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magazine issue 8

analogueNovember/December 201

Snapixel

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CntentsThe Clt Phtraph In the Ae KdachrmeMsaic a LieHtels and HstelsThe Rssians are Cmin Anale ExplratinsQ&A

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Snapixel Maaine I The Ne Dcmentarian I 03Snapixel Maaine I Anale I 03

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EDIToR

ART DIRECToR

CoNTRIbuTINgPHoTogRAPHERS:

KAITLyN ELLISoN

ADAM oLIvER

RobIN LAM

PARKER FITzgERALDSEAN gIN

DENIS KHRIPyAKov

JAMIE LIvINgSToN

MATT PowERS

STEvEN RICHMoND

PIPER RobbINS

wRITER/CoPyEDIToR

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I learned at the discntinatin Kdachrme in a phtraph classm senir ear cllee. It as a class at experimental phtraphic

prcesses—an explratin the din arts phtraph. That semester Isht Kdachrme r the irst time, as ell as lare-rmat plarid ilm—aterit had alread een discntined. I als did a prject n m printin (an artthat inles mixin aterclr paint ith m araic and ptassim dichr-mate). That semester as ne the mst rstratin m lie—I spent hrsn these prjects and neer did end p makin a print I liked.

M experience ith tdated technlies perhaps mirrrs that therphtraphers: it as irritatin, time-cnsmin, expensie, and impracti-cal. yet, all this rstratin did nt stp me rm lin anale pht-raph. There’s a sense adentre and impermanence. wrkin ith ilmis ininitel mre npredictale than diital—there are s man thins thatcan rn. S jst in time r the inal mnth Kdachrme deelp-in, this isse Snapixel Maaine is dedicated t hnrin the ilms that

hae attracted sch clt-like llins. Fr thse h haen’t seen mchilm phtraph ere, I hpe ind smethin that ld like ttr rsel. Fr all m ell clt-llers, I hpe this isse rins ack memries r n trials and errrs ith anale. Either a, enj!

Kaitln

Snapixel Maaine I Anale I 05

Cer: Septemer 5th, 1985, Jamie LiinstnP. 2-3: Pnan, Nrth Krea, Steen Richmn

P. 4-5: Imae Denis Khripak

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MaMa always saidthere was never aparty that didn’t

end. Just like col-lege, Harry Potter,and the suPer nes,soMe things Justcan’t last forever.

bt still, it’s a little sad.

when Kdak annnced lastsmmer that the ere stppinprdctin their sinatre K-

dachrme lm, a cllectie ailemered rm the thrats ld-schl phtraphers arnd the rld. Fllin n the heels Plarid’s discntinatin in 2008,Kdachrme’s end as the inei-tale reslt diital phtraph’sincreasin pplarit.

Kdachrme as knn r itsiid and irant clrs and as ald standard amn pressinalphtraphers in the earl das

clr phtraph. It is perhapsmst ams r the imae ‘Ahangirl,’ sht Stee McCrr rthe cer a Natinal geraphicisse in 1985. The irl’s piercin

sea-reen ees seemed t jmp trm a mted palette earth reds

and les, enraptrin the rldtside ar-trn Ahanistanand catapltin Kdachrme tame. In act, McCrr as ienthe er last rll Kdachrmelm eer made, the cntents hich ill ecme part a Na-tinal geraphic dcmentar next ear.

The lm as admired r its clrreprdctin, smth tnal rane,and dark strae prperties. It as

deelped in 1935, nl seen earsater the rst teleisin set and as areltin in clr phtraph— ar the hihest qalit clr lm cld et r man ears. bt the time the decisin t end pr-dctin as made, Kdak reprtedthat Kdachrme had allen t lessthan ne percent the cmpan’sttal still-pictre lm sales.

Film enthsiasts receied a simi-lar pnch in the t in 2008

hen Plarid annnced that it as shttin dn prdctin its epnms instant lm. Theicnic sqare, hite-rdered ph-traphs, hich captred its and

pieces r sciet since 1948, e-came the qintessential sml

the eas and happ--lck Amer-ican amil lie. Famil atherins,acatins, dail lie, r d—e-erthin ecame an instant artiactnce it as n lm. y ere neersre h the’d cme t; there as n preiein r in ack tedit and crp ere printin, t hat tk.

