Analogue Magazine

analogue
01
FILM
WAS NEVER DEAD

issue
01

STEP INSIDE
Firstly, welcome into the world of Analogue. Whether
you’ve discarded away your digital lifestyle or if
you’ve found a new appreciation for all things
analogue, we welcome you.
Analogue Magazine has a linear pursuit of
collating all things non-digital (albeit partially), with
the hopes of creating a community which thrives on
the exploration and experience of all things analogue.
You will soon come to realize the fundamentals that
make up this magazine, is more than just featuring
products of novelty and nostalgia, but a reflection on
a way of life that has been easily replaced by the
convenience of technology.
Of course, we are not completely dismissing
the digital aspects which made our society what
it is today. But therein lies the dilemma. We have
succumbed ourselves to convenience and efficiency,
becoming a slave to technology itself. It has made us
impatient and complacent.
However, we also believe that by introducing
a little bit of analogue in our way of life, might provide
us with a breath of fresh air in our otherwise hectic
lifestyle. Taking a detour to analogue, is like a pause
in time where we truly appreciate and understand
the beauty of creation. The intention of Analogue
Magazine is to escort you to that point in time
and maybe inspire you to pick up a slightly more
convoluted lifestyle.
We inexplicably love the notion of analogue
along with its imperfections and inconvenience. It
makes our view in an advanced society that much
more meaningful. We hope that our perspective is
reflected from our content and wish for you to hop
into the bandwagon as well. Join us as we delve into
the realm of Analogue.

Photo courtesy of
Jaron Ngoh

prologue
monologue
13 FOR THE LOVE OF GRAIN
EQUIPMENT REVIEW
OF THE FEATURED
FILM CAMERAS.
REVIEW
BY SOUFI A’ALIYAH

dialogue
trialogue
22 FILM WAS NEVER DEAD
34
AN ARTIST SPOTLIGHT
WITH KHAIRUL ARSYAD
AND HIS VIEWS ON
FILM PHOTOGRAPHY.
EDITED
BY DYLAN TAN
THREE-SIX-NINE
A JOURNEY THROUGH
SINGAPORE’S HIDDEN
GRAFFITI SPOT AND FILM
EXPERIMENTING.
JOURNAL AND
PHOTOGRAPHY
BY JARON NGOH

monologue

for the
love
of
grain
13
analogue
There’s no denying it, film is making a comeback in the
industry. And for anybody making the journey back to film
or trying it out for the first time, tackling the medium can
feel daunting. However, shooting film is like going back
to science class - there are a lot of variables, and you
need to master them one at a time. You know you love
the “look” of film, but with the overwhelming number of
choices that are still available in the market, you’re unsure
what kind of camera is the right one for you. Which brings
me to the topic in hand.
Today, we have a few different cameras that is
sure to tug on your heartstrings and get you right into the
mix of film photography. Briefly, we will be reviewing the
Konstruktor which is a DIY SLR camera by Lomography,
the Praktica LTL SLR camera by Pentacon and finally
the Miranda D model. These cameras are mostly entrylevel
SLR cameras that use 35mm film which are readily
available. In other words, they are easy to pick up and
shoot! So without further ado, let’s jump right into the
details of these beauties.
A closer look into the featured
Konstruktor,
Praktica
&
Miranda
analogue cameras
WRITTEN &
SHOT BY
SOUFI A’ALIYAH

14
analogue
Kon
struk
tor
The Lomography Konstruktor is one gadget that the
inventors designed as a project for fiddly hands that
love the DIY experience. It comes with a component that
makes it easy to assemble your camera as you desire.
You will find a manual as well as a screwdriver to enable
you to build up your camera to full use in the span of
maybe two hours, if you know what to do.
If you are an intuitive person like me, then you
can override a lack of experience to try your hands on
this DIY experience. Putting together the lens perhaps
stands out as the intricate step as any wrong placement
means you need to restart the process by taking it apart.
This can be trying for a newbie, but it is an immersion into
the world of photography with no short cuts. You will find
it intriguing and time-consuming.
The Lomography Konstruktor reminds one of
the nostalgic blasts of yesteryears although its 35mm
film SLR configuration is almost a timeless phenomenon.
Lomography has a range of toy cameras that if you are
used to, probably can open the pathway for an easy ride
as you go on to assemble the Konstruktor.
Your ability to shoot sharp and obviously vibrant,
sharp pictures will get a boost as you work the routines.
The Konstructor gives you a chance to enjoy the nittygritty
of the camera working process which in itself is an
exciting prospect for any DIY disciple.
The experience of assembling the Konstruktor is a
perfect fit for DIY lovers, as well as everyone who
seeks to understand the analog photographic process.
The Konstruktor functions on the SLR configuration
with a 35mm built. It comes with a PC plug-in that can
help on a flash photo binge. It is no doubt a hands-on
camera you will find captivating. If you are caught in

