Let’s get the apology out the way first. Sorry this review is Six months after the release of this tiny camera. When Lomography sent us the Diana Mini to review we didn’t want to just produce another standard review from one Holgablog writer, we wanted to build on one of the key strengths of the Mini: the portability, and decided to couple that with one of the strengths of Holgablog : the breadth of writers we have from across the globe.

We hatched a plan to send the Mini across the planet to our writers in  far flung corners of the world. Each writer would have the camera for a few weeks, take a couple of rolls of film (Lomography kindly sent us some redscale and slide film for the camera), jot down their thoughts and post it to the next writer.  There were a few stumbling blocks, and the project took longer than anticipated, but the camera finally arrived with our final reviewer last week.

Before each writer posts their thoughts and such shots, here’s a quick recap of where the camera went.Scotland->England->Latvia->Scotland->Minnesota(USA)->Virginia(USA)
View Diana Mini in a larger map

We have other writers in as far as Australia, but figured we would play it safe for our first major review collaboration. So without further ado, here is our joint review…

Scribe (England)

On opening the package, I can’t help but notice how cute the Mini is. Did you ever put crisp packets under the grill to make them little? It’s a bit like that, but with a camera. The Mini feels more solid than its bigger brother (or my Diana+ at least). After working out various flaps and switches, I load up the first Holgablog film and head out.

Out and about, I can imagine people with large hands having difficulties. However, the same could be said of the LC-A or Golden Half – c’est la vie. Again, a “clunkier” feel in action than my Diana+. Worth not being too forceful, but also satisfying to carry round and slip in/out of a pocket. Wishing my Golden Half could do multiple exposures…

My results here have been posted, scanned, e-mailed, and tweaked, so YMMV… But for such an ickle package, I’m pleased with the results. I did run a 120 roll through my Diana+ at the same time for comparison, but the different combination of lens size, neg size, and film make it a rather pointless test.

Overall? You can’t help but love it, like a small pet. Wish I had a flash to try with it. Tough choice between this and the Golden Half…

Some bubble wrap and parcel tape, and the Mini is on its way again…

Derek (Newport News, Va aka The Colonies)

When the camera showed up in my mail box I was expecting an Olympus 35RC I had just bought online.  I opened up the package and saw the little LSI box and figured my seller had packed the Oly in a lomo box.  As soon as I saw that iconic bluetop I knew right away that it was actually the Diana Mini I was going to review.   I am a nerd for cameras, the quirkier the better it seems.  My first impression of the Mini was that it was quit possibly the cutest 35mm camera I’ve ever seen.

Inside was a handwritten note from Veronica, and a print from Arne.  Everyone included a business card (note to self, get business cards made).  It’s a little strange in a cool way when you’re online life merges with you’re real life.  Having a more tangible connection with the people I only know by their flickr photostream and the things they have written for the blog was really nice.

The first thing you notice about the Diana Mini is the size.  It’s hard to get a sense of scale unless you hold it in your hand, the camera is really tiny.  I can be a little ham-handed with things and I’ve got pretty large hands so I was dreading trying to operate this tiny little camera.  Since it looked like a Diana but only smaller I figured it would be fairly cheaply made.  The back removes in the same way as the big sister version.  Loading film is pretty straight forward and very easy.  The quality of the camera is actually really surprising, this isn’t just a scaled down Diana; it’s been very smartly engineered and it’s well put together.  The fact that this camera has survived 4 photographers and an international postal journey around the world says a lot about how well it’s made.

Okay, so I’ve got my roll of Fomapan 400 B+W film and I’m off.  Stupid me, I forgot it was a half frame camera!  I thought for sure that there was something broken when the film advance wheel would only turn a little bit.  After remembering that this was a half frame camera things went pretty smooth.  Focusing is done just as it is done with the big sister version, you turn the ring in the barrel that’s marked in meters and with the the little icons.  I call this guess-o-matic focusing.  You can switch formats from half frame to square frame, but you have to do this before you wind on for your shot.  I’ve heard that if you take your film to a lab this can really confuse it’s machine and operater.  Lucky for me I don’t!  There are some other unique features for the camera.  This camera can use a cable release which is really cool and it also has a bulb mode that allows you to extend your exposure for as long as you hold down the shutter release lever (or cable if you’re using one).