Thh diital cameras can sh apictre riht ater take it, can’t tch it, hld it, r atch

the maic lm deelpin inrnt r ees. when dithrh mess clsets and stmlepn shexes lled ith ldphtraphs rnin aies,retr Christmases, and rttenacqaintances, r ees immedi-atel liht p like ’e nd ahidden treasre. That desn’t hap-pen hen nd a memr cardlin arnd.

It’s tre that Plarid phts ld

ade, that their clrs ere ten, and that the smetimes hadstreaks rnnin thrh them,t lkin ack, that as part their appeal. The aded and slihtl

The culT ofPhoTograPhy

By Rbi Lm, Phtgrphs by S Gi

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rthered in recent mnths dii-

tal platrms sch as Hipstamatic,Instaram, Dailbth, and PicPl.iPhne phtraph and milepht sharin are the neest ses-sin in scial media, rakin in aidllers and millin-dllar inest-ments. with the ease a sipeand a tch, sers can chane theirirtal lenses, lters, fashes, andlm, sht a ‘pht,’ and then p-lad them nt aris scial net- rkin eeds r smethin likea pht-Titter eect. Filterinprrams like Instaram all s-ers t instantl see their pictre n-der a drastic arts intae-inchane—perhaps a inette here,a splash pink there, r scratchesand smdes thrht. The Ins-taram l is een a small raphic

a Plarid camera. Stle? Nts mch.

Is this ax-nstalia, r a s-cnscis cr t a retrn lmphtraph? Pral the rmer(h ack t lm hen can

create the same eect in diital?),t it desn’t hrt t hpe.

we assciate d times iththe past, the lden ae. what’s rth thinkin at is h ‘real

intae’ phts, like Plarid and

Kdachrme, are cherished. It’s ntnl ecase the time, le, andspntaneit that the riinated in,t ecase the past that the remind s and the histr that e assciate ith them. In 10 r 20ears, there is n dt that tretechnlical adances ill makeeen r crrent diital pht-raph lk hke and tdated.There’s n need t rsh the prcess ith prematre ain prram.

Thh the majrit pressin-als hae sitched t diital pht-raph, the lss Kdachrme andPlarid is similar t the eelin et hen hme r smmerreak and nd that r childhdcrner stre—hich as the nl

place that sld r tmst ariteld-schl sda pp—sht dn acple mnths ere de t adsiness. N mre sda pps, nmre lm.

As e ecme increasinl diital

and lm phtraph drits rtherint a niche lled nl enthsi-asts, the rich histr these lmsis rth recniin and appreciat-in as e cntine aln r qick march tards diital dminatin.

lrr Plarid imaes inke a ar-

aa and rmantic eelin similart that happ childhd mem-ries—hether actall had an r nt.

tda’s diital cameras ndt-edl ease the phtraphic prcess,allin s t ie, edit, and eal-ate hat e phtraph as e .Lare sensrs all s t captre anamain amnt inrmatin inextremel l liht sitatins—animpssiilit n lm—all hile

sain a hle lt mne that ld’e een spent n in,deelpin, and printin lm. yetthe crstal clear reslts that diitalcan rin s is hain a acklashamn sme h eel that diital ist perect r their tastes. Aln-side the demise Kdachrme andPlarids, there’s een a resrencein pplarit t cameras sch asHlas and Lms. These plasticcameras, all means nsphisti-cated and smehat prl made,are led r their -kilter exp-sre, lrr reslts, er-satratedclrs, streakin, and “happ ac-cidents.” Leaks and l-qalit lenses create lrred, l eectsthat sme enthsiasts liken t adream nstalia, rinin t mindsimilar emtins that srrnd these Plarids. The imperect,n-pristine qalit the imaes,paired ith the nelt sinlm in a diital ae, hae made t

cameras pplar aain r the rsttime since the ere intrdced inthe 1960s.