on a rainy weekend, you can resort to assembling the
Konstruktor on your terms. The shooting experience can
be disappointing and if you have no steady grip, your
pictures won’t come out right! This will mean wasted
films and money if you’ve sent for processing, bland
exposures and probably a dumping on the bookshelf.
Nevertheless, the Konstruktor is still a worthy
experience to go along with, as your knowledge of the
art will deepen when you succeed at assembling this
SLR film camera. You might not want to lose out in the
opportunity to take your creativity to new heights with
this camera on hand.
Here are some features that stand out with
The Lomography Konstruktor:
1. A platter to have a self-built 35mm film camera.
2. Required construction components come with
the package.
3. The detachable lens has a fixed aperture and is
50mm f/10 configured.
4. The viewfinder is at waist-level and is hooded. Its
exposure control and focusing is controlled manually.
5. Multi-exposure and bulb settings.
6. You can perfect your exterior customization with
colourful sticker sets.
Build
Decorate
Shoot

The Praktica LTL is an East German 35mm
SLR camera with interchangeable M42 screwmount
lenses and stop down TTL metering,
produced from December 1970 to November 1975
by Pentacon.
It’s a fully mechanical camera, with a match
needle metering circuit employing stop down metering.
The lever for carrying out a meter reading and setting
the exposure is conveniently placed above the shutter
release and can be operated with the same finger
which makes the camera really easy to use. I found that
I could compose, set the exposure and focus without
taking the camera from my eye. There is also a helpful
indicator in the viewfinder if the frame isn’t advanced.
As well as being used for metering the stop down lever
also provided for depth of field preview of course. The
meter requires a PX625 mercury battery or equivalent;
otherwise camera is entirely mechanical.
Nevertheless, this camera is mentioned by
many elder and experienced photographers as “a
solid workhorse” and “a serious player”, so it has been
recommended to me as a perfect starting point for
someone who wants to learn how to shoot with an
analogue camera. And I can safely say it is, mostly
because it’s very demanding in a sense that you have
to be in constant control and always check all settings,
but the final result makes it all worth it. Personally,
this experience is exactly what taught me the basics
and everything one should know about operating an
analogue camera.
So, if you are just getting into the analogue
scene or wanting to try out something different,
bring this camera along and make extraordinary
photographs. If you are into flawless sharpness and
great depths – this camera could be your choice!

17
analogue
A little background on Miranda. The first Miranda
appeared on the market in 1956, called The Miranda
T. The first Japanese SLR with a pentaprism - the first
Japanese SLR with interchangeable viewfinders and
a 1/1000 top shutter speed. The T was followed by
the A, the first Miranda with lever wind, and the B,
the first with an instant return mirror. the Miranda D -
envisioned as mid-tier full featured SLR for the budget
minded. The D only exported, and was never on the
market in its native Japan.
The Miranda D has a dual shutter speed dial
with the top for speeds of 1/60 to 1/500 second, and a
bottom setting for slower speeds from 1/15 to 1 second.
The standard lens is alright. It’s not retina splitting
sharp, but like most fast lenses of the era, it was
designed to be fast first and foremost and sharpness
took a back seat. There are other nice touches: with
the prism, the view is 1:1 with a 50mm lens, which
makes it super easy to envision a shot in your head
without having to lift the camera to your eye.
The advance lever is ratcheted, so you can
advance the film incrementally - the camera straps
never get in the way of your fingers. And most
distinctively, the shutter is rather quiet for an SLR of this
era too, although hardly quiet by even 1970s standards
- but way better than the sounds Prakticas make. All
in all, the Miranda D may take more time getting used
to than the previous cameras. However, as a tradeoff,
its numerous settings make room for even more
experimental shots to take place. So if you’re looking
for a camera that can shoot a variety of shots, the
Miranda D could be the one for you!

