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Issue Two - march 2016

WARNING This magazine may contain traces of nudity. 1

Editor & Art Director: Luis Ganilho

Issue Two Contributors:

Andre Pfutzenreuter Pedro Santos Albert Finch Raul Pires Coelho Rogojine Ioksovy Paul del Rosario Filipe Barroso Vera Gonçalves Trevor Masid Jan Mlcoch Paulo Simões

Published by Photo: Isabel Ganilho Branco

Editor Note After receiving a lot of positive feedback for the first issue, I became even more motivated about giving this personal project continuity and allow it to grow. So, for that reason, instead of just having a digital publication, I decided to also transform this magazine into an online magazine/blog. Actually, a youtube channel is also being prepared, but that will be about both film and digital photography. It is fair to say that I’m feeling very pro-active right now.  Anyway, with all of these projects absorbing my free time, I was not able to publish this second issue as soon as I intended, and I’m sorry for that. Hopefully, the next publications will have a shorter time frame between them. In fact, with this digital publication being transformed into an online magazine as well, I will be able to publish interviews, articles and reviews immediately after writing them, allowing me to publish more regularly, instead of waiting for all the magazine content to be written and ready. Thanks for your support!

No part of this publication may be reproduced in any form without written permission from the publisher.

The views of the contributors do not necessarily reflect those of SILVER Photozine.

The copyright to all photoeditorials lie with the respective photographers.

All rights reserved.

Luis Ganilho Cover photo by Trevor Masid

SILVER Photozine is a film photography magazine based in Lisbon, Portugal. 2
























Andre Pfützenreuter Andre is one of the most promising young film photographers I’ve seen lately. I could probably fill this entire magazine with the photos that he makes. His love for old cameras and film shines thru all of his beautiful images. I can’t wait to see his work ten years from now. So, who is Andre Pfützenreuter? I´m a 21 years old film photographer based in Germany and I love film with all of its imperfections. I have been shooting film for about three years now, but two years before that I shoot digital with a canon EOS 450D. I think of myself as an amateur photographer, especially when I see the work of other photographers like Jan Scholz. I have learned photography by myself by using different camera and different types of films. But why film? In your opinion, what’s so special about it? Why film... I think it’s the feeling, the colors and the lovely workflow. The relationship of cooperation I create with my film lab and with the models make it different. Do you think it is easier to learn with digital or film? I have learned photography with a canon digital camera, but I think it’s easier to learn with an analogue camera, because when

you with first start shooting with a digital camera you may get distracted with all of the technology. I have noticed that you shoot with a lot of different cameras. What can you tell me about that? (By the way, what are your dream camera/lenses?) My camera collection is constantly changing because I love film cameras so much. At the moment my favorites 35mm cameras are my two Nikon F Cameras. In medium format my favorites are the Mamiya 645 with the lovely 80/1.9 lens, and my monster Pentax 6x7 camera with the 105/2.4 lens. I also love using a Polaroid instant film camera. How about film, what is your favorite? I have noticed that you shoot a lot of Kodak Portra 400… I love all film types/brands. My favorite color films are the Kodak Portra 160/400 and the Fuji 400H. My favorite B&W 5



film is Kodak tri-X 400. I love the tri-X 400 because it’s grainy and hard. The Portra 160 is perfect for portraits because of its natural skin tones. I think I saw a photo on facebook of you making your own black and white print. Do you enjoy developing and printing as much as taking pictures? I develop the B&W negatives myself because it is cheaper for me and also because that way I have full control of the dynamic range and contrast. A print speaks to me more than 1000 words and even much more than any JPEGs on my computer screen. The models you shoot are very beautiful. Do you think that film photography appeals to some models in a special way? I think that I’m very lucky with my

models. Usually, most models don´t know the difference between digital and film photos but what they love is the sensual look on my pictures. Do you have any advice you want to share with the rest of us on how to take beautiful images? I think film photography is easier than digital. We are able to concentrate on basic camera setting, framing, focusing,

“My camera collection is constantly changing because I love film cameras so much.” 8

and of course, pay attention to the light. That’s it. The final look of the images is made in the lab while scanning the negatives. I love this workflow. It’s so easy to get good and consistent results this way. While with digital, it’s harder because you have to edit the images in software to get a good look out of them. So, in my opinion, shooting film will save you from problems. Last question. Where do you see yourself 10 years from now? I ask this because photography is changing so fast these days… Will you also change? In 10 years I see myself in my studio, with my large format camera, and my beautiful models, just like Jan Scholz. I will enjoy shooting weddings only on film and make money with my passion.




Beautiful butterfly girl Photographer: Luis Ganilho Model: Krysilla Silva




Pedro Santos I have first met Pedro online after him reading the first issue of this magazine. After that we went for a coffee and talked for hours about photography. Definitively my favorite theme in any conversation! He knows a lot about cameras (including how to fix them!), since for many years he’s been shooting digital for his professional work and film for his personal projects. Can you introduce yourself ? I’m 40 years old and I was born in Lisbon, Portugal, were I live today. I’m a photographer since I remember being me. I remember the day when I picked up my dad’s camera for the very first time. I was around 4 years old and in just a few minutes I shoot all the remaining frames left in the camera. But the real “click” for me was the first time I saw the slides projected in my house’s wall. So, you shoot both positive and negative film, Polaroids, DSLRs, mirrorless and iPhones... I guess you really love everything about photography… What do you think are the strengths and weaknesses of each of these mediums? Yes you are right. They are all tools and I love all of them. But my favorite is the medium format because of the image quality and the experience in itself. In second place comes the instant

film for the immediate joy and in third place comes the iPhone, simply because it’s the camera that is always with me. Usually, I only use digital cameras in my professional work but in the everyday personal free time I only use analogue cameras. In the analogue world I have two very different types of pleasure. One of them is the instant joy that instant film gives me, allowing me to see the final product come to life in front of my eyes. The second pleasure is the emotion of having to wait for the film to be developed in the lab. I wait days, weeks, or even months, to finally see the images. This delay lets me disconnect from the photos and when I do see them is like a revival of memories from that day. I get to see images that I don´t even remember ever been taken. It’s always amazing to finally see the positive film in a light box. But both of these pleasures have one thing in common and that’s the natural and beautiful imperfections. 21

