• Revisiting Ponarth 1: Oppressive Memory Politics in Russia’s Westernmost Region

    Revisiting Ponarth 1: Oppressive Memory Politics in Russia’s Westernmost Region

    Shortly after the second wave of COVID-19 hit Russia, I went to Ponarth to learn more about one of the two parts of old Königsberg that survived the Second World War. The less is left of the spirit of Ponarth, the more tensions over Kaliningrad’s past bocomes visible.

    This is a revised version of the story I published on 35mmc.com in June 2021. I want to remind it because of some other thoughts on Ponarth I intend to share soon. I took all photos featured in this story.

    Ponarth, contrary to Amalienau/Hufen, was not held in high esteem. There were neither elegant fin-de-siècle villas nor representative public buildings there that Soviet military and civilian officials could take into possession. Yet Ponarth has something else to offer — the intimacy of an area away from the city centre where contrasts between the pre-war East Prussian and the post-war Soviet pasts are deeper, more pronounced and yet more harmonically embedded into everyday life of the district’s dwellers.

    Ponarth has been separated from the rest of the city by the Pregel River together with its flood waters and meadows it creates. It flows through Kaliningrad Oblast and finds its way to the Vistula Lagoon just outside of Kaliningrad. It sounds straightforward but the Pregel is a peculiar and capricious river. It starts where two other streams — Angerapp and Alle — join. At some point along the way, the current becomes so strong and the amount of water so large that the Pregel bifurcates into the Pregel proper and the Deime. Yet it was still not enough to keep the element at bay. Just outside of Kaliningrad, water flow gets so immense that the river meanders, creating islands and meadows so swampy that they remain largely uninhabited, serving only as summer houses and fishing spots.

    A Protestant-turned-Eastern-Orthodox Ponarth Church. Notice the gold-plated onion domes.

    The Pregel has behaved this way for centuries. Its wildness and capriciousness probably got envisaged in the name of an old Prussian settlement which later became a village and, subsequently, a neighbourhood within Königsberg — Ponarth. The name is believed to mean either behind the edge or diving, submerging, whirling. In both cases, it clearly refers to the Pregel and its wetlands which still separate this part of Kaliningrad from the historic down-town.

    Kievskaya Street, one of Ponarth’s main axes. Notice the pre-war tram rails. They are not in operation anymore.

    Ponarth’s golden age began in mid-19th century along with advancing industrialisation and construction of the East Prussian Railway, connecting Berlin with Königsberg. The rural village quickly transformed into a town with a bourgeois park, a neo-Gothic church, a sports club, and a brewery. Especially the latter became main stimulus for the settlement’s growth. Founded in 1849, the brewery produced over 100,000 tons of beer a year by the end of the century, making it was famous across all Germany.

    The memory of Ponarth Brewery in all its naïve charm.

    Such mass-scale production required manpower which an ordinary village could not provide. In late 19th century, Ponarth’s became a town in its own right with over 8,000 inhabitants. Construction of houses that followed the population boom blended it into Königsberg proper and, starting from 1905, Ponarth functioned as a suburban district of East Prussia’s capital. It has been busy and lively every since, always retaining a colouring of its own.

    A brutalist Soviet sign informing there is a pharmacy nearby.

    The Second World War left Ponarth damaged, but not destroyed, similarly to the west of Königsberg (usually referred to as Amalienau or Hufen). Most importantly, the district’s main factories continued to function. As military officers and clerks moved in comfortable villas and semi-detached houses of Hufen, so did industrial workers in poorer dwellings and brick houses of Ponarth. This made Ponarth repopulate quickly with newcomers from all over the Soviet Union even though some factory equipment was disassembled and moved to other parts of the country as reparation for war losses. In 1947, two years after the war had ended and a year after Königsberg was renamed into Kaliningrad, Ponarth got incorporated into the newly established Baltiyskiy Rayon (Baltic District).

