By Aline Smithson

Diana cameras were created in the 1960s, Holga cameras in the l980s, I highly doubt the Chinese manufacturers could have predicted the current worldwide phenomenon of toy camera photography.  When I started teaching toy camera classes in 2001, resources were not readily available.  With the exception of a few plastic camera fanatical websites, the plastic camera was not widely appreciated as a creator of artistic images. Finding an old used Diana camera, complete with light leaks, required never-ending trips to thrift stores and garage sales.  Eight years later, there are a myriad of books and magazines devoted to toy camera imagery, and reissued models sold in trendy, fashionable chain stores.  The variety of cameras, lenses, formats and attachments found in stores now, were not available 10 years ago.  Toy cameras have found their way into the camera bags of commercial, editorial, and fine art photographers around the world.  Toy camera photographers are on the campaign trail, at the Olympics, at weddings, traveling the globe, or capturing back yard birthday parties. In other words, plastic and toy camera enthusiasts are everywhere.  Toy cameras have quickly become part of pop-culture.

Understanding the attraction of toy cameras is not complicated.  Plastic cameras create evocative, powerful images, while at the same time, creating modern and nostalgic images. Simple, classic, plastic cameras are democratic tools, which level the technical playing field.  Holga and Diana’s affordability and simplicity (sunny, cloudy, near, far, and very far) allow for a broad range of users.  The interesting result of the toy camera’s popularity is that it has inspired the digital generation to get back into the darkroom, and may have had a hand in keeping film production afloat.

When I was first exposed to the work of toy camera pioneers, Nancy Rexroth and Mark Sink, I knew these photographers were speaking a language that resonated with my artistic sensibilities.  I wanted to create work that was mysterious and dark, out of focus and artistic, and left room for spontaneity and improvisation.   I have spent the last decade enjoying the visual journey my toy cameras have provided.

I Spy With My Plastic Eye, is an exhibition visualized by photographer, Astor Morgan.  The exhibit, brought to life by A&I, is a testament to the unique qualities of toy cameras.  Each artist approached their imagery with a singular voice, using a variety of film types, techniques, and cameras.  The photographs in this book speak of gesture, of time passing, of simplicity and complexity, allowing for a wide range of expression.  And all of this magic has been captured through an inexpensive plastic lens, part of an inexpensive plastic camera that inspires discovery and serendipity. And, that is the best part.

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