STOP LOOK GO Group show with analogue photography

Alexander Sokolov

Born 1991 / Crimea

Images for STOP LOOK GO taken in Berlin / 2020 - 2023

Gregor: How did you get into analogue photography?

Alexander: In 2020, friends gave me an analogue camera, but I had been taking photos for a long time before that. First with a digital camera and later with my mobile phone. I studied law and worked in that field. But when I came to Berlin in 2015, I was working as a graphic designer and started using photography in a professional context. It was not easy at first, because there is a lot to learn about the analogue process. What do ISO settings mean, which film and lens to choose? Fortunately, there are great tutorials on YouTube. When the pandemic hit, I had lots of time and felt the need to give myself a task and I went for long walks. It was during this time that I really got into analogue photography. Then I bought a „Canon AE-1 Program“ from the eighties and since then I have been shooting analogue almost every day.

G: Where does the fascination for analogue photography come from?

A: You can tell that analogue photography has become a trend when you look at the rising prices for the cameras. For many people of my generation, there's a certain nostalgia about it - the look of the images is reminiscent of a time long gone. It's that atmosphere, with the grain and the mushy colours and the blur. Something you can touch, somehow organic - people like that. And this look is very hard to simulate digitally. The physical process is fascinating. Depending on the length of the waves, the light exposes different layers in the celluloid, one of the primary colours at a time. This causes the particles to darken and stack up in layers, creating a depth effect. The silver particles that expand on contact with light create the grain. Different manufacturers produce films with different particles. Some are rather flat and hexagonal-shaped and they lie parallel to the film surface. This means they fit together homogeneously. This is ideal for really sharp images, for example for portraits. And you can experiment with all these factors. But I'm still learning that too. If you want to get into details, I recommend getting advice from Fotoimpex. They are literally just around the corner from Kaffeemitte, in Alte Schönhauser Strasse. They are experts when it comes to analogue film stock.

"TV Tower"

I took this picture at about the same time of year. Berlin had been grey and dark, covered in low-hanging clouds for months. When I made the selection for this exhibition, it was the first photo I chose. Because it stands for Berlin. The iconic tower, of course, but also the bad weather. I took a lot of pictures of the tower, but I am only happy with a few. When I got the scans of this roll and saw those light leaks on them, it was a positive surprise - I had finally taken a complete shot of the tower. Because these orange details give hope and warmth to the grey of the landscape - created by a supposed mistake. These light leaks can appear when you load the film. A certain amount of light can reach the first few centimetres of the film, causing these "flaws". This is why the packaging recommends taking one or two blank shots before winding the film. However, this incorrect handling can produce the best results. And the kind of film is wrong too. It's a tungsten film with a white balance optimised for artificial light. If you take photos with it in daylight, you get these nice blue and red tones.

"Izlem"

I took this picture with a medium-format camera. The negative that is used for this camera has a 6:7 format. This image was also a quick choice when it came to the selection for the show. It matches the picture with the tower in different ways. It's this upright posture in a somewhat desolate city in winter. And I dedicated this one to my favourite bar, Café Luzia on Oranienstrasse. I go there often and have met many like-minded people, professional opportunities have arisen there and the bar has become my favourite place in the city. I always feel welcome and even found my current job there - I was invited to photograph at the Fashion Week and the Berlinale.

"Sakura“

There are a lot of cherry trees in Berlin, and a few days a year there is a little Sakura celebration. I was happy about the spring sun and took lots of photos, only sunlight makes the colours pop. I shot this picture with a Pentax 67 medium format camera. I also used the material a little differently than intended. You should actually insert 120mm film into the camera. But if you insert the normal 35mm roll, the result you get is so-called Sprocket Hole Photography. You expose the entire film, including the edges with the sprockets - the small rectangular perforations that are needed to transport the film. But for the picture in the exhibition I cut the sprockets out, I wanted to show off the beauty of the flowers rather than the technical aspects. That's another example of how many variables you can choose from when working with an analogue camera. The limits are often set when the negative is digitised. Especially when the lab is not able to respond to individual wishes, for example when it comes to scanning. In the future, my goal is to scan the negatives myself. And to develop black-and-white images at home. That's the true thing.

