The Travelling Canon AF35 Project - Custodian #5 - Tina Kino

My little plastic fantastic Canon had a tough time getting to Berlin and my friend Tina Kino. In fact it never made it to Berlin at all! We assumed it lost, and Rob was kind enough to replace it with a racy red model fresh from German eBay.

Well, that little red replacement arrived in Berlin and Tina was happily snapping away, no doubt thoroughly underwhelmed by it's rank mediocrity, when unfortunately the replacement went and broke, it's tiny little film advance cog now just a cog.

Sorry Rob, that wasn't a great return on your investment in this project!

Thanks to Tina for being involved in the project and for procuring another replacement camera; now on it's way to the USA for the next leg in it's journey.

I recommend you check out Tina's feed on Tumblr here especially love her ongoing series of camper-vans and mattresses on the streets of Berlin.

And now onto Tina's (sadly limited) experience with the Canon AF35 Sprint.

 Tina Kino

Tina Kino


My first ever camera was a Canon Sprint (not this exact model, but a similar one).
It sold for 100,- Deutsche Mark if I recall correctly, and that was a lot of money back then,
I loved shooting with it - and there's still some prints of it in the family albums.

So when I saw Michael was doing this travelling-camera-thing with one of these Canons I was quick to ask whether I could join!
It's all pretty self-explanatory with point-and-shoot like this, but to be honest I couldn't wrap my head around the flash / macro mode,
so I did look for the manual online (hint: it's here).

This must be one of these rare point-and-shoots with a built-in flash-supported macro-mode for taking pictures of flowers, indoors.
I love the cute yellow indicator on the necktstrap that helps you with the close-focussing-distance.
Further it says that Flash is alwas used with close-up photography so please don't take pictures of people's faces
: ]

So this is pretty much what I did (not photographing real people though, but printed faces, in advertisments).

It was fun!
It's a neat little camera that does what it says it does, the lens is not one of the best there is, but it's reasonably sharp and contrasty, and colours are good.
One of the best things about is that it really looks like one of these cameras that people just don't take seriously.
I shot a couple of my friends with it at well, some very hesistant usually, but with this little thing they suddenly didn't seem to care.

Oh, one more I really liked - the one with the balloons! 
: ]

Film was Kodak Ultramax 400 by the way.


This is on it's way to the next custodian in the US of A.. with best greetings from Berlin!


Love,  Tina Kino


Read more in the Travelling Canon AF35 Porject series:

See the first post here.

Custodian #1 - Gavin Wares.

Custodian #2 - Dimitri Hon.

Custodian #3 - Hamish Gill.

Custodian #4 - Rob Edgerly

Are you interested in getting involved? If so please get in touch!

The Travelling Canon AF35 Project - Custodian #4 - Rob Edgerley

The humble Canon AF35 Sprint continues it's world trip, delivering photographic enlightenment and frustration to each of its custodians and I hope you'll agree, creating some pretty passable images in their hands.

So, to introduce custodian number four; Rob Edgerley. I count Rob as a friend, although we have never met IRL! His street photography has a strong visual style and he's consistent with it; all killer, no filler. 

You can see a selection of his fantastic work here on his website and follow him on Instagram here.

You would probably forgive me for being jealous of Rob's ability with a camera; his transformation from a keen hobbyist to burgeoning street photography master has been rapid and really enjoyable to witness; keep up the good work Rob!

In my opinion he's one to watch for the future and his story of using the thrillingly mundane Canon AF35 Sprint is below.

 Rob Edgerley

Rob Edgerley


Well, that was fun! I must admit though, it’s also a huge relief, as my first attempt at capturing three worthy images ended in total disaster. Read below to find out why, but first I will introduce myself a little.


I’m an ASIC design engineer living and working in Switzerland with a passion for photography. Growing up in an increasingly digital world, my only exposure to photography has thus been purely digital. My first camera was a Canon 7D, so the idea of taking a £1 camera out for a spin was daunting to say the least. What if I discover that I am only capable of taking a ‘good’ photograph with multiple attempts? What if I fail?. With this camera, I had nothing to bench mark against and the only things I had control of were composition, focus and when the shutter was released. A good image then, is almost purely about the photographer. Gulp.


Our journey started in Asia, where I endeavoured to capture the beautiful scenery and more importantly, the wonderfully vibrant colours that are so synonymous of this stunning part of the world. Well, erm, turned out I was shooting in B&W all along, which I only discovered after the images were developed. But that really didn’t matter anyway, as I knew already that it was unlikely I would have a single image to submit.

After shooting just a couple of images per day for the three and a half weeks we were there, my film and our time in Asia was almost spent. I was saving a few shots on the film for the last day, where we’d planned to take a walk through the thousands of red Japanese gates marking the path to the Fushimi Inari-taisha Shrine in Kyoto. The sun was high, and there were tons of people making their way up to the shrine. I wanted a single shot of the gates, without hundreds of tourists blocking the view, and I got lucky. Despite the numbers, I somehow spotted a break in the crowds up ahead, just enough for me to grab my shot. With the camera hanging around my neck, I ran. Literally ran, and to my horror, mid sprint, the camera back flew wide open exposing my film to the bright sunlight. I quickly closed it but it was too late. I thought perhaps I’d get away with a few images still intact, but alas, all images in the set were either completely or partially exposed. Here are two images in the set which show the extent of the damage.


The thing that caught my eye with these images was colour. The bike was vibrant orange
and the trees a whole range of beautiful autumn colours. Not to easy to tell in monotone,
though.

