Dirty Sheets Never Made for Comfortable Rest


Following a conversation with a friend, I realised that I kept painting myself as the victim and didn’t take any responsibility for my own well-being. This body of work mirrors the way I began to hold myself accountable in order to aid my own mental health recovery. The phrase ‘you’ve made your bed, now lie in it’ is one that has echoed in my mind throughout the creation of this project, and I feel that these images rebel against that. We are able to take autonomy over our own actions and we do not have to lie in our own mess. 


I have used my own mental health as a muse in my photography before. Documenting the bad days. The ones where doing the simplest of tasks felt impossible. This time, I wanted things to be different. This project was the result of a change of mindset, an epiphany if you will.


One major source of inspiration for this project was a painting by Sir John Everett Millais named Ophelia. It depicts Ophelia, a character from Shakespeare’s Hamlet who was driven mad when her lover, Hamlet, murders her father. As Ophelia was picking flowers, she falls into the river and slowly drowns, singing all the while. Her face looks hopeless as she lets herself sink into the river. I could see myself reflected in the painting, which shocked me a little. It acted as a wakeup call that I didn’t have to let myself slip, that I could help myself.


Recovery is a long and tiresome process. It requires you to constantly challenge negative thought patterns and behaviours. Therefore, I wanted to use a method of photography that I felt gave this process justice, one that would require me to slow right down and think about each composition in detail. Hence the choice of medium format analog film. I had never successfully used medium format prior to this project, so the prospect of doing so conjured feelings of both excitement and anticipation. The weeks building up to my planned shoot date, I spent time getting to know my camera, a Bronica ETRSi that I had borrowed from college. It was a small, lightweight and easy to use. A nice introduction to the world of medium format. Then came the time to shoot, a warm early evening in June. The act of setting up the tri-pod in various locations, getting a light meter reading and composing each frame felt cathartic, as if the very process of photographing mirrored what I was trying to portray in the photographs themselves.


I wanted these photographs to be a reminder to myself that I am in control of my own recovery. It’s strange to look back on in retrospect, as a few months have passed since the creation of this project and I still find myself dipping into old habits and ways of thinking. But I am still a strong advocate that the process of making photographs can act as a form of therapy, a way to ground yourself and connect with the world around you.




To keep up to date with my work, you can find me over on my instagram page.



My First Time Developing Film

A couple weeks ago I developed my first roll of film. This is something that has been a goal of mine since I started shooting back in February, I just never committed to it before now and for those on the fence I would highly recommend it. I wanted to take this opportunity to share some thoughts on getting into developing as well as results from my first session.


To back track a bit, like I said I did my first at home development session a couple weeks ago. I souped up some HP5 pushed one stop with Ilfosol 3. I’m lucky to have a bathroom with no windows to act as my darkroom, and let me tell you those few minutes in my “darkroom” trying to get my negatives onto the SPOOL? were extremely stressful. But that’s not the focus of this short writeup.

I actually think at home development isn’t that hard. I get this sentiment from a how to video I stumbled upon while doing some research. This video more or less portrays developing like this:

  1. Just like learning photography you can pick up the basics pretty quick.
  2. But to become a pro it takes a long time.

That first point was what I connected to because what I’d heard before this video was that developing was this whole ordeal that required precision and instruments and experience, while that has merit, it’s also a skill that like anything else can be grasped quickly and should be honed over time.  I’ve felt that developing was always a logical next step from just shooting and that video is spot on – it’s not that hard to develop at home. Sure it’s stressful working in the dark but everything with the chemicals is just following some instructions.

I don’t mean to take away from the skills required to master a darkroom. Like the second point above, becoming a pro takes a lot of time, energy, and experience. I know I have so much to learn but really for those on the fence, I’d recommend giving it a shot.

The biggest reason why I think you should try it? I can say with confidence you will feel a connection to that first roll you’ve developed more so than most of your previous work. Just like the first roll you’ve ever shot, the first roll you shoot and develop is new, it’s a fresh feeling and you’ve been the one to get it into a medium you can view, share, and love. The next step for me is to get better at printing my work, which is a whole other beast. Let me know if you’ve developed, would love to chat about what you’ve learned in the process.


All these shots were taken on my Olympus OM10.