Irnicall, the pplarit thet-camera-lm-lk has een

“Though digiTal cameras can show

a PicTure righT afTer you Take iT, you

can’T Touch iT, hold iT, or waTch Themagic of film develoPing in fronT

of your eyes.”

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IN the AGe of

KoDAchromePhotographer Steven Richmond embraces Kodachrome in its nal days to explore the lin its truest orm: ravel Photography. Here we present images rom North Korea, the Unied Kingdom, Syria, and Lebanon to show Kodachrome’s capacity or capturing the worl

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By Robin Lam, Photographs by Steven Richmon

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When Kdak rst intrdced Kda-chrme lm in 1935, lack and hitelm as still the standard in eerthin

rm amil phts t maaine spreads. Heer, this ne lm had seeral imprements er its predecessrs hich al-led clr lm t ecme eas t se—it prdced imaes itht the hea rain ther clr prcesses, cld e en-lared itht lsin detail, and as manicentl archial.Sinicantl, it as mch aster than ther clr lms, all-in phtraphers t cmpse and sht spntanesl ith-t necessitatin a tripd.

Natinal geraphic maaine as the rst t pineer the se Kdachrme in 1937, sendin t phtrapher w. RertMre t sht in Astria. with Kdachrme, Mre as alet captre actin phtraph—cattle herders leadin theircs—in clr n 35mm lm, smethin neer accmplishedere. The iid, "iridescen[t]" clr as "jst smethin thatclr phtraphers had neer dreamed ," a la technicianstated in a retrspectie k, The National Geographic Society: 100 Years of Adventure and Discovery .

Thrh the rk Natinal geraphic phtraphers andther plicatins, Kdachrme ecame strnl assciated

ith trael phtraph—extic lcales, eatil scener,and min phtraphs. b the time American trism tk in the 1950s, Kdachrme as the mst cmmerciall sc-cessl clr lm in prdctin. bt as lm and all its manallars ere radall eclipsed diital phtraph, Kda-chrme as hit especiall hard ecase its cmplicated andprecise prdctin and prcessin demands. with a plm-metin demand in the market and increasin csts in prdc-tin, Kdak as rced t retire the icnic lm in 2009 sainthrh a press release that “the majrit tda's pht-raphers hae iced their preerence t captre imaes ithneer technl.”

unsrprisinl, phtrapher Steen Richmnd rst disc-ered Kdachrme lm ater he heard at its imminent re-tirement. brn ater the ba bm eneratin, Richmnd as dran t the lm as an pprtnit t participate insmethin histrical. “when I lked int hat Kdachrme as, there as a lt discssin at its icnic stats andhistrical sinicance,” he sas. “Stee McCrr’s ams A-hanistan phtraphs taken in the 1970s ere sht sin it[and] I anted t tr it t, ere it as t late.” Richmndcredits the irant clrs that rst attracted phtraphers tthe lm in the 1930s as part Kdachrme’s lastin appeal. “I

think the clrs are qite satrated ith Kdachrme. Pepleten talk at h the reds lk reall red. There’s smetrth in that. There’s a denite ‘lk’ r aesthetic t the im-aes, hich dn’t et ith mdern clr lm r diitalphtraphs.” Heer, he acknledes certain adantaes diital er an archaic lm like Kdachrme. “Practicall speakin, it’s nt a lm I’d se r a lt thins. It’s qite di-clt t sht ith [in cmparisn t] mdern lms.”

This cmment is tellin and illstrates the extent t hichdiital has replaced lm in the past e decades. “great imaescan e captred sin man medims, hether that is lm, adiital sensr r a paintrsh,” Richmnd emphasies, declin-in t chse a preerence eteen lm and diital. “I think it’s reall p t the phtrapher t chse the medim thatsits them.”

Neertheless Richmnd shs reat stlet and ariatin inhis recent Kdachrme rk. His qiet, delierate apprachrins t lie seeminl mndane dail scenes, hile ldestie parades and circs scenes are captred rm aar, qi-etl impsin in their phtraphic smmetr as ell as theirprtraal the sheer manitde and miht their sjects(pint in case: Nrth Krea). “I [phtraph] ith an penmind, nt reall rmlatin a narratie ntil I see and editm imaes,” Richmnd sas. “[In] a cntr like Nrth Krea, dn’t reall hae a lt scpe t deiate t ar rm hat are presented ith. The imaes I captred are hpell transparent t the ieer. I as ein presented ith a ie,and I recrded that.”