Those organic feeling that you can’t reproduce with the digital medium. We are witnessing a big revival of film photography. People are picking up their parents old cameras and using them. Perhaps this is just a trend? What do you think about the future of film and other analog processes? Are you optimistic or pessimistic? For me it’s a trend but also an opportunity for people to try the analogue world and get to know how things used to be

“Many people will try it, love it, and continue to use it.” some years ago. Many people will try it, love it, and continue to use it. We are witnessing the beginning of startups and crow funding projects that are all about restoring old factory’s and brands related

to the analogue process, for instance, The Impossible Project, New55 Film and Film Ferrania. That’s amazing news. Regarding the “war” of film versus digital, in my opinion, there is a place to both. But the real pleasure for me comes from the analogue medium. Since you are also a digital shooter, and you enjoy both vintage and new technologies, what do you thing digital cameras will evolve into in the future? More megapixels? Being able to shoot in complete darkness? 1000 auto focus points? Cheap digital medium format? Do you see both positive and negative things in this evolution? Many people think that they will take better photos with the best cameras, but in reality, it will only help to improve a little bit those who don’t know how to photograph. I fear it will also make some people lazy and not able to improve their skills at all. But for many people it’s what they only really need or want. But for those who do know how to 22

photograph, the serious photographers, it will give them a world of new tools to use. However, nothing substitutes the photographer eye.

“Many people think that they will take better photos with the best cameras....” Mirrorless cameras are becoming a big thing right now. Shooting digital images with any vintage lenses sounds really nice to me. Also, a lot of people are using presets like VSCO or MASTIN LABS to emulate the film look in their digital files. What do you thing about this type of “hybrid” approach? I do like that approach. The small size and weight of those cameras is a great plus and the cherry on top it’s being able to use those lovely old vintage lenses.

Also, the film presets are a nice way to get great results, but it’s starting to be a trend and as all trends, the problem is that too many people start to use it, and because of this, many photos (from different photographers) will have the same look. But on the other side of the coin, from all of the people using film preset, some will decide to try the real process and that help to revive the analogue photography. I know you have a nice collection of old cameras that you enjoy fixing and shooting with. So, what is your favorite camera/ lenses? (I wonder if you are going to choose a digital camera, an iPhone, a film camera or a Polaroid. My guess is on the Polaroid.) I love photography as the pure thing, but I admit being crazy for cameras and lenses as mechanical devices. Sometimes I can have fun merely by looking and touching them. But in the end I will always use them. Another thing I love to do is to pick up broken cameras and try to repair them. I can repair almost all of them. And yes,

you are right! Right now my favorite is the Polaroid, but not the common models that most people are using today. My favorite is the Polaroid 600SE (the Black Goose) that comes with the amazing Fuji emulsion. I’m only a little sad because last year they discontinued the beautiful B&W FP3000 but I have a good stock in my fridge. I use analogue, digital or any kind of medium to produce photos. For me they are only tools and I want to have the option to choose the best tool that I can to produce what I want in that moment. Well, it was a good guess, since most of your personal work (with analog process) is with Polaroids! Anyway, what can you tell me about your personal work? I have two different approaches in my personal work. First, I use the Fuji instax to take snapshot in parties. Family and friends love to see the photos right away. Second, I use it for my personal projects. Nothing gives me more pleasure than 23

“I use analogue, digital or any kind of medium to produce photos. For me they are only tools and I want to have the option to choose the best tool that I can to produce what I want in that moment.” to see the image appear immediately in front of my eyes. Sometimes I have a plan for the shooting day, but usually I don’t have an idea. It’s more of a dynamic and natural process. But in the end it all comes down to one thing… to take pictures and get the pleasure from the process.

Your work definitively has a powerful erotic nature. In some ways, erotic photography often gets confused with pornography... Where can we draw the line between a real artistic and creative expression and flat out pornography? In some cases, yes. I know that there are limits in showing erotic photos similar to porn or explicit sex scenes. It’s difficult to decide the line between porn and nudity, but that decision is really in the head of the person that is seeing the image. I think that it should be allowed to show breast, sensual, nude art. It’s a contradiction to prohibit this type of erotic photos and, at the same time, allowing crime, violence, war and death type of images to be shown. You also are a big fan of photography books, magazines and photography websites.

What photography books, magazines and websites would you recommend for everyone within the photography world to read? I like to follow some photographers as Henrik Purienne, Larson Sotelo, Emanuele Ferrari, Terry Richardson, etc.. and all of them have amazing books. For websites and magazines I have some favorites like C-Heads, Treats, Portraits of Girls, Yaf, Odiseo, etc…

“...pick up a pocket disposal film camera and start using it.”


To finish, if you were to give advice to someone just starting in photography, what would that advice be? To pick up a pocket disposal film camera and start using it. By the way, if someone wants to contact you for a photo shoot… Just email me at


You probably already know that this camera is a classic. I don’t personally own one, but after playing with it for an afternoon, it made me realize just how badly I want one. The experience of shoting with a Polaroid camera will stay with me forever...