Much love,

Gestalt Zine

Gestalt zine

Welcome; this is an initiation of a conversation. Those who created Gestalt Zine would like to entreat you into a space of expression, communication and interaction with artists and people expressing themselves through art. The creators: James Rhodes and Andrew Tarry from Newcastle Australia, a photographer and writer respectively, came together with the desire that it is necessary for emerging and already established photographers and writers to have a space and platform in which they can pursue their interests and passions in new ways. This attempt, fired by the acknowledgement that so many forms and mediums of art are inhibited or become disillusioned, means to strike out into the world a new approach of thinking, a new way of seeing and perceiving the places we inhabit or the situations and circumstances that we find ourselves in. Gestalt Zine is this attempt. In fact, it is more than an attempt. It is the amalgamation of several varying needs that currently exist in the world to understand and define, to recognize and appreciate contemporary modes of living and existence. One may say that this zine is not just a zine, but a window of kinds, a brief interlude from one way of being to see into other ways of being. Gestalt, derivative of Gestalt psychology whose axiom the whole is different from the sum of its parts is often misinterpreted as being greater than the sum of its parts, was chosen and appropriated by the creators to represent and express this axiom through the collaboration of photography and writing.

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Excerpt of Gestalt Vol.1 – The Australian Ugliness

 The Australian Ugliness, Volume.1 of Gestalt Zine focuses on the manifestation of incoherence and lack of artistic continuity in Australian residential architecture. The zine examines the lack of identity that exists in residential housing in Australia due to the multitude of influences and styles that have occurred over time. The zine also reflects on how the buildings and spaces we inhabit are affectual and how the perception of our surroundings is determined or disposed towards certain pathways of thinking or acting and speaking. Volume. 1 also scrutinizes how the individual, arbitrary, components of a society and community may come to be, or how these components occur through function, expression, need and wants, whether on behalf of an individual or a community or society.

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Excerpt of Gestalt Vol.1 – The Australian Ugliness

Gestalt zine looks at the value of taking things in isolation, or rather, separating their individual part from the whole that provides their context. It looks at the functions of these individual parts, their origin and evolution. The potential circumstance that they may come to be in now, or in the future, if at all the future is something in which they will be a part of. Gestalt means to establish a greater congruency between artists, writers and photographers; opening new avenues of expression and impression, of interacting. Encouraging writers and photographers to delve into topics or issues that interest them or that causes within them a burning passion to speak about, act upon, reach out to others and through these connections broaden their understanding and apperception of the world(s) that exists around them and their position within those worlds. Gestalt Zine also encourages its contributors and viewers to put forward their different viewpoints, especially as the co-operation of different viewpoints can create a unique and different whole.

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Excerpt of Gestalt Vol.1 – The Australian Ugliness

As part of this zine, in volume. 1 and potentially further volumes, greater, broader philosophical questions are asked in the hope that by asking these questions we may come to have more refined, nuanced ideas about our lives and the things that affect them.

Such queries may include but are not limited to:


In a time of rapid change, how does the world and its innumerable parts affect us?


How is it that a world entrapped by large moving mechanisms and forces can be broken down, understood and appreciated? Since individual human beings often become lost in collections or groups, how does separation and detachment change and influence the individual? Further, how does an individual relate, occupy and function in a world that is increasingly perceived as one complete entity?


With so many external pressures attempting to influence perception, how do we achieve or acknowledge multiple and varied interpretations? With so much now dependent on the end of something and not the (progressive) individual parts how does instant gratification diminish the desire to understand how something comes to be?

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Excerpt of Gestalt Vol.1 – The Australian Ugliness

If you would like to buy a zine they are available here: Gestalt Zine

Follow us on Instagram @gestaltzine

If you would like to contribute just send us a message on instagram! We are always looking for people to work with!


Current Favorites #1

This is the first of a new series where we share some of the books, zines and other printed material we’ve been enjoying recently. Hopefully this series inspires you to not only buy more printed material but make some yourself! Photographs are now overwhelmingly viewed on screens only, but don’t forget the best way to view a photo: with a physical print/book in your hands.

Current Favorites #1

“Ame” by Guillermo Sánchez-Villarta

Current Favorites #1-6

This book by Guillermo Sánchez-Villarta sold out its first edition before we were able to get our hands on the second edition that was printed to meet the demand.

Shot over the course of two weeks in May of 2018 in Japan, this book includes both color and b/w images. It also includes contact sheets. The book is filled with moody shots of Tokyo in the rain, as is suggested by its name, Ame, which means rain in Japanese.