    New inhabitants did not feel at home in former East Prussian, portrayed as outpost of German militarism and nest of fascist invaders. It took them decades to start domesticating the space. During this time, gradual decay of the Soviet economic model felt even more painful in a remote corner of the empire where wartime damages had never been fully repaired. Already in post-Soviet Kaliningrad, the name Baltrayon became a local synonym for shabbiness and roughness. Some people even called it ‘the bear’s corner’, advising not to go there without a clear reason.

    At the same time, Ponarth existed as a symbol of old, better times, free from the worries of today although it was largely a prefigurative illusion. Whereas Baltrayon was liquidated in 2009 as a result of administrative reform, Kaliningraders have kept memory of Ponarth’s charming distinctiveness.

    Most people who know something about the history of Kaliningrad/Königsberg and East Prussia remember the Zhigulyovskoye beer which continued the pre-war traditions of Brauerei Ponarth. Buildings of the historic brewery are still there although now a large part of them is in very poor condition and is unable to serve its purpose. It would not be easy to achieve anyway since memory politics in Russia have narrowed the space for free use of pre-1945 references. This is something I will address in my second post about Ponarth where I revisit my own thoughts on the district and its dwellers.

    Negligence, economic transition and political turmoil have all left their mark on Ponarth brewery.

    Is it justified to say that the spirit of Ponarth still wanders around the district? On one hand, the neighbourhood has been part of Soviet/Russian Kaliningrad for over 75 years. Its inhabitants, street names and many other things have altered since 1945, resulting in many elements of the pre-war material and non-material culture sinking into oblivion. On the other hand, the memory of Ponarth, its rich history and charm not only has survived but has also been cherished by many contemporary Kaliningraders. Plus, even they keep using the old name. At least in this sense Ponarth has withstood the test of time.

    What is bothering is the shrinking space for different narratives on the past in contemporary Russia. With the war in Ukraine continuing and Russian economy suffering from the Kremlin’s policies, the authorities are using history to draw people’s attention to non-material issues and distract them from the actual problems. In today’s Kaliningrad Oblast, tales of Russia’s military glory over the centuries are dominating. It is a bad sign for inclusive, community-building memory about the past of places such as Ponarth.

  • How I (Un)Willingly Discovered My Go-to Travel Film Camera

    How I (Un)Willingly Discovered My Go-to Travel Film Camera

    It is a story of how reigniting the flame of shooting film made me appreciate the late 1970s West German and Japanese design wonder. It is so compact and sleek that no matter what I need to bring to frequent research and teaching trips, there will always be space for my Contax 139 Quartz.

    I took all photos featured in this story. Check my webpage for more content. You can also buy me film to keep my work going.

    The square hood is an addition of mine. While it slightly increases the depth of the camera, it helps me take better care of the lens. It is also handsome-looking, isn’t it?

    I recently revisited and revised my story on Kaliningrad’s Ponarth district, which I had explored back in 2020 when I had been posted to Russia as a diplomat for Poland. It was a time when my interest in analogue photography spiked, possibly because of the COVID-19 pandemic and the restrictions we all suffered from. To satisfy my aesthetic needs, I sought more unpredictability and excitement while taking more control and responsibility of the creative process. Film cameras fitted perfectly in this picture (no pun intended).

    I decided to go for a Minolta X-570, which I found on eBay in a great condition and for a decent price. I do not own this camera any more, but I still value its good performance and the ease of use. It felt, however, too plasticky and did not give me the kind of pleasant, tactile experience I was looking for. As much as the X-570 was a good way of kicking off with a more thoughtful and joyful analogue everyday shooting, it left me unsatisfied. I convinced myself I needed something more and something different.

    The dramatic back plate mentioned below. I have not bothered to check what camera one can use it with.

    This is the part when you might think: so he got himself the Contax 139 Quartz and he will finally get to the point. You are half-right. After parting with the X-570, I first went for a camera that I still own and love but find slightly oversized for my light-packing travels. It was a Contax 167 MT, bought at eBay from a seller in Germany who told me that this piece of Western capitalist technology had been bought by an university in communist East Germany to take high-quality macro shots. Indeed, the Carl Zeiss 60mm f/2.8 Planar that came along, as well as a custom back plate it made this Cold War story plausible.