This camera came out in the early 70’s (1972) which makes it older than me. It is a medium format camera and it comes with a 4 elements 116mm lens with an F/8 maximum aperture. I guess it’s not super sharp, because the images taken with it have that soft dreamy look, but that is actually what gives the photos its unique character. You can focus subjects anywhere from 10.4 inches to infinity, but I didn’t get a chance to test this during my review. The depth of field you get from this lens is very shallow, which again, adds to the character of the photos. Believe it or not but this is a SLR camera. Well, it’s a folding SLR which is even more interesting! Being a Single Lens Reflex camera means that you are able to see in real time how the camera is going to focus your images. So, basically, when you unfold it, the mirrors inside the camera becomes aligned in a way that the light gets thru the lens, bounces and gets inverted in the mirrors, and finally reaching the viewfinder. What you see in your viewfinder is what you will get.

The SX70 is made out of chrome plated plastic (I read that there is also a full metal version) with leather panels covering parts of the camera. Since there were actually quite a few different models, with small differences among them, the color of the leather may vary from brown to black or to white. Other differences between models, for what I can tell, included a model that wasn’t a SLR, not having split screen focusing, and probably others differences that I’m not aware of. Overall, I find it to be a sturdy camera to old in the hand, although not that very ergonomic. But the feature of folding and unfolding an SLR is its greatest design achievement and it makes it really nice to carry around all day. And of course, the camera is beautiful, but that is only my opinion. 31

As for buttons and knobs, the camera is pretty strait forward and easy to grasp. You have a red shutter button, a wheel for focusing, a wheel to adjust exposure in case you want the image to be a little darker or lighter (in tricky light situations), and a yellow lever on the side to open the camera and insert the film cartridge. A metal hinge on the side keeps the camera open. It also has a socket on the top to insert a disposable flash bar for low light situations (each flash bar has 10 shots, 5 on each side). These original flash bars are no longer made, so who knows how many of those are left around. The good news is that it is also possible to use electronic flash bars and they are available online. I was not able to test these in my afternoon with the camera but I was told the SX70 has auto flash exposure based on focus distance (max distance of 20 feet).

The camera works with the Impossible Project instant film, both color and B&W. They also have both options with black frame instead of the traditional white around de photo. Each pack gives 8 shoots and currently costs 20 euros plus shipping. They say the lower ISO can capture greater detail in well lit conditions, colors are rich, tones are natural and the image emerges fast. If you don’t want to use their film, it is also possible to get expired film from EBAY but I guess the possibility of ending up buying film that is already unusable is real. Anyway, the film is easy to insert in the camera. Just open the camera by pushing the yellow lever on the side, place the film inside and close the camera. You should hear a whirl sound and a dark slide pops out. The Impossible project always prints some nice and meaningful phrase in these dark slides and it is fun to read. By the way, this dark slide is what was protecting the film from light. 32



One very interesting thing about the Polaroid SX70 is that the Impossible Project is actually selling several models of these cameras in their online store. These refurbished cameras cost around 350 euros. Their website is great so make sure you take a look at it ( Of course you can also buy one used SX70 online. You may get lucky or you may not. For buying used cameras I always go to or a nearby seller. If you have a low budget you can also consider getting a refurbished Polaroid 600 that sell for around half the price.

As I said in the beginning of this review, spending an afternoon shooting with this camera, made me realize just how badly I want one for myself. It is a lot a fun to use and with very unique results. It’s not cheap to shoot instant film these days, but is still worth it for the amazing experience. With modern day’s technology all around us, staring at a piece of paper and watching an image slowly emerge can be a pretty big deal. The B&W images you see as an example in this article were taken some by me and some by my friend and photographer Pedro Santos, the owner of the camera. He was very nice to help me make this review and, by the way, there will also be a video of this review on youtube available soon. Be sure to check out Pedro’s interview, also published in this issue. As for the color polaroid, a big thanks to Photographer Paulo Simões for letting me share it. He’s interview is available in the previous issue of the magazine. Last but not least, a big thanks to the model Beatriz Bronze and her boyfriend Sérgio Loretti for their participation in this review. 35

Albert Finch

Building my own 6x17 camera by RAUL PIRES COELHO

This started as a dream. This story has two dreams. The first one is about having a camera, a very spetial camera, one of those that we can only stare at and imagine the feeling of having it.


This is due to the fact that they are too expensive to buy as new, or even in second hand, and also because of the frame size they shoot. The minimum price is always from 1500 euros up. Being a peculiar camera, with that amount of money, one can buy lots of film, chemicals and paper, and that is the most important thing one can do with money. First we must photograph, and for that we need film, and so on. A camera is a tool. But here we will be talking about a very twisted tool, with its unusual frame format, only suitable for very specific subjects, but with infinite possibilities, and with results out of this world, like framing the world with a cinemascope vision, very wide views. Yes, we are talking about the 6x17 camera! Yes, that was my dream from the start. That wide open negative, that wide open frame, which is not medium format any more, nor a large format either, meaning that it is a large negative on a medium format roll. Those who see a perfectly exposed transparency, think of Velvia, for example, made through it, talk about it in amazement forever. It has endless possibilities.

about building one myself? DIY, do it yourself, you can do it, you just have to believe, like you must believe in spring. The seed was launched, nothing could stop me now. Thoughts of planning it were on the loose. And so the story goes around I can do it, yes I can! I am not very tool resourceful, having only some skills from making small scale architecture models for building projects. I don’t own a garage, with every kind of bench or specialized machinery, electrical or not, all I can count on is a living room table and a balcony with a surface to lay down a cutting mat and paint, with room to work on, some screwdrivers, a cutting tool, some rulers and epoxy glue, all those I have and can use.

“... a 230mm circle image, enough to cover a 6x17 wide negative.”

