With 2015 soon coming to a close, we can’t help but look back at how amazing, productive, and inspiring this year has been for us at Whattaroll. We’ve been fortunate to discover some of the most visually compelling film photos by a myriad of artists from around the world, and even more thrilled that we were able to share them with our readers. Each carefully curated body of work (and the interesting stories that came with them) that you’ve seen here truly embodied the beauty of film and the joy that comes with shooting with it.
Aside from our web features, 2015 also saw put together what we believe to be our strongest issue to date: the Nostalgia Issue, which we saw as an exploration of how some of us feel compelled to creatively immortalize our memories from the distant and recent past. We also had the chance to feature and interview some start-up companies such as KONO! Film, The Intrepid Camera Co., and NOPO, who share our love for analogue photography and visions for it to prosper.
We look forward to the coming year with the same love for analogue, and dedication to bring our readers only the best and most compelling works from the most talented film photographers out there. We hope you’ll continue to stick around with us — all you 3,869 followers on Facebook and 1,276 on Instagram that we are truly grateful to — on our awesome adventure around the world of film photography!
Meanwhile, we’d like to invite all of you to revisit some of the top stories that graced our pages throughout 2015!
“Even if I were to embrace digital photography, what I love most about analogue is the texture, the tones of instant film, the whites and blacks of the photographic films, the camera obscura, and the photographic papers. There is a certain satisfaction when you shoot on film; I believe there is more heart there.”
“I personally don’t like to analyze too much into a photo; if I see it and it makes me feel something, then I think it’s great. So, I think the most important element is honesty.”
“Overall, film gives me an inimitable atmosphere. Those “perfect imperfections” – the grain, dust, light leaks, blurs – cover the images and elevate them, putting them in the place where they have to be. All these things are part of my narrative codes, my language. I use them as much as the color or models. The imperfection is an element that shapes the image and make it be what it really is. Without them, it would be often impossible for me to represent the ideas I have.”
“I enjoy the confrontational element of street photography. It’s exciting to stand in the middle of a riot trying to take photographs. Or in front of a prostitute fresh off the pole/sign in downtown Texas, and point a camera at her. Equally, it can be a very anonymous encounter and I appreciate being able to observe people unnoticed. I often shoot from the hip for this reason. The camera is less obvious and the picture doesn’t have to suffer the intrusive angle of my perspective. It’s probably obvious from that that I don’t take pictures with a particular message in mind, it’s more about observing.”
“I see the instant film format as my paint. I have an idea, and I generally execute it with instant film. Living in Sydney now, I am generally inspired by nature, the wonders of little things, and try to create photographs that express my deep love of this connection and the beauty held within it.”
“Through my work, I’m trying to convey a story, told with emotions of intimacy and sensitivity. I often treat photography as a therapy; therefore some of my photographs are very personal. I think my style is derived from experiencing the relationship between humans and nature. The dark and delicate things you find in nature can be very poetic, and it influences me very much.”
“It’s about humans and nature, with nature as a God figure. It’s about the connection between humans and this God-Nature, and how we lose it. It’s also about the fact that we are nature too, so at the end it’s about how we lose ourselves.”
“Getting lost is how I understand travelling. The concept behind ‘le flâneur’ (the stroller) is the motto of a huge part of my personal work (and part of my paid work too). So, every time I travel I just go out and walk, cycle, or take a random bus.”
“I think that’s why film photography appeals to me, it fits right in that creative/aesthetic slot, but seems to offer a nice contrast to the clinical precision required in engineering. I don’t really take it seriously. I think if I did I wouldn’t enjoy it as much. I just like capturing my own little haphazard view of the world, and the mysterious anticipation that comes from how my shots will develop is great.”
“I’ve been to most of the metropolises such as Delhi, Mumbai, Varanasi, Kolkata and Kathmandu, but actually spent much more time in the nature. I walked 3 months on a pilgrim route along a river in central India, did camel safari in the desert in Rajasthan, trekked in the Himalayan area on Indian side as well as on Nepali side and spent some time in the jungle in the North-Eastern states, which are still pretty unknown. Nothing was really planned, everything was more or less spontaneous.”
“When I travel, I tend to pack ridiculous amounts of film rolls; I am always taking photos. I know that when I’m back home and get the fresh results from the lab I’ll instantly fall in love with each frame and know that I will use each and every one of them someday. In my work, I use my photography, illustration, notes and memory combined with traditional techniques to develop a piece that will project in the most accurate way the feeling I felt in that given moment during my journey.
Film photography has unique characteristics like colors, depth, grain and feel that are absent in digital photography. I found that this analog way of creation makes for results that are more organic and closer to nature.”