There is a small detail in the old cameras, the absence of which begins to annoy when you use 3 or 4 cameras at the same time with different negatives. I am talking about the pocket for the negative package leaf, which is on the back of some models. The Olympus OM-2 has it, but the Mamiya C3, Pentacon Six, or Agfa do not. Recently, the absence of this thing became a problem when I had to rewind two medium-format films. This is not a difficult procedure, but it is better to avoid it. In connection with the fact that a friend of mine recently bragged about his new toy – a 3D printer – I decided to help him test it 😉 I won’t write about the design process here because it’s not a tutorial, but I will show off the result, i.e. the finished project and product.
As promised on Mastodon, I am giving the plans away for free – the links are below the pictures. There are two files to download because the pocket consists of two elements: the main frame and the slide-in plate. Due to the specifics of 3D printing, it is impossible to do it differently, but I think this variant is optimal.
The pocket came out perfectly. Of course, the plate should be glued to the frame, and the package leaf slides in and out smoothly but with little resistance, guaranteeing that it will not fall out. However, the question of attaching the pocket to the camera without damaging the veneer remains. As soon as I find a solution, I will add it to this post.
Jest taki drobiazg w starych aparatach, którego brak zaczyna doskwierać jeśli używa się 3 lub 4 aparatów jednocześnie w dodatku z różnymi negatywami. Piszę o kieszonce na opakowanie z negatywu, które w niektórych modelach usytuowane jest na tylnej ściance. Olympus OM-2 ją ma ale Mamiya C3, Pentacon Six czy Agfa tego drobiazgu nie posiadają. Ostatnio brak ten urósł do rangi problemu kiedy musiałem przewinąć dwa filmy średnioformatowe. Nie jest to procedura trudna niemniej jednak lepiej jej unikać. W związku z tym, że mój przyjaciel pochwalił się niedawno nową zabawką czyli drukarką 3D postanowiłem pomóc mu ją przetestować 😉 Nie będę tu pisał o procesie projektowania bo to nie tutorial, pochwalę się natomiast rezultatem czyli gotowym projektem i produktem.
Jak obiecałem na Mastodon plany daje za darmo – linki pod zdjęciami. Do pobrania są dwa pliki bo kieszeń składa się z dwóch elementów: głównej ramki i wsuwanej płytki. Inaczej tego zrobić się nie da ze względu na specyfikę druku, ale myślę, że ten wariant jest optymalny.
Kieszeń wyszła jak dla mnie idealnie, płytkę należy oczywiście przykleić do ramki, listek opakowania wsuwa i wysuwa się bezproblemowo ale z małym oporem co daje gwarancję, że nie wypadnie. Pozostaje kwestia przymocowania kieszeni do aparatu tak aby nie uszkodzić okleiny. Jak znajdę rozwiązanie to dodam do tego wpisu.
There are places that just seem right. Places where art finds its natural rhythm and the viewer can feel at peace, surrounded by beauty and tranquillity. This is the Bocho Gallery, where my photographs and my passion have found their place in Krakow. It is an intimate place, full of warmth and good energy, created by people sensitive to beauty, creating a space full of inspiration.
Although many things today are viewed on screens, there is something about photography – like all art – that requires physical presence. It is only when you look at a printed photograph, a frozen fragment of reality, that you can perceive all the details and subtle tonalities that disappear on a screen before they have had time to resonate fully. It’s a completely different perception – more tangible, more complete, more intimate; you can really feel the depth and emotion involved, which is what every artist is trying to convey.
I’m delighted to share this space with you, and if you haven’t had the opportunity yet, be sure to check it out! Who knows, maybe we’ll even meet there!
Są miejsca, które od razu wydają się właściwe. Takie, w których sztuka naturalnie odnajduje swój rytm, a widz może poczuć się swobodnie, otoczony pięknem i spokojem. Taka właśnie jest Galerii Bocho, gdzie moje zdjęcia i moja pasja znalazły swoje miejsce w Krakowie. To miejsce kameralne, przepełnione ciepłem i dobrą energią, tworzone przez ludzi wrażliwych na piękno, tworząc przestrzeń pełnną inspiracji.
