Be a true Lomographer and analog enthusiast by not only shooting with film, but by building your own SLR! Get your hands on the Konstruktor and after some clicks and screws, you'll have your own fully-working 35mm camera ready to capture knock-out analog photos! The Konstruktor has a top-down viewfinder to see what you shoot and to focus as well as a multiple exposure function, bulb setting for long exposures and a detachable 50mm f/10 Lens for even more experimenting.
Konstrukt Your Creativity
The Konstruktor is the perfect gift for DIY lovers-fun to build, easy to use and fully customizable. Each kit includes a set of colorful covers and stickers to give an even more personal touch to your analog construction!
Explore the Mechanics of Analog Photography The Konstruktor gives you the chance to learn more about the inner workings of an analog camera as you put your own together piece by piece. You'll be equally rewarded with impressively sharp shots on regular 35mm film. Stay tuned for more options to further customize the Konstruktor as we have more interchangeable Lomography lenses and accessories planned!
More Details • DIY 35mm SLR camera with interchangeable lens system • Includes 50mm f/10 lens • Shutter speed: 1/80s • Multiple exposure capability • Tripod thread for long exposures • Suitable for ages 12 and above • Takes about 1-2 hours to build • Price: $35.00 • Purchase at Lomography.com and Lomography Gallery Stores worldwide • Download high resolution product photos and sample photos here
Tips and Tricks Visit the Konstruktor microsite or check out our specially made instruction videos: Full In-depth tutorial Step-by-step videos: 1. Building The Lens 2. Building The Hood Viewfinder 3. Building The Camera Body 4. Assembling Other Parts 5. Putting Together The Pieces 6. Finishing Assembling 7. Final Touches
What the Hell is Lomography? The Lomographic Society International is a globally-active organization dedicated to experimental and creative snapshot photography. Boasting over one million members across the world, the concept of Lomography encompasses an interactive, vivid, blurred and crazy way of life. Through our constantly expanding selection of innovative cameras, film, lab services & photographic accessories, we promote analogue photography as a creative approach to communicate, absorb, and capture the world. Our online community and Lomography Gallery Stores all over the world provide our products and a space for exchanging knowledge and ideas, workshops, meetups and all lomographic needs. Through the efforts and skills of our Lomographic Society members, we seek to document the incredible planet around us in a never-ending stream of snapshots - literally a global Lomographic portrait as seen through the eyes of countless individuals and cultures. THE FUTURE IS ANALOG!
In 79 AD, the city of Pompeii in the south of Italy was destroyed, buried beneath volcanic ash when Mount Vesuvius erupted. At the time of its destruction, the population of Pompeii was estimated at 11,000 people. After the eruption, the city was lost for about 1,500 years until its rediscovery in the late 16th century. The objects that lay beneath the city had been preserved for centuries due to the lack of air and moisture. During the excavation, plaster was used to fill the voids in the compacted layers of ash that once held human bodies, enabling archaeologists to see the exact position a person was in at the moment of death. The original casts are kept in an archive within the Pompeii site and because of their sacredness and fragility, it is prohibited to move them to other locations. Second generation copies of the casts have since been made, and are loaned out to museums for exhibitions, both locally and internationally, but no individuals are allowed to borrow them. With the support of the Ambassador of Japan in Rome, the authority of Pompeii graciously made an exception, and granted permission for Kenro Izu to remove a selection of the copied casts in order to create photographic compositions at the Pompeii sites. In addition, the Pompeii authority has permitted Izu to photograph the original human casts in the archive building as 'portraits' of the people of ancient Pompeii. For the work of Requiem, Kenro Izu created an imaginary scene of sometime after 'the day', when lives were extinguished by the eruption of Mount Vesuvius, but among the scattered dead, plants have started to grow once again. This huge volcanic eruption, almost two millennia ago, is as if a nuclear explosion were to happen today. This thought makes one fearful of such a possibility taking place, anytime now, to us. Requiem is limited to 500 numbered copies, each including a 5x7 inch original print that has been signed by the artist.
In Let the Sun Beheaded Be, Gregory Halpern focuses on the Caribbean archipelago of Guadeloupe, an overseas region of France with a complicated and violent colonial past. The work resonates with Halpern's characteristic attention to the ways the details of a landscape and the people who inhabit it often reveal the undercurrents of local histories and experiences. Let the Sun Beheaded Be offers a visually striking depiction of place-as it has been worked on by the forces of nature, people, and events-as well as a thoughtful engagement with the complexities of photographing in foreign lands as an interloper. A text by curator and editor Clément Chéroux grapples with Guadeloupe's colonial past in relation to the French Revolution, Surrealism, and the Martinican poet Aimé Césaire, whose writing inspired the title of the book and much of the imagery itself. A conversation between Halpern and photographer and critic Stanley Wolukau-Wanambwa delves into Halpern's process, personal history, and the politics of representation.
Let the Sun Beheaded Be was produced as part of Immersion, a program of the Fondation d'entreprise Hermès, in partnership with the San Francisco Museum of Modern Art and the Fondation Henri Cartier-Bresson.
Copublished by Aperture and Fondation d'entreprise Hermès
Ernst Haas's color works reveal the photographer's remarkable genius and remind us on every page why we love New York. When Haas moved from Vienna to New York City in 1951, he left behind a war-torn continent and a career producing black-and-white images. For Haas, the new medium of color photography was the only way to capture a city pulsing with energy and humanity. These images demonstrate Haas's tremendous virtuosity and confidence with Kodachrome film and the technical challenges of color printing. Unparalleled in their depth and richness of color, brimming with lyricism and dramatic tension, these images reveal a photographer at the height of his career.
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