James Ballantyne

Its Liminal Everyday

Half In Wood, Half In Iron

Garmisch

Paris

Camera & Landscape - 35mm + 120

The purpose of this blog is to self reflect on how I use different film cameras within the urban landscape. Unearthing how these strategies impact the outcome and how the differences in the camera affect the psyche in such a manner as to alter the method of the self. It is to be said that within this open discussion all the photographs were taken in the urban landscape, but purposefully devoid of people.

35mm

The 35mm film camera I used when photographing was the Nikon Fe with a 50mm lens. The camera has a strap, which sits around the right side of the neck across the body and underneath the left armpit hidden usually behind a coat. The purpose of the camera being hidden behind the coat is to not raise suspicion or make myself a target for theft. Within doing this I find it alters how I move around a space. The comparison I use most often to refer to this style of shooting is moving like a rat, moving along the inside edge of places, not making yourself large trying to be inconspicuous so as to not raise attention. With this style of movement with the camera you are very aware of your surroundings and what is taking place around you so you can move away from the scene without confrontation. When you take the shot you reveal yourself to the landscape, like a flasher, snap and then scutter. This relationship with the landscape isn't mutual, attempts are made however there is more of a focus on what's happening within the landscape. Even Though a conscious deliberate decision has been made to photograph a part of the landscape it wasn't an even exchange. It's a browse, take and go. Although the browse can happen over a period of time often without a camera. That browsing is different, it feels more like a gaze or scouting for the potential to reveal yourself to the landscape. This style feels like it borders on the perverted, you might know the landscape but you haven't sat with it and listened, you are just in it, taking it by surprise.

The headspace is very conscious, it's rather hard to find the zone where you don't think just act because the movement is deliberate, its avoidance of people because anxiety inducing. Although when the zone happens it's more likely to happen when you are about to reveal yourself to the landscape. You've scouted the location, you've gone out with the camera to the location, you've done the dance to find the position and angle, you see if anyone is looking and you shoot, then walk away like it never happened. Putting the camera up to the eye, seems to be the point where reaching the zone is most likely to happen. Something about that action triggers the body and or mind to switch off and let it be fueled by unconscious thought. A physical focal point for the release of expression. Similar to how some cigarette addicts, when they have quit, miss the action of rolling cigs. The physical action of movement potentially triggers something to switch off or on.

120

The camera of choice being a mamiya c330 with an 80mm lens. A tlr bulky beast, weighing 1.7kg. As a result of the camera being bulky it demands to be on the body not hidden under a coat. When it is hidden, the camera isnt an extension of the self it feels more like a large tumour that is ready to burst. The camera is on the outside of the body but hidden behind its protective case, ready to be unzipped and shot. Sometimes the camera resides in my backpack, completely hidden. It seems for me this camera's style of movement when shooting sits in a purgatory as a result of not shooting with it enough. Aspects of this are also down to the mindspace I was in when going out to shoot, and perhaps the position of the camera on the body. It has 12 shots, making each shot more deliberate than 35mm. The action of winding the film around is a hand movement rather than a thumb flick. Standing over the camera to look down through its glass, then pulling it up to admire the magnifier. The weight commands you to pay attention with a firm grip. Vertical cuboid shape keeps it inconspicuous as it's not filling the stereotype of a camera. I think modest is appropriate for it. It doesn't scream for attention but when you use the camera it commands attention.

I used this camera not too long ago within my local area. I had the intention to shoot but had these preconceived notions of how I wanted the composition, so I went out looking for that. I couldn't find it. I went out a few more times but each time I came closer to the conclusion that looking for specific compositions was redundant. The result was being rather uninspired when shooting, finding compositions but they weren't ‘good’ enough to photograph. It led me to moving like a tourist by which I mean, walking aimlessly exploring and absorbing the landscape around me, not imposing myself onto it. I found more composition with this movement but often none I wanted to photograph. I had to force myself to shoot, when I was unsure if the composition was good, shoot it anyway. It had mixed results. The biggest distinction in the camera was how I connected with it. I think because I look down into the camera instead of pulling it up a disconnection happens. Perhaps it doesn't feel like the camera is seeing what I am so it can't feel what I am. Can't infuse emotion and connection into it consistently, as there are times when it has happened but not often. The change in aspect ratio further changes how to see as well and how you compose. The mamiya is 6x6.