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Several members of my immediate family have lived in Bermuda for nearly seven years. I’ve had numerous occasions to visit them and to learn about this tiny but beautiful island nation. Bermuda is probably most famous, of course, as the center of the mysterious “Bermuda Triangle”. But it is equally known for its beautiful beaches, warm water and stunningly blue seas and skies. It is one of the most photogenic spots I’ve visited and I’ve used many different films over the course of the years to try and capture the unique beauty of this place. One of the most striking things is of course all the beautiful colors, which every film will render in its own way. Over the years I’ve developed some favorites, which you’ll see examples of here.

But let’s start with simple black and white photos that give a more pure view without the distraction of riotous color. The shots below were made with Eastman XX, a film with wide latitude and good contrast that works for the very bright sunshine as well as the sudden clouds that often appear.

The first shots illustrate some typical residential architecture. The distinctive white roofs not only reflect the brilliant sun but are constructed in a way that funnels rainwater into holding tanks. Bermuda has no natural sources of fresh water and thus is almost entirely dependent on rain water for daily uses.



Everywhere you go, you’re never far from a bay or inlet, or the open sea. Boats are ubiquitous.

Another ever present feature of Bermudian life is the scooter. They are often used by tourists - especially those who arrive by cruise ship - to explore the island, since rental cars are virtually nonexistent. Scooters are most popular with the locals. In general, Bermuda households are limited by law to a single car, since the roads throughout the island are two lanes and narrow. By default, many Bermudians use scooters as their primary or supplementary means of transportation. There’s plenty of scooter parking everywhere and it’s not uncommon to see businessmen riding to work on their scooters even in the rain.

Adding color to the picture adds another dimension. Not only are the sea and sky various continually changing shades of blue and blue-green, but most of the buildings are painted brightly. And of course there’s all the beautiful tropical vegetation. One film I really like to use in Bermuda is Svema 125 color. It’s made in Ukraine, and packaged and sold in the US by Film Photography Project. It has a soft, vintage like pastel palette that works well for the muted blues and greens that you often find in the sky and water here. The first shot was taken looking across the water from the Bermuda Zoo and Aquarium. The second was at the old Princess marina before it was remodeled.



On my most recent trip in early April, I decided to try shooting a roll of the newly reissued Ektachrome 100. There is nothing quite like transparency film for rending bright saturated colors, and this one is no exception. It takes especially well to blues.

Being an island nation, Bermuda’s coast is filled with small bays and inlets both on the protected harbor/sound and on the ocean facing coastline. The bay pictured below is a small one called Devonshire Bay. While it looks calm you can see breakers just outside the opening where surf breaks roughly on the reef. The day I visited this calm bay, the sand was littered with Portuguese man o’war jelly fish that had washed up. This happens commonly between March and June. Walking on the beach requires wearing shoes and keeping an eye out, and swimming is not advised. These creatures keep their tentacles and can still deliver a sharp sting when washed onto the shore.

The next two images were captured from the boat as we cruised from Hamilton to the area past the Dockyards, just outside the entrance to the harbor. Because the island is small, and only one mile wide at its widest point, many houses are clustered along the edge of the water on both harbor and ocean fronts. Many homes have their own boat docks. What a life.



This Ektachrome image was taken just outside the harbor entrance. Bermuda is famous for the many shipwrecks that litter the reefs surrounding it. Just outside the harbor’s entrance is a wreck named the “Victoria” which is little more than a rusted hulk projecting above the water’s surface. Fish congregate here. They seem to know it’s a common pastime for boaters passing by to slow down and toss a few bits of bread in the water. That results in the inevitable frenzy you see here.


The last roll of this trip was also a transparency film - Fuji Velvia 50. This film is also wonderful for capturing water and sky especially in sunny conditions. I took it for a stroll in downtown Hamilton to capture some of the “city” life. I couldn’t stop looking at the beautiful green of this currently unoccupied building on Front Street, complemented by its blue neighbor.