dialogue

22
analogue
FILM HAS ALW
FILM WAS
NEVER
DEAD
When I was a kid I used to like making my own toys
to play with, because my parents weren’t the type to
always buy me the latest toy that was around. Not that
I’m complaining, in fact, I’m grateful to them because it
made me more creative as an individual. Imaginations
were limitless and anything could be a toy to play with.
So I guess a few years back when I saw a shop selling
what seemed like a DIY camera kit, I immediately
wanted to have that sense of nostalgia again. Hence,
the first analogue camera I got was the Lomography
Konstruktor. Clipping the parts out of the plastic frame
and actually building my own camera, took me back to
the time where I built a Tamiya car in my late primary
WRITTEN &
SHOT BY
KHAIRUL ARSYAD
EDITED BY
DYLAN TAN
school years. And playing with the Konstruktor - that
got me into collecting analogue cameras.
I’m no professional photographer by any
means but what made me love film photography was
that, no matter how well you plan your shots or how
meticulous you checked the settings, the film won’t
always turn out one hundred percent the way you took
your picture. In the end, the film itself is the variable, or
rather the process in between you pressing that shutter
button and when you roll the film to the next frame,
that’s when the magic happens. Even processing of
the film might affect the photos in some way.
In the interest of finding out different kinds

AYS BEEN AROUND.
IT DIDN'T DISAPPEAR,
of ways the type of camera might ITS affect the JUST film, I Currently, WAITING I have five cameras FOR in my collection SOMEONE
which are,
began collecting different types of analogue cameras.
I particularly like collecting used ones as they’ve seen
TO PICK IT UP AGAIN.
some wear and tear so the condition might affect the
photo and also because they’re way cheaper than
getting pristine cameras. My collection isn’t much mind
you, I only get them when the opportunity arises - like
when I’m travelling or when I see a really good deal.
I do wish to add more to my possession in the
future and I don’t see myself stopping anytime soon.
the Konstruktor, the Praktica LTL, a Miranda D model,
the UNIKA XL and a Yashica Minitec AF which is a pointand-shoot
- given to me by my late grandfather. The
rest were bought from vintage markets in Europe and
London except for the Konstruktor which I got locally.
They weren’t that expensive. Individually, I got them
for less than 75SGD. The cheapest being my Praktica
which I got for 30SGD - way cheaper than what you
can get locally.
Of course, when you buy them you
will need to make sure it works!
Fortunately since analogue cameras
don’t need batteries, the risk of
technical failure can be neglected.
Just make sure the mechanical parts
work - like the shutter button, the
film winder and lever, aperture and
shutter speed dials. A quick pop of
the back panel should let you know
what’s working. The seller shouldn’t
mind you making sure it’s in working
condition before purchase.
After the camera, comes the
film to take the photos with. The films
most of my analogue cameras use
are the 35mm ones which are readily
available. You could even get expired
ones for cheap if you’re on a budget.
It is fun to experiment with different
types of films and lighting to really
push the boundaries of analogue
photography
Nevertheless, what consistently
captivates me in analogue
photography is the authenticity it
brings to my pictures. No amount
of filters or Photoshop edits will
make me have the same feeling as
when I hear the sound of the shutter
releasing, or the surprise I get
when I see the pictures developed.
In that way, I really appreciate the
uniqueness of analogue cameras.

25
analogue
Multiple exposure,
one exposure on bulb mode
Taken with the Konstruktor

