Up until the late 60s Lothar Wolleh was one of Germany’s most successful commercial photographers. Then he gave it all up.
At the suggestion of a friend, Lothar Wolleh began to create portraits of renowned artists. Until his death in 1979, Wolleh worked on a total of 109 artist portraits. These included: Rene’ Magritte, Henry Moore, Joseph Beuys, Lucio Fontana, Christo and Man Ray.
These portraits formed the core of Wolleh’s photographic achievement. Very often rigorously symmetrical, Wolleh placed the artist at the very centre of the portrait and removed him/her from the studio.
Wolleh also invited the artists to intervene on the portraits he’d taken of them. For this purpose, the photographs were usually transferred to photographic canvas and in this way, a unique symbiosis of art and artistic photography was created.
Either way, whether pre or post intervention, Wolleh’s artist portraits are worth many a glance. I think my favourite one is Christo’s (the one taken with the fisheye lense) but I’m not too sure yet. Which one’s yours?
Hamish Gill is a UK based photographer who writes 35mm compact, rangefinder, and lens reviews for his blog. We lent him a Jupiter 3+ lens and in return he gave it one of the most thorough reviews we've ever read!
This article is dedicated to one of the finest British sport photographers, Monte Fresco. In his 30 years of reportage for the Daily Mirror, he took some of the most iconic photographs in sporting history. He covered football, tennis, and boxing. But it is his ice skating pictures that I am most fascinated with. Using my own lens, I give him a modern tribute.
In 2009, Neil Krug uploaded a commercial for Pulp Art Book on Youtube. In the comments section someone asked, “Does anyone know what kind of camera he uses or how he gets his pictures to look the way they do?” Krug was on to something. He did something wildly intriguing, one that looked to have a secret formula.
With only a large format camera, rolls of film and a tripod, a Chinese photographer biked his way from the coasts of Shandong all the way up to the mountains of Qinghai to photograph China's modern landscape.
One of the things I like the most about the Minitar-1 Art lens is how sharp the focus can be when you shoot with a small aperture. So if you are one of those that like to shoot at night, get a tripod, add this to a late dark winter afternoon, and you will end up with a bunch of beautiful long exposures. This is what I did on my last trip to Europe.
Berlin-based actor, pro skateboarder and photographer Conrad Bauer has a few tricks up his sleeve. Escaping the grey skies of Germany, he took the Lomo'Instant Wide with him on to the streets of Barcelona and shot some material for an upcoming skate video, what he calls "postcards for myself."
Between commercial work, shooting weddings, and hitting the waves, Honolulu-based photographer Wes Hodge works on his #instax366project, creating and sharing one (and only one) instant photo per day. We had the chance to chat with him about the trials of perfectionism and his first impression of the Lomo'Instant Wide!
The LomoLab EU has moved and is now open for business! Analogue lovers from Austria, Germany, Spain, Netherlands, Belgium, Luxenbourg, and the rest of Europe can send their films to:
However, if you're based in Germany - and you don't mind a longer waiting time, you can still send your rolls for processing to:
Lifesmyle Store Berlin - LomoLAB
Without a truly established means of identifying criminals, one can only imagine the difficulties that law enforcers prior to the late 19th century had faced. True, the invention of photography had been of great help in documenting rogues photographically, but then police had yet to figure out a way to organize so that retrieving photos and pertinent information would take less time.
Colors may be amped to look unreal, like nothing of this world. Shots may be doubled, cross-processed, post-processed, mixed up into collages. The possibilities are infinite, yet some photographers still prefer black and white. Even in 2016, it is an ode to classic values of precision and balance. Light and shadow must be one pleasing dance. And just like in a well-choreographed piece, forms are obvious or playing coy. It all depends on how you're looking.
A photograph is a sponge of change. It resists to be one thing for all time. When it soaks up some sun and sip in a little moisture, it is already in a state of chemical imbalance. It welcomes decay, and a new beauty sets in.