photography • field recordings • world music • subconscious
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Why Choose a Holga? Part II – The Tortoise

Extremely fast moving — Young Bali Aga men use sharply thorned pandan leaves to fight each other during the Perang Pandan ritual in Tenganan Village. Thrashing one another until severely bleeding, the participants do this to show their respect to Dewa Indra (god of war).

A rangerfinder is a lapdog, always faithful, a stalwart.

A digital SLR is a rabbit, blisteringly fast, hard worker.

A Holga is a land tortoise, staggeringly slow, a meditative beast.

If there was a contemporary symbol added in Chinese astrology — reminding us to slow down in these gigabyte blasting, hard drive stuffing days — it should be a giant land turtle.

When choosing a Holga for the book, Island of the Spirits, it was deliberate act in order to delve into a mindset of not only looking back in time from the perspective of the present, the decision also was to slow things down.

Here’s why: A 64 GB flash card equals roughly 60+ rolls of 35 mm or 180+ fills of 120 mm film into space smaller than a cracker.

In some ways such a massive table to work on is liberating…near limitless photography where batteries will need changing before ever considering the need to change film.

Troublesome in other ways — one can end up producing far too much food to choose from on that table, allowing the weakness of being human to consume more tasteless excess than needed, hindering the mystery and depth found in patients to see (often time sooner) the more flavorful dishes buried amongst the excess. Decelerating also avoids the hours spent in a hotel room working off the gorging from a day’s visual consumption.

Even worse…a lack of moderation can lead to never finding your visual voice.

The protracted pace of the Holga forces you slow down simply by its idiosyncrasies, which can be welcoming*.

Slowing down to a turtles pace while photographing a multitude of ceremonies in Bali had its ying but also a weighted yang;

How to photograph certain spiritual events which at times moved quickly while using a camera that moves film as if dancing tango with your partner in heavy mud?

Cremation ceremonies can last all day, sometimes at a glacial pace. Other times, briskly.

Thousands descend upon sacred water sources during Melasti (cleansing) ceremonies, with many entering rapidly into dramatic states of trance.

Melasti ceremonies start slow but once worshipers enter into a state of trance, it can be like photographing a sprinters.

How to solve the frame past number 12 with a camera that can take 2-4 minutes just to change film?

Solution: Five Holga’s and one assistant, deftly changing rolls of 120 film, turning the tortoise and all it’s pensive but laborious wisdom into a zen-like animal of fluid photographic efficiency.

Five varying models of Holga's were used to create the photographs of the Island of the Spirits.

Throughout the five years it took to photograph Island of the Sprits there were two truly wonderful friends who assisted in making this book actually happen. Bli Wayan Tilik and Bli Yudhistira Dharma, better known in the Indonesian photographic community as JP.

Wayan and/or JP came with me to each and every wedding, cremation, tooth filing, land blessing, spiritual event for the book. Neither of them had ever used a Holga let alone worked with 120 film before.

Appreciating the light leak effects which the Holga naturally creates, I was more interested in deciding the outcome of photographs, not have the camera create the feel of each image with random acts of fogging. To do so, it was imperative to ensure the porous shell of each Holga was completely sealed with electrical tape. There was also deft skill needed to make sure the often loosely spooled rolls of film was somehow tightly sealed before opening the camera back. It required all sorts of beguiling objects taped or glued to the exposed film area inside the camera — FYI, earlier Holga’s didn’t come with the small pieces of foam in present models.

To achieve success also meant finding shade, which is challenging when photographing in a geographic location 8 degrees below the equator.

In the beginning we had hit and miss results but over time JP and Wayan quickly learned techniques and tricks to sustain a fairly consistent level of unfogged film.

Often times looking like an overly decorated Christmas tree, it was this ability to always have 2-3 pre-loaded cameras around my neck (or at least in reach) which helped achieve a fluid flow of photography when events called for nonstop photography.

Photographing a gamelan orchestra using three Holga's while also making a binaural recording of the music with microphones placed in each ear. Photograph courtesy of Lukman S. Bintoro

By no means can one move massive amount of film with a Holga as can be done with a DSLR or even a rangefinder film camera. It defeats it’s purpose. But there were days during truly astonishing event filled ceremonies where we’d get back to the studio and realize there were 20-25 rolls of film in the film bag…and for a Holga, that’s seemed staggering — a whopping 240-300 photographs.

Photographing, slowly, the bathing ritual during a cremation ceremony in Ubud. Photograph courtesy of Lukman S. Bintoro

When photographing with the Holga, I often times made field recordings. The rituals were of course stunning to witness but the audible essence of Balinese spirituality and culture was equally hypnotizing. Here’s a short binaural recording of gamelan performed by a 30-piece orchestra during a cremation in Ubud, Bali:


[wpaudio url="http://72.32.9.12/~jstanmeyer/blog/audio/free-audio/Gamelan at a Cremation Ceremony.mp3" text="Gamelan at a Cremation Ceremony" dl="0"]
(iPhone and iPad)

While changing film and totting 1-2 extra camera bodies, JP or Wayan would also carry the Fostex and an Audio Technica microphone, recording ambience from the periphery, while I had binaural microphones in my ears connected to an Edirol, freeing the hands to work the camera while recording truly three dimensional sound.

JP making field recordings with the Fostex and Audio-Technica microphone while I photograph with a Holga during a cremation ceremony in Ubud. Photograph courtesy of Lukman S Bintoro

Wayan Tilik making an audio recording of musicians performing gamelan music after a barong blessing in central Bali.

Once back in studio, the slow pace of the Holga didn’t stop. There was processing of film, cataloging, archiving, toning, audio archiving and a whole host of other tasks ahead, often requiring similar patients and wisdom found when using the Holga in the field. 

Part III of Why Choose a Holga (on post production and how working with a Holga influenced my other photography) in about two weeks time. For now, the plane is landing in Baltimore and a steward is about to go postal if not shutting down.

 

 

 

To view some of Lukman Bintoro’s photography, visit his blog.

Reminder: I’ll be teaching a 9-day workshop in Bali between August 11-19, 2011. If you’re interested in taking your photography further, being guided through in-depth storytelling and seeking more insight into working with a Holga, this is a workshop not to miss. Visit the workshops section for registration and more details. Hope to see you then.

 

* For an average National Geographic story, it’s not unusual for me to produce (when working over the course of 8-10 weeks) 25,000 or more photographs. That’s an average of round 360 photographs a day or only 10 rolls of 36 exposure film…which truly makes the Holga a tortoise compared to the hare.

 

May 19, 2011   4 Comments