26
analogue
Light leak on expired film
Taken with the Konstruktor

29
analogue
Light leak
Taken with the Praktica LTL

trialogue

34
analogue
THREE
SIX
NINE
Exploring through the
streets of Singapore,
uncovering hidden treasures
The graffiti scene in Singapore has
always been small and as such, the
groups associated within have formed
a close-knit bond. Though there has
been several past cases of vandalism
on public transportations and public
structures, the scene remain vigilant and
proves to youths everywhere that you
don’t need to get yourself into trouble
just to earn respect. In that sense, I have
followed a few new-found friends who
are in the scene to show me around the
legal painting areas in Singapore. One of
which is located at a humble spot at 369
Tanjong Katong Road.
The delapidated building once
served as a dormitary for foreign workers
which has been vacated for quite
some time (hopefully to somewhere
more hospitable), and has since been
abandoned. The local graffiti writers
petitioned for the space to practice
their craft and were eventually given
permission to do so. However for anyone
not in-the-know of the scene, it will be
pretty hard for you to gain access to the
area as the gate has been locked and
the password only given to those within
the scene as a way to control who goes
in the building. Which makes sense; if
anyone were to be able to go in, it would
be an ideal space for illicit activities and
the walls might even be bombed with
territorial markers.
Anyway, since I was with people who
were in the loop, I was able to gain
access to the building. I brought an old
point and shoot camera which my dad
had passed down to me. The Richo AF77
is a bulky little camera but it gets the job
done. A couple of my new friends, JZ and
Bryan toured me around the different
building telling me who painted which
pieces and it was pretty amazing! The
different art styles, the colours used and
the whole urban aesthetic of the area just
resonated with the underground culture.
After touring me around for a
little bit, Jz and Bryan started on their
own pieces to embellish the walls of the
building. While they were doing their
thing, I was doing mine, getting shots
of the abandoned rooms and spaces
and other writer’s artworks. It is quite
rare to find old delapidated building in
Singapore as its a country that thrives
on change. Old gets replaced by new
and the culture disappears along with
it. Maybe these writers are fighting for
the preservation of the old building to
compliment their artstyle, as opposed to
finding a new pristine space to showcase
their works. And in a way, I get it, urban
decay envelopes the whole notion of
graffiti art and 369 Tanjong Katong is like
an embodiment of that principal.
Stepping into the building is like stepping
through a portal, viewing the space as
a distortion in an otherwise obedient
society. An ideal world of fantasy where
creativity has no limits, a blip in reality
where giant robots, exotic creatures and
splashes of typography exist in unison. It
feels ephemeral and yet the writings on
the wall seem to prove that the writers
will stay for a long time. With each
piece painted carefully with impressive
technique, the local graffiti writers are
really keeping their works humble.
Only if you understood the amount of
pressure needed and the angles used
for different spray effects, will you then
truly appreciate the amount of effort put
in these artists pieces.
WRITTEN &
SHOT BY
JARON NGOH

But enough about paint, though point
and shoot cameras are incredibly easy to
use, I wanted to push the boundaries of
analogue photography further. Because
there wasn’t much I could experiment
with using the Richo AF77, I’ve decided
to experiment with the actual films
themselves. The photographs that you
see here have all been manipulated
before film processing. And the steps
to create photographs like mine are
quite simple! All you need is a few key
ingredients for the experiment.
Pre-processing checklist:
1. A used film
2. A bowl of water
3. Lemon
4. Two cups of rice
5. And last but not least, patience.
So the experiment takes place
after you’ve taken your shots on the
camera. Firstly, take a bowl of water
that’s half full and squeeze the lemon
into it - mixing the solution. If you want,
you could leave a few slices in the bowl
itself too. Take your film canister and
submerge it into the solution and stir it
around for awhile. Leave if for a couple
of minutes and then dispose the solution
and any lemon slices in the bowl, leaving
just the film canister. Pour the two cups
of rice into the bowl with the film canister
buried inside. Finally, you’ll have to wait
for a couple of weeks to allow the film to
dry. And when it’s time, you can send it
for processing at a shop or do it yourself!
It would be preferable if you could wait
slightly longer just to be sure the film is
completely dry. I’m not too sure about the
actual science behind the experiment,
but I think it is the lemon’s acidity that
affects the outcome of the film.

Taking a step back, it was a great day to explore the hidden parts of Singapore with my friends, kicking it back
once in awhile from a busy lifestyle really eases the soul. Who knows where the next hidden trove could be or
what treasure lies within this ever-changing city. And that’s why I’ll keep searching, to uncover different cultures
while learning and eperimenting with different mediums to document my adventures. I’d like to thank JZ and
Bryan for bringing me around and for giving me the opportunity to step into the world of graffiti in Singapore!
Cheers, to more adventures ahead!

37
analogue

38
analogue
PHOTOS
CONTRIBUTED BY
DARREN ANG
&
BRYAN KANG
END

HEY THERE
We are constantly on the look for more
content to add into our library of Analogue.
If you feel like there is something you would
like to share with us, or if there is anything
we could improve on, please don’t hesitate
and drop us a note!
We are welcome to suggestions, hot tips and
even critique. Any questions can be directed
to our infodesk. We hope to collaborate with
you soon!
Get in touch with us at:
content@analoguemagazine.com
askinfo@analoguemagazine.com
for enquiries.

Photo by
Khairul Arsyad

TILL NEXT TIME
We hope you’ve enjoyed reading our
content as much as we enjoyed creating
it. It is our pleasure to share with you, our
readers, the passion for analogue and the
experiences it brings. We will definitely be
uncovering more content and explore new
areas of analogue in the future, so be sure
to check back again.
Thank you for supporting us, see you again
on our next issue!