Another thing that’s uniquely Bermudian is the moon gate. You don’t really notice them …until you do, and then they are everywhere. There are supposedly around 40 scattered about the island. Originally a Chinese landscaping feature, the gates were imported to Bermuda in the late 1800s. Built out of native limestone, many of them appear in public gardens and on hotel grounds. They are reputed to provide good luck, and especially to newlyweds who walk through the gate hand in hand. The first image shows the moon gate at the Hamilton Princess Hotel and Beach Club, which is often used as the backdrop for weddings. The second, I found sitting randomly between two business buildings on Front Street, framing a beautiful view of the harbor.



Finally, here are two more Velvia shots from downtown Hamilton. The first shows the ever present row of scooters on a weekday morning. Note that Bermuda shorts and boat shoes are in fact the work uniform for most of the island. Some go full out and wear knee socks and a matching jacket but usually only when a formal meeting is on the schedule. The second shot is the waterfront park in Hamilton which makes the most of the beautiful views while strolling along Front Street.



There are many more exceptionally photogenic spots in Bermuda. If you’re lucky enough to visit, be sure to bring one or more of your favorite cameras and lots of film!

Connect

Film photographer Barbara Murray is based in California. See more of her work on her website and connect with her on Instagram.

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Recently, inspired by a variety of things that led me down the path of thoughts about the passage of time, I asked our members if they wanted to participate in a self-portrait project that would portray who they are, right now. Life is an ever changing journey, as we all know, and I believe both the the sorrowful / difficult times and the joyful / easy ones are worth honoring. Even the boring times, when everything seems static, stagnant, are worth noting, because who knows what is actually in the works behind the scenes. We only see through a glass darkly right now, after all.

Anyhow, my proposal was met with a resounding yes, so I present to you below the resulting photographs and accompanying words from the members who were able to participate. May this be a challenge to you to create your own!

Anda Marcu

Colin Poellot

Shot March 9, 2019 at night in Riverside Park, New York, NY with a Rolleiflex Automat on Fuji Provia 100 film. Bulb time 60s exposure.

The last few years of my life have seen tremendous change, both good and bad. I’ve lost a few good friends to addiction and disease, moved 3 times, strengthened some relationships and severed others, adopted a rescue dog, and traveled to some new places. I’m constantly reminded of how transitory life is, so my favorite style of self portrait somewhat reflects that. Stepping in and out of the frame of a long exposure to create an impression, but not a strong one, shows how we fade in and out of our environments.This shot is in front of a stone enclosure that houses lighting to illuminate Riverside Church at night. I walk by it every day with my dog and it took me a month to figure out what it was for!

Chris Tennyson

Colton Allen

Showering with ALS

Since getting into photography, and since I was diagnosed with ALS around that same time, I have made a point of not making my photography be about my ALS. Despite that, ALS has been a major factor in how I approach photography, and has placed huge limitations on what I can do, as well as forced me to adapt on a weekly basis. I don't want my photography to be about my health condition, but I think that it is important for people seeing my photos to have some idea of what it takes to make them, and that doesn't often come through in our modern online world. To that end, I have tried on a few occasions to show the extents of what ALS causes. This self portrait is an attempt to show just how weak my body has become, but even this fails to truly convey the devastation caused by this terrible disease.



Daphne Schnitzer

Efrain Bojórquez

Often times my photographic efforts suffer from being taken a step back because of the day job, or family obligations, or even my other hobbies. There are seasons in which this seems to overwhelm us, when it feels like a ball and chain from which one can only be freed by completing all that takes one spots in our schedules. I feel fortunate enough to be able to hold all of my interests very near to me, both figuratively and physically. My wife complains that my office is quite the mess, but in reality is all just designed with a purpose: to not go crazy and to remind myself that there are always other things to look at when you've had it up to your forehead in whatever the hassle of the moment might be.

Gavin Chapman

Gina Gorsek

Greg Williamson

Jen Brimmage

Jen Zehner March 2019

This self portrait project has come at a pivotal time in my life. Iʼve had so many things begin this year… a new career, a new business, new photographic adventures. Iʼve been feeling open and expansive, yet this excitement is colored by an ever present doubt: am I good enough? It hangs in the background picking away at self confidence and progress. This is my attempt to stifle that nagging voice. I used an Instax camera to capture a disjointed portrait… representing allvthese different facets to my current life which Iʼm still trying to weave together. I then created transparency negatives to create a cyanotype triptych of outstretched arms and a bare body, as I am probably at my most vulnerable right now, even though I try to remain optimistic and embrace life as it comes.

