Juno Calypso – ‘What to do with a Million Years’

I became aware of Juno Calypso‘s work several years ago, back during my early, digital days even. A few of her pictures from the Joyce and The Honeymoon series are in my inspiration file for their color and suggestion of (creepy, menacing) narrative, but my interest in her work preceded my photobook obsession and I missed out on picking up copies of her books and zines.

A few months ago, I heard her 2016 interview on Ben Smith’s ‘a small voice’ podcast, visited her website, and immediately ordered a second-edition copy of her zine What to do with a Million Years, and it’s more than I hoped for, even.

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Alexandra Catiere – ‘Behind the Glass’

Alexandra Catiere’s Behind the Glass is more of an event, than a book. It’s not something to casually flip through. In fact, you can’t casually flip through it, or if you do, you’ll miss half of the images and all of the story. It’s one of the more unique book designs I’ve seen.

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Rosalind Fox Solomon – ‘Liberty Theater’

Rosalind Fox Solomon is one of my favorite photographers. Her ability to move between various communities, her access to people from all manner of backgrounds, and her ability to get open, honest expressions and gestures is incredible.

I have two of her previous books with Mack, THEM (2014) and Got to Go (2016), so when I heard Mack was releasing another book, I jumped on it straight away.

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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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