ju ly 22 have been f i l led with emotions . St i l l peo-ple are br inging f lowers to the c i ty centre , and p lac ing them on top of the other f lowers on the scene. Having a s treet pho-tographer ’ s soul you can not avoid documenting this .

At the same t ime, you want to show respect for the people in sorrow and not v io late their r ight to show their emotions , in publ ic , or intrude on them. I th ink the people coming now, three weeks a f ter the at tack , are the people returning from their vacat ion. They a l so have a need to ‘ take back ’ the s treets of Oslo .

One day in the heavy ra in , a chi ld at the main town square s tretched her arms out and sa id ‘Mommy, look at a l l those f low-ers ’ , and her mother tr ied to make her understand what i t a l l was about .

I fe l t that my camera should be d irected towards the so l idar-i ty and the dignity of the Oslo populat ion. Not towards the destruct ions and the resul ts of the terror at tacks .

The f i rs t day a f ter the b last I went with my mother , 85 , and my fami ly out into the forest . Pre-planned, and good for this day , we had to s tay c lose , to ta lk and to le t the day pass .

On the second day , I went down to the c i ty severa l t imes . I fe l t too l imited, too much a part of the s i tuat ion to rea l ly take photos . On the Monday af ter the at tack I was ca l led to work to document , on video, what was going on.

What s truck me when shoot-ing and f i lming was that ev-erybody e l se a t the scene a l so was doing the same. They were shoot ing with their mobi le de-vices , their compacts , f i lm cam-eras and DSLRs. They were not

act ing as spectators , or touris ts , but they shot to document their own act of so l idar i ty . They documented being at the p lace , putt ing down f lowers and the socia l act ion they were in .

The other thing that was s tr ik ing to me was that there truly was a mixture of people of d i f ferent or ig ins . Os lo i s a smal l c i ty , t iny one might say , with only 500.000 inhabitants , but i t i s a l so an internat ional c i ty with more than 20 percent of the populat ion being non-western immigrants .

I think a photo can be a ve-hic le for change i f i t touches people emotional ly . Photos or v ideo portraying other people in a way that makes you ident i-fy with them, i s a profound way of bui ld ing a socia l wal l against terror and pol i t ica l evi l . I think the people behind the ‘ I re fuse to be your enemy’ are on this path to peace .

Olav NjaastadFlickr: olavn

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Picture: David Hoffman

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Guarding, a b ig securi ty compa-ny, and Dermot Robinson, f rom the Metropol i tan Pol ice . We were try ing to engage them and show them the f i lm and make i t c lear to each that there i s qui te a long way to go in terms of the pr ivate securi ty f i rms. ’

In l ight of the recent r iots in the UK, and London in part icu-lar , there i s potent ia l that the paranoia wi l l cont inue to grow especia l ly as the media he lp to bui ld ‘mistrust and fear of each other , the r iots could increase that [mistrust] unless they are dea l t with in the proper way. ’

The f i lm highl ights what poor communicat ion and tra in-ing of securi ty s ta f f can lead to , and i t i s important for photog-raphers to know their r ights when i t comes to photograph-ing in publ ic space .

Hannah ’s advice to photog-rapher ’ s who may not be aware of their r ights i s to ‘be very aware that you are a l lowed to photograph anything or any-one as long as you are on pub-l ic property . Don’ t fee l l ike you can ’ t take a p icture i f your on publ ic land. ’

‘ Increas ingly , ’ she added ‘more and more publ ic land i s be ing pr ivat i sed . Olympic park i s going to be the f i rs t fu l ly pr i-vate park in the UK. Technica l-ly the people who wi l l run that can s top people doing anything l ike taking a photograph or eat-ing a sandwich. ’

What s tarted out as a v ideo for use as an a id to the debate ‘Why does s treet photography make us paranoid? ’ a t the recent Lon-don Street Photography Fes-t iva l , ‘S tand Your Ground ’ has become much more than a v i-sua l a id .

The photographers David Hoffman, Toby Smith, Phi l ip Wolmuth, Pennie Quinton, Mi-chael Grieve and founder of the ‘ I ’m a photographer not a ter-ror is t ’ group Grant Smith were approached to do this f i lm by director Hannah White . Han-nah, who had met with Grant , decided i t would be a good idea to ‘photograph sensi t ive areas , that should not be sens i t ive ’ around London c i ty .