“... with its unusual frame format, only suitable for very specific subjects, but with infinite possibilities...” Me, like many others around the world, always say something like I will never be in possession of that kind of money – actually, thousands in local currency - to buy an industry made 6x17 camera. So this is an article about the second dream I had, dreaming and asking, what 47

Raul Pires Coelho

But the most important piece of the puzzle was already present from the beginning - the lens. A beautiful Rodenstock large format 90mm, which I was not using much lately. Studying the manufacturer specs data, I learned that, at infinity, it shows up with a 230mm circle image, enough to cover a 6x17 wide negative. Smiles spreading on my face… starting good. With 94mm flange distance, calculations and design could start. Some important decisions must be accessed right from there.

I am used to this rigid PVC 3mm thick to make lens boards. It’s very easy to cut, but strong enough to hold together in a strong structure. Some basic drawings started to develop in my head and paper, widths and lengths, with problems to be solved regarding technical key details, like film loading and spooling. But first I had to calculate the fixed focal distance, based on the hyper focal established for a standard print format and digital size. As this was going to be a fixed focal camera, I did some measuring with the lens on a regular large format camera, relating the focus distance to infinity against 3 meters, and came out with a real 3mm difference. So my 6x17, closed down to F22 and 97mm flange distance, that is, focused to 3 meters, will had everything focused from around 2.5 meters up to infinity, as shown in the scheme bellow. From this I could start cutting down to precision the pieces for assembling the basic module. Suddenly, a huge problem: How to make the roll go along the way, from one spool to the other, was solved when I thought about using the cheapest of Holgas, to use as parts to build a system to carry the frames from one side to the other, across the framing film window. So I cut an old Holga to pieces to make it, as can be seen, gluing it all together strongly at the aligned place.

placed on all corners, as an extra layer against outside light. As can be seen, some extra wood details were added, to hold the camera securely. Also from the Holga, the tripod sock was fixed in place, always with ultra strong epoxy. A pair of levels for the two main axes were also added to help leveling the camera.

To count the frames I made some testing on the turns needed to advance the film in the right amount, writting down the results. And it seemed to work. Some additional down to earth engineering was needed to make the pressure plate from soft foam, at the same time polishing around the frame window so the film wouldn’t get scratched upon advancing against it.

“... I thought about using the cheapest of Holgas, to use as parts to build a system to carry the frames from one side to the other....” The inner side was painted thoroughly with matt dark black paint to avoid spilling the light around damaging the final image. The back part was made in the end, tightly cut all around, though with some overlapping to avoid light leaks. Also some strong black tape was


Now it was time to take the first roll for a test drive. And how happy I was? - no overlapping on the four frames, so the turn counter worked! - no scratches on film emulsion, that was very good, as there were no rolls to aid upon scrolling!

- no light leaks whatsoever! - the all frame covered as expected, with some stylish slight vigneting on the corners! - and, most important, sharp image all over, with extreme resolution from corner to corner, that is a Rodenstock for me!! The goals were achieved, the dream had come true. Starting by using a small door hole viewer was not completely satisfactory, so upon looking on the usual places I found a cheap Gaoersi viewer exactly for the 90mm/6x17 combo, so lucky was up until the end, those Chinese guys are really the best. Framing the image would now be done with more precision, not letting anybody outside the emulsion.

“... most important, sharp image all over, with extreme resolution from corner to corner, that is a Rodenstock for me!!â€? To finish, a leather custom made strap went along from a small industry based in GuimarĂŁes, a town up north in the country, which saw the camera on social networks and offered to make the accessory for it. And here it is...


And the first two test images, one in black and white, Delta 100 developed in PMK, the other is a slide, and old Ektachrome. True panoramic images. My tool was ready to go out making magic!

Rogojine Ïoksovy I asked Rogojine to share with us his ideas behind his artsy and gritty images. The way he shoots does make me think more about photography as a medium to express ideas and emotions and not so much the search for technically perfect imagery. Can you talk a little about yourself ? I am 36 years old and I’m currently living’ in France, near Paris. I work in the graphic design industry, but I share an intimate passion with photography, even more with film photography. I never went to any photography school, but I have a huge appetite for pictures. I was almost ten years old when my dad gave me my first camera. I can’t remember what kind of camera it was. Years later, I eventually got a “modern” camera. It even had an auto focus! I used it during my student years. By now, digital was coming, but my desire to continue shooting was fading. In the way of life, I eventually met some people who made me realize that analog camera and film are not dead. So I bought an fm2 and my appetite for pictures returned! Why did you chose film instead of digital for your work? Film is solid as a brick. It continues to live on even after it has

been shoot. Family photos are still alive in the paper and in the film itself. In my mind, film is free as a wild animal. If you really understand it, you could become best’s friends and share that kind of freedom together. In my mind, digital is like a prison because you got codes to move the walls. Analog needs to be fed with your spirit and your art. Also, I like to work with my hands and my heart. Not pushing buttons. I can’t play with digital because I can’t understand how it works. You know, I work each day on a completely manual press offset, and I’m confident about what I do. Artificial intelligence scares me a little bit. I have to control the machine. A.I makes me think the machine controls parts I can’t control. You have a very peculiar style in your work. Who are your main inspirations? I am in love with Japanese photography in general. High contrast, 51

pieces of life, few moments caught in like a failure time. I want to shoot what we can’t see, or don’t want to see, in our everyday. From early on I have been influenced by the Japanese cinema of the late sixties. Koji Wakamatsu is one of them; Yuke Yuke Nidome no Shojo (Go Go Second Time Virgin); Shinya Tsukamoto, a self thought man, filmmaker, gave me dreams and inspiration for some of my work; Daido Moriyama, and many of his spiritual children (Takehiko Nakafuji...); Masahisa Fukase is a precious master piece of photography; and finally, Gilles Roudière, a French photographer with fabulous work. I use photography to express myself. For me, photographing is like giving our subconscious a piece of real life. This is the benefit of film. It helps me to “draw” what I want to show. I use it like paint… colored, black and white, high grain, low grain, high contrast, low contrast. Film opens my eyes each time I close them.

