Bag Raid: Chris Loutfy

Welcome back to Bag Raid, our clapback to photographers who gatekeep. If that's you, don't let the door hit you on the way out. Otherwise, make yourself at home, beers in the fridge etc. etc. This month, we connect with analogue advocate Chris Loutfy, throwing his Hi-Fi Camera Sling wide open.

Chris Loutfy's vision finds solace long after the shine has faded. His vice—beat Corollas and thrifted point-and-shoots—is a commodity few of us understand, objects whose allure only grows each time they change hands. It's fair to say Chris handles both with good taste. The subject of Chris' photography is a continuation of this lifelong fascination. Here you'll find the purest forms of Bōsōzoku, Kaido Racers, and Kei cars deeply rooted in Japanese car culture. Read on.

Bag Raid w/ Christ Loutfy

Yashica T5 - I luckily managed to buy this from the original owner, who had put a Nagano Olympics sticker on it in 1998 when he attended. I love history like that added to second-hand things.

Surplus Research Earphones - These sound great and it’s nice to get back to wires again.

Film - I like to carry a bunch of random film. I’m trying to break my reliance on Portra, but I honestly usually regret the photos that aren’t shot on it.

Keys - Being into cars, I feel like my keys are always some jangly janitor-spec bunch, but I collect keychains from all over the place, which ends up giving this big mass in my bag a bit more meaning.

Mini Camcorder - Found this one in a junk store for $10 and managed to get a new battery for it, and it powered up. It’s completely in Japanese though, so it’s challenging to work out what’s going on with it; I’ll get the hang of it one day!

Hey Chris, for anyone new to your work, how do you usually describe what you do

At this point, I’m really just taking photos that make me feel something. My work currently is largely personal including a lot of images of car culture.

Where are you based?

I’m writing this in Sydney, Australia.

How did you get into photography?

Honestly, I started by just taking photos of my friends and people around me. I’ve always been drawn to subculture, whether that be hardcore punk music, graffiti, and now drifting, so documenting the people from these scenes has always been a driver.

You move between photography, publishing (Minor Press), and running Stone Street Agency. How do those roles influence each other?

The photos lead to the books so that makes sense. Weirdly, the photos also led to starting the agency, and when I was doing more commercial photography for brands back in the day this aligned more, but now my practice is very separate. So as much as these three things started from each other, they all exist really separately in my day to day.

What made you pick up a camera? What was your first camera?

I believe my first film camera was an Olympus MJU zoom of some kind, then quickly afterwards a fixed lens MJU II, back when they were $5 from an op shop.

Is there anything in particular you like to shoot for yourself personally?

Typically I feel like I shoot two different things: either singular moments in my life that I want to immortalise, or stories of people that I want to tell through images.

What is your go-to camera set-up?

It switches up all the time. I’ve amassed a decent collection of random cameras so I swap around. Currently I’m shooting on a Yashica T5 for 35mm and a Fuji GA645.

You just spent time in Japan – what drew you there this time around?

I was working over there over the past couple of years, but this trip was just holidaying to see new places – this time it was Kyushu island. It consistently amazes me how much there is to see in Japan; each prefecture offers something unique.

What’s in your Hung Supply camera bag?

I’m running the Hifi Sling right now, and I’m running the T5 and a mini camcorder I found in a junk store and have been trying to work out.

What’s your favourite film stock?

I try new things a lot but always come back to Portra 160.

You’re working on your second photo book. How has the process differed from Here, Everywhere?

This new book has a lot more set-up photos, with me going out and meeting people for the express purpose of telling their story through the images, while Here, Everywhere was a more individual, almost selfish documentation process over the years. No idea when I’ll wrap this new book but I’m trying to not put pressure on the timeline.

Why do you think photo books and zines still matter?

In a world where we are routinely driven away from the physical and into the digital, with images being disposable – seen in a split second before scrolling on – I continuously come back to both reading and making books and zines as a way to share images and tell stories.

If you could only shoot one camera for the rest of your life, what would it be?

I don’t know if I could make that choice… maybe a MJU II if I could find one that would never break? I haven’t owned one for about 5 years so I’ve been thinking about them a bit

What’s one thing you’re trying to get better at – behind the camera or just life in general?

I’m trying to slow down overall from the grind and just enjoy the moments and community around me in the physical realm.

What’s one random thing in your bag that has nothing to do with photography?

I helped a friend out with a wired headphone brand he has, so I’ve been really enjoying getting away from Bluetooth and back to wires. As you can tell, I’m really nostalgic for 20 years ago.