Choć dziś wiele rzeczy oglądamy na ekranach telefonów to fotografia – jak każda sztuka – ma w sobie coś, co wymaga fizycznej obecności. Dopiero wpatrujac sie w wydrukowaną fotografie, na ktorej zatrzymano fragment rzeczywistosci można dostrzec wszystkie jej detale i subtelne przejścia tonalne, które na ekranie umykają, nim zdążą wybrzmieć w pełni. To zupełnie inny odbiór – bardziej namacalny, pełniejszy, intymny; można naprawdę poczuć głębię i emocje z nią związane czyli to co każdy artysta stara się przekazać.
Cieszę się, że mogę podzielić się tym miejscem z Wami i jeśli jeszcze nie mieliście okazji, koniecznie tu zajrzyjcie! Kto wie, może nawet spotkamy się na miejscu?!
The year 2020, a frosty December morning, fog envelops the city, the Krakow’s Main Square is completely deserted. The pandemic has reached everywhere, even more so here, under the Cloth Hall. It was as if someone had stopped time just before people left their homes. The heart of Krakow, which beats 24 hours a day, has stopped. Silence. Only birds can be heard. Perhaps they are the legendary warriors of one of the dukes of Krakow, turned into pigeons?
The photo won a bronze medal at the Px3 photography competition in Paris in the Street/Special category and has also recently found its place in one of Krakow’s art galleries. If you happen to be in my hometown, be sure to stop by the intimate Bocho Art Gallery on St Thomas Street, where you can see and also buy this print. There are only a few limited editions with certificates.
“I have this amazing photograpy taken by Tomasz, and since Krakow holds a special place in my heart, this photo has great meaning to me. This is a beautiful shot of my beloved Krakow Market Square with its inseparable pigeons in flight. The depth of this photograpy takes me back to my childhood. This is an amazing shot, full of warmth and joy. I can definitely say that I identify with the author feeling his reaction and the way he captures interesting moments. Tomasz, thank you very much for allowing my memories of Krakow to be with me every time I look at this photograpy.”
The publication of a photo book is not just about showcasing photographs; it’s about commemorating the human experience, celebrating the beauty of the world, and preserving memories that will endure for a lifetime.
Let your imagination soar as you flip through the vibrant landscapes of the far north. From sunrise to sunset, every page in this book whispers tales of wanderlust and adventure, and each photograph tells a story worth a thousand words.
Does nature’s beauty inspire you? Immerse yourself and reconnect with the tranquil serenity of the great outdoors!
I’ve been working for some time now on a photo album with my best photos from 4 expeditions on the Kungsleden trail. It includes photographs from my portfolio, from an exhibition I had in 2023 and a few that I haven’t published yet. It is primarily a photo story but also weaves in thoughts found on the trail.
Work is still in progress, so I am releasing only the cover art as a teaser. The album will be first released as an ebook on the Apple Books platform. If there is enough interest, a print version will follow. There are also plans to make a small print limited handmade edition.
I will keep you updated on the progress here and the Mastodon platform!
I will also have some codes to give away for a free copy, so stay close!
Sometime between 2013 and 2014 I decided to commission a review of my photographs, looking for confirmation of whether the way I was photographing made sense, what mistakes I was making, where and what I could improve on. I had been photographing for about a decade by then, although I would describe that period as an intensive photography course, with the occasional intuitive slip-up when I was doing something at a decent level. I was mainly taking tight shots, searching for interesting details, looking at the world through focal lengths greater than 50mm. I sent out about 12 images for judging. My first portfolio ever. I expected criticism, of course, because that’s exactly why I decided to do it, but something more happened, I opened my eyes very wide. I found that the world was just as fascinating from the 17mm perspective, and the space allowed me to breathe deeper and gave me a sense of freedom. Landscape became my favourite subject from then on and I decided to start entering competitions with it. The first photo to win an honourable mention in an international competition is also one of my favourites, ‘One’.
Then there were further competitions including:
Fine Art Photography Awards (FAPA)
ND Awards Photo Contest
International Landscape Photographer of the Year
International Photography Awards (IPA)
MonoVisions Photography Awards
Monochrome Photography Awards
PX3 Prix de la Photographie de Paris
In the years that followed, in addition to landscape, my photographs were recognised in the categories of fine art, nature, conceptual and architecture.
All these awards and recognitions are very important to me because I am constantly aware that my artistic intuition has not gone astray and that what I am doing is still world class and improving.