    Among the first places I went to with the 139 Quartz were Nuremberg…

    I was impressed with the design and build quality of the set. No wonder it was developed in cooperation with Porsche Design Studio: sturdy but sleek, elegant but toned-down, with sharp lines but ergonomic. Very quick shutter release times (up to 1/4,000s) and electronic control over them made it easy to shoot quickly for an analogue camera while not losing the joy of manual focus and everything that follows. Yet something was still lacking, although I could not put my finger on it. Bear with me and show patience, just as I did.

    …Amsterdam…

    At first, I began looking for different lenses. The 60mm Planar is bulky and heavy, thus not very inconspicuous when shooting street life. I found a 50mm f/1.4 Planar in wonderful shape and there I had it — I developed a typical gear acquisition syndrome, or GAS. I loved the feel of those lenses on my 167 MT also because it came as a cognitive shock that they were produced at the same time as Prakticas in the German Democratic Republic, which I used to shoot with as a teenager. Back then, they were superior to the Soviet Zenits in every single way. When compared to 35mm Contaxes, however, the difference in technological advancement and craftwork made me flabbergasted.

    I then gladly heeded the self-proclaimed need for more gear and went on looking for a 35mm lens. It was the time after I had moved to Denmark and took a lot of photos around me just to get acquainted with my new place of living. As I moved from diplomacy to academia, my professional activity requires me to travel even more frequently. These are usually short trips with my students or to attend conferences and workshops. I wanted to make most of these voyages, also to show my students the joys of shooting film. They had the Prakticas, but what was I supposed to get?

    I quickly discovered how small of a market Denmark was in terms of analogue photographic gear. It was not an easy task to find what I wanted unless I wanted to risk bringing something over from Japan and paying taxes and customs.

    …and Paris.

    My patience paid off when an amateur photographer and a fashion enthusiast offered the much wanted 35mm f/2.8 Distagon lens in a very good condition. It came with strings attached, though, as it was accompanied by a 50mm f/1.7 Planar and a Contax 139 Quartz. I was not entirely happy with having to buy a whole set but hey, what about the everlasting presence of GAS? My explanation back then was that I could always sell the extra body and even get rid of the extra 50mm lens, especially that I already owned its faster version.

    While the 167 MT is hell of a camera compared to the 139 Quartz, it is still quite handy.

    Little did I think about the consequences of this move. At first, I almost frowned upon the 139 Quartz. Small, with shutter speeds ranging only up to 1/1000s, no automatic film advancement, everything controlled with knobs. It felt like a step back when I used it alongside the 167 MT. I took both bodies to a couple of road trips. Since space and weight were of no importance, I frowned upon the 139 Quartz. It was an older, slower and poorer brother of my fancy East-German-university-macro camera. How very judgemental of me.

    Do you see what I mean now? Mind you, the square hood is still on.

    But then, something clicked in my head and made me connect the oh-how-disappointed-I-am-with-you 157 Quartz body to the 45mm Tessar. The result was thrilling. Never before had I seen an equally handsome, minuscule connection of metal in black matte finish and delicate leatherette of this 1979 camera. I fell in love so much so that I started displaying the set on my desk. It was way later then that I discovered that I had been charmed by the intentional effect the creators of the 139 Quartz had sought to achieve: an interchangeable lens camera so small that it can fit into every bag and rucksack without making any rotten compromises.

    Size aside, what is it that makes this camera marvellous in my eyes? Wake me up in the middle of the night, ask me this question, and the answer will always be the same: ease of use. It is mostly because it has aperture priority mode. After selecting the desired value on the lens, you can look into the viewfinder, press a button with your index finger, and a little red LED will automatically show you the correct shutter time. You can even engage your pinkie to check the depth of field when focusing and composing the frame.

    Although the 45mm Tessar is a small lens, it is still comfortable to use. The aperture ring is large and tactile enough to operate it intuitively. In the beginning, I only struggled a bit with the focussing ring. It sits close to the aperture ring and the lens’ front, which makes it rather narrow. It thus requires some thoughtfulness in everyday use. After some time, however, one can get used to this trade-off as it benefits the overall small form factor of the Tessar.

