#yashicafx3

[listentotheirwhispers]

好掛住好掛住好掛住好掛住好掛住你

[shootrstreet]

[pinkedyn]

Street art Roma 2022, yashicafx3

[mjns]

[han-nn]

[lomodeliri]

one coffee in Perugia

[ultralowoxygen]

Untitled by Marco Antonecchia

[lawass-oke]

Kamera Analog Film Yashica FX3 Super Kokang jepret lancar Viewfinder terlihat Ruang film masih aman Timer OFF Lightmeter OFF Shutter Speed B-1000 lancar aman Lensa Yashica ML50mm 1:2 Bodi sesuai foto saja Mari silakan . Minat 085728394499 WA Lokasi Solo . #yashicafx3 a#yashicafx3super #yashicafx3super2000 #kameraanalog #kameraanalogmurah #kamerajadul #kamerajadulmurah #kamerafilm #kamerafilmmurah #kamerafilm35mm #film35mm #jualkameraanalog #jualkamerajakarta #jualkamerasurabaya #jualkamerasemarang #jualkamerajogja #jualkamerafilm #jualkameraanalogmurah #jualkamera #jualkamerafilmmurah #analogcamera https://www.instagram.com/p/CoND9ZxPaww/?igshid=NGJjMDIxMWI=

[rafaeltovar]

Euskadi. 2021.

[somsesh]

Last year, I bought a budget smartphone as I wanted to cut short my expense and I didn’t feel the need of owning a phone with a good camera. I don’t take many photos on my phone. The ones I take are bills, prescriptions, and some of my daughter Sufi when she is doing her usual monkey business. My wife on the other hand has at least 15-20 photos of Sufi alone every day. Google Photos had to give up on her and set up a space restriction for her library of images. Mentally, I find it annoying when my phone is cluttered and has five variations of a single shot taken at a gap of micro-seconds interval. The lack of mass that comes with digital files can build an excess that somehow compromises me from being accepting of the fact that you can't capture it all, and some moments are better left experienced than documented. My aversion to phone cameras is more than what I have said just now. It’s the fact that how much a victim you are to what your phone does when you tap the screen. You have very little control over how the image will turn out except that in most cases, it will be a decent, flat-out, result you would expect to come. This lack of control takes the charm away for me when it comes to photography. My father pursued photography as a hobby. We came from a family that had limited means and one could only afford to splurge cautiously. This is not to say we were starved for means and merry, but you still had to tread with care. My father had a Yashica FX3 2000. He had bought it from a black market of sorts, so the lens and the body came from two different brands. He had to quickly grab for the camera and equipment in a big bag full of ceased custom goods. Even though put together in a rushed manner with unfair means, he took care of the camera like his darling pet. On some weekends he would dismantle the camera, clean it with a brush, and a set of other cleaning agents, all laid out perfectly on a white towel. He would also try to tell us how the camera works by showing how the shutter speed is related to the opening of the window. But I was a goof, I didn’t value the beauty of such things and was busy poking at the hunting guns he had because it seemed more adventurous. 

After school, when I decided to join a design school for my education, my father was very enthusiastic about the fact that I would be studying photography too. He funded my first camera, Nikon F80, an expensive camera for a fresher in college. It was a semi-automatic manual SLR, and the price tag of it weighed on me somewhere. My first few rolls were overexposed, out of focus, washed out, all suggesting that I had got an expensive tool that I was only able to toy with. This sense of not being worthy enough made me hesitant to shoot with the camera. Thankfully, in my second year, I opted for a dedicated studio on Photography and started shooting my heart out. I learnt the basics and my camera was always on me. I remember cycling to college on some days strapped with my backpack, camera bag and drawing sheet holder tube. I am quite sure I looked like a camper on a design mission. I loved exploring the bulb mode the most on the camera, and with each of such experiments, I would wait eagerly for the results to come. Most of the outcomes will be rather dull from what I expected, but some would surprise me, and that exhilaration of seeing something that you intentionally tried to achieve and managed to extract on film felt like a rush. I would also try to break away from my earlier ways of looking at what I want to shoot, sometimes trying to make the unexpected part of the process. Shooting on film is an act of letting go. Those who are the masters know the craft on every single stage, from shooting to developing, but I had to depend on the human effort of the fellow developers, and trust that they will give my films a good chance. There is a lack of control here too, but you are willing to trust and embrace the wait of seeing your results. There is no denying that digital photography has plenty of benefits to offer, but for me, it also resulted in not trusting the moment you took the photo. Going back and validating the outcome after every time you release the shutter leaves the taste of dissatisfaction and not willing to move on. 

In the last ten years, my camera saw less and less light. I got busy with work that used drawing a lot more than shooting. The build of a camera felt like a weight I didn’t feel the need to carry. I had started to sketch more, but during the pandemic, I felt a block settling on my sketching habit. I then felt a wish to go back to my Nikon F80. My daughter is also growing up and the thought of having some of those moments on film felt like a warm touch to the cold days of isolated life in the pandemic. In December last year, I had gone home and searched for my father’s Yashica. The camera seemed in less of a rundown shape than I had expected it to be. I tested it and it had a faulty shutter release between the speed of 4 to 30. The light meter was dodgy because the button cell compartment’s plastic had chipped off and I had to tape it. The beauty of a purely mechanical film camera is that even with a few bibs and bobs off, it still works. I got a black and white film roll and started to shoot with it. The Nikon F80 didn’t have a split prism for focussing, so it took me some time to get used to Yashica’s. I had to also depend a lot more on my study of the light and what setting to go for the shutter speed with the aperture. Given how things line up for me, I accidentally spoilt the rewinding of the film because I was so used to the Nikon’s automatic rewind after the film roll got over. I manage to cut the exposure on the films by rewinding the roll manually in a dark room with my hands under a jacket. The results came this week, and a lot of the shots were underexposed and out of focus. It turned out that the lens had plenty of dirt and fungus too. I gave the camera and lens for servicing and repair, and I can’t wait to get it back so that I can go back to making my mistakes on it. I remember my instructor, Helmuth Conz from college, telling me how you have to put a value on every film exposure you have. Shooting on film is like a balancing act where you measure which moment is worthy of shooting and whether you should save some shots for later in case something comes your way. Extra film rolls are like added insurance, but film photography is in many ways how life is. It’s uncertain, yet you appreciate whatever control you may have, and when the act is done, you carry on.   

Very thankful to Prabhu Films here in Bangalore for still offering film development services.   

[listentotheirwhispers]

故事最終必須親口講再會 

再會那些一起風雨下經過的旅館 

似候鳥般降落在湖面 

離開的臉 飛走了難再遇見

There’ll always be goodbyes in stories

You may not see those faces again after goodbyes

[shootrstreet]

[pinkedyn]

Olgiata 2022, yashicafx3

[han-nn]

Fish from Memphis, shot in Chicago by han.oncam

[lomodeliri]

thank you

[ultralowoxygen]

Untitled by Marco Antonecchia