“Plastic Cameras: Toying with Creativity” by Michelle Bates
- Paperback: 240 pages
- Publisher: Focal Press (October 11, 2006)
- Language: English
- ISBN-10: 0240808401
- ISBN-13: 978-0240808406
- Product Dimensions: 8 x 7.2 x 0.4 inches
- Available Here
Its rare to find a book so lovingly dedicated to such an obscure art form, but Michelle Bates has created what is the ultimate homage to the Holga in “Plastic Cameras : Toying with Creativity.”
The book begins with a brief but concise history of the Holga and its relatives, (WOCA, the Diana) and a few words about Mr. T. M. Lee himself, the inventor of the Holga and true grandfather to most of what we do with Toy Cameras today. Once establishing what this little Plastic gem is, she presents a selection of beautiful images from a number of very skilled photographers. From Nancy Rexroth’s images of the 1970’s, to David Burnett’s use of a Holga in Political Photojournalism, to Susan Bowen’s huge panorama’s. The collection of well chosen Artist’s display the range and ability of the Holga, and prove that while simply a Plastic box- it has the power to create incredible lasting images. That chapter alone could be a great coffee table book, but there is plenty more to come.
Every once in a while you run into somebody who is truly obsessed with a certain type of camera- and I mean that in a good way. I am obsessed with Speed Graphics, and it got so bad that between my father and I, we have one of every model ever made. Michelle is not just obsessed with the camera, but a master of its inner workings. The next few chapters give you every piece of info you’ll ever need to purchase, load, shoot, develop and present Holga images. I have been messing around with these plastic cameras since 1988 when Robert Crites introduced me to a Diana- and I learned quite about Holga’s and their set up from Michelle’s book. So for someone just starting with Toy Cameras, Holga should package this section of text and images with the camera when you buy it.
And it only gets better as you progress. First time shooters probably won’t modify the camera, but intermediate ones will learn not just modifications, but see the images the mods produce. From carving out your own film plate to creating a negative carrier for printing- all elements of creating images with the Holga are represented both in easy to follow text and an example images. Each example is well photographed and displayed, making the task easy to follow. She discusses film types, film care and storage, and even presents a troubleshooting chart. The book ends with a fantastic section of resources, websites and books that will keep you busy for quite a while.
For a first time user or a Holga expert, there is simply nothing left out. This is the first book of its kind to truly cover the full experience of shooting with a Holga. Yes, there are some other cameras in here as well, from the Action Samplers to the Holy Grail itself, the Fuji Pet. But the heart and soul of this book is dedicated to the Holga. It’s a book that you will read more then once, and refer to often. “Plastic Cameras: Toying with Creativity” is a must not only for Toy Camera Photographers, but all Photographers- as she says, “truly great images come from the vision of the photographer, not from the equipment.”
Michelle was kind enough to speak with Four Corners Dark about the book and the process of creating it…
What made you choose the subject of your book?
Holgas have been my thing really since I started playing with them in 1991 (not sure when I got the “Holga Queen” name, but sometime in there…). Through the workshops I teach on the subject, the publisher actually found me and asked if I’d be interested in writing it. I jumped up and down and said, “Of course!!” (then I had to sit back down at the computer in the coffee shop and reply to the email…).
Why do you use Toy, or Plastic Cameras instead of newer Digital ones?
I actually use all kinds of cameras – toy, point n shoot, 35mm, medium format, 4×5 and digital: each for its own purpose. The toys create images that are unique, and together with the experience of using them, which is so different from a “real” camera, I’ve never been able to stop. I’m in love with the way the images interpret the world, and I continue using my Holgas to translate scenes (with all types of subjects) into Holga-ese, just ’cause.
How easy was the process of creating your book, and what issues did you have to deal with?
