My old school mate Will and I love music, and when we meet up it’s usually first on the topic of conversation. We both play a variety of instruments, but synthesisers are a unique beast. Pioneered by women and trans folks, then popularised by black American musicians, the synthesiser is omnipresent across popular music – and we love them!
I remember covering the Black Lives Matter protests in the US a few years ago–before I made the switch to analog full time–vividly: the police sirens, blocked streets, chanting, and all the run-and-gunning as one often does in high-action situations. Like I mentioned in my previous article, there is something about chaos that I gravitate towards. I enjoy the adrenaline rush, uncertainty, and the precarious nature of photographing in situations that are potentially hazardous. Whether it’s an underground metal concert in a pitch-black club filled with hundreds of people or a demonstration where thousands are calling for change. Witnessing the raw emotion, anger, frustration, and the release that follows is what excites me the most. Conflict in any shape or form is a worthy theme to capture and analyse.
I probably watch too much YouTube, particularly reviews of cameras, film stocks, anything really that’s photography related. The problem is that the more I watch the easier is to think that that IS photography…and it’s not. Picking up your camera and shooting is. Being stuck inside in lockdown without an internet connection capable of streaming video (long story, don’t ask) has reminded me of that, so I decided to write some more articles like this for 35mmc. At least if I’m not out taking photos, I can try and contribute in other ways, right?
As a follow-up to to my “5 frames with Canon 7 + 50/1.4 + Ilford HP5+” article published a few months ago on EMULSIVE, here is the my other Canon LTM lens: the 35mm F2. This is my only 35mm lens, and also one of my lightest. It’s a rather tiny lens, with a much …
5 frames with a Canon 7, 35/2 lens and Rollei RPX400 – by Anthony Chatain Read More