The f i lm shows the photog-raphers being requested to s top photographing by pr ivate secu-r i ty f i rms who ins is t that they are not a l lowed to take pictures , and on three occas ions the po-l ice were ca l led . The pol ice , however , are the polar opposi te of the paranoia and obstruc-t iveness of the pr ivate securi ty f i rms, and they expla in to them that the photographers have every r ight to do what they are doing and that there i s no lege l reason to ins is t that they cease .

However , i t i s not the in-dividual securi ty s ta f f ’ s faul t as Hannah White expla ins : ‘ . . they ’ re just doing their jobs . They have been to ld from high-er up what to do. Perhaps they

are not to ld enough about why they should s top people , who they should s top. There just needs to be a l i t t le b i t more educat ion. ’

When the securi ty workers are faced with a photographer expla ining their r ights i t rea l ly shows the ‘ l ack of knowledge ’ that exis ts .

The reason for these ar-eas being sens i t ive i s due to an increase in paranoia to-wards people with cameras . I t s tarted when pol ice , the world over , ‘got suspic ious of pho-tographers a f ter 9/11 and then 7/7. ’ There has been a ‘mass ive change in the at t i tude of the pol ice but this has not f i l tered down to the pr ivate securi ty f i rms, which i s what the f i lm is t ry ing to highl ight . ’ expla ins Hannah.

The pol ice used to quote Sect ion 44 of the Terrorism Act 2000 which did not require a pol ice of f icer to have ‘ reason-able suspic ion ’ that an of fence had been committed, to s top photographers taking photos in publ ic p laces , which became a widely suspic ious act as para-noia of terror at tacks grew.

‘One of the photographers in the group, Pennie Quinton, success fu l ly took sect ion 44 to the European Court and i t i s now no longer in use because i t was unfa ir . ’

‘ In the debate we had a Ter-ry Hanley , f rom Knightsbr idge

On 21 June 2011 six photogra-phers were assigned different ar-eas of London to photograph. Pri-vate security f irms got suspicious.

stand your ground

Listen to more from the interview with Hannah White in this month’s podcast www.vi ewfindermag.com

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photographer had access to the changing rooms af terwards , the d iscrete M9 might be the per-fect tool for that s i tuat ion.

We would suggest that most photographers would have in excess of 12-15 bodies . Photog-raphers have a knack of co l lect-ing cameras . I ’m gui l ty of i t my-se l f . But i t ’ s not just co l lect ing. Cameras for a profess ional are

David Bell - MD, Leica UK

Leica ’ s Phi losophyAs a company we are a re la-t ive ly smal l , i f you compare us to the l ikes of Nikon or Canon. Our phi losophy i s to dare to produce products which are a l i t t le b i t d i f ferent , a l i t t le b i t adventurous . That might be a lens for example that ’ s 21mm f/1 .4 . I t might be a camera that looks retro but has the la test technology.

What I love about working for Leica i s that not only are we a smal l number of people , we a l l have a spir i t . There ’ s wel l documented per iods in our his-tory where we were s truggl ing. I th ink many readers may know that we came from a very iconic and i l lustr ious past .

I think the i ssue for us a t the moment i s to become re levant again and to become more lead-ing edge . What we ’ve tr ied to do in the past two years , par-t icular ly with products l ike

the S2 and the M9 is to re-late to the pros , which in turn makes us more re levant to the enthusiasts .

Leica PhotographersI f a photographer were to shoot , for example , Manchester United p laying our M-Series would be complete ly wrong for that appl icat ion. I f that same

While on a visit to Leica, in Lon-don, Andy Doyle got talking to Leica staff and some of the big-gest names in photography, using Leica cameras, to see why they are held in such high regard.

Leica, by Leica and the people who use them

Picture: Joi

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tools . You need di f ferent tools for d i f ferent jobs .

We have a photographer here who shadows David Cam-eron. The M9 is perfect for that . I f you were a fashion pho-tographer and you wanted to have dynamic pictures - i f you wanted to have a large frame product in your hand, the S2 would be perfect .

But , we would never suggest that Leica answers every appl i-cat ion. We st i l l make f i lm cam-eras . We love f i lm cameras .

We have a phi losophy, but we a l so have a s ty le . I t ’ s very important to us to have that s ty le .

Another photographer here today, Tom Stoddart , a war photographer , he ’ s been us ing the M ser ies for over 30 years . He ’ s tota l ly fami l iar with that equipment .

