Post your recent Holga 120N shots here~!

[awty]

 

[awty]

These are both very nice, the Moon at Wilson Downfall is really very lovely.
Robert

Thanks

 

[awty]

 

[Jim Peterson]

Black Jack X-Country. Rossland, BC

 

[awty]

 

[Jim Peterson]

 

[Jim Peterson]

Barnaby Island, Columbia River, Holga 120N, Tmax 400

 

[awty]

<a data-flickr-embed="true" href="" title="Pond"><img src="https://live.staticflickr.com/65535/52670243990_6bbc4850d3_k.jpg" width="2048" height="1598" alt="Pond"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>

 

[Jim Peterson]

Chief Joseph grave site, Nespelem, WA. Holga 120N,

Tmax 400

 

[awty]

<a data-flickr-embed="true" href="" title="The Presbytery"><img src="https://live.staticflickr.com/65535/52971271856_2d8784cf57_k.jpg" width="1562" height="2048" alt="The Presbytery"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>

 

[eli griggs]

I'd still rather have a podiatrist than a waitress with a defibrillator.

Tools do matter, of course, but not nearly as much as knowledge, experience and skill.

In large part, this is why I very early on started to buy, even if I had to wait long periods to do so, top shelve artist tools and materials, based on good advice from some very good instructors, read or shown.

By starting with best quality, you eliminate a huge portion of the long, often never ending, learning curve to good results.

Any painters in this group whom have used cheap brushes ought to be able tell of the aggregation of picking hairs or bristles out of a work, often destroying good brush strokes that need destroying brushworks in the process.

Or rusting ferrules, or ferrules that pop off or brittle paints or enamels that just make a mess and soak up liquids causing swelling and more destruction.

That would be like a camera that can no or will no perform beyond a level where you are trying to work in.

Cheap or badly compounded paints, that are no colour fast, or lack intensity, or darken because the wrong oil was used, or acrylics that do no blend well together with each other or on a sub-par ground, are like films that do not produce acceptable negatives or shift colours into far from the subject photographed.

Buy first quality, wait as needed for the right professional quality tools and ignore questionable films until you are skilled enough to use their "failing" or questionable compositions to your benefit and taste.

While I've never found a camera or lens or film I could no use to make images, and you won't either, but, most of us have experienced kit that simply will no realize our vision of the image before us.

Starting with poor kit can result in be a hindrance we might be the only way we can do photography or paintings with, but just like bad brushes, paints, canvases, tend to stay in your paintbox or studio, forever, so do bad cameras, lenses, films, continue to burden your photography and learning advance skills.

Once again, start learning with quality, and then, once you've reached a indefinable skill level, then use the lesser kit to make images you have the vision and skill to manipulate the whole, with subject into novel or special.

IMO.

 

[foc]

By starting with best quality, you eliminate a huge portion of the long, often never ending, learning curve to good results.

+1
Like to old saying, buy cheap, pay twice.

 

[awty]

In large part, this is why I very early on started to buy, even if I had to wait long periods to do so, top shelve artist tools and materials, based on good advice from some very good instructors, read or shown.

By starting with best quality, you eliminate a huge portion of the long, often never ending, learning curve to good results.

Any painters in this group whom have used cheap brushes ought to be able tell of the aggregation of picking hairs or bristles out of a work, often destroying good brush strokes that need destroying brushworks in the process.

Or rusting ferrules, or ferrules that pop off or brittle paints or enamels that just make a mess and soak up liquids causing swelling and more destruction.

That would be like a camera that can no or will no perform beyond a level where you are trying to work in.

Cheap or badly compounded paints, that are no colour fast, or lack intensity, or darken because the wrong oil was used, or acrylics that do no blend well together with each other or on a sub-par ground, are like films that do not produce acceptable negatives or shift colours into far from the subject photographed.

Buy first quality, wait as needed for the right professional quality tools and ignore questionable films until you are skilled enough to use their "failing" or questionable compositions to your benefit and taste.

While I've never found a camera or lens or film I could no use to make images, and you won't either, but, most of us have experienced kit that simply will no realize our vision of the image before us.

Starting with poor kit can result in be a hindrance we might be the only way we can do photography or paintings with, but just like bad brushes, paints, canvases, tend to stay in your paintbox or studio, forever, so do bad cameras, lenses, films, continue to burden your photography and learning advance skills.