I wrote the book with a publisher, Focal Press. They suggested the idea, then I wrote the proposal to get it through the official channels, then started collecting images and filling it out. It was, of course, a lot of work, with the expected glitches and frustrations, but it was also tons of fun and really thrilling. At one point, I made little thumbnail prints of all the images I was considering for the book (from even more than the 33 photographers who were included), cut them up, and spread them out on a table so I could start choosing and placing. I realized I was getting to play in my favorite sandbox with all these great photographers; it was a great moment! The whole process, from idea to publication, took about 2 1/2 years. The publisher did the design and layout, but I was intimately involved at every step, and got to tweak everything to my satisfaction. The marketing is a joint effort; they are great at getting it out to the academic market, and I try to get it out to the toy camera community.
How happy were you with the results of the book’s printing?
Thrilled! That was one part that I had no say in, or couldn’t really even think about proofing, since it was printed in China. But really, the printing quality, image reproduction, paper quality, and overall ‘bookiness’ of it are top-notch and I was beyond happy when I got the first copy!
After going thru the process of creating this book page by page, would you do it again?
I think about this a lot; what I can do next? At this point, I’m very satisfied that the book is comprehensive, and will have a long shelf-life, since it’s heavy on history and how-to information. And really, I’ve only found two photographers since the book has been out that I wish were included (although most of their work was created after I finished). When I get to the point where I have a larger collection of photographers whose work I think represents new and exciting ways of shooting with Holgas, or is just super high-quality work that happens to be shot with plastic, I’ll think about doing some other kind of publication with them. Send ‘em on to me!
How did you approach the contributors, and how hard was the editing process?
The contributors are a big mix of folks. Some are people I’ve known from the toy camera community for many years, like Mark Sink, Mary Ann Lynch and Gordon Stettinius. Some I stumbled across, like Teru Kuyawama, whose work I first saw in Newsweek. Others I found from extensive research in magazines and on the web, like Pauline St Denis (from an article in an old American Photo). Some were no-brainers, like Nancy Rexroth, and some were recommended by other people, like Ted Orland and Franco Salmioraghi. I contacted most people via email, spoke with some, and have met more and more as time goes by. Only two people I asked declined to be included (no, I’m not telling who); everyone was pretty excited about the process. But researching the photos, and then collecting the images and permission forms was a huge part of the project, and I actually hired someone to help me with that. We had a combo of people uploading files to an FTP site, emailing, and sending CDs and prints in the mail.
Editing was a whole other ballgame. I ended up hiring Mary Ann Lynch, who is not only in the book as a photographer, but is an accomplished writer and editor (for CameraArts, among other pubs), to help me edit. She was extraordinarily generous with her time, energy and expertise, and I am eternally grateful to her! The publisher only provided a copy editor (which, as I learned, is someone who focuses on punctuation and stuff, not content).
As this is a published book (unlike self published or print on demand) how hard was the process of getting the ‘book deal’ and is there any advice to somebody who is looking to publish a book?
Well, my story is kind of unusual, since the publisher contacted me about doing the book. I still had to write the proposal to get it through official channels, and prove that it would be viable, but I always knew they were on my side. What I have learned though, is that the publishers need us; they need people who are experts and well-known in their fields to write books. So they are always snooping around for interesting topics and people. You don’t have to be a professional writer, or even have any writing experience; they’ll figure out if you can do it from the writing sample in the proposal.
A great way to start is to figure out what publisher might be appropriate for your book, look at their other titles, and get their proposal form to start working on it. And meeting the editors is a great way to get in with them. For example, Focal Press (my publisher), and AmPhoto, both of which do photo technique books, usually set up booths at conferences like the Society for Photographic Education, since they serve the academic markets. You can go there and talk with them. Several publishers have booths at Photo Plus in NY, and other trade shows as well. These things are a great way to meet the publishers, find out what they’re looking for, get ideas, and make face-to-face contact. Publishers want authors who are lively, out in the world, and wiling to do marketing in their communities – Focal is great in the academic and general photo markets, but they don’t know the toy camera world like I do, so I can direct marketing there, for example.
Any thoughts you’d like to add about the book and its images?
Holgas have been my love since I found them back in 1991. Doing the book was a very gratifying way to bring together all I’ve learned in that time (and to research and learn more), but what’s really great is that so many people are using it to expand their creative horizons and try new things. Art and creativity are very undervalued in our society, and anything that can open up doors to art-making for more people is an important thing. Have fun!
Links: