Few Frames w/ Tamara Aptekar

DREAMS OF CHILDHOOD

 

This is a special one, we are closing the year and we wanted to wrap it up, going back home, to the roots, because traveling might not always mean jumping on a plane, train or bus; but perhaps diving into someone else’s quotidianity. Since we first saw Tamara’s work, we couldn’t help but hear the inner voice of the kid that we once were saying “Hey this was me! That was you!” and bring’s a strange brise of melancholy that runs down the spine, from the head to the heart.

What we find mesmerising about her work is the dance between a journalistic approach and staged photography. Never fully leaning on one or the other but swinging beautifully between both, something that often make us realize the magic that’s produced when you align the mind, the heart and the eye. Tamara’s work inebitably resemble us to Hamada Hideaki’s: Haru & Mina, if you’ve been looking at what has been happening in Japanese photography for the last 8 years, without a doubt Hamada’s work has been notably influential and thanks to international publications we believe has eventually reached Europe a while ago.

Saving the differences, it’s great to see how different kind of work ressonates in different photographers, how it evolves and transform with each pair of eyes. It is such a pleasure to be able to daydream when flying through the images, feeling at the same eye-level as the one kids have, the angles and moments combined are able to open a window into this childhood reality that we all have been part of at some point in life and often, with adulthood, we are forced to leave behind.

 

In her words:

“I’ve always been interested in people – what their lives are made of, what they feel and think. But in our society, people feel uncomfortable when they are observed too closely, it’s impolite to come too close to their personal space. This sometimes makes photographing adults a bit hard and can come in the way of taking the shot I want.

With children, it’s a different story. They are much freer of their personal stories, fears, and social inhibition. Taking pictures of children allows me to come closer to the most real and honest moments. I often find adults behave the same way but only when they are not aware that camera is pointed at them. You can ask a child to fill in a certain light or background to complete a composition you have in your mind and, most of the time, after a minute or less they stop noticing you and continue with what they were doing allowing me to capture the most genuine moment. Sometimes I am so surprised how easy it is for my own son to switch off and not care about being in front of the camera that I am shocked and surprised every time. I wish I could learn this from him.”

– Tamara Aptekar

LAB NOTE

Tamara’s work has traditionally been done over the Fuji Frontier SP-3000, working primarily with skintones, very different light situations and looking for vivid colors combined with bold shapes. Lately with the introduction of the Black Edge, it became one more reason to use the Frontier. As photographers ourselves we feel the Black Edge works perfectly for those images that are intended to work on their own, not a part of a series. The reason being, it isolates the image from the context, the same that happened with the white border on the prints or the passepartout in the frames. For Tamara’s work, we feel it fits like hand in glove.

 

BEST OF OCTOBER – 2019

Few Frames w/ Sylvain Bouzat

 

If we talk about travel & personal projects it’s hard for us not to mention Sylvain Bouzat, although he is working a commercial photographer his work on travel and portrait is quite impressive by itself!

In this Few Frames we try to gasp a bit what he saw and felt during this trip around Himalayas, the people he met and the conversations he might have had with them. You can clearly see through the images that he has engaged with every single subject, event if it follows a journalistic style there is a sort of complicty in between the lens and the eyes of the person photographed. The images are rich and full of texture, one of the reasons it’s how close he is to what he is photographing, in fact, after scrolling through the whole post there is a strange feeling of familiarity almost like you’ve been there yourself, and even imagine how it must have smelled.

We believe this is simply because Sylvain didn’t put any distance between him and his surroundings, even with a medium format camera that sometimes can slow you down and make you very noticable he managed to get in the scene. And when you see images like these, you can only wonder how it is posible to snap a guy preparing his dinner with live fire while at the same time a monkey runs on the back carring his baby on the shoulders. It really make you wonder if film photography is actualy “slow”.

Being slow or not, we hope you prepare your favourite hot beverage and sit down to enjoy slowly this frames 🙂

 

In his words:

“In November 2018, I left to Bhutan, Nepal and New Delhi for a month. I took with me my medium film camera 645 and more than 3 kg of film stock (Kodak Portra 400 and Koda Portra 800) and I took so many photographs that I had to order Kodak Portra 160 photo film in Carmencita to finish my trip in New Delhi ! (the Portra 400 film was out of stock).

When I travel, I try to be very close to the inhabitants and to connect with them. I like to shoot in a documentary format placing the human being at the centre of my photography, varying between photographs in the street and portraits. In my view, there are so much more to learn by being close to a country’s inhabitants rather than travelling from a monument to a beautiful landscape or from a touristic place to a beautiful beach. Discovering cultures, ways of life and meeting people convey meaning to my film photography work.
This results in powerful, sincere and very interesting human interactions that go often further than simple photographs in the street.

Being close to people and continually in the street, I am forced to get out of my comfort zone and forced to accept to be in an unfamiliar environment: I don’t know the people, their reactions, the reaction of people around us and all the street life that goes on in background.

In New Delhi, I spent long days alone in the street from 6 a.m. to the nightfall. I had the opportunity to document in a very lively way the incredible agitation of this city’s chaos. The difficulty is to be able to capture and to organise this chaos for each photograph, you need to be very reactive and to anticipate with a quick glance what’s going on so you can place yourself, measure the lights and capture the moment.

I seek purposely this difficulty because I know that the resulting photographs will be humanly powerful and very meaningful. I try to keep a documentary approachin the street, whereas usually, with film photography, it is recommended to use very composed, well thought out and static photographs, in an environment that is mastered (lights, background, people’s positioning).