    The whole set with a few film rolls weighs around 700 grams plus 30 grams for the square hood.

    It still impresses me that the built-in light meter is accurate and, although there are no different metering modes, one needs to try hard to produce an ill-exposed picture using this semi-automatic mode. It happened to me only once and it was entirely my fault: I was photographing a black-haired person wearing dark clothes against a very sunny background. I should have used the AE lock and the exposure compensation system, which Contax engineers included in this wonderful product.

    You can also use a fully manual mode and set the desired shutter time yourself. After using the same button, the camera will show you the time you selected and the time it would choose for taking the picture. If they differ, the former is constant, while the latter flashes. If the values align, there is only one blinking LED. There is also the OVER indicator for overexposed subjects. How intuitive, how convenient!

    Otherwise, all the dials and knobs on the camera are manual. You need them to set the ISO of your film (no DX coding, sadly), the mentioned shutter time (from 1/1000s all the way up to 1s, B mode and X for flash synchronisation at 1/100s), AE lock with exposure compensation dial (+/- 2 EV), as well as quartz self-timer set to 10 seconds. Join-the-picture became so easy that it gave the name to the whole camera.

    The biggest pleasure I take from using the 139 Quartz is its shutter sound. It is toned down and soft yet still audible and decisive. Since there is no automatic film advance, no other sounds follow the shutter. It is way more suitable for street photography or other environments in which too much camera noise can be disturbing.

    139 Quartz’s knobs and dials are simple, intuitive, and elegant. I could not ask for more.

    Does this camera have drawbacks? Naturally, but I prefer to call them trade-offs as they mostly come from the compact form factor rather than design flaws. Because of how small it is, it does not feel as good in my hand as the 167 MT. There is no pronounced grip which my long fingers usually need to get a steady control of the photo-taking process. Since the 139 MT is lightweight (slightly over 600 grams), it does not matter most of the time but in low light conditions, not being able to grasp the camera decisively can be somewhat bothering.

    Another thing is the focusing process, slightly impacted by the rather dark viewfinder. It makes you feel that although Contax 139 Quartz was a significant step forward in so many different aspects, it still suffered from the same hurdle that most models devoted to amateur photographers struggled with at that time. It was only with the arrival of the Aria that Contax addressed this issue in a satisfactory way.

    Yet my most serious reservation about this camera in reality pertains mostly to myself. Throughout this whole process, I fear I might have demonstrated consumerist greed and impatience closely related to intellectual sluggishness. You might think I am harsh on myself, but believe me, I thought the above statement through. I should have spent more time researching different options, looking for real user opinions and weighing my priorities. I could have also stuck to my Minolta, enjoying its earnestness and straightforwardness, albeit packed in a slightly inferior body.

    I like the look and feel of the 139 Quartz paired with the 45mm Tessar in the early spring sun.

    In the end, however, this self-critique should be taken with a grain of sold. Yes, I might have spent a bit of extra money, but I did not buy new things. Instead, I went for items that were produced many years ago. By making sure they will continue to function, I extended their lifespan and put them to a, hopefully, good use. Thus, I want to think that the environment was not substantially hurt by my unconscious search for a camera I can take anywhere I go. I even biked to pick up the 139 Quartz, bringing back a few hundred burnt calories and an piece of engineering capable of giving joy to me and to those who I photograph.

  • Two Flairs of Marseille and a Film Camera

    Two Flairs of Marseille and a Film Camera

    Back in 2022, I was still at the beginning of my work with U.S. students coming to Denmark. When a colleague of mine at DIS Study Abroad suggested I could accompany her and her summer class to Marseille, I did not hesitate for a second. I immediately sensed this study tour would bring opportunities to add new items to my teaching toolbox and experience a place which history is relevant on both sides of the Northern Atlantic. Naturally, none of this could happen without the analogue angle.