"Berlin' Suns"

I took this picture from a car park in Neukölln. The Klunkerkranich is on the roof of the building. But the bar was in lockdown, and I couldn't get to the rooftop. So I walked through the empty car park and placed my camera on the balustrade. I then used an app to calculate the exposure time, I think it was 12 seconds per picture. But that was just a rough calculation because the film has a certain tolerance.

It wasn't always easy for me to stay emotionally balanced during these Corona times. That's why I walked around Berlin, crossing different districts. I always had my camera with me and was on a mission, looking for something to photograph. I let myself drift, without a fixed route. This exercise felt really good, it was escapism in difficult times. I could just be present in the moment, with sharpened senses. And I learned to let go and trust the process. I've come to accept that I'm not in control of everything. A good picture is 60% luck - accepting that was a valuable lesson. This picture is an example of such a lucky shot. Let go of perfectionism. Digital photography wants to be perfect, but I don't.

Eric Götz

Born 1995 / Berlin

Images for STOP LOOK GO taken in New York / July 2023

Gregor: How long have you been taking analogue photos?

Eric: For almost three and a half years. Before that, I was already working artistically, spraying graffiti and designing canvases. However, I always felt that I hadn't found the right medium yet. It was clear to me that I wouldn't be doing graffiti forever. Whereas with photography, I know I want to do it for the rest of my life. For me, taking photos means being around people, and being in contact with them. The interaction with the people I photograph can be exciting. And of course, aesthetics and image composition are also part of the fun. It’s not just about choosing the right subject; it’s also about the film I use. It can have different levels of contrast or saturation, it can have more or less grain and I can react to this with my camera. I have to work very precisely during this technical process and at the same time with intuition. Its about being really focused.

G: Half of the pictures you show at Kaffeemitte are street photography - how do you take these pictures? How do people react when you photograph them without asking?

E: The interaction was always quite different. Sometimes we just walked past each other and had no contact at all. In principle, however, I try to ask everyone I photograph for permission to publish their image. But that's often not possible. It requires sensitivity. I have to decide whom I approach and when to take a photo in passing or who I'd rather not photograph at all. It's also about the energy with which you move among people. It's best not to attract attention with the camera at first. I can wait for the right moment and then quickly take the shot. For example, the picture with the dogs ("NYC Café"): I saw the dogs and drew my attention to them. The couple noticed me at some point but sensed that I was concentrating more on the dogs. So they didn't feel like a photo subject and were completely relaxed. The beauty of documentary street photography, as in New York last summer, is the real moment that you capture.

G: You were in New York for about two weeks, how many photos did you take?

E: I flew home with 75 rolls of exposed film. That's about 30 photos per roll, over 2000 photos. Half of them street photography, the other half cityscape shots.

G: How did you take the skyline pictures?

E: I took a much calmer approach, paid attention to the composition and looked for perspectives that might be unique. Motifs like the Manhattan Bridge have been seen very often and it took me quite some time to find my camera position and lens.

G: How did you spend your time in New York?

E: It was my first time there, and I structured my time well, planning where I wanted to take photos. During my first week I explored the city, starting from Brooklyn. I spent the second week in the west and went out from there. And so I walked around for 10 hours a day - except for one day when I needed a break and went to Central Park. The city took a lot of energy, especially when I was always on the lookout for photo opportunities. But the city gave me a lot in return.

G: What did you learn while working on your New York series?

E: Well, I once thought about moving to New York. But since I got to know the city as a photographer, I don’t think so anymore. Because the city is very fast and very loud. As a tourist, I might have looked a little less closely. But this way I explored many different areas and had contact with different people. I got the impression that New Yorkers are quite self-centred. Overall, I had expected the people to be more friendly. You can tell that people are under pressure - if they don't look after themselves, they might drown. Of course, there were some very nice people too, but often the look on their faces said: „What do you want?" Many people with tunnel vision didn’t look left or right and kept their distance from others.

G: What do you think is the reason for that?

E: Maybe it's the size of the city, maybe it’s the class gap? There are some very rich people and many are poor. That's why people are stressed and scared. But it was also the height of summer. The extreme heat also dragged me down a bit.

G: And do you see Berlin differently today as a result of your trip?

