Fuji’s latest instant film camera, the Square SQ10, gets unboxed and road tested in a shoot with model Alina Lee aka Thumbelina in a pool and a jail. We show how the hybrid digital/ analogue camera works, see sample images, showcase the unique features of the camera, go over the pros and cons of the camera, and do our best to answer all your burning questions about the Fujifilm SQ10!
One of my favorite ways to get the kind of surreal pop I love in my photography is to use the simple combination of colored gels and LED lights. Here we look at a few ways to use gels and why they are a valuable addition to any art and portrait photographer’s toolkit.
All images in this video shot with the Fuji X-T2 and the Fuji Neo Classic Instax Mini 90, models include Shasta Wonder, Kaila Stone, Mckenzie Eckels, and L. Shima.
I’ve put together a little formula for how I’ve conducted my recent shoots, which is: some video, which takes a while to compile/ edit/ do fx + sound for etc., and then some instant film shots, which are already done the moment they come out of the camera. This seems to satisfy the need for immediate results while giving me something to work on for the next couple months.
It’s fascinating how sometimes the work that gets the best response is the stuff that’s simplest or easiest or quickest to create like this. These were shot with the Fujifilm Instax Mini Monochrome Film, my new go-t0 creative tool for stills!
On my youtube channel I have a couple video tutorial/ reviews of the Fujifilm Instax Mini 90 Neo Classic Instant Film Camera…
…and the new monochrome film I use to make these!
Since my studio opened last month I’ve been able to film more tutorial and gear reviews – I especially enjoy harping on the beloved Fuji Instax Mini film and cameras. Here’s two recent videos covering different aspects of the analogue style!
NPR’s Terry Gross did a recent interview with photography legend Sally Mann on her book, Hold Still: A Memoir With Photographs. It’s up there with the top “uncomfortable” interviews Terry has given, where she picks a controversial point and continues on and on about an early series of photographs Sally took of her children, often nude. Sally got clearly annoyed at some point as well, stating “it’s only 70 pages of a 500 page book.”
Boundaries are a tricky thing with artists, and I’m not sure if Terry understood that in her curious method of questioning. Basically, artists think boundaries don’t apply to them because they are on a metaphorical mystic quest for knowledge and understanding. Any lines in the sand should be crossed because to not cross them is censorship and cowardice. That is true of all the great artists I can think of. They ignore “no trespassing” signs, appropriate the work of others’ into their own art without asking, and usually the thought of consequences or audience reactions doesn’t occur until well after the work is assembled.
What do you think? Do the great artists you know color within the boundaries? Is there a time where you’ve had a creative impulse that you’ve reigned in because of the possible consequences? I welcome your responses in the comments below!
This is being written halfway through my journey to Photolucida, a photography portfolio review event that happens every 2 years in Portland, Oregon, aka City of Beards. I’m in my quaint Motel 6 room on a Saturday morning, with my free coffee and convenient store blueberry muffin by my side. It’s a small lull during days of presenting work to reviewer and fellow photographer alike, and looking at other people’s stuff, and having a table at the Portland Art Museum with over 400 attendees. In a couple hours I’ll be hopping on the bus with my portfolio and jetting downtown for 7 reviews, which is quite a high number even if you consider they are only 20 minutes long.
If you enjoy any of this work I encourage you to like it and share it! For more photoworks goodness peruse my Etsy shop, follow on tumblr and twitter and instagram, and rummage around on my full site.