    It was a summer course my colleague designed to be special in many ways. Its focus were the discourses of colonisation and de-colonisation — a topic sensitive for millions of individuals and for whole societies, especially given the heated debate over many nations’ grim colonial past. Coming to terms with it is a long, difficult and oftentimes painful, affecting many areas societal life.

    As far as a direct contemporary angle is concerned, we were going to a city that, willingly or unwillingly, had been standing in the middle of a sharp political debate in France on migration and integration, or rather the latter’s fiasco, as well as the tensions that race and religion have generated over the centuries not least because of Europe’s brutal exploitation of peoples on other continents. Talking about these processes sounds like walking on a minefield and, indeed, it can become one when discussing it without sufficient knowledge, sensitivity and empathy. For me, most of my professional life dealing with Central and Eastern European affairs, going to Marseilles with a class focused on colonialism was an opportunity to step out of my comfort zone and gain new perspectives.

    What made the trip even more challenging was the fact that our students came from a country where polarisation levels had been reaching new heights every time one thought it could not get any worse. Many recent events have shown how different shades of xenophobia and other forms of social prejudice can lead to violent events. Heated public debates, often taking the form of accusations, shaming and blaming instead of a genuine dialogue, had not made reconciliation any easier.

    Marseilles presented all these challenges in the European context. To my relief, it did so in a uniquely charming and awe-inspiring way, not free from tensions but with clear and tangible proof that meaningful dialogue is possible. As the largest maritime gateway to France, it is home to Catholics, Muslims, Jews, Orthodox Armenians and Vietnamese. Around a fourth of the city’s population was born abroad, often coming from former French colonies and Algeria, which before independence formed France’s three departments.

    Unlike Paris, where immigrants live in the suburbs and the satellite towns, Marseilles down-town bustles with different languages and cultures of its inhabitants. French right-wing populists present it as a sign of the decline of France as we know it and the biggest threat to the nation’s centuries-long culture and the post-1789 secular state. After all, the French national anthem, tightly connected with defending the achievements of the Revolution, takes its name from Marseilles.

    Apart from making sure that our students actively participate in the study tour activities, I tried to make the most of my spare time. I searched for a neighbourhood where, while being close to the city centre and the hotel we were staying at, I could capture at least a small part of Marseilles’s genius loci. By a stroke of luck, I ended up in Le Panier, the city’s oldest and arguably most charming district.

    When taking the countless stairs up and down, I did not realise I was traversing more than 2,500 years of Marseilles’s continuous development. Greek merchants picked this hilly peninsula for their ancient emporium, Massalia. It took only two centuries for it to become one of major trading centres in the whole of the Mediterranean. The Greek made it easy for the Romans to build on this astonishing success. Do you remember Asterix the Legionary? In search of Tragicomix, the two Gauls went nowhere else than Roman Massilia. Already then, Goscinny and Uderzo portrayed it as multi-ethnic and multicultural.

    My interest in Panier became even bigger when we took the students for walk with a local guide, Martin. An American himself, Martin told us the story of Marseilles from a non-white and non-European perspective. He shared some strong opinions with us, some of which resonate within me until now. Martin manifested a great, cross-racial and cross-stereotypical sense of pride mixed with tolerance and pure joy of life. While his perspective honoured the memory of the suffering of millions of people, he uncovered a great deal of hope shattering the perils of staying in the past.

    Marseilles’s Panier gave me calmness and comfort that I still feel looking at the photos I took there. There was a distinctive easiness with which the district guided my eye, finger and camera. Panier interacted with the viewfinder seamlessly, almost automatically composing the frames exactly the way I expected them to turn out.

    It was a comfortable, perhaps even a soothing experience to be in Panier both on my own, strolling around accompanied only by my Contax, and with the students, giving them my attention and learning about the difficult legacy of colonialism. Another thing I brought to help them explore Marseilles were East German Praktica 35mm cameras. In their own right, they tell another portion of the story of repressions in Europe that finished only in 1990 as they were partly assembled by political prisoners.

    To me, someone with limited knowledge of the European Mediterranean, Panier represents the most appealing type of historical district in the region. It bustles with a charming combination of history and present. It is not a tourist-oriented empty shell, left by original inhabitants to make space for money-making machines — deprived of the mundane authenticity of everyday life. Panier still feels real and I as a tourist with my camera felt like a guest, lucky to be welcomed by the community. It made me appreciate the neighbourhood even more and tread carefully on its narrow streets, smiling at my unaware hosts. Panier’s atmosphere also helped me find fellow film shooters and have a relaxed conversation over lunch.

    The three days I spent in Marseilles back in 2022 convinced me that the city, especially its Panier district, has at least two flairs. One is for attracting people from all walks of life whose open-mindedness and good will give a sense of a true and intimate community in France’s second largest city. The other one is for telling stories about often tragic and painful developments in a gentle and a peaceful way. Having had the chance to experience it with my Contax was such a dear experience that I came back to it to write this piece.

    Marseilles has taught me how to look at a city like a myriad of individual and stories coming together thanks to the hospitable space it offers and the friendly atmosphere it creates. Identifying them often means that you as an educator should only provide a platform to let others speak: after all, their experience and passion are in cahoots with genius loci. For highly engaged students, a bit of contextual knowledge is all what it takes for places like Marseilles to start working its unpredictable yet always marvellously inspiring magic.

    My collection of Praktica cameras which I shared with the class was perhaps another reason for my looking fondly at Marseilles and its Panier district. The students appreciated the possibility of shooting film as much as my regular semester class. It is a teaching experiment I mentioned in another story on Medium, co-written with Hannah Wines.

    I took all photos used in this story with Contax 139 Quartz and various Carl Zeiss lenses. Please do not use the photos in any way without my consent.

    You can find more of my photos here and here.

    You can also buy me film to keep my work going.

  • Stop to Snap the Roses: a Political Science Semester through Analogue Photography

    Stop to Snap the Roses: a Political Science Semester through Analogue Photography

    How shooting film with old-school gear can help provide better guidance through the labyrinth of European nation-states’ difficult past and their still challenging present.

    Co-written with Hannah Wines, a former student of Miłosz.

    Hannah:

    I did not expect analogue photography to be a defining component of my semester studying European Union politics. Yet, looking through the rolls of film that my core course took together, there are three photos that sum up the Fall of 2022. The first, taken in a classroom in Copenhagen, is from the first day of Core Course Week. It was taken by another student in the class as our professor, Miłosz Cordes, taught us how to adjust each of the camera’s settings for our upcoming trip to Germany. The photos we took this day were shaky and out of focus, but they instantly remind me of how new everything felt in September: we were all blurry to one another when we were first sorted into our groups, but just one or two adjustments away from becoming close friends.

    Practicing portraits was an unexpected part of familiarising the class with analogue cameras.

    We had only just scratched the surface of our time learning about the European Union. Most of the course had been textbook readings and class discussions on international relations theory, and we hadn’t yet brought that knowledge out of the classroom. Exploring Copenhagen with the cameras that day was the first time I’d gotten to really talk to some of the people that I now know as my passionate and intelligent friends, and I love that we had the chance to record these early moments.

    The Knivsbjerg memorial in Southern Jutland / Northern Slesvig, part of the still controversial legacy of the Danish-German borderland.

    The second photo that caught my attention was one I took on our trip to Knivsbjerg in the Schleswig-Holstein region of Denmark. The motto “jungs holt fast,” inscribed above a plaque dedicated to Danish resistance leaders in WWII, is wrapped up in a complicated and fascinating regional history that I never knew until visiting. Part of what made Core Course Week so special was our ability to humanise history; in this case, the Schleswig-Holstein War wasn’t just a series of events on a timeline, but rather a years-long conflict that reconfigured the identities of an entire region for generations.

