Tag

analog photography

thoughts while editing the contact prints

By | photography, street photography

I have been editing old contact prints, and quite a few at that. You can only do so much in one run, it’s tiring. After a few hundred you have to pause or you don’t really LOOK anymore – and you have to be aware of minute details sometimes!  It’s your second chance of making the right choice – educated and instinctive – from the material that you have brought together in the past. You lookthink and themes emerge; even though I never work in projects, there is a clear preference for certain subjects. The individual in the crowd, possibilities and difficulties of communication, the human condition. Those moments that some higher meaning shines through like a ray of sun on a cloudy day…

How to get content in an otherwise interesting picture. I have already decided that while taking the photograph (this is analog photography, what you see is what you get). It is the art of instantaneously choosing the elements that can do the magic within the frame, the personal symbolism. The old metaphors won’t do anymore, moreover it’s rare you encounter the white horse of freedom with its waving manes on mainstreet, so you find your own images to carry your thoughts. You may look for one thing, find another, and still be happy. Improvising, being open to the world around you is what street photography is about. Analog photography with a small camera is perfect, I’m sure it has a future. There’s so much freedom in showing your reality, no matter what others call it: humanistic, political, individualistic, poetic, religious, they are all only aspects of our appreciation of  “the world”, but meaning and a growing understanding of it should be the criterium, not the fashion of the moment.

refill (still can)

By | photography

Yesterday, when photographing in a crowded street, I noticed some youngsters’ curious looks when I opened the back of my Contax, took out the cassette by the film end sticking out and put in an undeveloped film from my pocket stock. Is this already becoming an exotic sight in this digital world, I thought. And would they consider it old school, nerdy, maybe cool… Anyway I love working with these Leica, Contax or Nikon cameras and hope that film will stay around, so I can keep doing my photography the way I like.

As my film was nearing the number of 36 exposures I always hoped that I would not be running out of film at the very moment it “got interesting”. I also remember the horror of a camera malfunctioning or a film breaking inside because of the winter temperatures once. Good thing I often take a lot, and it happens very fast, so that I do not remember every lost picture. Those are the risks of analog photography, but I love working on film. Sometimes, when you want to make sure you don’t miss any opportunities, it helps to work with 2 cameras. It gives more certainty and you have another 36 to go before you have to reload. Winogrand’s remark “There’s nothing happening when I’m reloading” may sound silly but the fact is that the photograph you haven’t made does not exist, except maybe in your imagination. Better to concentrate on what must be done, i.e. reloading! To every other photographer who likes analog, I’d like to say, keep pushing that film.

the print – a valuable object

By | photography

When I was young I used to work in a photo archive. It was an archive with thousands of images of Dutch landscapes, windmills, national costumes, folklore, old buildings etc., etc., to which I had proudly contributed. All of these photographs were just “material” for publications by the tourist industry, and the photographers were paid very little. We used to charge only administrative and actual replacement costs to those customers who never returned the lent material after use. Some even had the nerve to send back an envelope with the cut-up prints, snippets and all, or otherwise spoilt photographs with paper pasted on, texts written on the back that showed up like relief on the front, as more signs of utter disrespect for the photographer’s work (and remember, I’m talking about the darkroom, not the computer). Captions reattached to the prints after use by means of a stapler, small creases or scratches were no real problem! “You can’t see that in printing.” When the stock was almost gone for very popular images (yes, you guessed right, the inevitable windmills, tulips – in black&white – and wooden shoes) we just ordered another batch from the photographer, who didn’t mind… When a particularly nice picture came by, it was more than once confiscated and pinned up to the wall. There were some with well-known photographer’s names.

Ed van der Elsken said to me once that he regretted he had disregarded the uniqueness, and indeed value, of his old (vintage) press prints from his Paris, old Amsterdam and Sweet Life periods. He had used them to create a unique intro to his exhibition at the Amsterdam Stedelijk Museum: by gluing them to the walls, the floor and the ceiling of the entrance hall. Very hip and contemporary at the time maybe, but what a pity in retrospect !!!

It is a strange thought that in fact, even the photographers themselves had to be taught the value of a lot of their old, and often forgotten prints. The scarcity of good (often vintage) prints, not caused by limited editions, but simple lack of interest in those days, has not escaped the attention of the collectors. They already know that a work of art “signed all over” needn’t necessarily be signed to be collectible.

dutch article “Tom Stappers: house parties”

By | photography, street photography

For my readers in the Netherlands and Belgium who read Dutch here’s [was, TS] a link to the article from P/F Vakblad voor Fotografie © 3/’99, written by the late Herman Hoeneveld, about my house parties series done in the famous Scheveningen Club Exposure during the 1990’s. This well-published series is the first batch shown on my new website, designed by |r|ocketclowns webdesigners from The Hague.

The link is [was] to my agent’s website [this link no longer exists, TS 11/16/2009]. Several more series of photographs are due for web exposure in the near future, making my photography site grow bigger still. The bulk of my street photography is yet to come!

limited edition

By | photography

Somebody wants to buy one of my photographs, but only if it is from a limited edition. I tell him I don’t do limited editions, and explain that it’s not in his interest either…
The buyer says he doesn’t want to pay the price if the photograph can be reproduced in theoretically limitless numbers. I explain that it would be absolute horror to me to have to manually produce a really large number of identical first-class prints, repeating every time all the darkroom corrections and retouching afterwards (we are talking about good old gelatin silver prints, archival and all). So suppose I make an edition of say 50 to make sure I have enough stock for the future, since I can’t exceed the limit, once set. Had the buyer not insisted, chances are that I will never ever make more copies of the wanted photograph than maybe 5, if it’s not an absolute superseller! So be honest, what would you prefer if you’re looking for exclusivity?

tourist remover

By | street photography

Only a few days ago I was walking in the icy drizzle of late winter in the beautiful medieval center of the French town of Dinan, Bretagne, paying attention not to slip on its equally picturesque cobblestoned streets. It reminded me of Henri Cartier-Bresson’s book “Les Européens”. There were few people on the streets and only a few families, looking a bit lost while visiting the fairground along the river bank.
I had just bought a postcard of Cartier-Bresson’s man jumping over a puddle, which was almost the only one of interest in the whole Super U shopping mall, apart from some Doisneau cards.
But in this cold and wet town I missed the people to bring it to life. I was holding my Contax in my pocket, but didn’t take anything.
A thought struck me: the Tourist Remover! I had only just recently learned about this program with its ominous name which can remove anything that moves from your digital snaps. You just take a series with some intervals and the program “sees” what moves, removing it and filling the gap with what it perceives as permanent. If only those digitally removed tourists remained floating somewhere in cyberspace…. How happily would I use them to fill my empty streets! A program called “Tourist Adder” for the street photographer? But I’m not a digital photographer. On second thoughts, no thanks, I’ll manage, I’ll deal with reality.

why the blog

By | street photography

My website is all about photographs, about straightforward black&white analog (film) photography. And there are some pretty strong pictures, I think. But even the strongest photography can be diluted by putting too many words in between, so I decided to separate the texts from the images.
In this blog I will therefore comment on my own work, as well as possibly on current developments and subjects of interest in photography, with a special focus on real street photography in the Garry Winogrand vein. Other favorites that will no doubt be mentioned in the near future are Lee Friedlander, Robert Frank and Diane Arbus. So please visit this blog from time to time if you are interested in the backgrounds of my work and my thoughts about photography. Until later!

all texts (unless indicated otherwise)    © Tom Stappers