E: When I came back, I realized that Berlin is so much quieter. I enjoyed the peace and silence. And I thought: nothing's going on here. That's not true, of course, but it's just the comparison. And I'm glad that people in Berlin are more approachable. When you speak to them, they don't immediately wave you off. They listen to you first. And it seems to me that people are more free. But I was in New York for two weeks only - and that was my first impression. And I saw how photogenic New York is, compared to Berlin. This is due to the impressive architecture and the interesting characters. Many people are styled and have a special face and appearance. That's the myth of New York. I'm happy about what the city has given me or what the city has given my camera. I am grateful that I have now exhibited the prints here in the exhibition. If I hadn't been in New York, I might not be here now.

Filipe Nascimento

Born 1980 / Lissabon

Images for STOP LOOK GO taken in Holland / 2020 - 2023

Gregor: How did you get into analogue photography?

Filipe: Although I've always been interested in photography, I only started taking photos myself in Berlin. That was about 13 years ago when I moved here from Lisbon. In Portugal, I couldn't find work as an architect and in Berlin, they were looking for architects, so I arrived with just my backpack. I applied everywhere but didn't get a job here either. Until I realised that I absolutely had to learn the language. I stopped knocking on the various doors, it was pointless. And I took an intensive German course. For six months, every day. Then I was ready and applied for work again and eventually found a job. It was during this time that I had the idea of taking photos. Maybe it's because there's a tradition of analogue photography here that inspired me. And I soon got to know people who were doing analogue photography. I didn't know that from Portugal. To understand the basics, I took a photography course at the Volkshochschule. The teacher was really good and it was my first time being in a photo lab. That moment when an image appears on white paper hooked me right away. That's how I started.

G: Have you ever taken digital photos?

F: No - apart from the occasional snapshot with my mobile phone. For me, it's about the individual steps, the process, rather than the result. Of course, the process isn't complete without the result, but I'm not interested in simply taking images. With a digital camera, people take dozens of photos, can immediately delete what they don't like and then adjust the photos on the computer. It's very different from analogue photography. On my medium format camera, I only have 15 shots per roll, so I have to think carefully. The motif itself is essential, of course. But also the exposure time, ISO, lens and so on. A lot of it can be calculated, but some of it is also gut feeling and experience.

G: How do you find your motifs?

F: I like to go on long bike rides, sometimes 50km or more - always on the lookout for perspectives that interest me. My Zenza Bronica 120mm medium format camera is quite heavy and I don't have it with me on these tours. So a week later I ride back to the motif and take the picture. Then I discover new motifs and change the plan or come back a week later.

G: Which cameras do you use?

F: Besides the medium format camera, I also have two Olympus (rc 35 and om2) cameras. One of which I only use for spare parts. I repair the cameras myself and enjoy working on the mechanics. A technician in Portugal milled the wheel on my Olympus rc35 from a small metal ring himself.

But despite all the technology and planning, there is one moment in the whole process that fascinates me the most. It's the development of the film in the lab. Weeks after I've taken a photo, the image appears on a white sheet of paper - that's the magic moment. This time in the lab is like a little vacation for me.

Sometimes I believe I only take the photos so that I can enjoy this little miracle later.

That's why there's a part of this exhibition where I show the process. Of course, I could have displayed more photos, but I wanted to point out that analogue photography is so much more than just a beautiful picture.

G: Is there any synergy between analogue photography and your work as an architect?

F: Not directly. I try to take as few photos of buildings as possible. I want to see and understand different things. Indirectly, however, there are things that I have learnt as an architect that help me as a photographer. And vice versa. The photographer has certainly learnt patience from the architect. And the awareness that it is very important to master your tools properly.

Photography has made me a happier architect because the work as an architect can be exhausting and monotonous. It takes years for the idea to become a finished building. There are a lot of people involved in the project and you are dependent on so many factors. Photography is different and therefore helps me to stay in balance. As a photographer, I have everything in my own hands. I don't need anyone and I can see the result after just a few weeks.

G: Would you say that architecture is art?

F: Yes - but in practice, it has little to do with art. It's 95% labour and 5% inspiration. First and foremost, it's a lot of technical work. You have to comply with rules, like fire protection, and calculate statics. This has little to do with art. Architecture has a very practical function. People can live without photography - but without buildings? And some houses or buildings last for thousands of years. Nevertheless, art is just as important, even if not instantly. That's why photography is so important to me because it's 95% inspiration and only 5% technical.