Jesús Joglar

Jocelyn Mathewes

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Dear FSC friends, this is Urizen Freaza.

Instant film is magic. Plain and simple. What you see turns into something that you are touching. An image turned into an object. How crazy is that? I'm still amazed every single time this happens in front of my eyes.

And Roid Week is the celebration of this magic. In my opinion, it's about sharing that amazement with others, but that's me. I once heard someone say “everyone is looking for a tribe.” In that case, I guess the people on Roid Week are mine!

Here's a roundup of the photos submitted to Film Shooters Collective and the ones tagged as #fscpolaroid on Instagram. Please go check the artists’ profiles, and if you like, follow them and show them love. And more importantly, check the Polaroid Week pool on Flickr , on Twitter , and on Instagram .

And if these polaroids speak to you... the next Polaroid Week is in October! Grab your favorite instant camera and join us! I tell you, it's fun.


Untitled | Polaroid SX70 | Impossible Color SX70 | Joann Edmonds
Alien love bomb | @altfinnicle1
Summer '18 | @kylaplewes
Ghost Surfer | @instant_surf
Untitled | @iowamy
99 Red Balloons | @hammroids
Untitled | @roo_roo_s
More Bristol | @adambellfilm
In a puddle | @lincera
Untitled | @louwest
Heartblossom Girl | @jennifer_rumbach_polaroids
Untitled | @auspices
As The Crow Flyes V | @crowflys
#5 Cloud chakra | @ykm_12.44_
But there's always a theme | @leavesoftheprotea
Aigle | Carmen De Vos
Thomas on very rare Polaroid | @jens_brehm
Mother Earth whispers our fate... | Ben Innocent Connect

Urizen Freaza was born in Tenerife in 1982 and is since 2010 based in Berlin. He's a self-taught photographer and film-maker. Self-taught meaning that this is a path he's still walking, while hoping there is always more path to walk. He's a member of the Film Shooters Collective and part of the team behind the analogueNOW! festival in Berlin. See more of his work on his website and on Instagram.

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As a videographer by trade, I prefer using vintage lenses with manual focus and aperture. They often have a nice tactile feel in the hand, render very pleasing out of focus areas, and are ubiquitous and affordable online.

Ektar 2016

M42 mount lenses, or sometimes called Pentax screw mount (or even Thread Mount, as in TM), were made by a variety of manufacturers, notable brands include Zeiss Jena and Pentax Takumar. Matching them onto a modern camera body, I can get great high definition video with a lot of character.

As my collection and appreciation of m42 lenses increased, I thought it would be nice to have a suitable film camera to go with them for stills. After a few sessions on ebay, I had acquired a Practika LTL3 as well as a Spotmatic, both of which I enjoy using very much.

However, as is the case with many ebay purchases, I took a chance on these without knowing if the meters worked, and alas, neither did. I've done sunny 16 before, but mostly, I prefer having a meter. I could probably have found a shop to fix them, or perhaps even tried to do it myself, but having spent next to nothing on those, I kept looking, hoping to find a body that was in better shape, or just hadn't been used so much...something newer.

And that's when I discovered the Voigtlander Bessflex TM. An m42-mount SLR with a battery powered TTL meter (1600 max), but otherwise a fully mechanical camera with a split-image prism finder, and maybe the best part - this thing was manufactured from 2003-2007! That's practically brand new by film camera standards. At a glance, I would think it was made in the 60s or 70s. There's a all-black version, but mine is silver with black grips, all metal body, eye level pentaprism...very simple and straightforward layout, classic SLR style.

I love this camera. I often shoot wide open so the split image finder is very helpful.

I wish it was 45 degree as opposed to horizontal, but the finder itself is quite bright, and also includes a circular microprism, so sometimes I don't even need the split. The meter is activated by pushing up on a switch located next to lens. My left thumb is naturally there anyway so activating it is a breeze. The meter readings are a simple red plus-minus if you're off, or a green dot if you're on. The button will deactivate itself after a few minutes, or when the shutter fires, to prevent excess battery use.