There’s a lot to be said for the convienience of 35mm film but with a few exceptions most 35mm cameras lack the lo-fi charm of the 120 cameras.  The Diana Mini has plenty of lo-fi charm and delivers results that make it obvious that this isn’t just some point and shoot camera in a cute package, this is a bonafide ”toy” camera with a lot of creative potential.  Seeing as how you get atleast 72 frames with a 36 exposure roll in half frame mode that can really help stretch out your film budget which will help a lot of people out.

If I have one complaint about the mini it’s that I hate where they put the bulb mode botton, it’s really easy to bump it and go from normal to bulb mode without realizing what you’ve done.  I ruined about half a roll of film because of this.   An easy solution is to use a small piece of tape and keep it in the position you want it to be in or to get in the habit of checking it before you take your shot.  It’s easy enough to self correct and it’s by no means a deal breaker but it’s annoying and worth pointing out.

All in all I think this is a great camera and I plan on buying one for myself.  I would love to see a straight forward full frame 35mm version in the future, maybe with the pano feature like the Vivitar Panaromic since LSI seems to like gadgets.

Stay tuned for Veronica and Arne’s upcoming articles on the Diana Mini to follow!

It’s that time again! TGIF!!

Each week, we will search the Holga Flickr group for photos added during that week and will post a few of our favorites, based on a theme.

Our theme for the week of March 3 – March 10, 2010 is Play.

You know the saying, “All work and no play…” Well, Friday is here and we hope you all have a very fun and playful weekend!

We suggest clicking through to that person’s Flickr page to leave a comment and check out the rest of their photos.

Play Ground by Comtesse DeSpair

snowboogie kids in front of sign with board054 by jenni from the block

img0163 by Louise Lazell

Fun In The Woods by Jye Barclay.

by bm.m

The Hard Lessons. by jadeamey

Patinando por Cartagena by ascua de luz

by dhika10dhaki

the weirdest toy by bildministeriet

mrňaveček a bábovky by sempull_tampush

I shot a hoop (literally!) by pixelsandfilm

I think Lady Liberty may be a man by LowerDarnley

Sweet Is Good by jonnystell@

Bowling Balls by Mr.Ka2n

Toy Soldiers 3 by sirluke1

05750007.JPG by Martina Salov

Backflip by SonicWiz

light1 by lschmitt77

20100303-D1010009 by azzamac

First off, if you haven’t seen Jim Elson’s 15-minute Holga documentary called “Analogue Daydreams”, do yourself a favour and watch it. (Or see it embedded below.) It’s a great introduction to not just the Holga, but the mindset behind why we use Holgas and toy cameras generally.

For more documentary action, check out this short piece by Sahar Sarshar, and/or the Lomo Documentary that BBC ran a little while back.

And now for something completely different

There are a lot of slideshows out there, and a lot of instructional videos on how to use or hack your Holga, and I recommend searching around a bit for these (don’t worry, they’re easy to find) if you’re interested. For this article, I’ll focus on the more… “eclectic” videos around. You may have seen some or all of these before, in which case – time to get out there and do better?

The first two videos are great examples of capturing a Holga look on video. The first, by Wade Heninger, uses a Holga lens stuck to a Canon EOS 5D body:

The second video here admittedly isn’t a Holga (oh, the shame) but I can’t help posting it as the effect that Richard Koci Hernandez comes up with is so similar to the Holga shots that I love that… well, have a look. Scenes from a Vacation:

(via Multimedia Shooter)

For more examples of a Holga lens on a digital body, have a look at Rico’s video of a Holga lens on a 30D.

Muybridged

I found a couple of videos using Holga shots as animation frames. At first I thought they must have been by the same person, but from what I can tell, each is from a different source.

Alexandre Paschoalini used 150 frames to make his HOLGA MOTION video:

And, to compare apples and oranges, Chaweemek used 7 and a half rolls of film to make his Holga stop-motion animation:

I love the widescreen formatting in these, and the scroll of the film numbers as you walk around.

Miscellanea

If you’re working your way through the videos in this post, then here are some random videos to finish off with.

I know I said there are plenty of slideshows going around, but I liked the idea behind Streeteyes by Quinn Ryan Mattingly so much I decided to add it in. Former street kids in Ho Chi Minh City, Vietnam, were given a Holga and a roll of film, took a double-exposure of themselves, and then went off round the streets to finish the film. The results, all in monochrome, paint a great “street portrait”:

Fans of the Mew Mew Holga will be amused to see it being tested on this weird lovable Japanese dog:

And if you’re thinking of organising a Holga exhibition some time soon, why not order the Polka band in sooner, rather than later?