So, after this long introduction, let me present all the awarded and recognised photographs with a final comment: the most honoured photo is “Flow” and the highest rated photo, i.e. the bronze medal at the competition in Paris, is “Only Birds”. Enjoy!
“Lutnik, Twórca, Artysta: Pracownia Stanisława Kurkowskiego”
Codziennie w naszym biegu nie zdając sobie z tego sprawy mijamy miejsca nieoczywiste, zaskakujące oraz ludzi, którzy są prawdziwymi klejnotami, gdyż robią rzeczy niezwykłe i mają niesamowite historie do opowiedzenia.
Wielokrotnie przechodziłem obok pracowni Pana Stanisława, zaglądałem przez okno i byłem zafascynowany tym co widzę. To jest okno do innego świata, tam czas płynie wolniej nawet niż na Placu Wolnica na krakowskim Kazimierzu. Pan Stanisław nie zwraca uwagi na przechodniów ponieważ przywykł do ich obecności. Jest skupiony wyłącznie na swojej pracy, bo tak wygląda pasja, która pochłania go całkowicie. Spogląda od czasu do czasu przez okno swojej pracowni na Plac Wolnica, bo jak mówi to go odpręża i nie wyobraża sobie już pracy bez tego widoku. W słoneczny dzień światło jest dobrze rozproszone, przy stole jest na tyle jasno, że można pracować bez sztucznego oświetlenia. Pan Stanisław buduje i naprawia instrumenty smyczkowe: skrzypce, altówki, wiolonczele. Od naprawy wiolonczeli dla Opery Wiedeńskiej po instrumenty dla dzieci “bo one (aut. dzieci) muszą grać, jeśli tylko chcą się uczyć i trzeba im w tym pomóc”. Być może ta pomoc płynąca z głębi serca przyczyni się do obudzenia w niejednym z nich pasji, którą będziemy mogli w przyszłości oklaskiwać w najsłynniejszych salach koncertowych świata.
Jego historia jako lutnika to nie tylko opowieść o rzemiośle, ale przede wszystkim o miłości do muzyki. Najpiękniejsze w skrzypcach jest to, że do końca nie wiadomo jak zagrają i czasami wychodzi coś fenomenalnego jak te, które wykonał z 400 letniego drewna odzyskanego z remontu kamienicy na ul. Kanoniczej w Krakowie. Jest w tym jakaś magia, tajemnica, bo mimo, iż wymiary i kształt pozostaję niezmienne, to każdy kawałek drewna, jego jakość, kraj pochodzenia, ułożenie oraz kształt słojów i sama obróbka mają ogromne znaczenie. Każdy instrument wykonywany jest ręcznie z wyczuciem, pieczołowitością i perfekcją. Skrzypiec nie da się zrobić w tydzień, samo lakierowanie i nakładanie kilkunastu jego warstw może zająć nawet rok. Instrument ukończony jest dziełem sztuki, to rzeźba będąca emanacją mistrzostwa, pasji i kunsztu zdobywanego przez ponad 40 lat pracy. W każdym instrumencie poza jego własną drewnianą duszą gra też dusza artysty, który go stworzył i może właśnie dzięki temy połączeniu instrument budzi się do życia dając muzykowi coś więcej niż tylko narzędzie pracy, a nam słuchaczom nieopisaną radość płynącą z każdym kolejnym wydobywającym się dźwiękiem.
Spędziliśmy razem zaledwie kilka godzin, ja robiłem zdjęcia, a Pan Stanisław opowiadał o sobie i o swojej pracy, o drodze zawodowej z rodzinnego Zakopanego do Krakowa przez Holandię i oczywiście o początkach kiedy kiełkowała w nim pasja, której efektami możemy się teraz zachwycać.
“Luthier, craftsman, artist: the studio of Stanislaw Kurkowski”.
Every day, without realising it, we pass places that are unexpected, surprising and people who are real gems because they do extraordinary things and have amazing stories to tell.
I have often passed Mr Stanislaw’s studio, looked through the window and been fascinated by what I see. It is a window to another world, where time passes even more slowly than on Wolnica Square in Krakow’s Kazimierz. Mr Stanislaw pays no attention to the passers-by because he is used to their presence. He concentrates solely on his work, which is a passion that consumes him completely. From time to time he looks out of his studio window at Plac Wolnica because, as he says, it relaxes him and he cannot imagine working without it. On a sunny day, the light is well diffused and the table is bright enough to work without artificial lighting. Mr Stanislaw makes and repairs stringed instruments: violins, violas and cellos. From repairing cellos for the Vienna Opera to instruments for children, “because the children have to play if they want to learn and they have to be helped”. Perhaps this heartfelt help will contribute to awakening a passion in many of them that we will be able to applaud in the world’s most famous concert halls in the future.
