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“To be, or not to be, that is the question” This is a historical moment. When we have to cross this invisible line and make a decision to introduce a small fee to access the magazine. We are also going to introduce a 25% discount when purchasing a subscription. It was a hard decision as it is a significant change to all readers. We remain dedicated to the digital ISSUU platform and our publication plan remains the same with quarterly publications. Each subscription will always cover the current issue and the three issues after that. You can also opt to purchase a single issue. All, previous publications including issue #13 will remain free to view, read and download. But if the magazine is to progress and continue to offer original content, it needs investment. We hope that this small fee, which also partially goes to ISSUU and to our payment processor (stripe), won’t totally discourage our readers. But it will help to keep the magazine alive. Now, not all bad news. Starting from this issue we want to give something back and we are introducing a small Project Sponsorship program. We have partnered with (our truly great film supplier) and we will be supplying; 2 rolls of C-41 film, covering developing and scanning costs + publishing selected projects. For more information we have a full spread with more details and also a separate page with some FAQ at the end of the magazine. We still would like to hear from you as we really value your feedback. That is why we kept the page with a survey button --> Hope you enjoy issue #14! ...and don’t forget to subscribe: Thank you for your support! Stay creative and shoot film. Tomasz Olejnik Editor-in-chief

Project: Romagnamia by Charlotte Trigari

Romagna’s true, pure essence. The real story behind what is commonly known as Italy’s land of amusement a land that does not end with Cocoricò, Milano Marittima group dances on the beach, piadina in the pinewood forest or the happy hour in Rimini. There is so much more, there are many more days after the end of summer, and it’s all there, ready to be discovered. A state of uncertainty suspended between strong historic echoes, from the ancient streets and the remains of the Western Roman Empire, to the boom of North European families that filled hotels and camping in the 60s and 70s. A scenery sprinkled with dusty forgotten arcades like the Flynn’s, or abandoned summer camps. A passionate yet rough point of view, a story on the most unknown part of a land that seems to never sleep – but that is very often underestimated and, in some cases even abandoned. Camera: Nikon FM 2 Film: Kodak Portra 400 & Kodak Color Plus 200 Website:

Charlotte has been into photography and drawing since

she was a little girl, but before that she was born on a hot summer day in the Sienese province, while her mother wasn’t doing so well and the anesthetist doctor was somewhere else. Then, headlong, one of the hospital nuns decided to intervene by sending to sleep both the mother and the baby in her womb. Charlotte was still a little sleepy when at age 11, she received from her father a minidv camera which she used to film (and edit) everything she saw until she could afford a reflex digital camera at age 21. With this new camera Charlotte shot several video clips with the group of her friends. She also shot a documentary a short film, small theatrical plays, short reportages backstage videos, corporate videos, several castings for the advertising of big brands and in the meanwhile she never quitted taking pictures and drawing. After deciding to deepen even further the utilization of light, Charlotte resumed shooting in analog, using two reflex cameras that are now the prevalent working tools for her projects. Charlotte has now also developed an interest for architecture and the spaces where mankind lives or has lived, and keeps an ancestral affection for music that tries to bind to the best she can, in this case taking portraits of artists of all kinds.

(c) Charlotte Trigari

(c) Charlotte Trigari

(c) Charlotte Trigari

(c) Charlotte Trigari

My name is Karl Walsh. I am a 23 year old film photographer from Dublin, Ireland. I first started shooting film during my first year of college, where I was studying Video and Film Production. Since then, I have been shooting exclusively film photography with a Nikon F3 and a 35mm lens. This camera and lens is my ultimate combination. I shoot a mixture of black and white and colour film, leaning more heavily to the latter. I also shoot with a Yashica Mat-124g. I love 120 film for it’s detail and clarity. The reason I shoot film is because I love the process of predetermining how your photographs are going to look before you make them. It’s the same reason I use one lens which is a 35mm prime. It allows me to focus on the image rather than worrying all of the other options I could have; should this be black and white or colour? Should I zoom more? Sure, these aspects can be seen as limiting, but it’s these limits that allow me to progress with my photography which inevitably has allowed me to develop a style. This style has allowed me to determine what I like to shoot and what stories I want to tell with my photography.