He now uses an M9, but i t ’ s s t i l l an extension of his hand. That takes years of use to get that int imate re lat ionship

where you don ’ t have to think about the product or what you ’re doing, you can do i t natura l ly .

The M9The M9 is a progress ion from the M8. The M8 is s t i l l a very good b lack and white d ig i-ta l camera , but the M9 is fu l l f rame.

One of the i ssues we had i s that we didn ’ t want to change the d imensions of the camera to honor the past , and so that the exis t ing lenses would f i t .

That gave us a very smal l constra ints in which to get the image. As the rays of l ight pass through the Leica lens , they have to converge to a sensor .

In a dSLR, you ’ve got a b ig-ger chamber to do that phys-ics . I t was the advent of a fu l l s ize sensor with minute micro mirrors that could enable us to broaden the image onto a fu l l f rame, which we couldn ’ t do at the t ime of the M8.

Product ionWe’re very sorry that we can ’ t keep up with demand. Part icu-lar ly on M lenses .

We actua l ly are making far more lenses than we were a few years ago. I t takes , for example , f ive years to tra in a lens maker . You can ’ t suddenly switch these things on.

PanasonicWe have an associat ion with Panasonic .

They make their own range of cameras and we help them. We started working together about f ive years ago. Panason-ic ’ s s trength was in domest ic goods and TVs.

I th ink your readers wi l l know that Panasonic won quite a few awards recent ly for their cameras .

Those Panasonic cameras deploy Leica technology in the lens , and they ’ve done some work for us so i t ’ s a mutual s i tuat ion.

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Tom Stoddart

Tom Stoddart has covered many var ied internat ional events such as the war in Lebanan, the fa l l of the Ber l in Wal l , the e lect ion of Pres ident Nelson Mandela , Labour ’ s v ictory at the pol l s in 1997, the s iege of Sara jevo, and the wars against Saddam Hussein .

His most recent work covers the AIDS pandemic in Afr ica . In his career , Tom has won too many awards to mention. Today he shoots on a Leica M9.

The M9 Digi ta l Rangef inderUnti l recent ly I d idn ’ t use d ig i-ta l a t a l l . This i s the f i rs t t ime I ’ve changed to d ig i ta l . Mainly because of the camera i t se l f . I ’m the least technica l person in the world . I love f i lm, and dark rooms, and a l l of that s tuf f . The Camera i t se l f g ives me the same fee l as the M6 that I ’ve used for a long t ime. I dec ided to try i t and I l ike the fee l of the camera .

I t ’ s great qual i ty .What ’ s important to me i s

that I get as c lose to shoot ing f i lm as poss ib le . I tend to work very c lose to people - to hunt moments . I don ’ t use te lepho-tos . I don ’ t ‘ s tea l ’ p ic tures , as i t were . I ’m a very tradi t ional doc-umentary photographer . This camera does everything that the M6 did or the MP. I t a l lows me to get c lose and capture those moments , and when I get i t on the computer , i t ’ s great qual i ty . That ’ s what i t s about . www. tomstoddar t . com

Martin Hartley

Martin i s one of the world ’ s leading expedit ion and adven-ture travel photographers .

Leica Fi lm CamerasIn the past , I ’ve been to p laces where the temperatures get to minus forty frequent ly . Autofo-cus lenses get too t ight , because everything shr inks ins ide the camera . I t ’ s qui te a lot of t rou-ble to keep the bat ter ies and the camera working. I ’ve got a Lei-ca MP, which even when i t had been at minus forty for a week, worked exact ly as i t d id at room temperature . The shutter f i red every s ingle t ime I h i t the but-ton. That never happens with dig i ta l . There ’ s a lways a b i t of nurs ing to do, and you have to keep i t out of the e lements . I had the MP over my shoulder the whole t ime, with just a bag to s top my breath from freezing onto the lens and viewfinder . www.mart inhar t l ey . com

WIDE-ANGLE LENSES

LEICA M - SYSTEMEverything at a glance.

LEICA MPAvailable in silver chrome and black paint fi nish.

LEICA M9Available in steel-gray paint and black paint fi nish.

LEICA M9-PAvailable in silver chrome and black paint fi nish.

LEICA M 7Available in silver chrome and black chrome.

THE LEICA M-CAMERAS

STANDARD LENSES

LEICA SUMMILUX - M 50 mm f/1.4 ASPH.

