I didn’t shoot the whole second roll of le Fantôme in the snow… I also checked the 35mm f/2 D focus range… I took a couple selfies too. Sure, I more or less just burned the roll, but what else is film for?
Author Archives: James Cockroft
tuer le Fantôme II: la rupture de neige
After my first failure with Lomography’s Fantôme Kino film, I was hesitant to try it again. Then, one day in early January 2021, after some success with the Babylon Kino, I shoved a roll into the FM3a, bolted the 35mm f/2 D on the front, and went to town… Interestingly, and rare for North Texas, …
tuer le Fantôme I: ne reste pas
When Lomography announced its Fantôme and Babylon Kino films, I hesitated at first, then went ahead and ordered 5 rolls of each. I wasn’t too excited about some slow black & white film, but I appreciate what Lomography are doing, and want to support new (and newly available thanks to repackaging) film stocks. They took …
Jonathan Levitt – ‘Echo Mask’
Editor’s note: what follows is a sort of writing exercise, undertaken in response to Janet Malcolm’s brilliant “Forty-One False Starts.” I didn’t do it justice, though I did have some fun writing it. If you want a proper, if brief, review, jump to the bottom. If you want to see me have some fun, well, …
Nathan Benn – ‘A Peculiar Paradise’
A Peculiar Paradise: Florida Photographs is exactly what it claims to be: photographs, made in Florida, by former National Geographic photographer (and one time head of Magnum) Nathan Benn. Most—if not all—of the photographs were made in two Geographic-funded trips, one in 1973, “to fill out another photographer’s coverage of the flourishing Cuban-born community centered …
Shooting Up Babylon
After a disappointing run with my first roll of Lomography Fantôme Kino (seems I only shared that on Twitter, and so I’ll rectify that next week, God willing), I shoved the other rolls of Fantôme and the rolls of the Babylon Kino to the back of the fridge. In an attempt to kickstart some photographic …
Talia Chetrit – ‘Showcaller’
For Showcaller, the 2018 exhibition at Kölnischer Kunstverein and this 2019 monograph from Mack, Talia Chetrit deftly wove together selfies and pictures of her friends and family from the early 1990s, with early art projects and much later series, to make something of a statement about gaze and agency and power and things. I’m pretty …