It makes sense that, ith cntraptins like the iPhne, the In-ternet, and alkin, talkin, expressin-capale rts rm Japan, hnk-dr prcesses like Kdachrme ld eent-all ecme slete. bt Richmnd shs that een mdernphtraphers nel intrdced t Kdachrme can prdceimaes ith a distinctie aesthetic sin the icnic lm. “Tthink that preis eneratins sed this lm ecase there as nthin else, and that hen it came t it as technl- at its est, reall des pt thins int perspectie,” he sas hen pressed at his ie Kdachrme as inspiratin.bt ltimatel, phtraph—hether lm r diital—isat the explratin a mment: “we all hae a creatieside hich I ant t explre a it mre [as a phtrapher].The ailit t create a permanent recrd a mment is qitean allre that neer es aa.”

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Park Spntanes Dancin, Pnan, Nrth Krea,

grand Peple’s Std Hse, Pnan Nrth Krea


P. 10-11 The grand Mass gmnastics and Artistic Perrmance Ariran, inthe Rnrad Ma Da Stadim, Pnan, Nrth Krea

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http://slidepdf.com/reader/full/9-analogue 15/70Kim Il-Sn Sqare, Pnan, Nrth Krea

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Ae: Tr Plitical Cnerence, Manchester, Enland bel: Inside a 1970s Parliament that as ilt t neer sed, Edinrh, Sctl

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Ral Na Cadets in Traalar Sqare, Lndn, Enland

“When I looked into what Kodachrome was, there was a lot o discussion about its iconic status and historical signicance. SteveMcCurry’s amous Aghanistan photographs taken in the 1970s

were shot using it [and] I wanted to try it too, beore it was toolate.”

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“Cmmnist Phil,” ballmne, Nrthern Ire


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At the Races, beirt, Leann

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Tea ith reakast, Alepp, S

“o think that previous generations used this lm because there was nothing else, and that when it came out it was technology

at its best, really does put things into perspective.”

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Ae: Krak des Chealiers (a Crsader rtress), Sriabel: Palmra, Sria

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http://slidepdf.com/reader/full/9-analogue 25/70Htel, beirt, Leann

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mosaic of a life

By Rbi Lm, Phtgrphs by Jmi Livigst

on g dy. 18 y.


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Liinstn and a riend lnin in the pl. The phtraper is n the ri

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Prject 365 is smethin that mst peple in the phtraphiccmmnit are amiliar ith. The rles are simple: Eerda r all ear, take a pht anthin, anne, anhere.

Mst phtraphers h hae tried this prject can attest t h diclt sstainin the endear actall is. Nt t sa that the ph-traphin itsel is hard— cld take 365 pictres r catand it’d e a prject—t that it’s mch mre diclt t nd sme-thin dierent eerda that’s smeh meaninl and refectie

r lie at that ien mment.

Een i ’re nt particlarl pick at r phtraphs r are jst ne thse peple h can snap a satisactr pht at an ien time, there are plent ptential prlems that cld eak-en r resle. Where do you store the photos? How do you organize them? How do you remember to take them? Who’s gonna look at them? What’s the point? Simpl nt ettin red the prject is itsel smethin a challene.

N imae din this r 18 ears. witht a diital camera. with-t ls, Facek, r Flickr. That’s dedicatin.