Check it out on Guillermo’s Instagram page:




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The Negative Times 01

Current Favorites #1-11

The Negative Times is “a film photography magazine sharing photographs and stories from the past.”

Based in Salt Lake City and Berlin, their debut issue is filled with work from a total of 13 different photographers. It is published by the independent publishing group, t.i.e. publishing. We can’t recommend this zine enough. The curation by the team at The Negative Times is excellent and if this first issue is indicative of their future publications, we will be keeping a close eye on their future work.

Buy the first issue here:

Follow @thenegativetimes on Instagram:


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“Zuisha” by John Sypal

Current Favorites #1-2

Zuisha is a photobook by John Sypal. It is based on his on-going photo series, Zuisha, which is exhibited regularly at Totem Pole Photo Gallery in Tokyo. John is a member of the Totem Pole Photo Gallery and I had the pleasure of attending his Zuisha vol.18 exhibit back in August 2018. He was kind enough to chat with me for over an hour and then sign a copy of his book for me! If you’re ever in the area, we highly recommend checking out one of his exhibitions.

Shot entirely in b/w, this gorgeous book features 52 images over 56 pages. You can purchase it here:

John’s website:

Totem Pole Photo Gallery:


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“THE DOCTOR’S HOUSE” by Parker Hill

Current Favorites #1-15

“THE DOCTOR’S HOUSE” is the latest work from NYC-based filmmaker Parker Hill. We have been obsessed with Hill’s photographic and cinematic work for a while now. Her photography is unique in that it is influenced by her film-making, resulting in an undeniable cinematic feel to her still images.

I’m usually not a fan of coil-bound books, however, I think it really helps this book exhibit its beautiful full spreads. This may be the book that changes my mind on coil-bound publications.

Purchase THE DOCTOR’S HOUSE here:

Parker Hill’s website:

Parker Hill’s Instagram:


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We hope you enjoyed the first in this new series! Remember to buy physical work every now and then and enjoy photographs as they were originally intended.

If you would like us to showcase your printed work, please email us at boxspeedfilm@gmail.com or DM us on Instagram at http://www.instagram.com/boxspeed

Japan Polaroid – Making a photo book

As a photographer, I tend to be drawn towards people. Which means that my work revolves mostly around portraits and street photography. Street photography because I’m not just interested in people, but people within spaces, be they banal, or epic in scope. I love natural light, and details, and I am endlessly fascinated by primary and complementary colour schemes. So in a way, Japan is a perfect place to photograph, because it encompasses a lot of those things which I find interesting, while also being dear to my heart on a more personal and spiritual level. Because of this connection, I have always wanted to set a photo series or project there. As it is not somewhere one visits every day, especially coming from Europe. On the 4 trips I have been fortunate enough to make to the country, I always carried along several different means of visual documentation. Always film. On this particular trip in 2016, I decided to go a lot lighter than I had done in the past and took a single film camera. My Polaroid SLR600. 


Japan is a place, for the most part, that is seen through a very particular lens by foreigners. I use the word lens here purposefully, as we are talking specifically about photography. It is natural for foreign eyes to be taken by people in Kimono or Yukata walking around in the wild, to be fascinated by the otaku culture, and interested in the many quirks that the country and its inhabitants have to offer. I too am not immune to these images, but for a photo series, I wanted to take a different approach. Somewhere between street photography, and elements of the everyday. Shooting on instant film, and being limited in terms of number of shots, focal length, and exposure (as well as the volatile nature of newer film stocks with evolving chemistry), also meant that I had to be a lot more considerate of what I was taking, and how it would all come together in the end. But I also didn’t want to be so rigorous as to stifle the capturing of natural moments and my own discovery of the country. And this is how I eventually ended up with the final series of photographs, which I feel strikes a balance between what I guess one can call the real Japan, and the Japan that one expects. At least I think so. 


In terms of design, I was inspired by Wim Wenders book of Polaroids, and the exhibition of the photographs from the book that I saw, which I found really interesting. There’s also the question of sizes, and if you should try and portray the polaroid as it would be seen in its original state, or if you take some creative license to vary it a bit depending on the image.


I chose the latter, and tried to organise them in a way that was coherent, but also putting the images in their best light, giving some a more featured showcase to show off the content of the photograph, and others to balance each other out.


