Holy moly. How the heck is it already the last day of July?! Where did the summer go??? The days are noticeably shorter, the light more golden, and prospects of days at the beach dwindling. There are only four more weekends left until September, people! Every year about this time, I start wishing that summer lasted forever. I love the other seasons, but I can’t help myself. I’m a summer baby. Bring on the heat and humidity!

In hopes that this summer will never end, I present some of my recent favorites from our Flickr group. We recently surpassed FIFTEEN THOUSAND PHOTOS of Brooklyn and I am just constantly blown away by all the talented folks we have in this very fine borough of ours. You guys rule — I love seeing summertime through your eyes!

“Coney Locals,” by Adam Lerner:
Coney Locals

“CO,” by mkc609:

“Endless Summer,” by Matt Logan:
Endless Summer

“DNALSI YENOC, mermaid edition,” by Barry Yanowitz:
DNALSI YENOC, mermaid edition

“Coney Island,” by Reuben Radding:
Coney Island

“Rachel,” by Michael Tapp:
Stranger 23/100 | Rachel

“Petanque,” by Scott Lynch:
Bastille Day 2012, Smith Street, Brooklyn, Petanque

“K,” by Jonathan Percy:

Why I Shoot Film: Format Love

July 29th, 2012 | Posted by Jill in why i shoot film - (10 Comments)

It’s no secret that I’m a film evangelist. I’m always on the lookout for photographers I can convert to the grainy side, and I’m happy to say I’ve made some new believers over the last few years. Someday I’ll have to tell the story of my journey back to film and share all the overly-romanticized details. That someday is probably going to have to be AFTER I get all the piles and piles of my negatives organized. Not exactly what I was talking about in my last post about anticipation, haha.

I grew up shooting 35mm film before entering the world of digital in 2004. Truth be told, I wasn’t really aware of any other options besides 35mm film — no one in my family was anything more than a casual photographer, and I’d only seen someone shoot a large format camera once or twice in my life. When I got sucked into the digital realm, I couldn’t really understand why anyone would continue to shoot film on the convenience factor alone. Why make something harder than it has to be?

But that was all before I discovered medium format. In early 2009, I stumbled across the work of a few great photographers on Flickr and I could hardly believe my eyes. The depth, the richness, the emotionality of their photographs really appealed to me and I was having a lot of trouble getting what I wanted out of my beginner dSLR. I couldn’t really afford to upgrade to a professional digital camera, but when I started researching some of the gear I knew these photographers were using, I was shocked. Whole camera systems for less than the price of a new lens for my Nikon? SIGN ME UP.

elik + irgh

So, in the late part of 2009, I started my search in earnest. The object of my desire: the Mamiya C330f. All I knew was that it had interchangeable lenses and was in my price range. I’d seen people like Ansel Olson make magic with this camera, and I just had to try it out for myself. I obsessively watched eBay listings for six weeks or more, gun-shy to pull the trigger because of the sensitivity of the camera’s bellows. I wanted to check it out for myself in person.

I remember showing sample shots to my brother over the Christmas holiday, and I’m pretty sure he thought I was crazy. But even he — a videographer — couldn’t deny the depth and richness of the images. Back in Brooklyn a week later, I stumbled upon a Craigslist ad for the exact camera and lens combination I wanted from a guy that lived just up the block from me in Park Slope. I couldn’t believe my luck!

I probably should have taken heed to the seller’s warning. He told me he was unloading the Mamiya because his wife had said it was either her or the cameras. He had to get rid of gear — or else. I didn’t know it at the time, but thus began my long, slow descent into the rabbit hole of gear.

From the first roll I shot with the Mamiya, I knew medium format was a new beast. The way it handled light, the reverse image, the waist-level finder — the whole experience of using the camera was so much different. I loved it. I also loved the 6×6 square images it created. They were a whole new compositional challenge.

customer parking only

Over the last several years, I’ve kept coming back to the 6×6 format as I add cameras to my collection. Recently, I’ve been toying with the idea of new formats thanks to friends who shoot other medium format sizes or large format cameras. The multitude of options and flexibility of format sizes are both key reasons why I still shoot film. The experimentation of working with different formats (and films for each format!) appeals so much to my curiosity. How will the roll turn out? How will I adapt or change my style to suit a new format?

A few weeks ago, I decided to check out Film Biz Recycling in Gowanus for the first time. I went looking for lamps — I SWEAR. But I did run across a few Polaroid cameras which piqued my interest, and I wondered if much camera gear made its way through the shop. As I was leaving the store, I spied a leather lens case with a $80 price tag, marked half off for that weekend only. I opened it up and the lens was massive. It was a Pentax lens, so I figured it might fit my old Pentax at home. But it didn’t make sense. Its rings were too large.

Deciding to take a chance, I brought it to the counter and paid my $40 and change before heading out to run a few errands. Back at home, I realized my find had the potential to be major — it was a 35mm lens for the Pentax 645, a medium format system. I’d never heard of such a wide lens for a medium format camera, and if the lens performed as I hoped, it was worth over $1000!

So like any normal photographer who can justify almost anything for the sake of more gear, I decided I needed to buy a Pentax 645N camera body to test out my new $40 lens. And another lens to provide the control in my experiment. And a couple of film backs. And maybe a couple of lens filters. Shhhhhh.


I kept an eye out until I spotted a great deal on KEH.com a couple of weeks ago. And after a week of shooting photos with both the control lens and the 35mm I found, I can say with confidence that it was indeed a great deal. The solid lens is sharp as a tack, and a total pleasure to use. It’s so wide I might need dramamine to operate it. Case in point: these shots from the hilariously-suburban Capital One Bank drive-thru in Williamsburg.

