Todd Hido – ‘Bright Black World’

Bright Black World is Todd Hido’s response to Climate Change and the creeping blackness in our social and political landscape. Where previous books and bodies of work dealt with memory and nostalgia, Bright Black World is more present/future focused. It’s a small part Mad Max bleakness, part On Walden Pond lush stillness.

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120 Day with the 124

January 20. 1/20. 120 Day!

As mentioned earlier, I decided to shoot a roll of 20 year old Konica SRG-3200 in the Holga for 120 Day and figured I needed a safety: a fresh film and a camera with the ability to focus, set exposure, and a reasonably sharp lens. The Yashica-Mat 124 was an ideal choice (and my the only one available to me at present) for the latter, and I had the choice between some FP4+, HP5+, Acros, Pro 400H, Portra 400, Portra 160 VC, and Portra 160.

Now. I wanted to save the FP4 for a future FP4 Party. The Acros and 400H are part of my retirement fund. I love HP5, but wanted to shoot color. I haven’t shot any 160VC, but was already shooting a roll of expired film and didn’t want to chance it. I like Portra 400 and don’t much like Portra 160, but I had two rolls of 160 and just one of 400, so the 160 won. I decided to expose it at 125, just to see what would happen, and I was pleasantly surprised.

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Konica SRG-3200 – one roll “review”

Konica hasn’t made film (or branded it) in a decade. The 100′ of Konica Pro 160 I shot through a couple of years ago expired in 2009, and from what I’ve gathered, they stopped producing SRG-3200 a decade before that.

There was no date on the single roll of 120 that came in an Ollie’s Choice grab-bag type box from the FPP last summer, so I threw it in the fridge and put it in the back of my mind, with some dim thought to shoot it for Expired Film Day.

And then it was January 20… 1/20… 120 Day! And I thought “why not shoot that roll of Konica 3200?” And so that’s what I did…

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Ed Templeton – “Loose Shingles”

Loose Shingles” is a B-Sides Box Set of outtakes, alternate takes, and other otherwise unpublished images from Ed Templeton’s archive. The B-Sides Box Sets are interesting things, sort of a cross between a portfolio of prints and a box of baseball cards. I’ve lumped them in to my “Photobook” category, but they’re really not books at all, or not like most, traditional sorts of books, anyway.

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Ed Templeton – “Hairdos of Defiance”

Back in High School, and for some time thereafter, off and on, I sported a sort of abbreviated version of Liberty Spikes, colored in a shade of purply-red called “Bodacious Burgundy.” The effect was somewhat subtle, alternating between preppy and mildly punk, just enough to get occasional looks of curiosity or disdain, but not enough to get kicked out of school like my cousin, when he showed up one day sporting blonde bifins. Many of my friends at the time rocked more impressive hairdos, spiked with gel and hairspray, or egg whites and glue. They constituted the small groups of hardcore punk outcasts and misfits, and I gravitated to them, while also keeping a foot in the cliques I’d grown up with: the preppy pop punks and stoner jocks. After High School, I drifted further away from the preps and for a time was all punk all the time, but I never really had the stones to rock a hawk.

Ed Templeton’s Hairdos of Defiance (Deadbeat Club, 2018) takes me back to that time: the leather jackets, replete with studs and spikes and patches for Subhumans, The Exploited and/or Crass;
flannel shirts over ripped t-shirts; ripped and poorly patched jeans held up by studded belts; the tattoos, piercings, and makeup—for a time, I regularly wore eyeliner and mascara, a sort of cross between Alice Cooper and Gene Simmons, and wore a safety pin through my eyebrow for a brief period, but never got any tattoos. It gives me a sense of nostalgia and recognition, bringing back (melancholy) memories of times that were simultaneously far worse and way better than life now.

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