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Armed with her trusty 35 mm point-and-shoot camera, film photographer Taryn Segal is set to capture every moment. Having recently moved to the city in mid-2023, she's eager and excited to explore its boroughs and textures, film roll by film roll.
This is my Yokohama. The Yokohama I love to walk on, to see, to breathe, to smell and to feel. The wind that travels through the hilly streets and catches my face, body and soul every day. The place I treasure in me, day after day.
This is my Yokohama. The Yokohama I love to walk on, to see, to breathe, to smell and to feel. The wind that travels through the hilly streets and catches my face, body and soul every day. The place I treasure in me, day after day.
This is my Yokohama. The Yokohama I love to walk on, to see, to breathe, to smell and to feel. The wind that travels through the hilly streets and catches my face, body and soul every day. The place I treasure in me, day after day.
This is my Yokohama. The Yokohama I love to walk on, to see, to breathe, to smell and to feel. The wind that travels through the hilly streets and catches my face, body and soul every day. The place I treasure in me, day after day.
About "Portraits of friends". About a year ago, in 2023, I came across a roll of Kodak Gold from 1990-s. It was a medium format film and I have never tried to shoot on a medium format. Luckily, I've found a studio that was ready to lend me a medium format camera. But I didn't stop with one film and for a two or three months I had been making portraits of my friends on different films, knowing nothing about portraits and just having fun.
About "Portraits of friends". About a year ago, in 2023, I came across a roll of Kodak Gold from 1990-s. It was a medium format film and I have never tried to shoot on a medium format. Luckily, I've found a studio that was ready to lend me a medium format camera. But I didn't stop with one film and for a two or three months I had been making portraits of my friends on different films, knowing nothing about portraits and just having fun.
In the early morning of August 4, before leaving El Chaltén for El Calafate, we had the pleasure of discovering this clear blue sky, so extremely rare in this small town. As a gift, Fitz Roy proudly showed off its three peaks, much to our delight. We started with a short walk which should have taken us to the Fitz Roy viewpoint, but there was so much ice on the path that we had to turn around, and we were able to admire the Fitz Roy more easily. from the town of El Chaltén.
In the early morning of August 4, before leaving El Chaltén for El Calafate, we had the pleasure of discovering this clear blue sky, so extremely rare in this small town. As a gift, Fitz Roy proudly showed off its three peaks, much to our delight. We started with a short walk which should have taken us to the Fitz Roy viewpoint, but there was so much ice on the path that we had to turn around, and we were able to admire the Fitz Roy more easily. from the town of El Chaltén.
In the early morning of August 4, before leaving El Chaltén for El Calafate, we had the pleasure of discovering this clear blue sky, so extremely rare in this small town. As a gift, Fitz Roy proudly showed off its three peaks, much to our delight. We started with a short walk which should have taken us to the Fitz Roy viewpoint, but there was so much ice on the path that we had to turn around, and we were able to admire the Fitz Roy more easily. from the town of El Chaltén.
In the early morning of August 4, before leaving El Chaltén for El Calafate, we had the pleasure of discovering this clear blue sky, so extremely rare in this small town. As a gift, Fitz Roy proudly showed off its three peaks, much to our delight. We started with a short walk which should have taken us to the Fitz Roy viewpoint, but there was so much ice on the path that we had to turn around, and we were able to admire the Fitz Roy more easily. from the town of El Chaltén.
In the early morning of August 4, before leaving El Chaltén for El Calafate, we had the pleasure of discovering this clear blue sky, so extremely rare in this small town. As a gift, Fitz Roy proudly showed off its three peaks, much to our delight. We started with a short walk which should have taken us to the Fitz Roy viewpoint, but there was so much ice on the path that we had to turn around, and we were able to admire the Fitz Roy more easily. from the town of El Chaltén.
