Few months ago we introduced you the new Italian analogue photo collective Patient Wolves in conjunction with the release of Tres, the previous issue of their zine. Today, we present a very special issue shot entirely on Lomography film: Endless Summer.
“I started playing with light more than 15 years ago. Analogically. Obviously. And even if during this long journey I have sometimes "betrayed" the film, I have never let her go, nor have we strayed for a moment. Long story short, it is the only path that allows me to give the necessary and profound weight to whatever idea is floating around in my head. That's it, the idea. And then the staging, the human contact, the shooting, imagining what will come out of it, the development, the wonderful unexpected and finally the reckoning. After this magical trip you understand that the creative flow catapults you into a higher dimension. And then, there are all those feelings in color: Redscale and its flames, the apocalyptic Purple, the cold Metropolis and finally the cathartic black and white drama of the Berlin Kino. All my islands have found new oceans.” — Alexander Gonzalez Delgado
“Analogue suspends my Matrix. I choose, I "tattoo" & I mix with each encounter. Which becomes more and more real & raw. The Lomography films LomoChrome Metropolis & LomoChrome Purple made each tale even wilder & full of love.” — Gio Blondie.
“The reason behind the choice of analogue? Obviously: it is clever bastard. A photo is twice as good just because it's analogue! I'm joking, of course. The continuity of analogue allows me to have the 'illusion' of collecting more fragments of reality than a discrete signal. And since I was six years old, waiting for the development generates in me very strong emotions. Why give it up? The film Berlin Kino surprised me for its delicacy and richness of nuances, it resumes and surpasses (in my opinion) the beloved bw400cn. While with the film Metropolis and its chromaticism you can only fall in love. Nothing technical, just love, deep love.” — lundesnombreux
“I belong to analogue if we take in consideration my age: I was born and raised in that world. Digital came later, like a sort of anchor of salvation: the field of infinite possibilities. But analogue is still my first great love, for the emotionality that pervades me, technically for the colorimetry and density of the blacks, and then the times, the waiting, the unexpected, the grain and the random and wonderful imperfections, and then again for the sounds and the smells and the truth. The truth. The analogue - in photography - is - for me - a different art, a world within the world. I shot, for this Endless Summer, using the LomoChrome Purple, a chromatic catastrophe of pure visual beauty, and the LomoChrome Metropolis, which made the sun freeze in the middle of summer. Both films took my two characters to the End of the World. Which was what I hoped would happen.”— Lulu Withheld
“Shooting analogue for me is a process that starts with buying the film (I see every subject fitting with a certain type of film), opening the box and smelling the scent, choosing the subject to photograph, desiring it, being obsessed with it at times, taking the photos to the lab, being anxious while waiting for the scans to arrive, accepting the photos taken...each of these steps gives me a different emotion and I need all of it... I am addicted to it...I had already tried the Metropolis film on other occasions and for this series I had decided that I would use it again, in my mind those images were taking shape, those colors, that atmosphere... that I would not have obtained with another film. I'm glad I discovered it.” — Stefania Zucca