With the second attempt, I was certain not let that happen again so I taped the back of the camera shut with gaffer-tape - which I repeated for the next custodian. My original idea was to load another black and white film, but the shop didn’t have any in stock, so I went with whatever the lady in the shop recommended there and then. Honestly I hadn’t a clue either way, so it didn’t make much difference.

All images below were taken in Bern, Switzerland, over a few days and have had the following minor post processing steps done to them. A contrast boost, very very slight colour correction (towards blue) to one or two image, noise reduction and then sharpened for web at export. I just love the tones straight out of the camera, though. Just one or two were a little too warm for my liking.

The first image was taken at the rear entrance to the train station. I’ve taken an image or two here before, as I love the way the light hits the steps. It’s the first time I’d gone for this composition though, and I particularly like the way the steps help lead the eye to the left of the image.

The thing that caught my eye with the second image was the shadow cast by the people crossing the road. The sun was quite low early afternoon which usually makes for an interesting shadow, somewhere. I realise if I’d been able to review this image immediately, I would have taken it again and have my subject just entering the crossing. This is the beauty and skill of analog photography though.

Again it was a the shadow that caught my eye with my third image. A bit of growth behind a cordoned-off section of the parliament building, which is currently undergoing some partial renovation work. Simple yet intriguing and those tones!

This is my fourth and favourite shot out of the set. I was wandering around the parliament building when I spotted this guy out the back. A traveller taking time out to have a smoke out of the ice cold wind and with the setting sun on his face. I walked passed and we exchanged a glance. I was immediately thinking ‘I want a shot of him’ and with the camera in my hand, he knew I was about to ask. I approached cautiously, with a smile and a racing heart. I told him the story behind the travelling camera (in German) and he reservedly agreed to the shot. I thanked him and left absolutely buzzing. I knew, if all other shots failed, I’d at least have one I could be proud of, if I’d judged the lighting and composition correctly that was.

The next image is again taken at the train station. It’s a new office building with a few shops and restaurants on the lower levels. I quite like the perspective and also the numbers displayed in the windows, a huge advent calender, thus marking the time of year the shot was taken. I was also really curious how the AF35 would handle this shot. It was very bright and I wondered if it would would warp the perspective at all. It didn’t and the AF35 performed admirably in these conditions.

My final image is again a favourite of mine and more towards my preferred style of photography. Again the AF35 performed exceptionally well in these conditions. I really didn’t expect this one to work as well as it did. My idea was to time the step of the guy crossing the road with the statue. I was a fraction too eager, but I’m still very happy with the shot.

To conclude then, I learned that, although I pressed the trigger each time with a great deal of caution and reserve, I can submit these images with certain amount of confidence that I indeed do know how to take a photograph, and don’t need to immediately review or to have multiple attempts at an image for it to be considered ‘good’. I learned to trust my eye and my ability.


Read more in the Travelling Canon AF35 Porject series:

See the first post here.

Custodian #1 - Gavin Wares.

Custodian #2 - Dimitri Hon.

Custodian #3 - Hamish Gill.

Are you interested in getting involved? If so please get in touch!

The Travelling Canon AF35 Project - Custodian #2 - Dimitri Hon

I would like to say that Dimitri is my friend but we've never actually met, him and I occupy the same internet forum and both share a love for photography. Having 'internet friends' is a strange concept for many people but I embrace it, I enjoy the combination of animosity and camaraderie that meeting people purely through shared interests brings.

Dimitri is custodian number 2 in a rapidly growing list of people wanting to be involved with the project, he's based in London, here are his thoughts on the Canon AF35 SPRINT:


Getting a chance to play with a new camera that cost £1 can plunge one in to a surprising amount of anxiety. Once you get past the fact that you are probably taking photos for the narcissistic endeavour of refusing to accept one's own mortality you are faced with the fact that the diminutive value of the device its self is making you compete with you alone, more than anything.

Realising this embarrassingly stereotypical male-photographer trait like an old memory that still makes you cringe, I decided to just have fun instead and hit a few spots I enjoy taking photos and see what happens.

You see, I'm fundamentally lazy, so the first place I decide to go is the Barbican. For those of you that live outside the M25, this is essentially the Vatican for brutalist architecture. It really is that great. It's such blindingly good subject matter that you could point your camera anywhere and it will probably look a bit arty, at worst. It's like Cuba but cheaper to get to.
I got maybe one keeper from there, and that was from my "cop-out" spot, overlooking a pavement, right in to people's domes. Not exactly original but unique in its perspective, until drones arrived at least.

 

Otherwise, I got pretty fixated on camper vans. There's quite a few in London but what I found interesting was the reluctance to blatantly photograph them up close in case someone was home, so I inadvertently ended up with really voyeuristic angles, which could develop in to something...
I have to nod to Tina Kino in this instance, as she did a really nice series on modded vans in Berlin whereas I just took a few shit photos of a couple of transit vans in Finsbury Park... But there's something compelling about people living like nomads in little capsules next to the pavement.

My last location was Walthamstow market, which can be a tricky place to photograph. Some days you're just compelled to climb a bollard, throw caution to the wind and be ballsy whereas on others, you become camera shy and shoot from the hip. It all depends on the mood at the time and on this day, I wasn't feeling the urge to get in people's faces (which is usually an indicator of do the opposite).

All in all, it was fun to photograph loosely again, which is something, even with the infinity of digital, we forget. I had no idea if the film was colour or B&W or how accurate the frame lines were, so it was very much a case of going on feeling.

 

It's a good exercise. Good in the sense that you will ultimately be slightly disappointed but not so much so that you still feel like you learned something, no matter how intangible.

I learned that I photograph compulsively.


Thanks to Dimitri for participating and for posting on the camera to custodian #3!

You can see more of Dimitri's photos here:

Ektar 100
Scilly Isles