“Esprìts” is a project-diary, a series of photographic notes about faded memories that often appear like spirits. These photographs are instinctive, evolving over time and form a body of work that I hope will never end. Double or long exposures represent the fugacity and all the ephemeral of images that reveal human figures, animals, places or roads, which overlap each other recreating something that is definitely detached from reality. The human figures, many times representing women, are somewhat the "guardians" of memories, those to which we inevitably link many of the emotions we carry with us. Water, a symbol of life, is another element in the project. In any form, placid or agitated, it is however capable of carrying any kind of memory, sometimes towards the shore, sometimes towards the open sea. The series also contains other elements that are part of our life, which becomes daily "special" because it is soaked with something we carry inside. So a road or a fragment of nature assumes a special value, because it is embedded in a time that is just like it was for us. Despite the absence of clarity, or sharply defined realism, "Esprìts" should be considered a documentary. It is about myself and my visions about the different experiences I lived. It is a series of photographic notes about faded memories that often appear like spirits. In general, these blurred photographs are instinctive, evolving over time and form a body of work that I hope will never end. Anyone can see something personal in these images that are not defined precisely because they leave something imaginary to the others. For this kind of work, my film camera, simple and light, represents the ideal travel companion, where the travel is represented from the life, with its experiences and emotions which constantly overlapping. I think that this project is referred to my intimate and strictly personal way of seeing and image the reality that sometimes I cannot define; the memory that deforms reality... often what we remember and what happened do not exactly match; the memory is filled with desired contours.
“Esprìts” is a project-diary, a series of photographic notes about faded memories that often appear like spirits. These photographs are instinctive, evolving over time and form a body of work that I hope will never end. Double or long exposures represent the fugacity and all the ephemeral of images that reveal human figures, animals, places or roads, which overlap each other recreating something that is definitely detached from reality. The human figures, many times representing women, are somewhat the "guardians" of memories, those to which we inevitably link many of the emotions we carry with us. Water, a symbol of life, is another element in the project. In any form, placid or agitated, it is however capable of carrying any kind of memory, sometimes towards the shore, sometimes towards the open sea. The series also contains other elements that are part of our life, which becomes daily "special" because it is soaked with something we carry inside. So a road or a fragment of nature assumes a special value, because it is embedded in a time that is just like it was for us. Despite the absence of clarity, or sharply defined realism, "Esprìts" should be considered a documentary. It is about myself and my visions about the different experiences I lived. It is a series of photographic notes about faded memories that often appear like spirits. In general, these blurred photographs are instinctive, evolving over time and form a body of work that I hope will never end. Anyone can see something personal in these images that are not defined precisely because they leave something imaginary to the others. For this kind of work, my film camera, simple and light, represents the ideal travel companion, where the travel is represented from the life, with its experiences and emotions which constantly overlapping. I think that this project is referred to my intimate and strictly personal way of seeing and image the reality that sometimes I cannot define; the memory that deforms reality... often what we remember and what happened do not exactly match; the memory is filled with desired contours.
“Esprìts” is a project-diary, a series of photographic notes about faded memories that often appear like spirits. These photographs are instinctive, evolving over time and form a body of work that I hope will never end. Double or long exposures represent the fugacity and all the ephemeral of images that reveal human figures, animals, places or roads, which overlap each other recreating something that is definitely detached from reality. The human figures, many times representing women, are somewhat the "guardians" of memories, those to which we inevitably link many of the emotions we carry with us. Water, a symbol of life, is another element in the project. In any form, placid or agitated, it is however capable of carrying any kind of memory, sometimes towards the shore, sometimes towards the open sea. The series also contains other elements that are part of our life, which becomes daily "special" because it is soaked with something we carry inside. So a road or a fragment of nature assumes a special value, because it is embedded in a time that is just like it was for us. Despite the absence of clarity, or sharply defined realism, "Esprìts" should be considered a documentary. It is about myself and my visions about the different experiences I lived. It is a series of photographic notes about faded memories that often appear like spirits. In general, these blurred photographs are instinctive, evolving over time and form a body of work that I hope will never end. Anyone can see something personal in these images that are not defined precisely because they leave something imaginary to the others. For this kind of work, my film camera, simple and light, represents the ideal travel companion, where the travel is represented from the life, with its experiences and emotions which constantly overlapping. I think that this project is referred to my intimate and strictly personal way of seeing and image the reality that sometimes I cannot define; the memory that deforms reality... often what we remember and what happened do not exactly match; the memory is filled with desired contours.