+ / - meter readings

It has a 1/2000 copal shutter, and includes a bulb setting for long exposures. The sound of the shutter and mirror is soft and springy... similar to, but less loud than the Praktica. There is mechanical self-timer, which also doubles as a mirror-up. For flash, there is a pc connection on the side, but no hot shoe on top. Apparently there is an available accessory shoe that mounts to the viewfinder, but I have not seen one anywhere online. I don't do a lot of spontaneous flash, so for me this is not really an issue. You could always use a bracket. Flash sync goes up to 1/125.

dials

A protruded rubber grip on the back provides nice traction for my right thumb when shooting or holding it. The shutter button is perfectly positioned and very smooth, and is also fitted with a standard remote thread if you want to use a plunger.

As I mentioned, other than the meter this thing is fully mechanical. To load/remove film, you pull the winder up out of the iso dial and tug it up further to pop the door open. The film counter is on top next to the shutter and there's also a window on the back to see what you're shooting. I do find this helpful especially because the iso dial is just a wee bit loose. It hasn't been a problem while shooting, but it has been bumped in my bag a few times, so I double check it against the window when I pull it out.

So, what's wrong with the Bessaflex TM? This is very basic camera, and compares closely to the Spotmatic in design and handling. Prices for a good condition Spotmatic today? $20-$80 US. Prices for a Bessaflex? $450-$600. Wow! For such a simple camera (and for me), that's a lot. For that money you could get a nice Nikon F5...if that's what you want.

Like much of my camera stuff, the Spotmatic and the LTL3 probably get lonely sitting on the shelf unused most of the time. Occasionally I take them out for a spin, but it's rare, because the Bessaflex TM is the the perfect camera for my 35mm film shooting: modern enough to be convenient and reliable, simple enough to keep me grounded in the basics, compatible with my favorite prime lenses from a variety of manufacturers. I love the build quality of this thing, and although it wasn't a bargain, it's decades newer than most of my other cameras. When I'm shooting 35, I'm shooting the Bessaflex.

Connect

Brad Lechner is an image-making, story-telling, problem-solving dad & husband who produces and edits videos by trade. Otherwise, he’s likely playing soccer, daydreaming about the next family vacation, or scouring ebay for old cameras. Visit bradlechner.com to see some of his work.

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This week’s roundup had no theme. I think the photos ended up centered around Steffi Jannasch’s Dreamscape, all of these photos definitely make me feel like I’ve wandered into a dream. I’m melting into Aida Ebrahimi’s horizon then surfacing in Cassie Corridoni’s flowers, and finally crossing Steffi Jannasch’s Dreamscape bridge to walk along Ioana Tăut’s hazy beach day. It would be a dream I wouldn’t ever want to leave.

Thank you all for these fantastic submissions, and please keep submitting.


Over the Horizon | Holga 120N | Aida Ebrahimi

Kristel Collison

Untitled | SX-70 | Alek Lindus

Cornish Blue | Hasselblad 500CM | Ektar | Rick Davy

Cabin in the Snow | Yashica T5 | Daniel Stoessel

Dreamscape | Canon EOS 50E | Steffi Jannasch

Lighthouse with a View | Polaroid Land 350 | FP-100C | Ioana Tăut

SUBMIT

Every week the FSC features an article with a Curated Photostream that is open to all.  You may only submit one (1) photo and it *must* be a jpeg file and no larger than 20 MB. Please title the file "Title_Camera_Film_YourName.jpg" so that we may properly credit you if your photo is selected. Remember to check our Submit page to see all currently open photostreams. 

My next curation is May 27, 2019, and there will be no theme, it will be open to all film formats. You may submit your image here

CONNECT

Abigail Crone is a Polaroid photographer from Pennsylvania. She’s almost always wandering down a city street or through a nearby forest with a camera hanging around her neck.  You can see more of her work here or follow her on Instagram.

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Embush’s Gate
4x5 glass plate orotone, Ilford FP4, 2 sec, f16
Peter O’Donnell, 2018

The modern Orotone can be created in a number of ways, the most popular using a coating of liquid emulsion on a glass plate with a gelatine base. This method produces some excellent results with a minimum of effort. Rollei produces an excellent product and an equally comprehensive set of instructions.