LEICA SUMMICRON - M 50 mm f/2

LEICA NOCTILUX - M 50 mm f/0.95 ASPH.

LEICA SUMMARIT - M 50 mm f/2.5

TELEPHOTO LENSES

LEICA SUMMARIT - M 75 mm f/2.5

MACRO LENSES

LEICA MACRO - ELMAR - M90 mm f/4

LEICA SUPER-ELMAR-M 21 mm f/3.4 ASPH.

LEICA ELMARIT - M 28 mm f/2.8 ASPH.

LEICA TRI-ELMAR-M 16–18–21 mm f/4 ASPH.

LEICA SUMMILUX-M 21 mm f/1.4 ASPH.

LEICA SUMMILUX-M 24 mm f/1.4 ASPH.

LEICA ELMAR - M 24 mm f/3.8 ASPH.

LEICA SUMMICRON - M28 mm f/2 ASPH.

LEICA SUMMICRON - M35 mm f/2 ASPH.

LEICA SUMMILUX - M35 mm f/1.4 ASPH.

LEICA SUMMARIT - M35 mm f/2.5

LEICA SUPER-ELMAR-M 18 mm f/3.8 ASPH.

LEICA APO - SUMMICRON - M75 mm f/2 ASPH.

LEICA APO - TELYT - M135 mm f/3.4

LEICA SUMMARIT - M90 mm f/2.5

LEICA APO - SUMMICRON - M90 mm f/2 ASPH.

LEICA M - SYSTEM I 29 28 I LEICA M - SYSTEM

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Ian Farrell

Ian i s the edi tor of Profess ional Photographer magazine , and portra i t photographer who ad-vised Leica on their S2 , Medi-um format , Digi ta l camera .

The S2 Medium Format CameraIt ’ s a medium format system with a 37 ½ megapixe l sensor that ’ s roughly ha l f again as b ig as 35mm.

It comes in a body that ’ s re-a l ly qui te compact , and more l ike a tradi t ional DSLR. In fact , i t ’ s smal ler than a Nikon D3.

I t can be used on locat ion. You can shoot medium format where you couldn ’ t shoot me-dium format before .

The des ign i s a rea l ly nice hybrid of o ld and new. I ’m a re-a l ly b ig fan of the tradi t ional shutter speed dia l .

There ’ s a l so a nice br ight coloured LED next to i t that shows aperture , shutter speed, and ISO. The back of the camera

i s complete ly d is tract ion free unt i l you use the menu.

There ’ s two memory card s lots - one for compact f lash , and one for SD so i t ’ s equal ly a t home in the s tudio as i t i s outs ide . w w w . l a y e r s p a c e . c o m / g a l l e r y .

php?u=eyefarre l l

Lara Platman

Lara i s a fe l low of the Royal So-ciety of Arts , and Brother of the Art Workers Gui ld . She shoots on Leica M9 and covers a mix of portra i ture , performance, and petrol heads .

Lecia Rangef indersAs a theatre photographer , I love the fact that I can see what ’ s coming into the shot . you can see the rhythm of what ’ s going to happen and f ind the actua l shot that you want rather than being surprised . I used to have a Nikon, which i s a great cam-era , but you get surprised by what ’ s coming in . With the Lei-ca , you ’ve s t i l l got to be there at the r ight t ime. You ’ve got to s i t there and wait , but you can see the energy coming in and you can judge where you want to take that photograph. Your eye i s more in control of the photo-graph than the camera . ht tp ://www.photo fea ture . co .uk/

E_Leica_S2_PI_090824_NEW.indd 4 27.08.2009 10:26:51 Uhr

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www.f l ickr .com/photos/25thc

C h r i s t o s C h r i s t o u

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Two years ago I considered buying a DSLR, so I asked a photographer fr iend for some advice . He to ld me that he was now us ing f i lm and when I looked at his photos I immedi-ate ly fe l l in love with the cross-processed colours and analogue fee l . I t was then that my addic-t ion to f i lm began. I now own 30-40 analogue cameras .

I s tarted with an Olympus XA2 and some Agfa Precisa CT100. I went out shoot ing and then had to wait anxious ly whi le my f i lm was cross-processed

before I could see the resul ts of my f i rs t ro l l . I was b lown away by the colours and leve l of deta i l I had captured and they looked tota l ly d i f ferent to my dig i ta l shots . I am st i l l enor-mously exci ted every t ime I go to the lab to pick up my f i lm as I never know quite what I ’m go-ing to get .