One major design element I went with was placing the colour photos on a black background, and the monochrome images on a plain white background. This helped them pop a little bit more, and also gives you an immediate indication of what kind of images you will be looking at next. It’s a self-published book, and I think for a first attempt at that, it came out pretty close to my expectations going into it. 


I’ve been wondering how to put this down in words, talking about the book and my approach. Photography to me is a very organic thing, and so I subscribe very much to the idea of a photo speaking for itself. However, I also appreciate when there is a story behind it, that allows you to understand the nuances around the decision to photograph something, especially on film where that choice is a lot more thought through and decisive, than with the shoot and forget, sort it out later mentality of digital. I think the easiest way is just to talk about some of the images from the book, my memory of them, and my motivation for taking them in the first place. 

Japan Polaroids 0

So this was the very first photo of the trip. I thought it was a good way to start the book (and this breakdown) because it encapsulates a bit of what I was trying to describe earlier. It’s not a photo that screams “Japan” when you look at it. There are people in a space, seen from behind and with no real signs in the environment that could indicate that it is not in fact anywhere else in the world. But there is something about people waiting for a bus at an airport early in the morning that was interesting to me. And that I was going to be one of those people on that bus they were waiting for, meant it kind of held more significance in the image for me as a memory as well as a subject to photograph. I feel, being the start of the book, it communicates the feeling I had of arriving, to anyone looking through the series of images, knowing that what they will be seeing is part of an overall journey. 

Japan Polaroids 1

This was among the first images I took knowing it could make an interesting page. We were walking over a bridge when I spotted a group of friends hanging out in the river area below. The water level was low, and so they were able to walk right down the middle. It was an interesting image already, but then the group separated leaving only one person behind, and it was such a striking scene, that also felt like the essence of Japanese summer to me. I was hoping for a sharper image, but with the impossible film formula at the time, plus trying to grab the shot quickly before the scene changed, it ended up coming out rather surreal and dreamy, which I actually really liked. The little chemical burn at the top also adds to that sense of nostalgia.  

Japan Polaroids 13

I didn’t have any real plan for when I was going to shoot colour or black and white. I just kind of went for whatever was the first box of film I grabbed from my bag. This is one of the few candid portraits in the whole book, and I think it’s an interesting one because again, other than the DJs being Japanese, the image doesn’t exactly scream “Japanese”. It was a kind of fireworks party by the bay in Yokohama that some friends took us to, as they were performing (One of them is on the right). It was a pretty local thing, and I just liked this moment of people having fun and partying. This was taken with the flash, and as you can tell right away, the black and white chemistry is a lot more stable, which I found made a nice contrast with the colour images in the book. 

Japan Polaroids 20

This shot had a specific purpose, which was not entirely successful. All the times we have been to Japan, we have never gotten a clear view of Fuji-san. On this drive out of Tokyo towards Nagano, we spotted Fuji, just barely, in the distance ahead of us. And I thought I would try and capture it on film. You can’t make it out at all in the photo, but I really love the way the blue of the sky came out with the rolling clouds on the horizon. And the burn in the corner also felt rather natural to the scene, 

Japan Polaroids 22

Another landscape/nature type photo. I took it for the tree in the middle of the shot, which is I believe native to Japan (I couldn’t tell you what kind it is). And I just thought it was really interesting the juxtaposition of that tree on the side of the road with the landscape in the distance, and the buildings. Again, lovely blue skies, and you can almost feel the heat, which is almost exaggerated by the polaroid effect.  

Japan Polaroids 34

There’s a fun story around this image. The second time I went to Japan, I came across a banana milk drink that was only in the Itoen vending machines, and it was delicious! So when we went back I thought I’d try it again. However it proved to be very very hard to find (I’d clearly taking it for granted that the machine at the station near where we were staying had it, but no more). So every day we went out, I looked at every single vending machine we walked by, with no luck, for pretty much the entire trip UNTIL, in the last few weeks, we went to the Nakagin Capsule tower, and low and behold, they had some! In my joy, I decided that it was worth a photo. And as it turns out, this photo ended up being one of the most important in the whole book because as of this year, that drink does not exist anymore ANYWHERE (I’ll be happy to be proven wrong on this. Just be sure to tell me WHERE you found it!!). So I shall always have this memory to cherish, and people who are familiar with Japanese vending machines, get an image of something that was rare, and now non-existent. They can only experience it through this photograph. And for me, that’s the beauty of photography, and photobooks, because it really is a small piece of a moment in time. 