Rollei Black Magic is a light-sensitive silver. It can be spread on the most surfaces.

I went about it a little differently…

When it comes to learning a new process, I can be a bit of a pedant and will research as much of the history of a particular technique I can in order to get a better understanding. Orotones piqued my interest as the original process of creating a positive on a glass plate as defined by Niepce de Saint Victor (1805 –1870) was apparently lost in the French revolution. But researching photographic publications of the mid to late 1800s led me to two American photographers, Whipple & Black, who improved on the original process. John Adams Whipple (1822 –1891) is better known for his astronomical photography but like many of photography’s early practitioners, he was one of the true geniuses of the craft.  

Whipple and Black's recipe is well documented along with an easy to follow technique for producing albumised glass plates. With a little conversion to today’s units of measure, their recipe when followed will allow you to produce plates that can be exposed in camera for a working negative of acceptable density or contact printed to make a positive. Because of the dramatically slow speed of the sensitised plate, using them in-camera proved to be quite impractical but interesting, to say the least.

With a little research you can easily find workable recipes and methods to all, the now, alternative processes

I began my love affair with photography shooting film and although we parted company in the mid-nineties, our relationship was rekindled again almost 10 years ago, firstly as a hobby, but now I no longer shoot digital for my own work, it’s all large format film and I am again, totally besotted. Once I started using film again that curious pedant in me led me to research and learn salt printing. Salt prints are a wonderfully honest image that has a simple understated beauty. I wanted to take this simplicity and apply it to the glass plate.

The basic process of creating an orotone is quite simple, but as with all alternative processes it does require some patience and tenacity and I’ll say it now: the cleaner you work, the better your result.

Firstly, a salted albumen solution is prepared. The older this solution is, the better. My current stock of albumen is well over a year old and perfectly usable. If you do not have the time to wait for your albumen to mature, you can use powdered egg white, but make sure you get it from a catering supplier and without any additives. Egg white sold as a protein supplement will usually contain additives that will not work.

It all begins with eggs and lots of them

 Regardless of how you make your albumen solution, it is necessary to filter before use.

Filtering is essential to ensure a clean plate

Next, a glass plate is prepared by grinding the sharp edges of the glass and washing thoroughly. When dry, the albumen is flowed on the glass much like collodion. I do find myself usually having to employ the assistance of a glass rod to help with the coverage and also to remove any small bubbles or particles in the albumen. Once the plate is coated with albumen, Whipple and Black suggested curing over a naked flame but I use a hot plate instead, it works just as well, and I don’t get to burn my fingers.

The albumen is flowed on the plate

Cured and cooled, the plate is now ready to be sensitized. This is done by immersing the plate in a bath of an acidic solution of silver nitrate. The plate once immersed in the silver nitrate solution becomes light sensitive and must now be stored in darkness. One of the benefits of having an acidic solution of silver nitrate is that the plates can be stored for a few days before use, allowing you to prepare your plates in batches. 

Exposures are made much like salt and albumen prints. The negative is placed in contact with the plate and exposed to UV light. The quality of your light will make a difference and if it's not raining, opt for natural light if you can. Exposure times are dependent on the density of your negative and light available. Forty minutes plus exposure times are not unusual for UV lamps and fifteen minutes plus for natural light. 

When the exposure is completed, processing can begin. The plate is washed and then toned using a gold toner before fixing. Toning is essential, as even a weak fixing solution quickly erodes an image. When processing is completed you will have a glass plate positive image similar to a magic lantern slide. 

Toning is essential

The orotone gets its brilliance from the metallic coating applied to the plate. Originally a suspension of metallic powder such as brass and copper in oil were used to coat the plate. Gold, silver and copper foils were also used. You can still use these methods, but I favour a more straight forward solution. There are many modern iridescent mediums available and a heavy body acrylic works very well and is available in a variety of colours and tones. The acrylic medium also has the advantage of being able to be removed if so desired.

Before and after coating with metallic pigment

Orotones were also known as the poor man’s Daguerreotype, elevating the traditional two-dimensional image to a higher plane, I find them truly mesmerising. The beautiful sense of depth created by the glass is intensified by the iridescent radiance of the metallic pigment, transforming the rendered subject into something quite ethereal. 

