Pottery Class on Potsdam Kino B&W 120 Film

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Last October, I spent two consecutive weekends in a beginner’s wheel throwing class. The introductory course was divided into three parts and spanned three days, covering the basic techniques from start to finish.

Looking to build new skills that both nurture and cultivate active concentration and creativity, I thought this to be a good way of seeing how my hands could be used as a tool to create something meaningful and to capture it on film along the way using the medium format Lomo LC-A 120. Having enrolled in the class with my friend Sophie, I saw this to also be a memorable way to document our experience with it being both of our first times to throw and sit at the wheel.

I chose the Lomo LC-A 120 — the camera that also so happens to be favored by Mark Ruffalo — for its 6x6cm square grid and 38 mm f/4.5 Minigon XL wide-angle glass lens. I wanted to create photos as if they were postage stamp photo cards that could easily slip in and out of pockets once printed without losing their sharpness of quality and nuanced level of detail.

Credits: macasaett

I loaded the medium format camera with the Potsdam Kino B&W 120 ISO 100, a low-light sensitivity film stock that falls on the greyscale with its finer grain and higher contrasts. It was my first time using the film stock and I wanted to see how this would hold up in an indoor setting (but in a space with lots of windows and natural morning light peering through).

See the progression of days roll out and the wheel-throwing steps broken down per session all documented on film: playing around with the multiple exposure (MX) feature and framing a variety of photos using the four focal ranges: 0.6, 1, 2.5, and infinity (but mainly 0.6 and 1)

Day 1: Centering

The first session was spent learning about the materials and the techniques for throwing; a brief introduction to the different stages of clay and the physical practice of centering, coning, doming, pulling, compressing, and more.

With leather-hard clay already placed aside and prepared by the instructor, I headed to the wheel and began centering the clay, intending to create bowls and plates.

To create a strong and sturdy foundational clay object, complete focus and connection to one’s body are necessary. Sitting at the wheel means taking on a steady anchor position against the spinning wheel while simultaneously shaping the clay into a powerful figure. During my class, I would often pause to take photos around the studio using the LC-A 120. Fortunately, the camera's built-in light meter made it easy to quickly snap photos without worrying about adjusting the aperture and shutter speed, while the 1/500 maximum shutter speed allowed me to capture images of the spinning wheel in motion with a softer and gentler look.

In this session, I made about five clay objects: a mix of below-average-sized bowls and plates (as of writing this, only four made it out of the glazing and firing stage alive).

Credits: macasaett

Day 2: Trimming

On the second day, the focus was on trimming the round clay objects. These objects had gone through two firings at 1200 degrees and were now ready for final touches. The aim was to refine the figure, work on the curves, add texture, and form the final shape — fully emphasizing the rounded objects even more, giving them a more pronounced look. This allowed one to see and feel the results of their approach to technique and the precision required to capture the desired outcome.

Attempting to create timeless pieces, it felt instinctual to have all of them shot on film, specifically black and white film, to retain a handprint feel to it. I was pleasantly surprised by the Potsdam Kino’s great latitude and its ability to capture a wide range of light despite some of the photos being taken against it.

Credits: macasaett

Day 3: Painting

With the clay objects glazed and fired again after the trimming session, the third and final day was meant to give color by way of painting to one’s set of crafted pieces.

The multi-step process in pottery — from throwing, to glazing, to touch-ups — all point to the very fact that the practice requires time to be a marker for growth. In the same line when approaching film photography, surrendering and intuitively trusting in the natural passage of time is what’s common within these two disciplines. To quite literally develop one’s images and also create a solid figure to have and to hold demands patience and sensitivity in its techniques. Sensitivity within the tangibility; whether in handling the clay or operating the camera, the placement of hands, body framing, and the positioning of oneself is crucial when wanting to produce thoughtful and intentional work. Analogue photography and wheel throwing then take shape and adopt meaning through the hands that secure and connect.

Credits: macasaett

Have you ever tried photographing your pottery practice on film? What's your favorite part about wheel throwing and making ceramic mugs, bowls, plates, etc.? Comment and share them with us below!

written by macasaett on 2024-06-09 #gear #medium-format #black-and-white #120 #bowls #plates #pottery #ceramics #wheel-throwing

Mentioned Product

Lomo LC-A 120

Lomo LC-A 120

The Phoblographer Editor's Choice Award Winner "The best street photography camera: film or digital. Pretty much nothing will beat this."

3 Comments

  1. polaroidlove
    polaroidlove ·

    Great article, the photos show so much detail. 😊

  2. macasaett
    macasaett ·

    @polaroidlove thank you!!

  3. polaroidlove
    polaroidlove ·

    @macasaett, no worries, looking forward to your next article! 😊

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