Great photos don’t always need to be technically perfect and sharp. A blurry, grainy, experimental picture can be just as interesting. Do you agree?

“I dislike those images that are so close to everyday life.”

I have always lived my life with a handicap. I am lazy to learn everything there is to know about something. This is how it is for me with the technical side of photography. I learn only what I think it’s essential to shoot and then I start shooting. I like that child aspect of life where I learn a little bit each day to complete my art. These days, I discover many new possibilities using my camera. I agree that an abstract image, regardless of the grain (even if I do love the grain) gives me a path into another world. I 52

dislike those images that are so close to everyday life. I need to dream. Some of my photos come directly from my an extension of it. I love light and I love darkness even more. So I am attracted by high contrasted black and white images. How do most people react to your work? Are they surprised when you tell then its film? I think that happens because people see “perfect” photos everywhere. People are usually more comfortable when they understand what they see. I think that’s why not many people like what I do. Among my friends, only a few of them like what I do. Well, shooting film is trendy right now, but what do you think about the future of film? When a major company like FUJI wants to stop production of some of their films, it makes me sad (especially because of the neopan and positives films). But that is just a big business. For me, future can



be magic for passionate photographers. Some people will use film and analog cameras forever. They will still be around for a long time. So I am optimistic, also because I see young people starting film related business by creating new film brands or restarting production of older films like Ferrania. How about the future of photography in general? Everyone is a photographer today, I hear people say… What do you think about photography becoming so common? Photography is a pleasure. For some, it is vital! Tomorrow, we’ll fly to the moon. People will need their souvenirs. Everyone is a photographer since the first moment they open their eyes. That is what I have always thought. Photography is memory. Memory is human. So photography is more than human. I’m curious to know about what type of cameras and film you like to use? I use a 35 mm camera. My loved Nikon fm2. Sometimes I also use a Canonet. A Rollei 35 SE for places not allowed shooting. About that… I can’t stand the idea of, in my country, being OK for anyone to shoot everything and everywhere with a phone camera, but “normal” cameras (analog) are prohibited. I like half frame too. For that I have a very basic Fujica. I have a Bronica for medium format and I mostly use it to shoot my friends riding bicycles. Each camera is like a good genius who makes you happy in different ways of using it. I develop all my black and white film. Colors go to laboratory. As I said earlier, I don’t fully understand the cameras technology... I gave a modern camera to my wife as a gift and I feel really frustrated when I have to use it. What advice would you give to someone just starting with film photography? Not an advice, just a basic rule: work with the light. 55



Five Photography

There seems to be a common consensus that shooting film as a business nowadays is impossible due to the extra cost of film, processing and scanning. Well, although that may be true, how impossible is it? Luckily, I found some people that are currently doing it, so let’s find out more about them!!!

What can you tell me about “Five Photography”? We became a team in mid 2014. However, individually, we have been shooting for a long time, mostly work related to our training area (Biology). So I guess we were united both by photography and biology. We came up with the name “Five Photography” which is made out of the first letters of both our names… (Fi) Filipe and (Ve) Vera. Our work is a blend of documental photography and photojournalism. We are aiming for an organic and natural type of images and often try taking advantage of beautiful natural light. Also, by using film, with its grain, texture, colors and imperfections, is a way of achieving the type of images we want. To us photography is a powerful tool that can be used to revive memories, awaken feelings and show reality. It can also be a tool for research, as well as a means to discover new ways to see the world. Our goal is to capture and

show emotions that surround us, with consistency, and trying to tell stories in a truthful way. What attracted you to the idea of shooting film? We started with film, and then moved on to digital, as most people did. As first it was a smooth transition because it allowed us to make experiments that would have been a lot more difficult to do with film, due to the cost. However, as time went by, we started to feel unhappy about our work. Many photos were being discarded, a lot of editing and far too many hours in front of the computer. So we felt we needed a change. We wanted fewer photos, less time editing and more quality in our work. So we went back to film. We bought a Mamiya RZ67, shoot a few rolls with it, and when we saw the results we realized that was exactly what we needed. We were happy with our photos once again. Anyway, don’t miss interpret us… We still shoot digital. Using 59


the words of some other photographer: “We live in the best days of photography because although film is still available, we can also take advantage of digital.” So, our work became a mixture of both digital and film. Currently, in our personal and conceptual work, we use digital to make a “sketch” of the idea and then the real work is done in film, because it gives us the look we want. However, in a wedding it is impossible to shoot everything in film because of the cost. Shooting film as a business does present some extra challenges. What are the biggest advantages and disadvantages it brings you? Without a doubt, the biggest disadvantage of film is its cost of developing and scanning. This raises the price of our service and product, making it less appealing to the client in that sense. However, the advantage is that we achieve a final result that we consider far more attractive. It makes our work stand out.

digital and a final work done in analog. How do your clients react when they realize you also use “old” cameras? Many of them can´t notice the difference! For that reason, we think there is some extra work that we, as film photographers, need to do. We must educate our clients and help them understand the advantages of film, by showing them that the “look”

“We must educate our clients and help them understand the advantages of film...” You always shoot together? Yes, we always shoot together!! In a family session or in a wedding we work really well as a team. Each of us has a different view and this way we are able to capture different perspectives. Communication is very important In our conceptual/documental work. If we are doing a stylized photo session, or a food photography assignment, Vera ends up directing and doing the styling, so that Filipe is able to capture the best possible image. Usually, in this type of photo sessions, there is a previous work done in 61

they liked in our photos in the first place, was achieved partially due to the use of film. Anyway, some other clients are already aware of the return of film as a photography medium and they come to us specifically because of that. How about filters and presets that simulate that film look? What do you think about those?