There are two things I try to achieve with my photography. The first thing I try to achieve is to capture light. Rather than photographing the subject within the frame, I try to capture the light within the frame. I have a significant interest in how light falls within the frame be it a subject, a space, a building, a landscape, etc. I believe that this stems my interest in cinematography and shaping light to tell a story. The second thing I try to achieve within my photography is to capture moments. Capturing true moments in time is something I’m highly interested in, because they tell a story. I believe this also stems from my interest in film-making. With film-making you’re essentially creating several images and putting them together to create a story. More of my work can be viewed on my website: and my Instagram: @theekarwash.

(c) Karl Walsh

(c) Karl Walsh

(c) Karl Walsh

(c) Karl Walsh

(c) Karl Walsh

(c) Karl Walsh

We would love to see your photographs So we can then show them to a wide international audience Please visit our website for more informationon You can also email us your sample images to: info@thefi

(c) Oleksandr Lykhohrai Oleksandr Lykhohrai is a Ukrainian photographer, born in 1996 in Snezhnoe, Donetsk region. Prior to becoming a photographer Oleksandr has studied Computer Science and worked as IT project coordinator. Being inspired with the Soviet past he works with the film as the main tool for visual identity. His work was shown internationally at the Buenos Aires Photo Festival and PH21 Gallery in Budapest. In 2017 Oleksandr started curating Kharkiv Street Phographers community. Instagram: @lykhohrai Facebook: lykhohrai Email:

(c) Oleksandr Lykhohrai

(c) Oleksandr Lykhohrai

(c) Oleksandr Lykhohrai

(c) Oleksandr Lykhohrai

David Astorga I was born in Burgos, (Spain) in 1985. Burgos is a little city in the north of Spain, I’m so proud to belong to this city and share all my childhood surounded by all kind of artist: graffiti artists photographers, videographers, poets, singers, set designers etc‌ Nevertheless it was when I was 27 years old when I decided to turn my life around and I left the factory where I was working in Burgos to start my photography studies in Madrid. I studied two years lighting, capture and treatment of the imagen in a public school named: IES Carlos Maria Rodriguez de Valcårcel in Madrid. There I found wonderful teachers and friends who helped me to understand what photography means.

(c) David Astorga

Although, I learned photography in a digital era but I grew up with analogue photo. Currently I use both kind of photos and both make me feel good, but is true if I say that analogue photos makes me a better photographer. Currently, I’m living and working in Vancouver, making videos and photography reports in different areas: tourist companies, events films as a stills photographer and of course, my own documentary photo projects. You can’t picture how much I enjoy when I walk alone with my camera between streets…

(c) David Astorga

The people of the neighborhoods are the ones that make up the cities. Documentary photo, portraits, street photography. This is my way of understanding the city where I currently life, this is the way I see it and this is the way I have to pay trivute to all those characters that I cross in my day. I took all photos with a Pentax K1000, using Fuji Superia 200 reel.

(c) David Astorga

(c) David Astorga

David Astorga Social media.

(c) David Astorga

(c) David Astorga

ONE PHOTOGRAPHER ONE PHOTO ONE STORY This image of Laura was captured one Sunday afternoon on the front porch of a little bungalow located at a beautiful hang gliding facility out in Davenport Florida in USA. I especially love her natural looks and her expression. I also love how the streak of light matches her line of sight. This image was shot with a Canon Elan with the 50mm 1.8 lens on Fujicolor C200 35mm film.