Jamie Liinstn (1956-1997) tk a Plarid eer da r 18ears. Frm da ne as a 22-ear-ld cllee stdent at bard Clleet the da he passed aa n his 41st irthda, Liinstn dc-mented his hilaris, qirk, and smetimes traic lie ith a Pla-rid SX-70 camera.

when Liinstn’s 6,000-pls phtraphs ere rst discered an Internet ler, the esite hstin the phts eren’t eenintended r the eneral plic t ie. “[The prject] as rii-nall pt nline mstl as a cnenience r a handl riends[h] ere raniin it r a sh at bard Cllee here Jamie

and I ent t schl,” sas Hh Crard, ne Liinstn’s estriends and the main rce ehind the exhiitin the Pht the Da (P.o.D.) prject. The exhiit itsel cnsisted an 8x120t all cered ith 8-t 24-inch panels phtraph printts. Thh it as meant as part the crdinatin ert r theexhiitin, t its earl ieers, the esite as a msteris entit that presented the phtraphic diar an nnamed man—18ears memries fatin nhined in cerspace.

what started t as a prject n a him ecame a steadast dc-mentar the emtinal per ne man’s dedicatin t lie,riends, and Ne yrk Cit. Like an ld stp-mtin lm, the im-aes fash r ees ne ne, and can’t help t nder h eel s med. Indiidall, these Plarids aren’t all rks art. The resltin is l-qalit, phts are lrred, and smeare taken at nthin at all. yet since the Internet rld disc-ered Liinstn’s P.o.D. in 2008, it has ecme a phenmenn,spreadin like re thrh ls arnd the rld and picked p seeral majr nespapers and nes raniatins. “It as er mch a srprise t me,” Crard sas at the pplarit Li-instn’s rk. “It as ne thse thins that srt leaked t

smeh. The rst thin I kne, all a sdden all m esiteshad ne fine ecase m ehst had een erhelmed trac. In the rst ear r s, ’d sddenl et tens thsands peple in Amsterdam r in belim lkin at it r sme reasn.”Peple arnd the rld ere dran t the phtraphs in dierent as, ndin their n meanin in Liinstn’s rk.

“Apparentl it’s reall a i deal in China. [The Chinese] elieethins that happen n the das their irth are er prtents,srt an men. S hat has happened is that Chinese n pe-ple rn eteen 1979 and 1997 lk p the pictre that as takenn the date their irth and pt it n their l. Then ther peplesee that and the lk p the da that the ere rn t, and

crse alas et a e peple h sa, ‘oh this is reall neat,’and the lk at all six and a hal thsand them. Eer s -ten there is this he, he, he ae trac peple in China h are lkin at [the esite]. That as as mch a srprise asanthin.”

undtedl, part the P.o.D.’s impact cmes rm the massiescale the prject, t the real allre cmes rm imaes them-seles—naashedl simple, rdinar, and tterl msteris. Who was this man? Who are all these people and what are these photographs for? Why are there accordians, elephants, and Fruit Loops? And hen nall realie the tre natre the prject: How crazy must this guy have been to do this for 18 years?

Liinstn himsel as smethin an enima t een his clseriends. “one the thins that’s reall interestin is that he seemedt hae a dierent persnalit, a dierent side him dependinn h he as ith,” Crard recalls his riend. “He as reall as srt d at rinin a lt peple tether and rm-in a cmmnit arnd himsel. He had an eas a makincmmitments t d thins, hich is ne [reasn] he as er lalt his riends. He ld relarl hst a Thanksiin dinner rall his riends h ere rphans—either actal rphans r jstpeple h ere the Ne yrk Cit rphans h med t NyC


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and eren’t in tch ith and. A iThanksiin dinner r all his riends h ere estraned rm their amilies inne a r anther.” As a phtrapher,circs perrmer, lmmaker, MTv ideeditr, cinematrapher, and Mets an, Li-instn seemed t e a manet r all srts

amsin and interestin thins. bt per-haps the reasn he as alas in the thick thins as simpl that he appreciated liemre than aerae indiidal. “He had a sc-cessin illnesses all the time that I kne him,” Crard explains. “He thht hehad clitis t it trns t he had Crhn’sdisease and as misdiansed r ears andears. In act, the rst time I met him he asintrdced t me as ‘smed h asn’texpected t lie thrh cllee.’ That ma e ne the reasns h there’s s mchintensit [in his rk]. It as a matter

liin in the mment.”