To end where we began, I really enjoyed this documentary by Andrew Laker called The Street with No Name. It’s has some Holga shots in, but is all about how “No Name Street” got its (lack of) name.

That’s all for now. If you know of any more interesting ones, please leave a comment. And if you’ve been inspired and want to shoot a gritty, arthouse style Holgamentary with bullet-time and famous celebrities then… you know where to find us.

It’s that time again! TGIF!!

Each week, we will search the Holga Flickr group for photos added during that week and will post a few of our favorites, based on a theme.

Our theme for the week of February 24 – March 3, 2010 is “Look, it’s the GoodYear Blimp!” (modes of transportation and how we get there).

Ever want to just get away? You don’t care how you get there, you just want to go? Well, here are some suggested ways to get places by some talented Holga shooters. Yes, I admit I could not resist the photo of the Goodyear Blimp…

We suggest clicking through to that person’s Flickr page to leave a comment and check out the rest of their photos.

Go by margot.trudell

Holga Lisboa 1 by currelas

#629 ~ Cart by ash1kg

/ by kirsten t

by Veeria

Tokyo sampler – Tokyo Marathon by TOKIO City Photos

D1010007 by pixelsandfilm

big yellow taxi by suttonhoo

by Mara Ludwig

NYC #56 by flyingboots!

Roads by La Dama del Leño

BlackandWhiteModelRadio by Youcantbeatfilm

by PIERO ERRERA (Родился в СССР)

TARPON SPRINGS SPONGE DOCKS by photogtom43

Oxford Circus, London by Anatoleya

On the way home…. by frontdrive34

by bruce s

Naples by Sukun_!

To the Left by Miro Kusovský

***drifting by Harry Phạm

Horse and cart in Merida by Ellieaness

by Cesare DeRossi

I’ve been meaning to write an introduction for a while, having been on board good ship Holgablog for about 8 months now. You’ll have to excuse me wittering on a bit. I don’t get out much…

It’s my Dad’s fault I’m into photography, I think. 1985. Still innocent. My first camera is 110 format (although I don’t know that at the time). I take pictures of ducks and fountains and other things I haven’t seen before. Not so much the rule of Thirds, more the rule of ‘Stick Everything Right At The Centre’. The rate of failure is pretty high and blurry, but I don’t particularly care.

Moving on a bit. Teenage years, I borrow my Dad’s Minolta SLR. School has a darkroom and it’s cool and quiet in there. I shoot 35mm black and white. I try to learn about developing and enlarging. Somehow I get a week’s work at ‘Amateur Photographer’ magazine. I take pictures of the moon, and fences, and horse races. I start noticing the odd photo I actually quite like, but it still seems like luck.

1998. University. I have an APS camera and take blurry photos of drunk people.

2003. For some reason, I go back to the SLR again. I figure out how depth of focus works and start picking my shots better. I get given a low-budget, but functional digital camera, and for the first time I can see what the camera sees. It goes round Europe with me and my girlfriend and I take far too many photos.

2005, and life cycles round again. I go back to Uni. I pick up a Nikon DSLR and start posting to Flickr, where they have things like “Lomo” groups and all kinds of bat-crazy cameras. Ebay beckons, and I get sucked in. I start out carefully – a half-broken LC-A and, a little later, a Holga GCFN. Wow, square format! I take photos of abstract shapes and pretty colours.

The slope gets more slippery. Some old TLRs, some vintage cameras, an LC-A that works, and a film scanner. My girlfriend gives me a Diana+ and a Golden Half, and I have to start storing everything in little hidey-holes around the house. I take photos of wherever I happen to be at the time. I take 3 cameras on holiday, and buy 3 more out there. I still take too many photos.

2010. Where am I now? I seem to have a love of weird cameras. I feel an urge to experiment more – the phrase that sticks in my head is “most people have never even got the most out of a box camera”. I want imagination. I want photography to lead me to places I wouldn’t normally go. I am fascinated by simplicity, by “slow” photography. I upgrade my DSLR as well as buying a “new” 1930s box camera. I find myself wanting to get up before dawn to go and shoot it with a £30 plastic camera. Success is still luck, but I’m getting luckier.