I love that i t i s not an instant medium. We l ive in a soc iety where we expect things to be done immediate ly and i f a d ig i-ta l shot i s not perfect f i rs t t ime, we just take more unt i l we are

happy. You can ’ t do that with f i lm. This makes me a more se-lect ive about my shots and the way in which I take them.

Mult ip le exposures are what rea l ly exci te me about f i lm and in part icular us ing the sp l i tzer accessory on my Lomo LC-A+. I t ’ s great that I can take a shot of anything, f l ip the camera 180 degrees to take another shot and create something tota l ly unique and otherworld ly . The fact that the resul t ing images are unpre-dictable and may not be perfect exci tes me even more .

FaCT BOx:

Name: Christos Chris tou

Nationality : Brit i sh

Location: Sunshine Coast , UK

Website : www.f l ickr .com/photos/25thc Favourite Cameras : Lomo LC-A+, Canon EOS 1000n, Olympus XA2 Favourite Film: Kodak El i te-chrome Extra Colour 100 Favourite thing to photograph:

Interest ing bui ld ings

Person you would most l ike to

photograph: The Beast ie Boys

Inspiration: All the amazing people on Fl ickr who constant ly inspire me to try new techniques , f i lms and cameras . Interests outside of photogra -

phy: I am a lso a DJ and run my own nights and events , and I make e lectronic music when I have the t ime.

self-Portrait

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Picture : NYCPhotographer: Jay PanelomoCamera: LC-A+Film: Lomography Xpro 200Flickr: j aypanelo

GALLErY

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Picture : The Thinker in the CityPhotographer: Simon Garnier

Camera: Lumix GF1Flickr: s jmgarnier

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Picture : Under water , under skyPhotographer: Danie l Pol idoriCamera: Agfa ClackFilm: Fuj i f i lm Reala Superia 100Flickr: Danie l Pol idori

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Picture : Capt ive Cranes Power 4Photographer: Tim Kirman

Camera: Holga 135Film: Neopan 100 Acros

Flickr: guinavere

Picture : Br ighton SunsetPhotographer: Tom Wel landCamera: LC-A+Film: Fuj i Superior 200 Flickr: Wel land

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Picture : BoatPhotographer: Eric Wilcox

Camera: Diana F+Film: Kodak Portra 400UC

Tumblr: l e t i tunwind

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Picture : Mima ’s Den, 2011 Photographer: James WhinerayCamera: Mamiya 7 Fim: Fuj i Pro 400H

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Picture : L iv iPhotographer: Rebecca Cox

Camera: Canon EOS 450DLomography: rebeccacox

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Picture : The pigeons I IPhotographer: Urban HafnerCamera: LC-AFilm: Agfa Precisa CT 100Flickr: u jh

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Picture : LennonPhotographer: Glenn Eugen El l ingsen

Camera: Hasse lb lad 500cmFlickr: eugen89

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the way to the edges of 35mm f i lm is easy .

Rather than us ing your s tan-dard 35mm mask, you can put your negat ive s tr ip in the me-dium format mask.

This wi l l , however , l imit you to scanning one or two frames at a t ime as opposed to the regular four or s ix , or in some cases twelve .

The problem, usual ly , i sn ’ t with the scanner i t se l f but with scanning sof tware . I f you use the sof tware that came with

People have been able to shoot on the sprocket holes of their 35mm f i lm, us ing other for-mat cameras , for a long t ime but recent ly i t ’ s seen a surge in popular i ty .

The Lomographic society can be large ly credi ted with this r i se in popular i ty of perfo-rat ion exposures due to the re-lease of some of i t ’ s recent cam-eras , namely the Spinner 360 and the Sprocket Rocket .

The 35mm back that i s avai l -able for the Diana F+ a lso a l low for shoot ing a l l the way to the edge of s tandard 35mm f i lm.

Although they are not neces-sary as you can run 35mm f i lm through any medium format camera with a s l ight modif ica-t ion and pract ice . The Lomog-raphy cameras , however , are very he lpful in knowing how large each frame i s so there i sn ’ t unwanted over lapping and mult ip le exposures .

However , many analogue and toy camera enthusiasts can be faced with a daunt ing task of f iguring out how to scan their sprocket hole photography.

Scanners , l ike cameras , come in a l l shapes and s izes and so i t i s important not to assume that your scanner wi l l not scan

sprocket holes .Lomography se l l a spe-

c ia l 35mm mask for scanning sprockets , however you may be able to scan them a lready with-out rea l i s ing i t .