Japan Polaroids 40

One of the intents I had, beyond just taking street photos in Japan, was to try and photograph seemingly mundane scenes of everyday life. I was drawn to the woman on her phone with the bikes behind her and the group of people walking past in the distance. I think it works well in black and white, and it can also suggest a kind of narrative. the image itself is not amazing, but I feel it captures that idea of just regular everyday Japan, which exists alongside the people and tourists in kimono, or the usual things one expects to see in Japan as a foreigner. 

Japan Polaroids 42

I had intended to photograph one of the girls from the maid cafe there in Akihabara. Here is one instance where I was for sure fascinated by the site and having a completely foreign gaze. However, the photograph turned out to evolve into something a lot more interesting. The “maids” are notoriously camera shy, and seeing as pretty much every tourist with a camera or a phone is trying to photograph them, one can imagine that they have developed ways of avoiding lenses whenever possible. Trying to make sure I got a sharp and usable image with no one walking by in front of the camera, I took my time trying to find the frame, and she spotted me. Of course, they are very non-confrontational about it, plus I was some distance away, and I noticed her through the viewfinder, slowly creeping into a doorway behind her, effectively shielding her from my view entirely. I tried to grab the shot before she was completely out of shot, and of course, at that moment someone also happened to walk through my shot. The result is something that is both mysterious, voyeuristic, and very layered I feel. Just looking at the photo the scene appears to be just a busy city street in Japan, but then you look closer and you can just about make her out hiding in the background, with the foreground out of focus, and the tease above in the sign, featuring what could have been. 

Japan Polaroids 45

Surf photography, like skate photography, is one of my preferred subject strands of photography, because you are documenting a vast subculture that exhibits so many different elements in terms of people, style, and interesting environments. In the case of surfing, that environment is, of course, the sea, and the beach. We were out on a steaming hot day, hot enough that walking barefoot on the sand was equivalent to walking on fire, and we came across what looked like a surfing club, or school of some sort. There were what looked like pro surfers, and a bunch of people who seemed like they were just starting out. The lead woman also had a really cool look, and I knew I had to photograph them somehow. I ended up getting them just as they were heading out to catch a wave, and I find the scene and the surfers so majestic and epic, especially in black and white. I decided to make this the cover of the book as I felt it was something very Japanese in nature for those who know, while also offering a side of Japan that exists, but is outside of the realm of tourist Japan, which tends to reside in Tokyo, Kyoto and Osaka for the most part. Here we were in what was effectively a young student surfer vacation spot, and the energy in this shot kind of reflects what we experienced there ourselves.  

Japan Polaroids 49

In the temples, people tend to photograph the main buildings and the gates. With good reason as they are striking, imposing pieces of architecture, and indeed a very classic symbol of Japanese culture. But I find every time we went to the temples, I was always drawn to the statues of the gods at the gates. I love how the people in the foreground are ever so slightly overexposed, and the statue almost invisible beyond the wire protective mesh and the dark enclosure. It is imposing, striking, and almost alive. It wasn’t how I was expecting it to come out, but I was pleasantly surprised in this instance with the surprise the polaroid gave me. 

Japan Polaroids 51

Another common site, and one that foreigners and locals alike have a soft spot for. As soon as I spotted Totoro in the window of this house as we walked by, I knew I had to get a photo. In fact, I was obligated to. It must have been a kids room, as you can see other toys along the window sill inside. I also liked the window and how it popped out the side of the building like that on the concrete wall, with the power line crossing the frame. The shot ended up slightly overexposed, so you can’t really see the detail in the Totoro plush toy, but he is such an iconic figure that I kind of feel most people would recognise it. Plus being a Japanese photo book, there are only so many characters it could be. I like that it’s a relatively normal scene otherwise. 

Japan Polaroids 57

I really liked how this came out in the end, with the two people just about in the right exposure, mirrored by the two deck chairs in the foreground, the sea almost bleeding into the sky. This was taken in Naoshima, which is touristy but not necessarily so well known that it is a destination for the basic traveller. It is one of the more peaceful images in the book, and I think has a timeless quality to it. Again I felt it was important to show a variety of different landscapes and environments throughout the series, and so I did make a conscious effort to include a good number of more natural landscapes and environments to counter the idea of the urban metropolis that is Tokyo. 

