Nostalgia plays a pivotal role in many young people's drive to pursue film photography as a craft. It's no different for Estonian architecture student Martin Sepp (@sepamart), who was inspired by childhood memories immortalized through film images.
At first, I picked up analogue photography for the nostalgia aspect of it. I remember my mom following me and my sister with a point-and-shoot and making photo albums when I was little. It was all a delight. I wanted to get the same feeling again during high school, so I turned to simple point-and-shoots and shared the pictures with my friends.
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About a year ago, I once again got this obsession with film and went out and bought a couple of proper cameras, to have more creative options. I choose to still shoot analogue because I feel the pictures mean more, with it being a physical medium and not seeing the result instantly. I romanticize the whole process, with the anticipation and never being fully in control of the end result.
I think as in most of the world, there is this big rise in film photography in Estonia as well. Mostly point-and-shoot, in the moment sort of photography, which is how I also started. But there are also quite a few enthusiasts that I know who shoot on film and develop the film themselves. It is of course quite expensive to shoot on film as there is always a shortage of it.
I have a group of friends from architecture who also shoot on film and with whom I share my work, before posting it elsewhere. From them I also learned a lot about equipment and developing black and white film myself.
I think I try to find the same things in my photos and architecture, such as textures, patterns and details, but also photography has made me look at architecture from a different angle. While taking photos of architecture, I sometimes try to capture the more abstract compositions or dramatize some details with a weird angle or a very cropped perspective.
It has made me more subjective in approaching architecture and not being perhaps overly rational, which I feel is what a lot of architecture photography can be. It is of course not a bad thing. Taking objective, true to reality pictures of architecture is often necessary for representation, but I feel a creative take on it is more fun.
I actually have a rather bare bones setup at the moment, because I like to not have too many options, but rather be the master of one or two camera systems and focus more on the photos than choosing gear. So right now I mostly take pictures on my Minolta SRT 100X, which is all manual, so I can rely on the electronics not breaking anytime soon.
The first camera I started with though was an Olympus Pen EE, which takes 72 pictures on one roll and allowed me to really go crazy and shoot anything, but it was still quite a restrictive camera and not the best for point-and-shoot stuff, since it doesn't perform too well in low light. So for point-and-shoot, I now have an Olympus Shoot and Go, which is mostly for nostalgia photos. And I dabble a bit in medium format with a really old Rolleiflex Old Standard from the 1930s.
For film, I am still experimenting with anything that I can get my hands on, but there are a few favorites that I have gained. For black and white, I really liked the crispness and contrast of Ilford XP2 400. I used to shoot a lot of Fomapan stock, since it is quite cheap and easy to develop at home, but I got tired of the grain.
You know the funny thing with that is, the photos that I like the most myself are the least popular on the internet. But I would say, I really like some in the moment rough photos that have a lot of emotion in them, or have a really interesting, perhaps a bit unexpected quality to them. My current favorite would have to be this one.
It has cool patterns, a nice touch of color. It feels like a still from a movie from Wes Anderson. I didn't think too much when I took it. I was just waiting for a train in Almere and got the urge to take a photo. And it turned out great.
I am actually quite fascinated by some of the Lomography stocks that are stylized, like the LomoChrome Metropolis or the LomoChrome Color '92, which give a different feeling without needing to do editing on the photos themselves. A bit unexpected results to be found there I feel.
Between the early 1960s and 1975, Cambodia was home to a vibrant film industry that produced more than 400 features. When the Khmer Rouge seized control of the country, they halted production, demolishing the industry along most of the rest of the country's cultural life. Cinemas were closed, prints destroyed, and the filmmakers, actors, and screenwriters who were not able to flee the country were slaughtered.
Davy Chou's GOLDEN SLUMBERS resurrects this cinema's heyday. Though very few of the films from this period have remained intact, Chou uses the soundtracks, advertisements, posters and lobby cards to recreate his subjects' shared memories of a golden era.