I no longer know where the “goodness” of a photo comes from. Is it the camera? Is it the lens? The subject? The viewer? Maybe it’s all of these, and more. Each moment is captured by hardware wielded by wetware and wrung through software. Each moment contains an infinity of photos, and each photo has an infinity of interpretations.

Everything is unique.

More…
Flickr
My Four Corners Dark story

People have been taking photographs for over 150 years and finding negatives and films from this long history of photography can be exciting and fascinating. However, this can be a minefield leading to copyright and taste issues.  Hopefully, this article will help to keep you on the right track, suggesting places to find films or negatives, how best to look after them, scan them, and even research their origins.  I will also look into the copyright  and ownership of these films.

Before I begin looking at these matters, it’s worth defining exactly what a ‘found film’ is.  There are two types of found film: processed and unprocessed.  Unprocessed films are those yet to be developed and, depending on their age, may require a great deal of care when processing them.   These days, most unprocessed rolls come from cameras that have been sold with a half-used film inside, but as the camera world moves into digital, these are becoming hard to find.   Film negatives/positives that have already been developed are often called processed found film.  These type of found films are much more common, and have the advantage (or disadvantage depending on how you look at it) of displaying what is on the film in advance.  Although true found film aficionados scoff at already-processed film, it can still be fun and rewarding to uncover some negatives that haven’t seen the light of day for 80+ years.

A matter of taste, a matter of interest

I have a large box of portraits from 1945-1950 to scan, but it's a bit creepy!

Recently when I was at a flea market (Barras, Glasgow), I saw trays and trays of old Kodachrome slides from the 1970’s. All had nice  typed labels,  organised by holiday destination: ‘Lanzarote’; ‘Majorca’, ‘San Francisco’, ‘Mother’. Wait a minute…MOTHER?!? Even though these boxes of slides were practically being given away I didn’t buy them.  They failed for me on two counts: taste and interest.  The holiday snaps from the 70’s were just two old people taking the same holiday photos that people take today at the same destinations (the one good thing was that the quality of the colour on the slides was still excellent: a testament to Kodachrome). They were of little interest, other than to the relatives of the people in the slides. The second failure was taste. I had no interest in the slightly creepy photos of some grown man’s ‘mother’ (who still calls there mum ‘mother’ when they are 50 years old themselves?!).  This raised an interesting question: when is it ok to buy/acquire found film? When is it ok to scan the film and publish on the internet? Is there a cut-off date for found film or is it solely a question of interest and taste?

I personally don’t think there’s any cut off date for found film (as noted above, it comes down to interest), however you have to bear in mind that the newer a film is, the more chance that a) someone depicted in the photo is still around, and b) That person will see the photo if you decide to publish it online.  Found film from the 1990’s can still be as interesting as glass plate negatives from the 1890’s.  The opposite is true: film from 1887 can be just as boring as Aunt Vera’s holiday snaps from 1996.

The thrill is in the hunt?

Paddy's Market, purveyor of fine junk

Some people love it. Some hate it. Searching for old ’stuff’ at jumble sales, flea markets and yard sales make some people giddy with glee, others cannot stand the rummaging around junk and prefer to buy items from the comfort of their own home or a proven retailer.  Both have their merits, but where will you get the best results?

Depending on your location, flea markets and their ilk (car boot sales, yard sales etc) can be a goldmine for found film.  As mentioned above, half-shot film can be found in old cameras and processed film (especially slides) can be found by the sack load at flea markets (mainly due to house clearances).  The problem with the processed stuff is they are not that interesting: most are family or holiday snaps.  You can still find good film at flea markets, but it does require persistence to get anything and for a decent price (most vendors think old=worth $$$ which is not always the case).

Another option, if you are not in the flea-hunting mood, is ‘proper’ shops. Either antique or specialist photography shops normally sell old photos, and sometimes old negatives. The negatives tend to be pre-war glass plate negatives, as they hold their value well and are considered ‘antiques’ by the dealers.  The negatives found in these types of stores tend to be incredibly expensive: one such shop in Paris was selling standard 1940’s colour glass plate negatives of Switzerland for €15 each, and the seller had hundreds.

Paris leads me onto a strange anomaly: mainland Europe, and more specifically France.  Flea markets and jumble sales normally yield more modern films, but in France, the spiritual home of photography, you can pick up incredibly old negatives for very little money, if you know where to look (small shops/flea markets in non-tourist parts of the country and cities).