Japan Polaroids 61

Small details like what a gardener wears in Japan, and how they take care of the many natural parks and gardens in the country, are things that I personally find quite revealing of a countries culture and their approach to life. He was taking a lot of care doing the work and I couldn’t help wondering just how long he is out there every day, and how one manages to cover every little corner that needs tending on such a hot day. The man amongst the trees with the rays of natural light piercing through I thought was quite beautiful. And luckily the polaroid captured some of that essence. 

Japan Polaroids 62

This features two traditionally Japanese things. Vending machines, and people in masks. I admit I was looking at the masked man, but I did like how he featured in the frame with the vending machines and the little stall side by side, and the AC unit above. Again, signs of summer. This was taken from the inside of a moving train just leaving the platform, and I guess it kind of reflects the urgency one tends to find at train stations, of people rushing off or on, or trying to pass the time in transit doing practical things like getting a bottle of water, or a magazine, or a pack of cigarettes. A simple everyday scene that we can all relate to, but with elements that show us how the other half lives. 


Tony aka ツ / Tsu, is a photographer and visual artist based in France. His work comprises a mix of portraiture and documentary photography mostly on film. His work is self-described as, organic straight photography, and is inspired by the work of people such as Raymond Depardon, Gordon Parks, Diane Arbus and others.

You can buy the Japan Polaroid photobook here

Find him on Instagram @tsuphotoworks

And explore his other work at tsuphotoworks.com

He also works as a filmmaker, and you can find out more about of his film work here

Learning to shoot film in Japan

I got inspired to write some thoughts on my experience learning to shoot film in Japan because of the way I shared my work with my family after my trip. Like any good business school graduate I created a slideshow with maps, information, and of course my photographs as a means to share my stories. In the process of creating this I was able to relive not only my experience in Japan, but my journey learning this medium and becoming a stronger photographer.

So I thought it might be fun to share some of those thoughts here and hopefully leave you either:

  • Inspired to pick up a film camera and shoot or
  • Laughing at my misgivings if you’re a seasoned photographer


In early 2018 I embarked on a three month trip to Japan. I wanted to be in one country for three months to soak up the culture as best as I could and Japan’s culture is awesome. I mean that quite literally – Japan is an awe inspiring country full of natural beauty, massive urban centres, welcoming people, and an allure that comes from perfect balance between history and modernity.

Was I a photographer before this trip? 100%, unequivocally, no. I owned a Nikon D3000 for a few years but never spent the time required to learn how to use it properly or develop any photography skill. So when I left for Japan without that camera I forced myself into choosing to pick something up upon arrival or go about my journey with my phone and my notebooks.

It was pretty early into my trip that I realized how fortunate I was to be in such a cool country for so long and I was eager to find a way to capture the charm of Japan. My good friend Sam (you know him as the other half of Box Speed) pushed me into getting a film camera, “Japan is the film mecca”, I can still hear it in my head. He recommended that if I want to get into this I should try to find a fully manual SLR, which is now my recommendation to anyone who asks me how to get into film photography. I cannot thank him enough for the introduction to this medium.

Unbeknownst to me I didn’t really take his advice though because what I ended up getting was a Yashica Electro 35 CC, a decent rangefinder that shoots aperture priority only. I meant to buy an SLR but my broken Japanese, the store owner’s broken English, and a shit Google translate did nothing to help me out, paired with my literal zero knowledge on cameras I walked out of this cute shop with my dinky rangefinder. It did the trick for two weeks until I realized the light leaks were terrible, and exaggerated in any amount of daylight.

My 0th frame on an analog camera

This is how my first four rolls went:

  • 1st roll: some good shots, loading, shooting, dropping off for development was seamless
  • 2nd roll: loaded incorrectly but didn’t know until development results were 100% blank
  • 3rd roll: (see 2nd roll)
  • 4th roll: finally back to seamlessness but started seeing the leaks
I actually like this shot but you get the picture

Luckily I found a good deal on an Olympus OM10 from a store in Kyoto called 三條サクラヤ写真機店
with a manual shutter speed adaptor and the rest is history – well kind of. I shot 15 rolls of whatever Fujifilm 400 speed was available with my OM10 over the course of roughly two months but this is the start of where learning something equally complex as it is rewarding, like film photography, in a foreign country and on a time sensitive trip is a double edged sword.

