The Holga Camera
In the world of photography, few tools spark as much passionate debate as the humble Holga. Born in Hong Kong in the early 1980s, this inexpensive, plastic camera was initially designed as an affordable medium-format film camera for the Chinese working class. However, it quickly gained a reputation for its charming unpredictability and distinct lo-fi aesthetic. There seem to be very polarizing takes on this plastic camera, so let’s get into what makes it so widely talked about.
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Design
The Holga film camera's design and build are considerably different from most other film cameras, especially when compared to more advanced film cameras or modern digital models. Let's explore some key differences:
Material: The most prominent characteristic of the Holga is its construction material. The 120 camera is primarily made of plastic, which includes the body, lens, and often even the shutter. This gives the Holga its lightweight and somewhat fragile feel, contrasting with the robust and heavy materials used in more traditional film cameras. This makeup also means the 120 camera is extremely prone to degradation and downright breaking. This factor is only negated by the fact that an entirely new Holga setup is less than $50.
Lens: The Holga is fitted with a single-element plastic lens. The optical qualities of this lens are very low, resulting in soft focus, pronounced vignetting, and other visual irregularities. This is in stark contrast to the multi-element glass lenses used in conventional film cameras designed to minimize distortion and produce sharp images.
Controls: The Holga offers minimal control over settings. It typically features a single shutter speed (approximately 1/100th of a second), two aperture settings indicated by weather symbols for sunny (f/11) and cloudy/shade (f/8), and a basic zone focus system with four settings. This simplicity contrasts sharply with the extensive manual controls offered by professional film cameras. I think of Holga’s as a foil to a 120 camera like the Rolliflex.
Light Leaks: Holga film cameras are infamous for their tendency to allow light to leak into the film chamber, which can cause unexpected bright spots or streaks on the resulting images. While this is often considered a defect in other cameras, it has become a cherished trait of the Holga.
Film Advancement: The Holga uses a manual film advancement system, which doesn't stop automatically between frames. This can result in accidental multiple exposures and overlapping frames, which are seen as either part of the Holga's charm, or immensely frustrating to try and work around.
Film Format: While most current film cameras use 35mm or digital sensors, the Holga was originally designed for 120 medium-format film, although there are versions that use 35mm film.
The Great Holga Debate
There are photographers who embrace the Holga for its limitations, seeing it as a tool that nurtures creativity and freedom. They argue that the lack of precision and control forces you to focus more on the subject and composition rather than the technical aspects of photography.
On the other hand, many photographers are less forgiving of the Holga's idiosyncrasies. For those accustomed to the precision and repeatability of high-end digital or film cameras, the unpredictability and perceived lack of control can be seen as hindrances rather than charming. This is particularly true for professional photographers working in settings where consistency and reliability are paramount. I see this as a very valid claim. For many photographers control is the key element that lets them create a photo, a necessity the Holga robs on almost every front.
Some critics argue that the Holga's low-fidelity aesthetic can be overused or relied upon as a crutch, replacing the need for good composition or subject matter. For these photographers, the Holga's "charm" can sometimes be perceived as a way to make mediocre shots appear more interesting or artistic. This is an age-old debate not limited to the Holga. In art, there will always be a dichotomy between the “my child could do that” critics and the avant-garde artists with cerebral explanations for their child-like play. Let’s look at some artists who turned this toy into notable projects
Artists and the Holga
Jennifer Shaw
Jennifer Shaw is a renowned contemporary artist primarily known for her captivating photography, often featuring evocative and surreal images. Born in Milwaukee, Wisconsin, Shaw earned a BFA in Photography from the Rhode Island School of Design in 1992. She moved to New Orleans two years later, a city that has significantly influenced her work
Shaw's art has been exhibited extensively, both nationally and internationally, and has been featured in various publications. She is also a successful educator, teaching the art of photography at various institutes over the years.
Perhaps her most well-known project is "Hurricane Story," a poignant and personal series reflecting her experience during Hurricane Katrina. This work is a compelling blend of photography and narrative, featuring staged scenes shot using the Holga. Each image is accompanied by a brief narrative, taking the reader on a journey through her harrowing escape from the flood, the birth of her first son on the day of the storm, and the slow process of rebuilding life in a city marked by devastation.
Below are several photos from the project that capture the artist’s ability (through the Holga) to convey surrealistic visions of recalled memory through children’s figurines. Considering the project is meant to be viewed sequentially I highly suggest you view the photos in their entirety and accompanying text here.
Annie Lebowitz
Annie Leibowitz is an artist that needs little introduction. Annie Leibovitz is an American portrait photographer who has become a towering figure in the world of photography. She was born on October 2, 1949, in Waterbury, Connecticut, and developed a passion for art from a young age.
Leibovitz's photographic career took off when she started working for the newly launched Rolling Stone magazine in 1970. She quickly became their chief photographer, a position she held for a decade. Her intimate portraits of celebrities, often capturing them in candid or unconventional poses, revolutionized the world of music photography.
Leibovitz had no specific project centered around a Holga and it is difficult to track down even a single image of her Holga work, all that is known is that she used a plastic camera. Lebowitz is an important figure to discuss regarding Holga because so much of her artistic identity is built around sharp, wide, extremely stylized images. A film camera like the Holga would seem to never appeal to or be associated with someone like Leibovitz. Her use of one exemplifies her versatility as an artist and the importance of keeping open boundaries for yourself as a creator.
If you feel like your style of photography centers around, say, high-production studio portraits or street photos with a Leica, it can be tricky to pick up something like a Holga. When you develop a moniker based on a specific look and get positive reception on what feels like you’re brand of photography, it becomes difficult to experiment. Not creating boundaries around yourself as an artist is an important part of creative growth, and for many people that is what the Holga exemplifies.
David Burnett
David Burnett is a renowned photojournalist known for his wide-ranging work covering major global events over the past half-century. Born on September 7, 1946, in Salt Lake City, Utah, Burnett graduated from Colorado College in 1968 with a degree in political science. He kickstarted his career in photography soon after, co-founding Contact Press Images, an international photojournalism agency, in 1976.
Burnett's work has taken him to more than 70 countries, covering significant news events including the Vietnam War, the Iran hostage crisis, multiple Olympic games, and every American president since John F. Kennedy. His iconic images have graced the pages of magazines like Time, National Geographic, and Life.
One of Burnett's most famous projects was his coverage of the 2004 Olympics in Athens, where he chose to use a variety of unconventional film cameras, including the Holga. His choice was a stark contrast to the high-tech digital cameras typically used by his peers at such events.
Burnett's Olympic images taken with the Holga were widely acclaimed for their uniqueness. They captured not just the sporting feats but also the spirit and ambiance of the games. In one of his most notable shots, he captured a blurry yet dynamic image of American sprinter Michael Johnson, an image that became iconic for its sense of motion and energy. This project has become a testament to Burnett's philosophy that a powerful image is not about the gear but the eye of the photographer. Check out Burnett’s Holga work here.
Whether the Holga is a plastic malfeasance or an avenue into unexplored photographic territory is up to you. I think there is no arguing that the specs on this contraption are not to be desired yet through the Holga there comes this recurring lesson about the importance of a good eye, not a good film camera. Film cameras exist as mere tools, it’s how you’re able to use those tools to manipulate and depict the world around you that defines you as a photographer.