Vic Romรกn I am a portrait and music photographer from Orlando Florida (USA). I blame the images in magazines and family albums for starting the photographic spark in me. In 1989 I took a photography course in high school and purchased a Minolta Freedom 50. That camera turned that photographic spark into a flame that has all but died out. At that time, I photographed the life around me which included the BMX lifestyle I grew up in. Years later I purchased a Ricoh KR10 Super and went on to study commercial photography. After all those years and new advancements in photographic technologies, I still shoot film as well as digital. I frequently use a Yashica Electro 35 GT my Canon Elan and that Ricoh mentioned earlier. My current favorite films are ILFORD DELTA 100/400, Fujicolor C200 and Kodak Portra 160. I am also excited about the renewed interest in film people are having these days and love seeing all the beautiful content people are creating with this analogue format. Website:



UNDERWATER LARGE FORMAT “BACK TO THE FUTURE “ Evgenii Bashta and Polina Petrenko

The photographs made with the film large format cameras still remain popular nowadays. Herewith the story of the underwater large format seems to be unrevealed. After the works of Louis Boutan, Jacob Reighard and other researchers in the late XIX – early XX centuries the use of large format cameras for underwater shooting has stopped. Since that times almost nobody has taken the photographs using this technique. Working on this project we had a chance to continue the story of the subaquatic large format. For our part we saw a high potential in such shooting technique. We decided not to use the sealing of the camera this decision gave us the opportunity to work with our camera under the water as if it were on land. Also thanks to this we realized our project at most rough conditions: in the North far from the sea, with the simple equipment. The presented photos are made under the water using only a hand-made 18 X 24 cm box camera.

Our goal was to achieve simplicity and candor in our photos to be distinguished in their pattern, mood and technical imperfectness from the gloss of modern digital images. We sought to explore the possibilities of old film-shooting techniques and their aesthetic qualities. The same purpose led us to use old-fashioned diving equipment as we searched for inspiration among traditional divers such as Japanese ama and Korean Haenyeo; first light divers military divers, and scuba divers researchers. Simple archaic pictures provoke strange feelings and mystic images, something enigmatic, gothic, masquerade. Masks covering the face, ropes around the body, baggy dry suites, hoses, straps mouth pieces, and nodes... Like a weighted puppet sinking into the water, where it has the minimal reserve of oxygen and no visibility... The water pressure rising with every meter closer to the lake floor... The light fading away... The temperature dropping... Fear, loneliness, isolation. In a world where a human is a stranger the diver has to act against his instincts. It is a hostile and dangerous world that does not forgive mistakes or panic. But if you overcome the dark side and if your desire to push the limits is stronger than your fears, you will discover other space, the one of silence and tranquility. Something soothing and calming, charming, beautiful, bright and inviting. The Ocean is great. Its underworld is peculiar, mysterious and multifaceted.

With this project we wanted to honor the first underwater photographers who opened the door for us into this world. We conducted the project against the rules, with no expert help, safety equipment or experience. However, this allowed us to go backward, to return in times when those rules were created, and to appreciate the efforts of the pioneer underwater photographers. By resorting to obsolete simple technologies, both in photography and diving we tried to recreate the conditions when the human had to rely on his intelligence, memory, senses and intuition, rather than a computer. The fruit of our work is a series of black-and-white photographs that evoke rather contradictory emotional associations. The use of a monocular and a pinhole, large format film contact print, the artifacts on the images and the absence of mechanical shutter allow for artistic originality of the photographs and reveal unexpected angles of the images. Our project fills up the possibilities of underwater photography with the simple and original technique, amplifies the artistic aesthetic and technical variety of subaquatic shooting, allows the large format camera to take same place under the water as it has on land.

Shooting location


The shooting was carried out in the Svetlenkoe lake in the North-West of Siberia near the city of Surgut. The water temperature during the shooting period (from June to October 2017) ranged from 20 C in summer to 3 C in fall.

Our camera is a sliding box with a monocular lens and no mechanical shutter. Film (we used X-Ray) format is 18 x 24 cm (7 х 9,5’’). We made five film-holders, in which the film was covered by the glass. We don’t use waterproof box or other sealing of the camera, so during the shooting process it was fully filled with the water. We used ikelite DS 51 flash and a couple of simplest flashes and light synchronizers in a hand-made waterproof lantern as the source of light. The ikelite flash was attached to the Nikon D90 camera in waterproof case, which allowed us to shoot not only backstage but also helped to define the exposure and the power of the flash for the film.

