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  • Val, Berlin 2019. @cryptid_millenial @devonkaylor Pentax K1000 | HP5
  • Peter Lindbergh’s ‘A Different Vision on Fashion Photography’ is one of the greatest resources that I own; I found the book in the Taschen store in Soho several years ago when it occurred to me that researching the kind of photography that I do couldn’t be adequately accomplished via my computer. But especially while making the transition to film, it was hard to fully appreciate the format without engaging in the analog part that is film’s primary purpose. The book turned out to be a revelation to me, not because the photographs blew me away, but because of the decisions he made with his black and white film. When digital was my primary photo format, I had this rule that if I couldn’t make an image work in colour, I’d render it in black and white. While I think this is still sound philosophy, I’m always bothered by what I describe as “lazy” black and white; too many people “switch the mode” on digital and fix a little contrast and call it a day. But software bw for the most part, doesn’t understand intent and actually, neither does it with colour (but we have soooo many presets) that it doesn’t matter anymore. Back to this book… What really blew me away was Peter’s obvious intent with black and white, and his darkroom/lab’s understanding to deliver on this intent through all of the choices made to develop the image. My photo lab in California has a binder full of rules of what to do with my black and white film, how to process and scan it, because the ‘regular way’ leaves me feeling so uninspired. Peter’s work isn’t referenced in that binder — I had to go my own way — but it was Peter who showed me that it was necessary in pursuit of the art I wanted to make. When I bought this book the cashier informed me that I had missed Peter by two days, he had just been there for a signing. I did see the man just once, but he was on his way to work. He was in a good mood that day, his energy was bouncy. His assistants seemed to be happy to be there. I always pay attention to these things, at this level.
  • Sophia, Berlin 2019. @mandorlalondon Pentax 67 | Fuji Acros
  • Meeting People is Easy: 
How a summer long odyssey turned a two night layover at the Zoku Hotel in Amsterdam into 10 days documenting the staff and its guests. @livezoku Contax G2 | Portra 800
  • Meeting People is Easy: 
How a summer long odyssey turned a two night layover at the Zoku Hotel in Amsterdam into 10 days documenting the staff and its guests. @livezoku @tashkeren @kellkong Contax G2 | Portra 800
  • Meeting People is Easy: 
How a summer long odyssey turned a two night layover at the Zoku Hotel in Amsterdam into 10 days documenting the staff and its guests. @livezoku @annewauterss @pietersteylaerts Pentax 67 | Portra 800
  • Meeting People is Easy: 
How a summer long odyssey turned a two night layover at the Zoku Hotel in Amsterdam into 10 days documenting the staff and its guests. @livezoku @kellkong Contax G2 | Portra 800
  • Notes from the street, Lati & Mali Barcelona, 2019. @lati_s @malixjkf Pentax 67 | Portra 800
  • Notes from the street, Barcelona 2019. This summer I traveled around with my older Pentax 67 that I had fitted with a waistlevel finder (this means that instead of looking into the camera from the back, you look into it from the top down, hence the camera is held near the "waist"). I'd like to think that using Sunny 16 rules is a lost art of street photographers who needed to always hold a camera with two hands, so I've spent the summer with this camera and no light meter. Guessing exposures is not nearly as scary or random as it seems — esp outdoors — but I have enjoyed the freedom of shooting without having to worry about a technical thing like metering first. In a weird way, it makes seeing the world through a camera a little bit easier. Pentax 67 | Portra 400
  • Samia, Morocco 2019 Majestic Disorder Issue 11 You cant really tell, but Samia is standing in a pretty dark alleyway. We metered this light at 1/60th of a second at 800 ISO with a wide open aperture, but I wanted to overexpose it by two stops. This meant shooting it at 1/15th of a second. The problem was, I didn't have a tripod. So while handheld, I ended up carefully shooting a full roll with Samia in this spot in hopes that maybe one or two images would turn out. Luckily for us, exactly two did. If someone were to give me 20% odds on taking a non blurry shot with a shutter that slow with no tripod, I would happily accept that. @tafukt_ @majesticdisorder @laurasestito @katewhitelove @averybird12 Pentax 67ii | Portra 800 @richardphotolab
  • Samia, Essaouira 2019 Majestic Disorder Issue 11 This was a fashion shoot that was fraught with a lot of technical and personal difficulties, and things were happening that put a significant toll on production. The editorial was shot over the course of 7 days across Morocco and there were a few moments when I wondered if the thing I was trying to communicate in the camera would even translate to print. I don’t like shooting digital for a myriad of reasons but chief among them is trust; I prefer to shoot and leave everything to memory as it’s the only way that I can work in peace. I always trust my team. So it was on the day we took this photo, we arrived at the beach about 40 minutes before sunrise to set up this shot. And it was freezing, and I sent Samia out about 20 metres to the shore, barefoot, while the editor and crew stood some distance behind me as to not disturb the beach. And for 20 metres we walked parallel to the ocean before bringing Samia back so that we could capture this portrait without the need to Photoshop footprints out of the sand. Everything you see is how it was that morning, from the sand, to the shore on the horizon, to the sky, no retouch. This only happened because we trusted each other. @tafukt_ @majesticdisorder @laurasestito @katewhitelove @averybird12 Pentax 67ii | CineStill 800 @richardphotolab
  • The idea was to travel around shoot about 90 rolls of film this summer in a whole range of situations as a means of artistic exercise (so, portraits, candids, landscapes, anything and everything). On my first night in Berlin I met up with a group of friends at a dive bar somewhere between Friedrichshain and Kreuzberg when I discovered Natascha tending the bar. It was quite late, but just before leaving I expressed that I’d like to return and take her portrait. The bar itself looked quite old but it had character, so on my final evening in Berlin I returned to bar and once again found Natascha tending; I photographed her on just 10 frames of 6x7 film (1 roll) and, whilst chatting over a beer, witnessed one of the most epic Tinder date fails in history just a few tables away. Natascha, Berlin 2019. @natascha_merckens Pentax 67 | Portra 800

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