As the weekend approached, so did our brand new second issue of AARH Magazine. Read it now or save it for your hangover.
Remember when Madonna didn’t just copy the style of the month? Alright, never mind. But then, do you remember when we told you about Sir Mix-A-Lot having a Graflex camera in his ’92 video for “Baby Got Back”? Well, Madonna actually did that back in 1985.
I don’t know if the clip is just a bit of the motion picture repeated or a part made exclusively for the video, but the camera is a beast none the less.
The Queen of Pop also has a bunch of cameras in this one, but that only last for about 30 seconds. Then the music starts.
So, it’s been a while … It seems there’s not a lot of cameras in music videos these days, and as much as I would love to see Oddisee do one with his, it just hasn’t happened yet.
But as luck would have it, I came across ERIMAJ on Facebook, and voila, I’m back in the blogging game!
Photo by Lindsey
In this video for “Conflict of a Man” vocalist Chris Turner is sporting the beautiful Kodak Brownie Starflex. This fancy piece of plastic first saw the light of day in 1957, and at a price of $10 it featured two settings marked “Color” (EV 13) and “B & W” (EV 14). What more do you need, right?
I’m not sure the acrylic Dakon lens would let anyone take the kind of close-ups displayed, but the lady doesn’t seem to care, so who am I to start pointing at details?
You can download the track for buck right HERE!
See more at www.sergejvutuc.com
The fact that I’m both a father as well as an analog enthusiast is part of the reason that this video for “You Make Me Smile” actually makes me smile.
In it Aloe Blacc plays the part of a struggling photographer surrounding himself with cameras and sporting both the Speed Graphic (Remember Sir Mix-a-Lot?) as well as a Konica S.
The Konica S, introduced in 1959, was the first semi-automatic rangefinder by Konica.
It had an exposure meter and––in Blacc’s case––an 45/2.8 Hexar lens. Other variants had the 48/2 or 48/1.8 Hexanon.
By the way, the video is directed by photographer Eric Coleman, but that’s a whole different story.
A year previous to the Dear Obama project, Marcus Bleasdale had a book published about the situation in DRC called ‘Rape of a Nation’ (2009).
The amazing pictures tell a grim story of dictatorship, enslavement, rape, and murder.
A different way of raising awareness about the crisis in DRC saw the light of day in July last year, when a bunch of producers led by Damon Albarn travelled to Congo. The purpose was to make an album in 5 days working with local artists.
‘Kinshasa One Two’ was released in October and all profits go to Oxfam‘s work in DRC. Among other things, the campaign to increase phone coverage in the most isolated regions, in order for people there to warn each other of attacks or call for help.
You know how one thing leads to another on the internet. A Google search takes you to a site that links to something else, and bada-boom bada-bing you’ve spent hours on YouTube or Camerapedia.
Well, yesterday a Todd Hido podcast led me to the name Willy Ronis, and I wondered, “why have I never heard of this guy before?”
It turns out that Ronis (1910–2009) was a French photographer, born to Ukranian/Lithuanian refugees, who grew up in Paris and later became the first French photographer to work for Life Magazine.
The following is a six-piece selfportrait (according to the title) followed by what has to be one of the last interviews of Ronis.
The last clip unfortunately doesn’t have English subtitles, but is still worth a watch. Profitez!
Willy Ronis – Autoportrait d’un photographe (A Photographer’s Selfportrait)
Interview by Peter Burchett (ca. 2009).
2005 AFP interview. Ronis speaks of his pictures, Le nu provençal (Provençal Nude) and La péniche aux enfants (The Children’s Barge).
Anyway, Sol does his thing, and the M7 definitely is ‘This Sh#t’.
Free download of DEAR FRIENDS, VOL. 3 (2011).
The other day I came across a photograph on flickr depicting a barefooded man in black suit and tie, standing like he had just ripped a cow’s throat out.
The person who had posted this image was not the photographer, but was kind enough to mention the name ‘Pieter Hugo’.
I immediately had to find out who was behind this name, and as I dug into the internet, I was amazed.
Have a look for yourself … And oh yeah, check out www.pieterhugo.com
Artist: Spoek Mathambo
Directed & shot by: Pieter Hugo & Michael Cleary
In 1983 Michael Jackson escaped the lense of a Polaroid Autofocus 660 in the video for Billie Jean.
Surrounding the Polaroid is what appears to me as a bunch of Mamiya Z-series cameras, but what’s more important: Is that a (Dirty) Diana I see there in the upper left corner?! Your expertise is required.