    Knivsbjerg is a mix of hundreds of years of history: what began as a German memorial to Otto Von Bismarck and a war from the 1860s is now a controversial memorial to ethnically German soldiers from Denmark who volunteered in WWII. Using a phrase which once encouraged German soldiers to conquer Denmark, it now encourages modern-day youth to continue the spirit of Danish resistance fighters. Speaking with Danish teenagers from Schleswig-Holstein revealed that asking a Dane living in Northern Germany if they feel more Danish or German is “a stupid question” simply because it is unanswerable.

    Old merchant buildings in Lübeck provided an ample opportunity to practice framing and perspective.

    Photographing Southern Denmark and Northern Germany put names and faces to our textbook knowledge. On the scavenger hunt, we photographed EU flags on the same street as merchant homes that dated back to the Hanseatic League, when major European city-states first formed economic alliances. We walked under plaques with the Hanseatic crest and squeezed our way through winding streets full of Hanseatic license plates. Lübeck’s economic history — the economic history of Europe and the EU, for that matter — was clearly part of the local identity. Touring a Danish high school in Flensburg, Germany, gave us the chance to see how the borders drawn in 1864 and 1920 still complicate the daily lives of millions of people. Our entire course up to that point had focused on how controversial European Integration had been and being sent out on our own to discover both the beneficial and deadly attempts at integration prior to the EU made the stories more tangible.

    This piece of wall with an inscription in Latin holds Lübeck’s two most famous towers together. If it weren’t for it, they would have collapsed many years ago.

    Using a Cold War-time camera helped ground our otherwise theoretical knowledge. As a history major, it was fascinating to use a camera made during such a turbulent time; the East German prisoners who manufactured the camera wouldn’t have had a way to predict the world that I photographed through the very same lens. The was no way to know that I’d one day take it to a unified and democratic Germany or take a photo of my Danish family and friends at their first Thanksgiving meal. It was a charged experience to know that the camera was made under harmful circumstances, but it made each photo more purposeful; each time the shutter clicked, a part of me had to consider the legacy of my subject or the message I’d convey.

    Shooting film turned out to be a way for bonding and team-building.

    Seeing how intense these conflicts were in regions as small as Schleswig-Holstein put the larger European integration process into perspective: if debate could turn deadly between thousands of people, it could certainly be fierce between millions. Whether in a moment exploring Antwerp with friends or a class trip to see part of the Berlin Wall, taking these analogue photos let me (quite literally) see each experience through a new lens. History was now both a narrator and a physical presence that I could hold in my hand.

    Apparently, one can take selfies with a Praktica and a 50mm prime lens.

    Another photo that stuck out to me was one I took of my scavenger hunt group in Sønderborg, Denmark. We’d arrived in Sønderborg a day after our trip to Germany, where we’d split into groups to take on a scavenger hunt that took us all over the city of Lübeck. The goal of our time in Germany was to let us explore EU history with a creative outlet rather than another museum visit. We spent our time decoding clues and racing to beat our classmates to find historic sites.

    Nico, Eleanor, Perry, Jake, and Megan exploring Sønderborg, Denmark.

    I love this photo from Sønderborg because it perfectly echoes the one I’d taken of my group only days earlier: the same people, just in focus this time. Our day in Sønderborg was full of good food, interesting dinner conversations with local students, and independent exploration with newfound friends. Lübeck had mostly been a chance to photograph landscapes, but using the camera recreationally let me realise that I enjoyed the photos I took of my classmates even more. After two trips abroad, five class bonding events, and countless coffee runs, my photography this semester was defined by the people I got to do it with.

    A day of analogue photography with the Praktica in Odense, Denmark.

    After our study tour was over, I had the privilege of taking the camera with me on my other travels throughout Europe. This included our class trip to Brussels about a month later. Taking the camera to Brussels was mostly an experience of what I didn’t photograph: EU security wouldn’t have been thrilled if I’d taken a picture inside a board room at the External Action Service, where we discussed the future of EU integration in the context of the Russo-Ukrainian war, and I didn’t particularly want to photograph the architecture of the Royal Museum for Central Africa (which was built to praise Belgium’s colonial experience).