His story as a violin maker is not only about his craft, but above all about his love of music. The best thing about a violin is that you never quite know how it will play, and sometimes something phenomenal comes out, like the one he made from 400-year-old wood salvaged from the renovation of a tenement house on Kanonicza Street in Krakow. There is a kind of magic and mystery in it, because although the dimensions and shape remain the same, each piece of wood, its quality, the country of origin, the arrangement and shape of the grain and the workmanship itself are of great importance. Each instrument is made by hand with sensitivity, care and perfection. A violin cannot be made in a week; the varnishing itself and the application of its dozen or so layers can take up to a year. The finished instrument is a work of art, a sculpture that reflects the mastery, passion and craftsmanship of 40 years of work. In every instrument, apart from its own wooden soul, there is also the soul of the artist who created it, and perhaps it is this combination that brings the instrument to life, giving the musician something more than just a working tool, and us, the listeners, indescribable pleasure with every sound that emerges.
We spent just a few hours together, I took the photos while Mr Stanislaw talked about himself and his work, about his professional path from his native Zakopane to Krakow via the Netherlands and, of course, about the beginnings, when a passion germinated in him, the effects of which we can now admire.
In 2021 I was invited to participate in a photography event called „Light.sensitives” organised by the Department of Landscape and Cultural Heritage at John Paul II University in Kraków. The focus of the event, which brought together several writers and artists, was to showcase different visual forms of storytelling and to answer the question of what it is like to look at the world through the lens of a camera or camcorder.
“It is a real art to be able to perceive what escapes the attention of most people. Sometimes it is emotions, feelings, sometimes it is a ray of sunlight touching the leaves, sometimes it is a random arrangement of colours, sometimes it is a plant growing against logic on a pavement. It varies… But the essence is always that the framed reality has to tell a story.”
(university’s website event description)
My story and photo exhibition was about one of the most beautiful trekking routes in the world, the Kungsleden, which I visited 4 times. I fell in love with the far north, with this trail, with the unique and beautiful landscape, with the emptiness and the power of nature, which you can feel with all your senses. The emptiness gives you a sense of freedom, but nature is a constant reminder to be careful because you are insignificant. In my photographs I wanted to show the beauty of this place, carved by nature over millions of years without human interference, and perhaps infect others with this beauty. There are few places on earth where you can stand, look to the horizon and not see the concrete monuments of civilisation. Kungsleden is one of them.
This is a selection of photographs taken over several years on the trail and presented in the exhibition. Enjoy!
Everything starts and ends with paper and it’s quality. You start by coating the paper with a silver-based emulsion. The layer should be thin, but it depends on the paper how quickly it absorbs liquids. Sometimes the same brand of paper from the same manufacturer can vary from batch to batch due to differences in the pulp used to make it. Especially the handmade papers. If there are imperfections in the paper structure, chemical residues, they can now appear because of the difference in emulsion absorption. If that happens, the paper goes to waste or I develop it as an example for future reference. The emulsion takes between one and two hours to dry in a controlled humidity environment. When it is dry, it can be exposed. It’s a contact exposure, so the print is as big as a negative. Argyrotype, like cyanotype, is UV sensitive, so it is exposed under a UV lamp (UVA part of the spectrum) and takes between 4 and 16 minutes, depending on the paper and the density of the negative. Once exposed, development begins. There are three parts: a 7-10 minute rinse in distilled water to remove excess emulsion, a 2-3 minute bath in the actual developer (sodium thiosulphate) and a 20 minute bath in running water. After development, the paper must be allowed to dry completely, which takes about 24-36 hours in the press. The emulsion changes colour at each stage, from yellow before exposure, to orange and brown during development and drying, to black and white or various shades of sepia after drying. Again, the final result depends on the paper and you can check it when it is completely dry, so if there are any flaws… I start again. My record so far: 19 prints from one negative that didn’t work because of the paper, but I didn’t fail, I found 19 ways that it didn’t work 😉
