Tony Takitani | MIDNIGHTEYE

28/02/2011 Comments Off on Tony Takitani | MIDNIGHTEYE

Jun Ichikawa’s film version of one of Haruki Murakami’s most elegant short stories, Tony Takitani, somehow manages to redefine the whole process of literary adaptation, though with the same quiet, unassuming grace of the original story. Ichikawa visualises this character study of loneliness as a series of vignettes, ending each scene with a lateral wipe from right to left (except for the occasional, and effective use of fade to black), like the turning of a page.

This radical device serves to foreground the film’s literary source just as it finds a cinematic equivalent for it, something that can indeed be said of the film as a whole, which follows the source word-for-word, yet replaces each word with an image. Of course the overtly literary voice of the narrator remains, imparting Murakami’s prose with its characteristic intermixing of the prosaic and the poetic, yet he is constantly cut out by the characters, who finish his sentences or take over completely. This gentle tug-of-war between the narrator and his objects not only serves to further isolate them, but also emotionally distances the viewer. In a sense we are being forced to not only sympathise with Tony’s lonely world-view, but to actually adopt it in the process of watching the film. It’s a risky strategy that some will find moving and many more will find frustrating, yet it is precisely this uncompromising aesthetic that makes the film such an artistic success.



Canonet G-III 17 – poor’s man leica | KEATON ANDREW

28/02/2011 Comments Off on Canonet G-III 17 – poor’s man leica | KEATON ANDREW


I recently added a new camera to my gear case – Canon’s Canonet QL-17 G-III. Whew, that was a mouthful! The ridiculously long name aside, this camera from 1972 has the ability to create some stunning images in the right hands.

The Canonet QL-17 G-III is a wonderful miniature 35mm rangefinder. You don’t focus through the lens like an SLR, you look through the viewfinder on the top right and line up two images until they’ve merged. There are various Canonet cameras, mine has a 40mm f1.7 lens. It’s pocketable and fast! It’s been referred to as the poor man’s Leica, and I back that statement after using it some. It doesn’t match the build or optical quality of a Leica, but for the cost there’s not much that comes close. It’s surprisingly well-built, the camera feels wonderful to hold. It also one-ups most Leicas by having a leaf shutter rather than a focal plane shutter. This means full flash sync up to 1/500 of a second, even with a wireless system such as a Pocketwizard.

SOURCE: Canonet G-III 17 – poor’s man leica | KEATON ANDREW

Haruki Murakami – 1Q84 | exorcising ghosts

28/02/2011 Comments Off on Haruki Murakami – 1Q84 | exorcising ghosts

1Q84 was published in Japan on Friday (29th May) and to mark the occasion, Daniel Morales at is live blogging the release over the weekend. You can read more about the live blog here and here and follow Daniels progress from the main page of his site.

Daniel has also posted an interesting note about the speculation around with novels subject matter. I would highly recommend checking out Daniel’s site.

The Millions entery on the release – check out the comments for an interesting discussion on when the English translation will appear and if it will be cut in size, like A Wind Up Bird Chronicle. Also there’s more on the 1Q84 specilation by Ben Dooley at The Millions

There’s been a supprising amount of English language coverage – most stating how, even before 1Q84 hits the stores, Murakami’s new novel is a hit in Japan.

SOURCE: Haruki Murakami – 1Q84 | exorcising ghosts

Street Photography: Documenting the Human Condition | Chris Weeks

26/02/2011 Comments Off on Street Photography: Documenting the Human Condition | Chris Weeks

SORCE: Street Photography: Documenting the Human Condition | Chris Weeks

Supercolossal Street Art | NY Times

26/02/2011 Comments Off on Supercolossal Street Art | NY Times

In a Paris suburb in October 2005, two teenagers of African descent were running away from the police and tried to hide inside a power substation. They were electrocuted instantly. The violence that broke out in protest of police harassment soon spread to neighboring communities and eventually to housing projects across the whole of France. When the media came to document the events in Clichy-sous-Bois, they were met with an additional, unexpected kind of confrontation: behind one of the countless cars in flames was a black-and-white photograph that was pasted onto the side of an apartment building some time before and took up its entire width. From its center, surrounded by a group of boys striking aggressive poses, a black man several times larger than life stared out, pointing with what appeared at first to be a shotgun. On closer inspection, it was a video camera. Get out, he seemed to be saying, we’re recording this too, and we’ll tell the story the way we see it.

SOURCE: Supercolossal Street Art | NY Times

KODAK Portra 400 – Miami South Beach FL – Pushed to 3200 | CANLAS PHOTOGRAPHY

25/02/2011 Comments Off on KODAK Portra 400 – Miami South Beach FL – Pushed to 3200 | CANLAS PHOTOGRAPHY

If you are not a photographer, the following info might be a bit geeky…so get ready.
Back in Nov I traveled out to Miami to hang out with Ozzy and Gennessy to do a 1on2 workshop with them. During my time there, I shot nothing but the new Kodak Portra 400. And I pushed a couple rolls to 3200, which means I rated it as if it was 3200 iso, and pushed it 3 stops in the developing (to compensate for underexposing 3 stops). I sent the film off to Richard Photo Lab in LA and the results are nothing short of astonishing.
THERE IS NO GRAIN TO THIS FILM, NONE. At 3200 that is UNHEARD of. This changes EVERYTHING about shooting color film, EVERYTHING. Another great thing about this film is that you don’t need to overexpose as much like you would with other color neg films. If you overexpose too much, it goes super yellow.
This film uses Vision 3 technology (motion picture film) and you can actually underexpose this film up to 2 stops. This is UNHEARD of in any color neg film out there today. Hello low light situations!
It is also available in 220 as well, making it one of the last color neg films available in 220 format.
I have liquidated all other color neg film and this is now my film of choice. It is the answer to all your needs for color neg and the results are nothing short of outstanding.
More posts coming next week. For now, enjoy.

SOURCE: KODAK Portra 400 – Miami South Beach FL – Pushed to 3200 | CANLAS PHOTOGRAPHY

Special Post: Film Swap | I STILL SHOOT FILM

25/02/2011 Comments Off on Special Post: Film Swap | I STILL SHOOT FILM

Many of you have asked me if I want to do a film swap…. I am incredibly busy but I think it could be a really cool project. Unfortunately, I am unable to find all of your messages in the madness that is my Tumblr inbox. If you want to do a double exposure film swap or if you previously (at any time) asked me to do a film swap, please send me an email reminder at Include your name, age, location, what you intend to shoot, what type of camera you intend to shoot with and what brand of film. If you can also include a link to some of your photos (any photos, they don’t have to be professional) that would be great.

I will select 10 people from different countries to participate and will post the results here. I will be accepting film swap propositions for 1 week, so until Friday, March 4th. Can’t wait to see what you guys will suggest 🙂

SOURCE: Special Post: Film Swap | I STILL SHOOT FILM