Liinstn’s phtraphs ere r himsel,nt t seek the admiratin thers. Hiscareree imaes lack the rced eel ph-traphs that are cmpsed simpl t raattentin. Perhaps that sht a hal-eatenaked ptat as hat he had r dinner neniht. Perhaps it meant smethin. Maent. A l cherries ecame as eati-l as a rk art. Crard recalls t mea traditin in hich eer ear Liinstn

ld rn acrss mid-Manhattan ith theelephants rm the Rinlin brthers Cir-cs (apparentl r sme arcane reasn thetrainers ld alk the elephants thrhthe midtn tnnel and acrss 34th streett Madisn Sqare garden at midniht).“wrd had tten t that the niht ere

the rst da the circs, elephants ldrn acrss tn at midniht, s crsethere are a hle nch peple that t. bt I rememer there’s at least ne time here e did [the elephant rn] and I said[t Liinstn], is this nna e the ph-traph the da? And he said, ‘N n,the sn as shinin n this a ptatchips tda s I did that instead.’” bt tman Liinstn’s admirers, this simplis-tic trait in his phtraph as part itsappeal. “Sme [the phtraphs] are jstreathtakinl eatil. There’s a pictre

a l cherries and [nce] lk atit, r mental, isal dictinar hat al cherries lks like is prett mchthat ecase it’s jst s perect.”

In explrin and prin er Liinstn’sphtraphs, e ncnscisl rin a part rseles int the prject as ell—rn ideas and lies ecme a refectin h e interpret his. Crard himsel eelsthat there are t distinct reactins t Li-instn’s rk that illstrate a eneratinal

diide ith respect t h the P.o.D. prect is interpreted. “Peple in their 50s, his riends in particlar, srt lk at it athis incmplete lie,” Crard explain“He died n his 41st irthda, there’s smch ptential that didn’t happen—srt sense lss and eerthin. The n

eneratin, peple in their 20s in particlasee it as this amain thin: ‘Gee, if I’m reallreally lucky I could have a life as cool as hisS r the ner eneratin it’s this srt an inspiratinal thin.”

“He neer reall talked at the prjet cld et the sense that it as isl reall imprtant t him,” Crarsas. Fr sitcases, ne rit crate, ansix and a hal thsand meticlsl leled Plarids cld nt hae een madt satis a simple him. Liinstn didn

tr t cnince that he as smedHis phtraphs merel sh s hat rdinar in his lie, hich has n ecmextrardinar t rs. we are dran t hprject ecase these imaes are hat makp real lie. ordinar nimprtant thinriends, and randm eents. This endeaspeaks t s n a er asic intitie leecase in his hpes, strles and js, see refectins rseles and are reminde the passin ith hich e hpe t lir lies.

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“Why r s my cmplt strgrs drw t thisprjct? Thr’s sm srt mbiguity t it, lik thxprssi th M Lis. I sm wys it’s rllysy t rd wht’s gig , but yu’r brigig smuch yursl t it t gur it ut.”


- Hugh Crawford

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1979

1980

1981

1982

september 8th32 I

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W likd th id chsig dy ith yr t trc Jmi’s li btw 1979d 1997. Th llwig phtgrphs wr

ll tk Sptmbr 8th thir rspc-tiv yrs. C yu d stry i thm?

1983

1985

1984


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1986

1990

1991

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1987

19881989

1992

1993


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“Ppl i thir 50s, but his rids i prticulr, srt lk t it s thisicmplt li. [But] th yugr grti, ppl i thir 20s i pr-ticulr, s it s this mzig thig: ‘Gee, if I’m really, really lucky I could have a life as cool as his.’”

1994

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1995

1996

1997


T s th tir Pht th Dy prjct, visit:phtthdy.hughcrwrd.cm

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H o T e L Sa n D

HoSTeLS

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Explore the transitory lie with images rom the Rush Lake Motel o Gainsville, Florida and the USA Hostel o San Francisco, Caliornia,to the Homeplus Hostel in Budapest.

Yashica Mat - 124, 6x6 on 120 flm


Surveying temporary living spaces and shooting with 120 flm,photographer Matt Powers shows us the possibilities when working with squares.

