Plastic
Cameras: Toying with Creativity (2nd Edition) by Michelle Bates.
Published
by Focal Press. ISBN: 978-0240814216
Michelle
Bates was first introduced to the 'Holga' camera in 1991. Like many,
including the author
of this review, Bates fell under its spell and has
been using variations on the Holga, along with other 'toy cameras',
for many of her fine-art and editorial assignments. Along the way
she has won several awards and has taken part in various international
exhibitions devoted to work produced via 'toy cameras' such as the
Holga and the Diana. Bates has been keen to evangelise the use of
plastic cameras and has been running workshops on their use since
1998. She has also taught at the Photographic Center Northwest, the
Julia Dean Workshops in Los Angeles and at the International Center
of Photography in New York. She is also sits on the Advisory Board
of Photographic Professionals of Freestyle Photographic Supply.
Plastic
Cameras is a 286 page, soft cover book that opens with a foreword
by Mary Ann Lynch, followed by a short introduction by Bates giving
some background into how she first became seduced into the world of
Plastic Cameras. Chapter one opens with 'What are Plastic Cameras?'
which is an informative introduction to the history of the plastic
camera and the various species available, such as the Diana, the Holga
and Superheadz cameras the Golden Half and the Blackbird Fly.
The
next section of the book, and by far the most interesting, are the
'Plastic Portfolios' where we are offered a selection of work from
artists who
have made using plastic cameras their specialty. On show are many
delightful and often moving images from Nancy Rexroth, Nancy Siesel,
Thomas Michael Alleman, Franco Salmoiraghi, Ted Orland, Anne Arden
McDonald, Sylvia Plachy, Pauline St. Denis, Nancy Burson, Michael
Kenna, Susan Bowen, Michael Ackerman, David Burnett, Mary Ann Lynch
and many more. The images are all beautiful and range from fine art,
social documentary to reportage and each portfolio is accompanied
by informative text that further adds to the experience. Each artist
has a different take on how they use these cameras, some preferring
monochrome film and others colour. Many have experimented with panoramas,
pin hole cameras, multiple exposures and focus. Each one gifts the
reader with inspiration, whether they be seasoned 'plastic camera'
users or are approaching their use for the first time.
The
rest of the book looks at the camera options available and where they
can be purchased along with the film stock you will need to 'feed'
your
plastic friend. You will also learn how to prepare your camera for
shooting, how to load up 'roll film', make modifications and adaptations
to your camera to keep the film tight or its back on securely. Bates
also offers advise on focusing, exposure, the use of filters, close
up lenses and much more - including how to process your film and either
printing or scanning the negatives. Each chapter is filled with inspiring
and beautiful images that make you just want to get out there making
images for yourself. The
book is printed on high quality paper, beautifully laid out in a combination
of monochrome and colour and, at 18.2 x 20.9 x 1.7 cm, is large enough
to do the images justice. A kindle version is also available.
The
use of toy cameras are a great antidote to the clean, instant world
offered by the digital media and Bates enthusiasm for these little
plastic wonders permeates every page of this wonderful little book.
I urge you to purchase a copy, a plastic camera and a roll of film
as soon as possible.
Review by
Christopher John Ball
****
Rating
I have long favoured the use of 'Toy Cameras' in my own working practice
and examples can be found
here.
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