The film contains interviews with the era's surviving artists, including directors Ly Bun Yim, Ly You Sreang, and Yvon Hem, and actor Dy Saveth. Two dedicated cinephiles-one of whom says he can remember the faces of film stars better than those of his brothers and sisters-recall plotlines and trade film trivia. Chou also takes us inside Phnom Penh's shuttered movie palaces, now transformed into karaoke bars, restaurants, and squats.
These reminiscences and recreations testify that while the most of the films of this era have vanished, their memory endures for an entire generation of Cambodians, leaving a complex legacy for today's youth to inherit.
If there are two things that are as fastly ephemeral, it's memories and food. We've taken a lot of photographs of our experiences, landscapes, the people we meet, but how about the well-prepared, delectable dishes you've had both in and out of your home? Honor every memorable meal you had with analogue photography.
How do we fall in love at first sight with food even just by the pictures on the menu? We can imagine the feel and texture through the details captured on camera. Zoom closer and bring out the details for a more three-dimensional effect. It makes the dish even more attractive and realistic.
A picture can tell a thousand words, even with still life photographs. Simple placement and/or appearance of items like utensils, plates, etc. can create a story. A knife sitting deftly on the plate implies that someone just sliced the food; adding a hand touching the meal already adds a narrative of what is about to happen.
In photography, your lighting dictates the kind of ambiance your photographs will have. It's up to your discretion if you want a sweet, divine aura with more light than shadow and contrast, or if you want harsh edges of shadows for more depth. Black and white film works too if you want to experiment!
Painters would arrange flowers, fruits and ornaments for them to recreate the picture on their canvas or paper. Do the same when you're taking photographs, give a little more creative effort with the arrangement of garnishing, the cut, layout of elements on the platter.
As a musician, there are always so many unforgettable memories to be made. From hosting and meeting like-minded individuals, to getting the chance to travel the world, these experiences will always be life-changing and must be preserved. Today we get a chance to talk to Romain FX, best known as a music producer and DJ but who has many other creative facets as well.
We had a chance to meet him during his Asian tour Last December when he played in Manila for Sado Maso Disco. After learning he was shooting film during his trip we were keen to see the photos when the tour was over and he was back home in France. In this interview we talked to him about his tour and also his experience using the much loved Lomo'Instant Automat. He shares some intimate photos from his travels, his thoughts on analogue gear, and what he has in store for the rest of the year.
Hello everyone, my name is Romain, also known as Romain FX. I'm a producer, DJ, graphic designer, label and radio owner, and event organizer - I wear many hats. I've always been captivated by the allure of tangible things like synthesizers, vinyl, CDs, and photographs. In a world where instant gratification reigns supreme, it's sad to see the younger generation communicating through disappearing photos and messages. But in this rush towards digital ephemera, I personally find solace in capturing the physical essence of my adventures across the globe. I can then share these photographs with my kids and grandchildren, a timeless reminder of the beauty that exists beyond the fleeting nature of the virtual world.
As someone constantly traveling and on tour, what do you look for when it comes to film cameras and film stocks to capture moments? What kind of gear do you use?
When it comes to cameras, I'm mostly interested in ones that have fast autofocus and can capture moving elements quickly. Since I often only stay in a city for two days, I don't have much time for sightseeing, and I enjoy taking photos at parties and other events. I prefer cameras that don't require a lot of manual focus or parameter changes. Currently, I use an Olympus AF-1 camera with Kodak and Fujifilm 400. When I'm at home with my friends, I like to use a Lomo'Instant Automat for sharing moments with them or keeping them for me - it's really helpful in that regard.
I don't even know how to describe my work. I think it's reflective of my upbringing as a third-culture kid without a proper "home" per se. My music is also without a home. It takes inspiration from everywhere and tries to create music without borders that everyone can enjoy and be surprised by. I draw inspiration from a wide range of genres, including House, Cantonese music, Italo, New Wave, Trance, and everything in between.
It was an amazing experience - three months of touring is hard to summarise. Even when I got home and people asked me how it went, I didn't know where to start. Having these physical photos and core moments really helps me commemorate the trip. I often go through the photos with friends and reminisce, saying things like: "Oh, this is from the amazing rave I played in Manila, organized by Sadomasodisco - the crowd was beautiful." 152ee80cbc
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