Stories

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  1. State of Mind

    And suddenly, something that looked like a dandelion head floated into view, and I stood mesmerized as it hovered before me. When I peered inside, I realized that I could see a tiny winged creature within. I turned to my mother and said, “Look at that!” But all she could see was a dandelion head. […]

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  2. Working With Dry-Plate Negatives From 1900's

    Connection Over a Century Hanna Heinilä (née Hermonen, 1890–1981) was born to a vicar’s family in the small town of Luvia on the west coast of what at the time was the Grand Duchy of Finland. She had her first camera in around 1906 when she was sixteen years old and began photographing without any […]

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  3. Documenting Life and the In Between (with medium format)

    Honest storytelling In the beginning of my journey with documentary photography, I fell in love with the raw, unique, and honest storytelling that film provided. Being a new wide eyed film enthusiast, the easiest way for me to jump into the pool of analogue would be with 35mm film. With 36 exposures, I was allowed […]

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  4. Salem Street Portraits at Halloween

    A dark legacy To say that this project got away from me would be accurate. It morphed and changed as I shot more film, but the more film I shot, the more it changed. It wasn’t until the end that I could feel it becoming cohesive. I started out with a relatively easy goal. Take […]

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  5. A student’s view and the female gaze

    In our digital age, film photography can appear to be expensive and risky but it has challenged me to learn the process involved in taking a photo that captures my intent and tells a story, creating a real sense of achievement. Over the past year, my confidence in using the medium has grown which is […]

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  6. Exposing for the Action

    One of the aspects that took me perhaps the longest to understand about black and white film photography – but, which turned out to have the most impact on my visual style – is that exposure is simply not real in any meaningful way. “Correct” exposure is incredibly subjective, especially true for high contrast lighting […]

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