Though I’m so happy that the purchase I made on a whim paid off, that’s not what makes me the most excited. I am so psyched to try my hand at a new format since the medium format 645 is so much different than the squares of my Mamiya. It already feels much different, and the more modern features of the camera definitely make the operating experience a total pleasure even if it’s a bit heavier. I won’t lie: it’s kind of weird to use a camera from this century!

Learning more about the 645 and experimenting with its settings are definitely shaping up to be one of the highlights of my summer. I have a few weddings coming up and the Pentax has definitely earned a spot in my camera bag. The control lens I bought – a super-sharp 150mm – is a perfect portrait lens and has lovely bokeh. Even the guys at Adorama this week concurred it’s a great camera.

And while I’m so satisfied to play with this new camera, I can’t help myself. I’m already dreaming about a 6×7 camera. And a 4×5 large format. And maybe learning how to make some pinhole cameras with a kit I have at home. Must. collect. them. all!

What formats are you feeling these days??

on standby

July 28th, 2012 | Posted by Jill in coney island - (0 Comments)

new york's finest

I’ve really gotta get my photo workflow together so I don’t forget to share shots like these! Any plans to go shooting this weekend?

A Few Good Films

July 7th, 2012 | Posted by Jill in video - (3 Comments)

I don’t know if it’s the heat and humidity or what, but I’ve been holing up and watching lots of documentaries lately, including a few great photography films. There are lots more on my list to see, including Bill Cunningham New York [Netflix Instant], Henri Cartier-Bresson: The Impassioned Eye [Amazon], and EugĂ©ne and Berenice – Pioneers of Urban Photography [Amazon Instant]. In the meantime, I thought I might share a few of the documentaries I’ve really enjoyed lately and a few thoughts.

Let me know if you check them out, and if so, what you think. I’d also love to hear your recommendations — please send them my way. Stay cool!

Strand: Under the Dark Cloth (1990) – [Netflix Instant]
I recently watched this documentary about New York photographer Paul Strand after checking out another documentary on the Photo League at a theatre in the Village. This film is a nice biographical portrait of Strand’s work, following its progression throughout his career from his early New York abstract photographs through his later film career and world travels to France, Mexico, Ghana and more. The narration about Strand’s emphasis on structure and light was particularly interesting.

Black White + Gray: A Portrait of Sam Wagstaff and Robert Mapplethorpe (2007) – [Netflix Instant]
To escape the heat this afternoon, I holed up and watched this documentary about curator / visionary Sam Wagstaff and his partner / photographer Robert Mapplethorpe. The film features loads of interview footage with Patti Smith, Dominick Dunne, Dick Cavett, and other contemporaries in the New York art scene. Though I’ve had more exposure to the the well-documented controversy around Mapplethorpe’s work, I knew less about Wagstaff. Though the dynamics of the relationship between the two men are discussed throughout, the real focus is on Wagstaff and his his huge contributions to the photographic world as a life-long curator.

Visual Acoustics: The Modernism of Julius Shulman (2008) – [Netflix Instant]
Wow. This film was the trifecta for me. Architecture, modernism, and iconic photography in the beautiful light of Southern California. Even if you’ve never heard of Julius Shulman, you’ve no doubt seen his photographs, which pioneered and elevated architecture photography. This documentary features both Shulman’s work – and Shulman himself before his death in 2009 – as they recreate and and narrate some of his most famous photographs. Lots of emphasis on Frank Lloyd Wright, Richard Neutra, John Lautner and Frank Gehry here as Dustin Hoffman narrates this gorgeous film. Shulman steals the show in much of the footage as he goes around to interview the artists and architects he shared with the world decades before. Seriously, a must-see.

The President’s Photographer (2010) – [Netflix Instant] or [via PBS]
Since its creation, I’ve followed the Flickr stream of the White House, largely because the vast majority of its images come from Chief Official White House Photographer Pete Souza. Souza’s behind-the-scenes coverage of the White House and the Obama family is unparalleled. It offers such a different perspective of the President’s day-to-day personal and political life, and the work is nothing short of groundbreaking and historical. This documentary from National Geographic, narrated by Morgan Freeman and originally aired on PBS, features interviews with President Obama, President George W. Bush, and lots of political staffers. Souza’s hard work and the gravity with which he approaches his job as Chief Photographer contribute to amazing documentary images. Such an interesting / emotional / inspirational documentary.

Manufactured Landscapes (2006) – [Netflix Instant]
A few years ago, a friend recommended this documentary to me after it originally appeared on Netflix’s instant line-up. They took it down before I had a chance to check it out, but fortunately it’s back! The film features the work of Canadian photographer Edward Burtynsky, who is most known for his large-format photographs of austere landscapes altered – and sometimes completely decimated – by industry. Mostly shot in China, this documentary is as much about environmental issues as it is about photography. Burtynsky highlights the effects of our industrial interests on the world we live in and the problems our consumer culture has given rise to — some of these landscapes may very well be invisible if not for his photographs.

The September Issue (2008) – [Netflix Instant]
And last, but not least to be sure, is this documentary about the high-fashion world of Vogue and all the preparation leading up to the publication of the 2007 fall-fashion issue. Though I’d say much of the film centers around the cult of Anna Wintour and her complicated relationship with Grace Coddington, the sleeper here is the photography. This film really illuminates the process of publishing a huge magazine like Vogue and all the preparation that goes into producing so much of the amazing commercial photography in the iconic issues. A really fun film.