We are surprised with how good some of those presets are, but usually we can tell the images are not film. After being familiar with the film “look”, it is hard to be happy with filters and presets. And why simulate film if we can shoot the real thing? The real thing is always better. However, those filters and presets are very useful for hybrid photographers like us. They allow us to make our digital work be as similar as possible to our film work and we do want to have that consistency as much as possible. What cameras, lenses and film you use? When we started using film again, we realized that another advantage of shooting analog is being able to get affordable cameras and lenses. That allowed us to try different equipment. Currently, our main work cameras are the Pentax 645N and a Mamiya 645 Pro TL because the cameras handle pretty much like a 35mm. We have a Canon EOS E3 that allow us to use our Canon lenses from our digital setup. We have a Mamiya RZ67 that we use mostly for food photography assignments and specific detail shoot because it allows a very close focus. And finally we have a Mamiya C330 twin lens that we use for personal work. Maybe someday we get a large format camera as well. As for our favorite film brand, we use mostly Kodak Portra 160, 400 and 800. For black&white we like Kodak Tri-X 400, Ilford HP5 and Delta 3200. How about your creative influences? Any specific photographer you love? About influences, there are so many it’s hard to list them all. However, we really like some of the famous ones like Ansel Adams, Henry Cartier Bresson, James Nachtwey, Steve McCurry, Alfred Stieglitz and our own portuguese photographer, Carlos Relvas. But also, Micmojo (Jan Scholz), Ryan Muirhead;

Elisabeth Messina, José Villa, Jonathan Canlas, Lelia Scarfiotti, among others. We also get inspiration from books and magazines. These can be great influences for our own stylized photo sessions. Some writers like George Orwell, Agatha Chritie, Ernest Hemingway, Lucy Maud Montgomery and Paul Auster. Some musicians like the Clash, Ramones, Bad Religion, Censurados, Psychedelic Furs; David Bowie, Beatles and Bob Marley. Finally, we must also mention as an influence the cities we have lived in… Florence, with its amazing light. We lived there for 4 wonderful years. And Sintra, the cloudy and very romantic Portuguese town we currently live in. Great! So, if anyone would like to contact you guys for a photo shoot, what can they expect from you and your work?


Modesty aside, we are very versatile and able to shoot in different environments and different types of photo sessions. We as easily photograph a wedding as a photo session with a music band, or a skater, or food, or an editorial… Documental photography related to Portuguese traditions has a special place in our heart. In each and every work we put in a lot of ourselves. We also like to contribute in all assignments with more than just photograph. In a photo session, we love to stylize, create a story or add creative elements. But mainly, in all of our work, our clients can rely on our complicity, friendship, availability and professionalism. We like to treat our clients has friends, as a way of creating a relaxed environment.

Trevor Masid I was told about Trevor by our mutual friend, Paul del Rosario, soon after publishing the first issue of this magazine. After a short conversation with him on facebook, I realized how much his love for film shines thru. I’m happy to share more about him and his work with everyone. Can you tell me a little about yourself ? My name is Trevor Masid, I was born and raised in Hollywood, California. ((the only place I’ll ever call home)) I suppose you can call me a professional photographer, but I think that calling myself that sounds a bit pretentious, so I tend not to. :] Why have you chosen to become a film photographer? All throughout my formative years, my grandfather ((who was Argentine)) was obsessed with photography. Being of argentine descent, we love to party, and we would party and entertain quite often, and my grandfather would always have a video camera or 35mm camera in his hand, capturing all the moments.. sometimes leaving the video camera on and walking away to film a wall for 15 minutes. Anyways, After he passed away, I stumbled upon one of his old 35mm cameras, and I instantly fell in love with it. I began shooting anything and everything..

mainly shitty photos of my friends and I skateboarding. I think my grandfather instilled in me the passion and the love to capture moments in life..moments that you can go back and relive a certain mood or feeling, just by looking at a photograph. There’s nothing more powerful in my mind. Why do you think that some people are turning away from digital photography? I’m not necessarily against digital cameras, but I never quite understood why when the ultimate goal for digital cameras is to closely emulate film stocks, and achieve the same resolution or pixel count..and spend $3000 doing it, when you can just.... shoot film for half the cost. Is there a big community of film shooters where you live? Living in Los Angeles, luckily, there is still a huge community of film shooters here. I dont know most of them, but I have a 65

few close friends that also strictly shoot film, who I mainly shoot with and draw inspiration from. What advises would you give to someone just starting with film? Just enjoy it! Learn the basics, get the most simple bare-bones 35 set up you can get ((ebay it..there are some suuuuuper cheap set ups out there)) and

just experiment! There’s no better way to learn how photography works than by shooting film. You have some great shoots of landscapes, candid people and sensual models. Why these genres? Realistically, I always take my camera everywhere with most of the pictures I take ((with the exception of

paid gigs)) are just things that caught my eye at the time. A nice sunset, an interesting face, or a beautiful one for that matter. Just something worth keeping a memory of.