In my view, shooting film forces you to remain very aware of what’s going on around you. You need to stay really focused on the lights, on the people and on your photographic intention because each photograph is precious and unique. I have rediscovered travelling through film photography as I was even more living the present moment and being receptive to all sensations and relations surrounding me.”

– Sylvain Bouzat

LAB NOTE

We’ve been lucky to be working with Sylvain for a while now and this is one of the cases in which comunication is key! Sylvain send us both his paid work and also his personal work, the subjects of which differ a lot and so the look of the images too. Going a bit back and forth with Sylvain, even if he lives in another side of Europe, we were able to get exactly what he had in mind for this work.

Everything was scanned on the Frontier, you can see the strong contrast and specially with darker skin tones how it renders the textures of and colors in a magnificent way. We are inspiried in the look of classic color photography, specially that done in India from photographers such as Steve Mcurry. Obviously we don’t mimic his look for many obvious reasons but we got inspired in the color palete and the contrasts we’ve seen while adding our contemporary style and luminosity to it. Hope you judge the results by yourself!

 

 

Few Frames w/ Leo Amaya

It’s been a while since we started working with Leo, we’ve seen his evolution with film photography and it was a pleasure to see that he quickly started sharing what he learned online over his Youtube channel.

As a lab we always wanted to share information and make illustrative videos about film photography but to be honest it’s terribly time consuming, we can’t really do it ourselves and the moment we knew Leo was into it, and doing a terrific job we said, we need to suport this guy!

In a Few Frames we want to showcase bodies of work that imply an experience told through film photography only, not different snaps from different places but one experience narreted though the lens of an analog camera.

Leo’s trip completely matches our goal and even more, he has a video illustrating it! (in spanish this time )

 

 

In his words:

“A year ago I went on an adventure with a group of friends to the North Pole, to the Lapland regions of Norway, Sweden and Finland. I wanted to consider this trip as a totally analog experience, 20 rolls of film and more than 600 photos captured the trip, our adventure around this region of the planet. Now a year later I relive that experience through the images, what my eyes captured and what I have lived there during those days.

A part of me stayed there yet I took with me another very important, I wanted to continue traveling, to continue living and capturing unique moments in my roll. I discovered my passion for nature, feeling the sea breeze running down my back and the sound of seagulls hovering over my thoughts.

This selection is a mixture of landscapes emotions and the many different moments that we lived there.

– Leo Amaya

LAB NOTE

With Leo we worked on a softer color palette but specially paying attention to the reds and green tones. That’s why we choose the Noritsu to do all his scans on this job. Also the softness of the Noritsu helps render the northern light which is naturally softer much better. Blues were also important and since the weather conditions were far from ideal as we can see on the video, trying to get clean shadows was also a bit of challenge without breaking the mood of the image but in this case, the result was beautiful!

 

 

BEST OF SEPTEMBER – 2019

BEST OF AUGUST – 2019

Few Frames w/ Nadia Meli

We are really really happy to finally be able to bring back photographer’s work along their words and insides of why it makes sense for them to shoot film. With a small curated selection of some of their work. There is many reasons why we shoot film, and the ones we love the most are those that are intangible, come from the heart and transpire an honest feeling.

Today, opening the chocolate box, we have Nadia Meli. A long time friend which, for some reason we happen to meet in the most random places of the earth every now and then. She is not a film-only photographer neither she needs to be, whenever we chat with her we see that her approach to photography is very similar to the one we have and she kept surprising us with film work every now and then.

She was cool enough to say yes to our proposal and kickstart the whole thing. We asked her to write a few lines to tell us what’s her story behind this trip, and boy she exceeded our expectations.

In her words:

“Japan caught me completely by surprise.
I was invited to go there for work in my role as a Nikon ambassador and it was the first time I travelled to Asia. I didn’t have many expectations. My knowledge of Japan was limited to what I had heard about it in school a million years ago and what is portrayed in the media.

When I travel I love to feel connected, that’s why I hate staying in big hotels and feeling like a tourist. If I can, I prefer staying with locals and get lost in the streets.
To be honest, I expected not to find that connection in Japan. From what I “knew”, it would be hard to read Japan’s people, the culture being more distant and polite.

In retrospect I can only laugh at myself. That’s why they say traveling is so life changing and educating: It takes all your preconceptions and throws them upside down and over board.

I found connections in Japan, in moments and places I didn’t expect it. I found that people desired it, seeked it out and gave it freely.
I found so much warmth and love in Japan. It was a delicious surprise to and great honour to get a glimpse of who these beautiful people are.

From the 4 days I spent camping at Mount Fuji to the week I spent in Tokyo – I loved it all and I was not ready to leave when my plane took off. Japan will definitely see me again.

When I travel I love to shoot film and I don’t even take digital cameras with me. For work I want to be quick and not think about what I am doing, I need things to run without giving it a second thought.
But for my private photos, just for myself, I prefer shooting film because it does the opposite: It slows me down, it makes me think more than twice about the shots I am taking. Film photography reminds me to see beyond and look at the details. Seek the little joys.”

– Nadia Meli

LAB NOTE

With Nadia we worked on a color profile that was close to her usual body of work while maintaining that film flavour. It was scanned on the Frontier adding some warmth to the color palette to create an earthy-cozy vibe. We understand each photographer is different and we love to work with them to develop the colors that represent how their mood.

 

 

BEST OF JULY – 2019

BEST OF JUNE – 2019

BEST OF MAY 2019

BEST OF APRIL-2019

BEST OF MARCH – 2019

BEST OF FEBRUARY 2019

BEST OF JANUARY-2019

BEST OF THE YEAR 2018