    My photography continued on my host sister’s birthday trip to Odense, a Thanksgiving excursion to Paris with friends, and all around my neighborhoods in Roskilde and Copenhagen. “The Soviet Camera,” as my friends quickly dubbed it, was fixed to my hip at every special event of the semester. It was a running gag that I took so long to focus the camera for each photograph, but that’s part of what made it so special: setting the focus and the aperture made me sit longer with each experience. What’s more, the camera made me search out small details that I might have missed otherwise. Every crack in a statue in Brussels or ornate carving on a wall in Odense was the possible subject of a photo, and therefore an opportunity to absorb the current moment in a semester full of sweeping change.

    I’m now back home, writing this as I wait for my photos to develop at a store in Washington, DC. I can’t recall every hasty photo I snapped. I’m sure there are parts of these transformative four months that I’ll forget. But I can’t wait to get the film back, and to hold in my hand a new part of history that I got to write: the history, culture, experiences and people that I stopped to capture forever.

    Miłosz:

    The idea to experiment with analogue cameras as part of a political studies course came to me during first months of my stay in Denmark. I just quit my diplomatic career to join my future wife. At that time, I was only doing some freelance analytical projects and had a lot of time to bike around Copenhagen and do more distant trips around Denmark with my Contax 167 MT. Shooting film helped me settle in.

    It was then when an opportunity to lecture for DIS Study Abroad arose. I quickly discovered that DIS not only allowed but even encouraged unusual teaching methods. As I still had a pair of old Prakticas, I thought it would make sense to talk about the history of European integration, the Cold War division of the continent and breakthrough events of 1989–1991 through the lens of East German analogue cameras. It had a symbolic dimension, too, as some of them were built by political prisoners.

    I decided to incorporate analogue photography into a course about European integration. I did not know if there would be any interest in shooting film among my students. To my relief, the idea met with enthusiasm of some and understanding of others. We did a quick workshop to explain the basics of operating the cameras (loading/unloading the film, exposure triangle, focusing etc.) before going to southern Denmark and northern Germany for our first research trip. I felt enormous joy and satisfaction every time a student asked me for an additional roll of film.

    I want to think that using purely mechanical Prakticas has helped my students slow down and immerse themselves into the reality of European history and contemporariness, full of complicated alliances, multiple wars, and unexpected turns of events. It was also a way of encouraging the class to take a look at their surroundings. We travelled to places where medieval architecture co-existed with more modern building, entering a fascinating dialogue about European cultural heritage. Grasping is never an easy exercise, especially for people coming from outside of Europe. When one must stop, take out the camera, find an appealing frame (all cameras had prime lenses only), adjust all settings, cock the shutter press the release button, one’s photographic experience becomes significantly different from shooting with a smartphone.

    Did the experiment work? After trying it for a few semesters, I have decided to make the use of cameras voluntary for those who really want it during the spring and autumn semesters. There are always a few students either already having some experience with analogue photography or willing to give it a try. We then meet a few times during the semester to talk about the their endeavours and the value film photography has brought to their stay in Denmark and Europe.

    I have moved all film-related obligatory tasks to intense summer courses I started teaching last year as they are even more exploration-oriented and give the students more opportunities to use Copenhagen and our study tour destinations as a photographic playground. For me as an amateur photographer with some 20 years of experience, it is also a way of finding fresh perspectives: my students deliver unexpected, spontaneous framing and constantly infect me pure joy of using a tool that many thought is dead.

    Hannah Wines holds a Bachelor’s degree in History from American University in Washington, DC, which she completed in 2022. She spent her final semester in Denmark studying European integration and International Humanitarian Law. When she isn’t studying for the LSAT, Hannah funds her world travels by selling books at Barnes & Noble.

    Miłosz J. Cordes is Lecturer at DIS Study Abroad and a former Polish diplomat. He does policy analysis for European research institutions and think-tanks, including the Danish Institute of International Studies and the Casimir Pułaski Foundation. He majors in Russian Studies and in security in the Baltic Sea Region. You can find some of his photos here and here.

    Note: Hannah provided all photos used in this article. Miłosz developed, scanned and edited all B&W photos.

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