“Esprìts” is a project-diary, a series of photographic notes about faded memories that often appear like spirits. These photographs are instinctive, evolving over time and form a body of work that I hope will never end. Double or long exposures represent the fugacity and all the ephemeral of images that reveal human figures, animals, places or roads, which overlap each other recreating something that is definitely detached from reality. The human figures, many times representing women, are somewhat the "guardians" of memories, those to which we inevitably link many of the emotions we carry with us. Water, a symbol of life, is another element in the project. In any form, placid or agitated, it is however capable of carrying any kind of memory, sometimes towards the shore, sometimes towards the open sea. The series also contains other elements that are part of our life, which becomes daily "special" because it is soaked with something we carry inside. So a road or a fragment of nature assumes a special value, because it is embedded in a time that is just like it was for us. Despite the absence of clarity, or sharply defined realism, "Esprìts" should be considered a documentary. It is about myself and my visions about the different experiences I lived. It is a series of photographic notes about faded memories that often appear like spirits. In general, these blurred photographs are instinctive, evolving over time and form a body of work that I hope will never end. Anyone can see something personal in these images that are not defined precisely because they leave something imaginary to the others. For this kind of work, my film camera, simple and light, represents the ideal travel companion, where the travel is represented from the life, with its experiences and emotions which constantly overlapping. I think that this project is referred to my intimate and strictly personal way of seeing and image the reality that sometimes I cannot define; the memory that deforms reality... often what we remember and what happened do not exactly match; the memory is filled with desired contours.
“Esprìts” is a project-diary, a series of photographic notes about faded memories that often appear like spirits. These photographs are instinctive, evolving over time and form a body of work that I hope will never end. Double or long exposures represent the fugacity and all the ephemeral of images that reveal human figures, animals, places or roads, which overlap each other recreating something that is definitely detached from reality. The human figures, many times representing women, are somewhat the "guardians" of memories, those to which we inevitably link many of the emotions we carry with us. Water, a symbol of life, is another element in the project. In any form, placid or agitated, it is however capable of carrying any kind of memory, sometimes towards the shore, sometimes towards the open sea. The series also contains other elements that are part of our life, which becomes daily "special" because it is soaked with something we carry inside. So a road or a fragment of nature assumes a special value, because it is embedded in a time that is just like it was for us. Despite the absence of clarity, or sharply defined realism, "Esprìts" should be considered a documentary. It is about myself and my visions about the different experiences I lived. It is a series of photographic notes about faded memories that often appear like spirits. In general, these blurred photographs are instinctive, evolving over time and form a body of work that I hope will never end. Anyone can see something personal in these images that are not defined precisely because they leave something imaginary to the others. For this kind of work, my film camera, simple and light, represents the ideal travel companion, where the travel is represented from the life, with its experiences and emotions which constantly overlapping. I think that this project is referred to my intimate and strictly personal way of seeing and image the reality that sometimes I cannot define; the memory that deforms reality... often what we remember and what happened do not exactly match; the memory is filled with desired contours.
“Esprìts” is a project-diary, a series of photographic notes about faded memories that often appear like spirits. These photographs are instinctive, evolving over time and form a body of work that I hope will never end. Double or long exposures represent the fugacity and all the ephemeral of images that reveal human figures, animals, places or roads, which overlap each other recreating something that is definitely detached from reality. The human figures, many times representing women, are somewhat the "guardians" of memories, those to which we inevitably link many of the emotions we carry with us. Water, a symbol of life, is another element in the project. In any form, placid or agitated, it is however capable of carrying any kind of memory, sometimes towards the shore, sometimes towards the open sea. The series also contains other elements that are part of our life, which becomes daily "special" because it is soaked with something we carry inside. So a road or a fragment of nature assumes a special value, because it is embedded in a time that is just like it was for us. Despite the absence of clarity, or sharply defined realism, "Esprìts" should be considered a documentary. It is about myself and my visions about the different experiences I lived. It is a series of photographic notes about faded memories that often appear like spirits. In general, these blurred photographs are instinctive, evolving over time and form a body of work that I hope will never end. Anyone can see something personal in these images that are not defined precisely because they leave something imaginary to the others. For this kind of work, my film camera, simple and light, represents the ideal travel companion, where the travel is represented from the life, with its experiences and emotions which constantly overlapping. I think that this project is referred to my intimate and strictly personal way of seeing and image the reality that sometimes I cannot define; the memory that deforms reality... often what we remember and what happened do not exactly match; the memory is filled with desired contours.
The day before our departure for San Carlos de Bariloche, last urban walk at nightfall around the Plaza Italia district. The CineStill 800 Tungsten lends itself particularly well to these nocturnal atmospheres.
The day before our departure for San Carlos de Bariloche, last urban walk at nightfall around the Plaza Italia district. The CineStill 800 Tungsten lends itself particularly well to these nocturnal atmospheres.
At the end of our last day in Buenos Aires, we were waiting for our domestic flight to San Carlos de Bariloche on July 29, 2023, at Jorge Newbery airport. Some photos of the airport atmosphere...