On the one hand when I look back at my work from Japan I still feel that romance I love with film and I can put myself back into my shots and remember the sights in my viewfinder and the feelings I had pulling the camera away from my face. But on the other hand I knew I left things on the table by not taking advantage of what you can do with film because I wasn’t focused on truly learning.

I try to conceptualize this in two buckets:

Not testing things out

First of all I didn’t shoot any black and white with my OM10 while I was there (thank you for the gasp, I too regret this). I also didn’t shoot any professional grade film. Is this the end of the world? Of course not but if I had the chance to do it again I’d experiment more, I’d try harder to get out of my comfort zone and create works of art that challenged me.

And not trying to get better

I also didn’t have any access to editing software, like Lightroom which I use sparingly now. I’m not a huge editor of my work, I prefer to keep things simple but what I enjoy the most about using Lightroom is cropping and analyzing my work with the rule of thirds, golden triangle, etc. Whether or not I end up actually cropping is another matter but I find value in comparing my work with those well established standards to find trends and get better. I definitely relate this to my previous thoughts on being more intentional when you shoot.


I’d like to leave you with reiterating what I was saying earlier because albeit not perfect, Japan was an amazing place for me to fall in love with film photography. Every setting you could want to shoot you can find in Japan and as my good friend told me, it is the Mecca for film. Next time I’m back I’ll be applying what I’ve learned and developed since being back home to create pieces that inspire me – and I hope to be back soon.

Much love,


Seoul Mini Photo Essay #1


Over the weekend I visited Seoul for Chuseok (Korean Thanksgiving). It’s been about 10 years since I’ve been back to Korea, so it was almost like visiting for the first time. I honestly didn’t have a ton of time for sightseeing and photography as I spent most of my time with family, but I did manage to get a little shooting in.


First, a small note on gear. I actually did the opposite of my last trip to Tokyo and this time I brought 3 cameras and a variety of film stocks (both b/w and color). I brought my Yashica Mat-124G (with the intention of selling/trading it), my Konica Big Mini and my trust Leica M2. I also brought some bulk rolled Tri-X 400 and 2 rolls of Fuji Superia 400. Although I brought 3 cameras this time around, I actually only ended up shooting the Leica. I never even took the Konica Big Mini out of my bag and I traded the Yashica Mat-124G in for a Sony DSC-RX100, thus getting rid of my last medium format camera and making the full leap to 35mm only (a topic for another blog post).


Like I said before, I had barely any time to shoot during this short 2.5 day visit. I only got in one roll of Fuji Superia 400, one roll of Tri-X 400 (pushed to 1600) and one roll of Portra 400. During my first full day I visited Namdaemun market, with the intention of checking out the camera stores. I’ve heard great things about both Namdaemun and Chungmuro and their film camera stores. I wanted to visit both but only had time for Namdaemun (I’ve heard Chungmuro has a better selection of film-specific gear!). I highly recommend visiting both if you’re in Seoul! The smells and sounds and sights are quite something.


As I was trading in my Yashica Mat-124G and saying goodbye to medium format (for now), I managed to grab some Kodak Portra 400 as part of the exchange. I used to shoot Portra all the time, but haven’t shot it in about a year and a half. This is due to many reasons, but mainly price. I just couldn’t justify paying for expensive film when there were cheaper options out there. I also had a period of shooting only HP5+ for the better part of a year. But when I got my hands on some from the trade I didn’t realize how much I missed it until I shot it again.

The warm pastel tones of Portra give it that classic 35mm film look and the dynamic range is to die for. I overexposed it to hell and back and everything came out really nice. I seriously missed shooting this film. I’m definitely going to start shooting it more often now. Even if this trip wasn’t too productive photography-wise, it served as a re-revelation to the wonders of Portra. tumblr-71

Although I didn’t get to shoot too much during this visit, I definitely enjoyed the few shots I got. If it wasn’t for this trip I wouldn’t have shot any Portra and fallen in love with it all over again. I’ll definitely be back in Seoul sometime in 2018 or early 2019. Hopefully I’ll have more content after that trip.


All photos shot on a Leica M2 and Tri-X 400 (pushed to 1600) or Portra 400.