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Th

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b y

K a

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e l l i s o n

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noT only Do films have CulT followings, buT CameRas Do Too.

in This Case, iT’s The Russians - phoTogRapheR Denis

KhRipyaKov shows us The paRTiCulaR sTyle of The

laRgesT CounTRy in The woRlD.

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b e l o m o

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- D e n i s

K h R i p y a K o v

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Hsslbld

Kdk 400 nC

“This is my Dd. H hd just gtt tht ht tub d ws rlly prud it.

This pictur IS my thr. I wuld’t xpli t y thrugh wrds wh

my thr is, I wuld just shw thm this pht. Tht’s wht I m s phtg-

rphr—this is wht I striv t d with my wrk. I try t cptur th prct

rcti scd. I my pii, this ws tht mmt.”

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PHoToGRaPHeR

PIPeR RoBBInS

WRITeR

De BLennIS

Phtgrphr Pipr Rbbis shts

ly i lm. Sh shws us slcti

hr prtli hr, hd-slctd

imgs ccmpid by cptis

writt by D Blis.


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Hsslbld

Pr Clr Fuji 800

“I strtd t bcm bsssd

with th wy wtr d light itr-

ct. Th clr hr ws prct,

d th img is hppy ccidt

tht cpturs tht itrcti.”

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Hsslbld

Pr Clr Fuji 800


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Mmiy RB67

expird Prvi 100

“This is th w tims I usd tripd. I vr rlly usd i schl,

which I gt lt fk r. I d my cmr is cstrictiv ywy, bcus

th wight d wist dr— tripd just mks it mr cumbrsm.”


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Mmiy RB67

expird Prvi 100

“Th lm ws giv t m s

dti. I schl, my tch-

rs gv m bgs lm just

bcus thy kw hw ddi-

ctd I ws t lm. This img

is prduct tht—I sht it r

ditril clss”


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Polaroids,PhilosoPhy

& TheologyPutting a new twist on

an old idea, photogra-

pher Parker Fitzgerald’s

‘365 Polaroid Quotes’ com-

bines beautiful photogra-

phy with pithy quotations

for a coee-table-book-

worthy collection of in-

spirational images.

Interviewed by Robin Lam.

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What was your goal or this project?

I ound mysel without any projects atthe start o the year and wanted to dosomething meaningul that would pro-vide me with a design problem to solveeach day. I originally wanted to draw something every day as the basis or theproject, but photography won out be-cause it was quicker.

Why Polaroids?

I decided to use Polaroids almost ona whim. At the end o last year, I wasairly bored with digital photography and wanted to do something dierent.

As luck would have it, I had purchased

a Polaroid Automatic 100 sometimeearlier in the year and picked it up lastDecember and started shooting with it.Tings evolved rom there. I mainly usea Polaroid 195 now.

How did you decide to add text to your photographs?

I’ve always cared about philosophy andtheology and the bigger questions o lie. I have always had a desire to sharethat interest with others. Tis was asmall way in which I could bring moreexplicit meaning to my photos. None o the quotes are my own. All o the quotesare rom people I nd inspiring in one

way or another.

What signicance does this projechold or you?

Tis project means a lot and means alittle. On the one hand, it’s ‘just something I to do,’ but in a lot o ways, it’sactually come to dene me. I’ve reallypoured a lot o mysel into this proj-ect, rom nding the lm to investingin the cameras and searching or decenquotations. My interest in Polaroids haalso branched out into other lm typesI love medium ormat and 35mm nowbecause I picked up Polaroid rst. I’mnot sure what I’ll do ater this is all overthough, I still have a whole ridge ulo lm.

Q & a

Parker fTizgerald

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How do you think your experiences withthis project and creating these imageshave changed you?

Tings have changed signicantly or me.Te photos aren’t always my avorite andthe typography isn’t something I’m alwaysproud o, but just the discipline o havingto make sure something gets done or every day in the year has had so many positiveimplications in my everyday lie. Most o

my Polaroids get done late at night ater I’velaid aside my commitments or the day andnally have time to read through quotes orawhile. By then, I’m usually tired and wantto just go to bed. It’s done wonders or my sel-discipline to bust through that eelingeveryday and get that last bit o work donebeore I turn in.