“Learn the basics, get the most simple bare-bones set up you can get...” How do you imagine that your work will evolve in the near future? I can only hope that with time, my work will only get better, where I’ll be able to look back at my work and actually be pleased and proud of the work I’ve done ((it rarely happens due to my overanalytical mind)) I will always shoot film! until there’s no more film to get. Are you optimistic or pessimistic about the future of film photography? Both. I feel like I HAVE to be optimistic about the future of film, for my own reasons, because I want to continue to shoot me film IS photography. And pessimistic because I’m naturally a pessimist, and with all these film stocks dwindling out and being discontinued, it’s hard to not be. To finish, I’m always curious about gear... What cameras and film do you shoot with? At the moment, 99% of my pictures are taken with ((in my opinion)) one of the greatest cameras ever made. the Pentax 67. I have a few other cameras, including a mamiya 7, which I absolutely love. I had a pretty big collection of gear, but I sold most of them off, because I wasn’t using most of them. I have a few polaroid land cameras, which are super fun to use. Dream camera as of right now is a hasselblad x-pan and a polaroid land camera 195 ((those fuckers are expensive!!!))





Paul del Rosรกrio

Paul is one of those people who clearly loves photography and that shows, both in his youtube channel and his awsome project 120 LOVE. Be sure to check those out!


Plaubel Makina 67 Overview

Before we talk about your work and personal projects, what can you tell me about Paul del Rosario? Thanks for having me on this magazine. I’m originally from San Francisco, California, but I’m based in Tokyo now. I have a day job, as it’s dificult to sustain myself as a photographer. Photography started for me back when I was in junior high school when my father first gave me a Nikon FE. I didn’t use it much, but when I entered high school, I joined he photogrpahy club, got into the darkroom, and considred going to photography school after graduation. I’ve always had a romantic image of war photographers as they seemed so brave capturing the horrors of conflict. I looked up to them in the same way people are fans of Beckham, Ronaldo, or some other sports star. I also admired (and still do) fine art photographers like Ernst Haas or Steve McCurry and wanted to capture images in far off places. But boyhood dreams don’t always come true. You shoot a lot of film, mostly medium format, is that right? What drove you into film instead of digital? So, I came from the era when film speed was refrerred to as “ASA” rather than “ISO;” I didn’t “get into film,” I returned to film. I only shoot digital for commerical projects or in the studio for a client, etc. My first and only camera for a while was a Nikon FE and then I suddenly jumped into a Canon 7D mainly for video. Then that progressed to a 5D for photography, then sold everything and went back to 35mm film and then into medium-format film. Also, I want to make it clear that I don’t hate digital. People often have an impression that because I shoot medium format film, I don’t like digital. That’s not true as they both have their aesthetic appeal as well as their own unique workflow. I shoot film for my personal projects because I feel that I haven’t mastered what I started off with. I want to create something memorable using the medium that got me into photography in the first place. Also, I Iove the texture of film photographs; I enjoy the trashy images, distored images from chemical failure, etc. I’m interested in chaos and maxmialism as a subject. Playing with fixer on photo paper can never be done with digital and when people use filters, etc., it’s not organic for me. The disadvantage of film is the cost and support. It’s getting difficult find and maitain a 100% analog workflow; enlargers, chemicals, paper, darkroom space. I recently went to a photo print shop in San Francisco to consult about printing for an exhibition. We were talking about size, costs, then about types of paper. The staff then realized that I was talking about darkroom prints – not inkjet. He said there was only ONE shop in the city that could help me. Personally, I can handle a slow workflow; I’m not in a rush or under pressure to see my photos

One Roll of Film

Film photography is not for everyone 71

immediately; and having undeveloped rolls of film gives me time to think about what I shot and then revisiting the image once I process the film. The project I’m working on, “Control+Shift+Z” which is a cityscape project of Tokyo, is taking almost two years, but it’s okay.

“... I’ve met younger professionals photographers who have never shot film, so we made the video to push the message to explore using film.” So you ended up creating a youtube channel with a lot of videos about film photography. Can you tell me how that came to be? I didn’t set out to make a film photography channel on YouTube. Also, I wouldn’t consider it an organized channel as I just use it a dumping ground for behind the scenes videos or just footage of something I thought might be interesting to share. I hardly check my channel, so it’s not heavily part of my photography work. More for advertising, I guess. One of the videos in your youtube channel is a big success: “One roll of film”. How hard was it to organize something that involved so many people? One Roll of Film started off as a kind of “fun thing to do” because we all had Hasselblads. Also, I’ve met younger professional photographers who have never shot film, so we made the video to push the message to explore using film. And then Hasselblad Japan heard about our project and gave support, so that was exciting. And then the actual production was heavy. Logisitics (four video camera operators following the

four photographers all over Tokyo), video editing, human emotions, costs. It was hard, but a worthwhile experience. What can we expect from your channel in the near future? (Any plans for another “One roll of film” type of video?) The others guys and I all have our own projects, so we’ve splintered off. I don’t think we’ll make a Part 2, but I’m always interested in any type of project which involves image making. I’m sure I’ll produce something in the future possibly with still and motion film, but not anything specific as of now. How about your personal photography work? What type of project have you been doing? As mentioned before, I’m working on a cityscape project as I can do it on my own time. I don’t have anything or anyone to worry about, e.g. models, hairstylists, permission to shoot, etc. I just go to some grungy part of Tokyo (which I like) and then shoot whenever I feel like it. I’m heavily inspired and advised by Japanase photographer, Osamu Kanemura, so the rough, imperfect visual language of cluttered architecture, electric powerlines, trash bins, advertisement boards and other objects that natually exist in Tokyo without manipulation create an image of urban suffocation and I find that exhilirating. Also, I’m interested in creating “digitalish” multimedia projects, but with analogue tools, so as I mentioned earlier, I will do some work with 8mm and maybe some 16mm as well. Living where you live, are you greatly inspired by the city of Tokyo itself ? (What else inspires your work?) “Showa Tokyo” which is basically the old neighborhoods and architecture are what I’m interested in. I like history in general, so I enjoy reliving the past in the present. I used to live in Japan as a child because 72

of my father’s job, so I remember these images. Also, “Trash Culture” excites me. It’s like a new frontier; go where no photographer has been (or wants to go) because it’s chaotic, imperfect and beyond belief. You also participate in the “120 LOVE” website. What can you tell me about that project and that community of film photographers? Regarding 120 LOVE, it was a fan movement in the beginning, but now I’m trying to develop that into a proper brand. Skateboarding, hip hop, surfing, hiking, etc. they all have fashion brands. These activities thrive because they are exciting in themselves, and they have apparel, shoes, bags, hats, watches, coffee mugs, celebrities to support the experience. My goal with 120 LOVE is to do the same; create a brand experience

