This course was conceived as a space for experimentation. We worked with film — not only as a technique, but as an opportunity to look, try, combine. Formally — three Saturdays, a bit of theory, a lot of shooting. Informally — a series of meetings where it was okay to make mistakes, take strange shots, find something important in them.

The participants shot on Ilford HP5+, Umi, Lomo Earl Grey (pushed 2 stops), Kodak 250D (pushed 1 stop), Lomo Berlin, Metropolis, Lomo 400 (medium format), Ultramax, Portra 160, Color 92, Purple, Aerocolor. Film became not so much a tool as a co-author.

Special attention — to double exposure.
A house and a sign, a person and a reflection, a tree and glass.
We looked for ways to combine the incompatible: not just two images, but two states.

One of the participants returned again to the theme of houses — for the third course in a row. Someone worked with text on photos, someone — with abstraction and grain. One shot turned out like a UFO. Another — like accidental cinema.

There was a girl who shot on cold film, although she was drawn to warm colors — and that became her way of speaking about the contrast between evening light and nightly news. There were flares, mismatches, misses. But all of it — part of the process.

We weren’t looking for the “right” photograph.
We were looking for sincerity and feeling.