The final place to look is eBay.  Most versions of eBay have ‘old photographic images’ sections which contain negatives for sale. The good thing about eBay is you know what you are getting, but the downside is you know what you are getting. The thrill of the hunt is gone, plus you very often pay a premium.  You also have to get incredibly lucky; many negatives on eBay may be old, but they are dull dull dull. Unprocessed film is hard to find on eBay these days too, with a few odds and ends appearing every so often.

Developing  storing and treating

PEC12-exercise extreme caution when using

Developing found film can be tricky depending on its age. If you really care about finding out what is on the film, there are specialist companies(such as Rocky Mountain Film) that develop old film using specialist slow-speed, low-temperature, high contrast developers to get the best results with black and white film.  If you want to try developing found b&w film at home, Kodak HC 110 is the developer of choice to use due to the developer’s success in reducing fogging. If the film is colour, and over 20 years old, people tend to develop the colour film as b&w as the colour dyes deteriorate faster than b&w, and you should still get the silver based layer.

Cleaning negatives can be difficult and hazardous depending on the type of negative used.  If you have normal (i.e. non glass plate) negatives, you can rinse them in cold water and a touch of photoflo to try and clean them up and remove stubborn dust. You can also use a chemical called PEC-12 in small quantities to remove mould and marks, however be extremely careful with your negatives and always try out your cleaning process on a single negative first (preferably one you wouldn’t mind losing), and always take extra care with the emulsion side of the film.

If the negatives are glass plate, you hit a whole different mine-field. There are two general types of glass plate negative: wet

This glass negative requires some serious cleaning!

and dry plate.  Older glass plate negatives tended to be collodion-based wet plate, with much more fragile chemistry for cleaning. Newer (post 1900) negatives were dry plate using a gelatine based layer and were much more robust and uniform than their wet cousins. There is one major rule to follow with glass plate negatives: leave it to a professional. You can clean the negatives with dust spray and a light brush, but unless you know the exact composition of the negative you should not use any type of liquids or liquid cleaner (for example, some gelatine layers can wash off with water!).

For more information you can consult the UMCA technical sheet copied on this page.

Storing negatives again depends on their type. If the film is normal, non-glass, store the negatives in suitable negative sleeves in a dry, stable-temperature environment. If you have glass plate negatives, store them in sleeves, vertically (long edge down) in storage boxes.

Researching

Some people bother, some people don’t. I personally love researching old photos!  It’s fun making up your own stories behind found film, but it’s also satisfying to find out the true story behind the same physical item you hold in your hands that someone else did many years ago.

Amiens Cathedral c1914 and 2006

The first steps in researching found film is location. This can be split up into two lines of enquiry: where did you get the film, and what is depicted on the film. The first one is easier, where did you get the film? Does the seller know any history?  The second line of enquiry, locations in the film, can be a bit more difficult.  Are there any landmarks visible? Can you figure out the country? Are there any buildings or signs in the background?  You will be surprised how easy it is these days to find out more information on the internet from just one small lead. An example of this is some unpublished Great War glass plate negatives that I acquired. I knew they were French due to the seller explaining where they were from (an old photographer’s studio near Le Mans, France), and a few of the photographs had a cathedral in them. I simply searched for a list of French Cathedrals and eventually found the one that matched: Amiens.

Once you have a physical location for the shots, the real research can begin. You can search the internet for the location and the rough date or event depicted in the photos, you can consult Google maps to locate buildings, you can even check with local historical societies and museums.  The internet has made the world a smaller place, and all it takes is a few emails or discussion postings to find out a lot of information.

Copyright

This can be a tricky deeply-grey area, which differs around the world and also differs depending on when the photograph was taken. Here are the basics.

• If the photographs were taken between the dates of 1st January 1945-1st August 1989 and you have purchased the film then you are the first owner, and have full rights on the photographs.
• If the photographs are of a person, unless they were commissioned by that person, they have no rights on the photographs.
• If the photographs were taken after 1st August 1989, then standard copyright applies:  the photo will be copyright of the photographer until 70 years after their death (unless commissioned).
• If the film is pre 1920, you should be relatively safe, unless the negatives are explicitly owned by someone else (i.e. a family).

Please note these are just rough outlines, and please do not base any legal decisions on these.  Holgablog can accept no legal responsibility for any action that might occur following these guidelines.

