The latest issue from Etéreo Zine, Somos Paisajes, focuses on the theme "We are Landscapes", an inner journey into the outer landscape that surrounds us.
Eight artists have been selected from an Open Call and were each given a roll of Lomography film to create a project featuring experimental and dreamlike analogue photographs, double and long exposures, noise and experimentation. Check out all the stunning results!
For me, shooting on film allows me to experiment directly with the physical material. Experimentation in my work is closer to a craft or a game than to any technical aspect. The magic and the surprise of not being in contact with the results immediately helps me at the moment of shooting. Composing the picture without fear or insecurities. Leaving more space for chance, for a sort of representation of the moment. I chose Purple because its colors evoke me to the oneiric, to the dreams and memories that I keep unclear in my mind. Gorka Manterola Lillo
I'd been taking photos without connecting with them for so many years, until the day I shot my first film and there was no going back. What I always wanted showed up naturally. Same as for many. Since then, film photography has become an essential part of my work and life, which I love to explore, experiment and continue learning. This time I chose the Metropolis 400 film with the intention of trying something new. I especially liked the color saturation, without being exaggerated, the fair grain and the subtle purple tones. Ester Montenegro
Photography, for me, started as a tool to express everything that was in my head, which could not be expressed just with words. When I am opening myself up in such a visceral way, I also seek to do it as the same intimate and concrete way, for me analogue photography helps me with all this. It is my way of breathing when I really want or need to be heard, the magic of the analogue process involves listening to oneself, knowing the tempos of each organism and, above all, rejecting the new world that takes us so stressfully. I got to it thanks (or unfortunately) to the need to overcome a really hard duel; and since then, it has been an extension of my being.
There is no other way (except for music) I can imagine expressing myself in the same intimate way as with analogue photography. The reason why I chose the Lady Grey film was because of the search for the contrast that I can acquire with a 400 ISO film, as well as the ease of developing the film, since I can develop black and white by myself. Also, although my work increasingly acquires more touches of color, I am a black and white person, governed by light and darkness, like life and death. Ariadna Sardà
A few years ago I took possession of a compact analogue camera and an instant camera that belonged to my parents. The choice wasn’t a conscious one, only circumstantial. But soon I fell in love with the artisanal process and with the aesthetic. Then, I established a connection between photography and anthropology in order to use them in a variety of fields. Lomography films offer me the possibility to explore the image and the landscape. Thanks to Potsdam Kino B&W I was able to transform my everyday life into something dreamlike, connected with emotions and with the true meaning of the place where I was born. The possibility of making mistakes along the way makes the result always surprising. Rebeca Cambeiro
Analogue photography for me is a very good way to disconnect from technology, to shoot what you want without pressure. What I like the most when I shoot in analogue is to practice my patience, without being able to see the results at the moment, living in a society in which we want everything fast and at the moment, I find the slow process of analogue photography very satisfying. On the other hand, what I value most about shooting in analogue is being able to be present in each image, since I don't have unlimited shots I think much more about the images I want to create.
I believe that analogue photography is important and necessary for photographers, in order to be more present and connected in our projects. For this personal project I used Lomography Color Negative 120 ISO 400, I really enjoyed experimenting with this film, and was very surprised by the warm color tones, and how they changed differently in each photograph. Sara Belmonte
Analogue photography gives me a moment of calm. When everything around me moves dizzyingly, when everything is productive, fast and efficient, analogue photography requires time and a lot of patience. It allows me to enjoy every step, from buying the film to receiving the scanned negatives. And it's funny, although when I'm taking the photos I don't remember much of what I'm photographing, when the photos arrive (months later) it's like reliving those days and moments. What I liked the most about the Potsdam Kino film is its texture and its grain, as if it were a grainy paper. The photos I have taken with it seem to be from another era. Irene Muñoz
I have been dedicated to analogue photography for almost 10 years. I don't consider myself a photographer, nor have I ever considered myself as a professional, but as someone with the need to record, to shoot, in a totally amateur way, with the magic of knowing that every shot counts, and that you never know what you really thought you saw. Over the years, looking through my archive of negatives I realized that, without intending to, most of my photographs had a common theme. The blurs, the empty landscapes, the off-field...in short, I found in these photos that, by a matter of chance, or purely unconscious, most of my work was focused on the lack of something, in trying to represent an absence, a space where there should be something, but there was not.
Over time, I have thought a lot about this and realized that out-of-focus photographs end up being a much more honest testimony of reality, memory and the passage of time, a much more reliable one, than sharpness. Because looking at the past is often looking at a blurred spot that we reconstruct. A memory is always a badly focused photo, you can intuit the shapes but you will never see it again with the same clarity as when you pressed the button.
The film chosen for the call was a LomoChrome Metropolis ISO 100-400 shot with an Olympus MJU during the month of September 2022 in the city of Madrid. I was interested in its grain and aesthetics for street photography, its ISO range, and the intention of pushing it for night scenes. Divided between day and night and in line with recent interests that have been moving me, the selection focuses on absences, blurry memories and evocations. I have tried to suppress the human factor and even that of the landscape, seeking to isolate some motifs out of context either with the frame or the light. The photographs have been digitally edited and reframed with the intention of adding one more layer of digital dirt, seeking as a result a "copy of the copy of (..)" and not an original. I consider analogue photography my starting point, it shapes my way of looking at and thinking about the world, but I try to use all the tools at my disposal during the creative process. Josan Martín
Wind, sun, cold, fog. To cease to be visible or perceptible. To cease to be present in a place. I wish everyone knew that I am afraid. That I am not able to get rid of things. That, for that reason, I always repeat everything. I walk every week in the same place. I take the same photo over and over again thinking, deluded, that it will be better than the previous one without realizing that what interests me most is what has already disappeared. Chasing the trail of images is the reason for taking photographs. Being aware of the vulnerability of the analogue is another of our decisions. Aitane Goñi Landa
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