Once again, start learning with quality, and then, once you've reached a indefinable skill level, then use the lesser kit to make images you have the vision and skill to manipulate the whole, with subject into novel or special.

IMO.

What a load of dribble.........talking of dribble Pollock used old house paint.

If you dont like Holgas, then feel free to offer an alternative thread of pictures you made using high end equipment and we will see who's better.

This is the Holga appreciation thread.

 

[awty]

Chief Joseph grave site, Nespelem, WA. Holga 120N, View attachment 346699 Tmax 400

Gotta love a grave stone and dead tree.

 

[awty]

<a data-flickr-embed="true" href="" title="Light Box"><img src="https://live.staticflickr.com/65535/53094025331_0af68d0e2e_k.jpg" width="1591" height="2048" alt="Light Box"/></a><script async src="//embedr.flickr.com/assets/client-code.js" charset="utf-8"></script>

 

[Donald Qualls]

Like to old saying, buy cheap, pay twice.

Sure, or "Buy once, cry once." But there's also "Best you can afford now, don't wait until you can afford the best." For rank beginners, the quality of the gear means little (needs to be reliable, but you don't need a Sonnar on a Leica to learn to use a rangefinder camera, you can do good work with an Argus C3 or a Mess Ikonta that will cost less than a tenth as much).

 

[bags27]

With the N. Can't remember the film, but probably with pyrocat.

 

[xya]

In large part, this is why I very early on started to buy, even if I had to wait long periods to do so, top shelve artist tools and materials, based on good advice from some very good instructors, read or shown.

By starting with best quality, you eliminate a huge portion of the long, often never ending, learning curve to good results.

Any painters in this group whom have used cheap brushes ought to be able tell of the aggregation of picking hairs or bristles out of a work, often destroying good brush strokes that need destroying brushworks in the process.

Or rusting ferrules, or ferrules that pop off or brittle paints or enamels that just make a mess and soak up liquids causing swelling and more destruction.

That would be like a camera that can no or will no perform beyond a level where you are trying to work in.

Cheap or badly compounded paints, that are no colour fast, or lack intensity, or darken because the wrong oil was used, or acrylics that do no blend well together with each other or on a sub-par ground, are like films that do not produce acceptable negatives or shift colours into far from the subject photographed.

Buy first quality, wait as needed for the right professional quality tools and ignore questionable films until you are skilled enough to use their "failing" or questionable compositions to your benefit and taste.

While I've never found a camera or lens or film I could no use to make images, and you won't either, but, most of us have experienced kit that simply will no realize our vision of the image before us.

Starting with poor kit can result in be a hindrance we might be the only way we can do photography or paintings with, but just like bad brushes, paints, canvases, tend to stay in your paintbox or studio, forever, so do bad cameras, lenses, films, continue to burden your photography and learning advance skills.

Once again, start learning with quality, and then, once you've reached a indefinable skill level, then use the lesser kit to make images you have the vision and skill to manipulate the whole, with subject into novel or special.

IMO.

I started learning photography with a cheap pre-war Agfa folder from my father at the age of 7. A year later I was able to develop film myself and to make contact prints, 6x9. At the age of 13 I changed to an East German Werra that I could afford with my pocket money and I got an old enlarger for cheap. Had I waited until the end of my studies to be able to buy a Leica, I wouldn't have become an artist photographer...

 

[bags27]

I once saw a show of Ansel Adams's teenage photography taken with a Brownie. Incredible stuff. Just sayin'

 

[Donald Qualls]

Ansel Adams's teenage photography taken with a Brownie. Incredible stuff.

Talent is talent. Not bad at all for a concert pianist.

 

[bags27]

Talent is talent. Not bad at all for a concert pianist.

yes, coulda been that as well. A guy with classic intellectual and social peaks and valleys . The peaks turned out to be as high as Half Dome.

 

[Arthurwg]

Let's face it, Holgas make the best pictures.

 

[bags27]

I cheated on this one: the Holga with the glass lens. Portra 400

 

[Jim Peterson]

Sea Foam, Holga 120N Tmax 400 Rialto Beach

 

[Jim Peterson]

The Watcher. Mouth of The Colville River, NE Wahington. Holga 120 N Tmax 400