“My goal with 120 LOVE is to create a brand experience which celebrates film, photography, and analog culture as a whole.” which celebrates film (not just medium format), photography, and analog culture as a whole. Hopefully, this will put energy into film culture and get more people involved. The group of photographers on the 120 LOVE roster are our ambassadors of medium format film photography. They make photography and photographers look cool in the same way a sports player makes football or baseball look even cooler, I believe. The images they create are beautiful and exciting and I think they are excellent role models for the younger

aspiring photographers and creatives. What advices would you give to someone interested in learning film photography? My advice….don’t pick up film photography because you saw a sexy Pentax 67 on Instagram. Pick up a camera and tell stories because you have something interesting or unique to communicate. It doesn’t matter if it’s an iPhone or Hasselblad, if you have something unique to express, do it. If you want to specifically use film, please understand the nature of film beforehand and see if that matches your story and style. Use any medium with respect and understanding. Film is not cheap and if you don’t know what you’re doing, it will backfire and you will end up hating it.

“If you want to use film, please understand the nature of film beforehand and see if thar matches your story and style.” To finish, I usually ask a difficult question… What do you think the future of film will be? Film can’t survive without digital. This is not the 1970s or earlier. Kodak, Fujifilm and other manufacturers in the photographic industry are not out to make film for you; they exist to make money. If they can find a business model to make film profitable, they’ll pursue that avenue, I’m sure. It’s great Kodak is putting some support to Super 8. I hope this will reverberate in other film products. The electric light bulb didn’t kill off candles. Candles still exist, and so will film. 73

Jan Mlcoch Jan not only shoots film, but also uses a very specific technique of light painting that gives his work a unique look. He doesn’t try to achieve perfect images and I love that. In fact, what he does relies so much on unpredictable results, that makes his work even more interesting. Can you start by telling me a little about yourself ? I am 36 years old chemical engineer from Czech Republic currently living in Prague and I am an amateur photographer more or less self educated. What lead you into photography? Or better yet, what lead you into film photography? I was amazed by the photos from my childhood. In the beginning I was interested in landscape photography, since I am from a mountainous area. As I grew up my interest evolved into the landscape of the female body. I started with film and stayed with it, although I have a digital camera as well. With digital I feel that I lose the brain and I start bursting pictures without thinking. Film is different. Also, I love the darkroom process. Your “female landscapes” have a very unique style. Where you influenced by some photographers in particularly?

I love the work of some czech photographers of the past but mostly I love pictures of Jeanloupe Sieff. My style came to be, about 12 years ago, when one of my friends suggested me to try out the old technique of light painting, also called luminography. I tried it and fell in love with it, although in the beginning it was difficult because of its unpredictable results. But it is mostly an exciting surprise. Good or bad, I still love it. How do people usually react to your work? Have you ever had any problem resulting from the eroticism of your images? (I hope facebook will soon change, or at least refine, its policy about nudity) For instance, facebook is strange system. I use it to for searching models with special abilities, like dancers, and I need to present my work to them. And of course, I like getting “likes” and comments in photography groups. I display nudity because I 77

refuse to make any dots, squares and other stuff around nipples or genitals. I think it is dishonest to the work of photographer and the model. If nobody reports the images then everything it’s OK. In my personal profile there are only photos for friends and the groups I chose to participate are carefully selected. Sometimes I’m wrong about a group and

“I display nudity because I refuse to make any dots or squares around nipples or genitals. I think it is dishonest to the work of the photographer and the model.”

get myself blocked, but continue to do what I do. How do your models react to your photographic process? Most often, it is an exotic experience for them, so they want to try it out... but sometimes models simply refuse to work with me because my photos are not perfect, bright and colorful with a shiny wax skin. With that type of models I talk only once and never again. I think you are referring to the beauty standards most people follow and how mainstream photography reflects that... Sometimes I say that leads to boring and fake images (not always, of course). Would you agree? Yes, that type of imagery is trying to be perfect, but perfection is boring to me. The human eye is accustomed to find defects and if it can’t find it, it just can’t catch anything. Once I was shooting a model that was simply perfect like a doll. No wrinkles, no freckles, no body hair, 78

and my eye couldn’t find anything to focus on... she was stunningly beautiful, a playmate, and great with poses, but I could not figure out how to shoot her. Anyway, finally we end up making some good pictures.

“... it is an exotic experience to them, so they want to try it out.” To finish, what can we expect from you and your work in the near future? In the near future I plan on organizing some exhibitions in Prague and in some other czech cities. I also want to improve cooperation with models with special abilities. Currently I have a project called Levitation which is about pole dance, but soon I want to have more photos focused on classical ballet, although nudity seems to be a small problem there.



“If your pictures aren’t good enough, you aren’t close enough.” Robert Capa

SILVER Photozine #2  

SILVER Photozine is a self published zine about film photography and analog cameras, featuring talented film photographers, articles, interv...

SILVER Photozine #2  

SILVER Photozine is a self published zine about film photography and analog cameras, featuring talented film photographers, articles, interv...