While there i s a wide var i-ety of f i lm scanners on the mar-ket , th is tutor ia l i s for regular f la tbed negat ive scanners . This technique can a l so be adapted for many other types of nega-t ive scanners .

I f your scanner has a medium format holder then scanning a l l

tEChNIquE

Sprocket hole photography is great but many struggle with scanning it , we show you how. Words and photos: Paul Murphy.

scanning your sprockets

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your scanner then you wi l l need to work with i t in i t ’ s most ad-vanced s tate , g iv ing you the widest range of opt ions for scanning, to get the best resul ts .

The things to look out for are ‘ cont inuous auto exposing ’ and ‘ thumbnai l creat ion ’ you need to s top your scanner from trying to f ind s tandard s ize im-ages to scan.

These set t ings wi l l need to be turned of f so that your scan-ner g ives you a preview of the fu l l s tr ip of f i lm, and not s ingle frames .

From here , you wi l l be able

to mark what sect ions of the s tr ip you want scanned.Unless your s tr ip of 35mm is f i rmly grasped by the medium format mask then there can be a s l ight ra ise or bend in the f i lm as i t i s be ing scanned.

This can resul t in a s trange shape in your f ina l scan. I f th is occurs there i s a s imple Photo-shop f ix .

Open your sprocket hole p icture and se lect ‘warp ’ within the ‘Transform’ menu. This wi l l he lp you s tra ighten out your f i -na l photograph.

In order to prevent this

happening ensure that your 35mm f i lm is f i rmly he ld by the scanning mask.

I f you have been toying with the idea of going down the road of sprocket hole photography you can now be comfortable knowing whether or not your scanner has the abi l i ty to scan a l l the way to the edges of your f i lm.

Remember you might not need a new camera . A s imple modif icat ion to a medium for-mat camera wi l l suf f ice in cov-er ing the ent ire surface of your 35mm emuls ion.

A regualar flatbed medium format holder Insert your 35mm film

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rEVIEw

La sardina

Lomography ’ s la test invent ion i s a sardine can inspired wide angled ocean of fun.

Released re lat ive ly soon af-ter the Lomo LC-W, an up mar-ket 17mm lens camera , the La Sardina range of cameras gave Lomography fans a 22mm lens camera at a very a f fordable pr ice .

Although bas ica l ly a point and shoot camera . This wide an-gle f ixed shutter speed (1/100) and aperture ( f/8) camera i s a dream of a toy camera for those who love to shoot from the hip .

The camera ’ s wide angle and two s imple focus opt ions 0 .6-1m and 1m-inf ini ty make this the essent ia l toy camera for s treet photographers .

I t s cute , inof fens ive and l ight weight des ign can be he ld with great ease by your s ide with the shutter button under your thumb ready to shoot at any second.

The compact des ign i s s l ight ly larger than your aver-age sardine can, as i t needs to house 35mm f i lm, but i t i s the perfect s ize to fee l comfortable

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in your hand.The 22mm lens means you

have to get c lose to your subject which ads a greater int imacy between photographer , camera abd subject .

The La Sardina a l so makes very l i t t le noise when the shut-ter i s re leased so the a larm is never ra ised that a candid pho-to has been taken. The wind on i s quick and easy so you ’re v ir-tua l ly a lways ready to shoot .

The camera has a bulb , nor-mal and mult ip le exposure set-t ing which a l lows for a large amount of creat iv i ty .

I t a l so has a tr ipod mount and can take a s tandard ca-ble re lease . I t ’ s f i lm rewind i s smooth and there i s a shutter lock feature .

The La Sardina cameras comes in four d i f ferent var i-et ies the Sea Pr ide , (p ictured) , E l Capitán, Fischers Fr i tze and Marathon, each uniquely de-s igned and inspired by sardine cans .

The La Sardina range a l so sees the introduct ion of Lomog-raphy ’ s f i rs t f lash with mult ip le d is tance set t ings .

The Fri tz the Bl i tz f lash has a unique f lash connect ion to f i t the La Sardina cameras . Al-though, i t does come with a hot shoe adapter . The f lash g ives greater control over f lash pho-tography that hasn ’ t previous ly been avai lab le with Lomog-raphy cameras because of i t ’ s three d is tance set t ings .

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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 ions@viewfindermag.com

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