The choice of a shooting location became our first challenge. Despite numerous water basins around (rivers, canals, swamps and lakes) it turned out to be a difficult task to find the right site with clear water, easy access and proximity to the city. Nevertheless, we had luck and, with the help of local divers, found a clear lake that met all the requirements.

Gradually, we acquired two dry diving suits from military divers’ arsenal, a rebreather IDA-59M, a 50years-old scuba. Much of our gear was hand-made: weights, straps, lighting system, tripods. All immersions were done in a free diving mode, without refilling scuba and rebreather. In order to breathe oxygen and to hold breath during the immersion we used integrated valve switch.

THE UWLF TEAM Evgenii Bashta - Commercial and art photographer. ÂŤArchaic black-and-white images created with simple obsolete cameras bear softness, artefacts and technical imperfectness and seem unexplicably attractive to me, lure with their softness. Their unique, sometimes naive charm, touches my heart. I have pursued the idea to create photo images with the simplest tools for a long time. And given my experience in underwater photography I wanted to do it in the water.

We had to immerse simultaneously, to assume the correct pose by the camera, to lift the dark slide, to stay still, to turn the flash on... all this had to be done in darkness and in heavy gear, while holding the breath and spotting each other with the sandy bottom often being stirred up and visibility dropping.

After studying how the old cameras worked, I realized that there was no need to make the camera itself waterproof; it was enough just to isolate the film. In 2017, Polina Petrenko and I decided to bring this idea into life.

Sometimes, the whole session was ruined. We would make errors with flash and exposure time, our films would become wet, the dark slide would get stuck, we would not be able to focus on the subject. But despite these small failures, our strong wish to go ahead and passion for our project gave its results - you can see the fruit of our efforts on our websiteÂť.

We assembled a test camera, made several cassettes/film-holders found a suitable lens and began shooting sessions in June. As Polina had no previous diving experience, it was a very challenging experiment for her. She had to learn how to dive, how to use the gear, how to take pictures and manage the camera under water how to be a model.

Just five shots.

Polina Petrenko - Documentary and event photographer. «I believe that an image exposed on film bears more life and sincerity. It is like comparing a print book to an electronic reader. The smell, the rituals, related to the developing and printing; the carefulness required to prepare and carry out the shooting... the whole process is fragile and categorical at the same time. One has a narrower margin of error. Everything must be done right from the beginning. In our case, we were even more limited, as we made our photographs under water with a film camera for an 18 X 24cm format. We had only 5 film-holders. Of course, first experiments were not that successful and sometimes funny. But the limitations of this technique made us more careful; we had to prepare in advance, to make test shots, to calculate error in lighting to carry a huge load of equipment and gear that could be potentially useful. What is especially fascinating about the project is that we had to combine multiple skills and tasks to create these photographs.

We were camera designers, engineers and builders (it is mostly Evgenii’s merit), physicists, opticians, purchasing agents, divers loaders, drivers, printers and, of course, photographers and models. Besides, this project allowed me to continue my documentary photography work. We dived and shot under the rain, storm or snow as I rushed to tell about it in my snapshots. You can find pictures with our backstage photographs on our website». (for more information please visit “backstage” page on our web site

CONTACTS: Evgenii Bashta and Polina Petrenko Surgut Russian Federation 7 922 249 92 97

theFIX Project Sponsorship FAQ:

Q: What is the scanning resolution?

Q: Can I get my negatives back?

A: Scanning Resolution approx. size: 3600x2400

A: Yes, of course we will post them back to you.

Q: Do I need to pay for posting the film back to you?

Q: Can I see the images before publication?

A: Yes, we will email you the link where you can A: Yes, you will need to post the film back to us at download your images. your expense.

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theFix Analogue Photography Magazine 14