Look Further

• Massive collection of interesting tidbits regarding developing old film
• Flick Found Film group
• Some interesting Found Films on Westford Comp
• More Found Film-Pacific Tides
• Care of old photos by Colin Robinson
• More unpublished WW1 negatives I found

It’s that time again! TGIF!!

Each week, we will search the Holga Flickr group for photos added during that week and will post a few of our favorites, based on a theme.

Our theme for the week of February 17 – 24, 2010 is Out in the Cold.

I don’t know about you, but I’m ready for winter to end and spring to begin! With that said, here’s a final farewell to February and all things cold and snowy! (I guess they can be beautiful sometimes)

We suggest clicking through to that person’s Flickr page to leave a comment and check out the rest of their photos.

Ice-cold by Astrid T

by ifeellikesnow

by theyearisone

- by i-stalker

Icy Marsh by dRalous

Holga Color Outhouses in the Snow by dave.wolanski

Snow kids Magazine Fort Phoenix Park Dublin by Monosnaps

Matt, roots by seventreehouses

Le perceur by AlainG (LienRag)

Waiting by missiletest

Giants by Appelsin-piken

Caravan in the Snow by harragan

by le_vide

Vista 6 by lschmitt77

sit down by bildministeriet

by idalowzyl

We suggest clicking through to that person’s flickr page to leave a comment and check out the rest of their photos.

by Daft Tank

5 by niki_tzi

Eknäs 091221 Holga #1 by Le Fauve

White Sands desert, NM by ethylwyn

overlap by consciousdreams_99

natural arch by |m|

LA Holga - Dec 2009 by misha_ashton

by Mari Segura

holga032 by seasons change

by Leo Uehara

holga: panel van in the mud, zorn texas by village idiot!!

91510017 by ahleng ariken

Holga et Moi by ♫۩☯۞ Stuart Momsen ۞☯۩♫

boy by sarnett

dwp by halfadams

by irius_

IMGP2475 by _grizzly_

by Reuben Wu

horse6 by victorg2007

Holga shots december 2009 by karinkramerfotografie

french beach by Kadria Simons

Swings!by thecoloremily

Januari 7 by Hasse Linden

Follow the River by Kristin L. Ware

Green sky by hills+

~ by Lleika

^ by kirsten t

Cow by bingelke

The Instax film format by Fujifilm shows no sign of succumbing to the digital world, with the fun credit-card sized prints increasingly popping up all over the place.

To add to the party, Lomography.com have just today launched an Instax Back for the LC-A+ (and the original LC-A). Those of you with the similar Diana+ back will know how refreshing a change of film can be, and – goshdarnit – just how cute the Instax results are. Hopefully the LC-A’s in-built metering will also lessen the fear of under- or over-exposing one of your precious film cards…

Of course, the LC-A+ has a hinged back, rather than a detachable one like the Diana+, so it’s worth checking out Lomography.com’s  quick guide to the new device, as well as their instructions on fitting it, which requires some gluing and screwdrivering.

In the UK, the new Instax Back retails at £95. There are also various LC-A+ bundles you might want to check out.

This is a new series that we are starting, and hope that it will continue weekly.

Each week, we will search the Holga Flickr group for photos added during that week and will post a few of our favorites, based on a theme.

Our first theme for the week of February 10 – 17, 2010 is The Beach.

This theme strongly emerged as we searched the group pool.  Whether it was a desolate winter beach, or somewhere nice and warm – from a vacation, or perhaps someone lucky enough to live there, your beach Holga photos definitely stood out!  Have a look at these and you will see what we mean.

We suggest clicking through to that person’s Flickr page to leave a comment and check out the rest of their photos.

by luanamagalhaes.net

fallen by fallen.fever

Swim between the flags by sonofwalrus

Ho fotografato quello che ho visto by Mohav [Trafficante di Sarde]

One foggy morning by anderspace

double exposed by ofcolourandlines

holga 62 by meels_in_melbourne

04860003 by bobharrington16

lake michigan in fall by Eyes Azure

crossing to sunlight by kid ampersand

Merry-Go-Round – Chennai Beach by Gheedon

Running to the Future by saviorjosh

Holga 29 Fuji Pro160s R2 F3.James by g r e e n g a g e

scott . holga by sara montour

by LoMozzzy

by *Rimo

Holga Beach by Phil Kneen- – -✄- – -

na beira do rio… by gleicebueno

by Rangefinder.

by Vintage 1977

Left Behind by mstankaitis

PR Surfers by christopherflanegan.com