Old Mill

Gates

Escape

Clare Glens

Fall na Herra

Dead Tree

Out of the Woods

Beech Tree

Connect

Peter O’Donnell lives in Limerick, Ireland and now that he’s in his fifties feels he is perfectly entitled to be cranky. You’ll find his website at peterodonnell.com

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As there numerous reviews out there (both good and bad) of the Soviet made Jupiter-12 lens, I thought I might share some of the experiences I’ve had with mine, instead of trying to do a more technical lens review.

About 5 years ago, on a whim, I bought a beautiful 1957 Zorki 4 rangefinder. At the time (and still now) I prefer using a 35mm focal length over the more common 50mm. I had read some good things about the Jupiter-12 35/2.8, so within a few months of buying the Zorki, I started looking for a L39 (Leica Thread Mount) copy of the Soviet made Zeiss Biogon copy.

Rightly or wrongly, Soviet made camera equipment has received very mixed opinions. More often than not, it doesn’t enjoy a great reputation. People will often refer to buying Soviet made camera gear as playing “Russian Roulette”. I may just be lucky, but my experiences have all been generally positive. Shortly after I started my search, I found a rather sad looking 1956 KMZ made silver Jupiter-12, but the seller was in the US (which meant quicker shipping and easier returns) and the listing claimed it was working well. I decided to buy it, and within a week I was out shooting a test roll with it. Initially, I have to admit that I was rather underwhelmed with the lens, and my early results weren’t that good. The lens seemed to work okay, I just didn’t really like what I got from it. I really think that it takes 3 or 4 rolls of film, and a bit of time to get comfortable with a new lens or camera before it starts to gel with you. At the time though, I hadn’t really gotten into using rangefinder cameras, and so the Zorki and Jupiter-12 sat in my camera cabinet, unused for a few years.



In the fall of 2017, I pulled the Zorki out (see my article here) and started using it again. This time, the camera and the Jupiter-12 just clicked with me, and I started getting results I was really happy with. All throughout 2018, the Jupiter-12 was nearly my most used lens, and I made some of my best photos with it.




Physically, the Jupiter-12 is a strange lens. As mentioned above, it’s a copy of the prewar Zeiss Biogon 3.5cm f/2.8, which is a non-retrofocus wide-angle lens. Because of non-retrofocus design, the front element is fairly small and sits deep within the lens barrel, while the rear element is rather large and protrudes way out the back of the lens. The rear element comes out so far that there are some cameras (some Voigtlander Bessa R series cameras) you can’t use the lens on because the rear element will impede the shutter curtains. Some of the Canon rangefinder cameras have light baffles inside the lens mount that the Jupiter-12 will run into if mounted. Another quirk with the Jupiter-12 is that the aperture is adjusted by turning the filter thread and the aperture values are marked on the inside front near the front element.

The Jupiter-12 was made in both L39 mount and Kiev/Contax mount. Optically they are (I believe) the same. The Kiev/Contax mount version should fit all Kiev rangefinder cameras, but I think will not fit the postwar Contax cameras. I believe the Kiev mount Jupiter-12 will also fit some of the Nikon rangefinder cameras, but the lens mount might scratch the front of the camera when it’s mounted.




If you’re using a Leica screwmount camera (or even a Leica M body) and you’re looking for an affordable 35mm lens, I highly recommend finding yourself a Jupiter-12.

This photograph, and the previous 4, were made with the Canon 7 and Jupiter 12

Connect

Film photographer, Colton Allen is based in Oregon. Connect with him on Flickr, Instagram, and Facebook. You can also see more of his work right here on our website.

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One of my recurring themes in photography is contrasting opposites. I am currently working with various themes such as the concept of nature vs the industrial and / or body parts vs the whole in street photography. To this end I asked you to explore the contrast between light and dark, or good and evil in whatever way that may have resonated with you. Below are your submissions.