Tat discipline transers to so many dier-ent things—my regular work lie, how easy it is or me to get mysel up in the morning,

and even how long I let mysel sit in theshower, etc. As someone who’s worked orthe last ew years as a ull-time reelancer,discipline is everything. Tere’s no work schedule orcing you to get up at 7am, noboss who’s going to ride your back to getthe work done. It’s just you, the client, andno saety net. I consider doing the Polaroidquote like my daily mental trip to the gym.

What makes your project diferent romother 365 Day projects?

I’m not so certain how to answer that, ac-tually. I didn’t really set out to be dierentthan everyone else, per-se. I just wanted tocreate a practice exercise or mysel. I sup-pose it’s dierent than most simply becausethe project involves 365 dierent Pola-roids. Te lm is hard enough to come by

without committing to use so much o iton something like this. Te types o quotesI use are also a little dierent. Tere are a

lot o photos-and-text type things goingaround these days, but I don’t always tendto nd those very intellectually interesting.Sappy, overly-romantic phrases can only goso ar, I guess. I try to use words that hope-ully spark an interest in people to think deeper about the lasting and meaningulthings in lie.

What has been the reaction to this proj-ect?

Te project has been received ar betterthan I had hoped—a lot o the Polaroidshave been spread over blogs and umblrsand the like. Either way, people always

love quotations—little quick, encapsulatedideas that they can pass around like tradingcards or whatever. Putting something outdaily that people can reblog easily (and atleast nd halway interesting) has made allthe dierence, I think.

What is your background as a photog-rapher? What projects are you currently

working on?

As a photographer, I’ve only been shoot-ing or about a year and a hal. I honestly had a very cursory interest in camerasuntil around April o ‘09. At some point,though, things just clicked and it’s grownsince. Beore then, I worked as a designerand beore that I wanted to do illustrationand concept design ull time. I kinda work by doing a mixture o all those things now,as the opportunities arise (mostly photog-raphy, though).

What inspires you as a photographer?

I I have to answer this question succinctly,I’d say that wilderness, vintage things, and

pretty women (haha) are what I nd mostinspiring and interesting to photograph.Te more I can combine these things asI take my photos, the better. Ultimately though, I seek to reveal the transcendentaspect o beauty through art—even i I amonly able to reveal just a glimmer at a time.Either way, the pursuit o beauty is some-thing I consider a lie-long endeavor.


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Where do you nd the subjects o your photographs?

Most o the subjects in my photos hap-pen to also be my riends and those clos-est to me. I also occasionally work upthe guts to ask strangers to model orme. Te rest are people approaching meon a or-hire basis.

Any additional comments or inorma-tion you would like to add about yourproject?

In the end, as I go through lie, I try to come to a deeper understanding o things that are true and good and beau-tiul. Tis project is just a small way orme to share glimpses o what I nd im-portant with others.

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Parker Fitzgerald was born in Wisconsin, raised inColorado, and currently lives near Portland, Or-egon as a reelance visual artist. From an early age,Parker developed a taste or tractors, dinosaursand video games that lead to a penchant or draw-ing, and an intense love o Pokémon, philosophy,and theology.

Ater having graduated rom Colorado Univer-sity with a business degree in marketing, Parkermoved out to the west coast to pursue a career asa graphic designer. Ater two years, he becaomeenamored with photography, and now owns morethan two dozen dierent cameras, ranging romthe digital high-end, down to the lomo. He isparticularly ond o Polaroid Land Cameras andpeel-apart pack lm.

Parker is an avid Chuck Norris enthusiast whoshares his birth date (March 6) with both Michel-angelo and the Battle o the Alamo.

Parker is also single.

abouT The PhoTograPher:

conTacT: Portolio: cargocollective.com/parkertzgerald

Flickr: fickr.com/photos/parkertzgerald

witter: @parkertzhenry


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Pht Piper R

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We’re looking or the best ac u sapx Maaz w pu pjc m

pap w ca fd. i yu’ a w yu cama, w’d

yu w.

W’ accp um uu u. sd a yu cu pjc

[email protected] cdd puca.


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