Aida Ebrahimi - Overpass | Lubitel
Ben Osborne | Light Inside A Cage | Nikon AF-L35
Cassie Corridoni
Greg Maslak | Winters Last Stand | Leica M4-2
Ho Man Cheng | Two Paths | Rolleicord III
Joe Castillo
JP Campbell | In The Cafe | Pentax ME Super
Kristel Collison
Lucy Wainwright | The Ents | Olympus XA4 | Superia 200
Malcolm Tremain | Portents | Olympus XA2
Michael Fauscette | Up The Staircase | Leica M6
Nico Maietta
Rajmohan | Two way | Leica M5
Tom Klauss | Paledays | Leica M5 CONNECT

I'm Film photographer Marc Nagainis and am based in Ottawa, Canada.  You can see more of my work and my ongoing series on my website.  

I’ll be back on May 15th ish 2019. For my next curation I will be asking for your interpretation of the theme Regret. I’ll say nothing more. Do your worst, show me your best. Submit your image on the submissions page.

SUBMIT

Every week the FSC features an article with a Curated Photostream that is open to all.  You may only submit one (1) photo and it *must* be a jpeg file and no larger than 20 MB. Please title the file "Title_Camera_Film_YourName.jpg" so that we may properly credit you if your photo is selected. Remember to check our Submit page to see all currently open photostreams. 

Upcoming Curations include…

ABIGAIL CRONE, curator:  My next curation is April 29, 2019, and there will be no theme, it will be open to all film formats. You may submit your image here

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The Hills of Home

I have a real soft spot for landscape photography and it's one of the main things I do, so I wanted to see how you do it! I asked you about the hills of your home - or, at a pinch, the hills of your holiday - and you sent in some really gorgeous images. Just pure beauty and grandeur and drama and atmosphere. So simple, and so difficult. Thank you. I'm really grateful, and I'm inspired, and I'm getting my boots on and packing a rucksack!


Winter is Here | Voigtlander Vito C | Nigel Haycock
I miss u already | Mortti Saarnia
My First Time in Tyrol | Land Camera 350 | FP100c | Ioana Taut
Flatlanders' Mountain | Lubitel 2 | Jen Zehner
kokkari | holga CFN | alek lindus
Tunnel View | Pentax 67 | FujiPro 400H | Chris McCarty
fading | lomo lca | austeja laurinaviciute
Jukkasjärvi | Olympus Trip 35 | Rocio Fuhr
Corsica | Pentax K1000 | Lucas Pownall-Deppeler
On the other side of the mountain | Minolta srt | Acros | Efrain Bojorquez SUBMIT

Every week the FSC features an article with a Curated Photostream that is open to all.  You may only submit one (1) photo and it *must* be a jpeg file and no larger than 20 MB. Please title the file "Title_Camera_Film_YourName.jpg" so that we may properly credit you if your photo is selected. Remember to check our Submit page to see all currently open photostreams. 

My next curation is April 29th, I'd be glad to see your vernacular images. Show me the strange beauty of the ordinary. You may submit your image here

CONNECT

Lucy Wainwright is a film photographer and trainee art psychotherapist living in Derbyshire. 

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Nothing cures the winter blues like the sight of a spring garden. Hope these beautiful photos get you thinking of all the warm days ahead, and that they inspire you to take your camera outside to appreciate all of that extra sunlight.


Morrocan | Nikon F3 | Austeja Laurinaviciute

Cityscape | Madison Thain

Exposition Park | Nikon FM | Andrew Salamunovich

Underneath | Canon AE-1 | ChrisMcCarty

Untitled | Canon FTb | Kodak Aerchrome | Andrew Gammell

Bärlauch | Polaroid SX-70 | Impossible Project Film | Ioana Taut

Morelia | Minolta SRT 101b | Franco Carino Zanotti

SUBMIT

Every week the FSC features an article with a Curated Photostream that is open to all.  You may only submit one (1) photo and it *must* be a jpeg file and no larger than 20 MB. Please title the file "Title_Camera_Film_YourName.jpg" so that we may properly credit you if your photo is selected. Remember to check our Submit page to see all currently open photostreams. 

My next curation is April 29, 2019, and there will be no theme, it will be open to all film formats. You may submit your image here

CONNECT

Abigail Crone is a Polaroid photographer from Pennsylvania. She’s almost always wandering down a city street or through a nearby forest with a camera hanging around her neck.  You can see more of her work here or follow her on Instagram.

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