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Minox IIIs, Agfa FF (expired 1969)

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Over Easy
M-A APO 50 & Thambar-M  E100
Happy Bauhaus 100th Birthday

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Continuing our stroll around Tbilisi, here's the Galleria which was developed to the tune of a whopping 70-90 million USD and houses McDonald's, Burger King, KFC, various international shopping brands and a cinema multiplex. Some question whether it's what a poor country needs.

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40/4+PC Mutar 1.4x Ektar X1
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As a tribute to the late, great, man. His 312T of 1975.

Goodwood FOS, 2001.

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Nikon F5, 17-35 f2.8 AFS, Kodak Gold 400.

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More erosion at Red Bluff.

Hasselblad 203FE + 40mm Distagon.

Ilford FP4+ pushed 1 stop.

 

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Berlin Kantgarage  Voigtländer Vito CS Rollei RPX25

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Am 19.7.2019 um 04:10 schrieb Ernest:

Gray Make One
M-A APO 50  ADOX Color Implosion & E100

Found color fields: glass, cement, stucco, and steel. Working the Mondrian, somewhat. Happy Bauhaus 100th Birthday!

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Joyful, with a little reminder-memento so to say- that  the mental equilibrium needs some umbra too. 

Am 20.7.2019 um 05:29 schrieb Ernest:

Four Square
M-A APO 50  ADOX Color Implosion & E100

I´ll  have a look at these fields on a dull day--they sure will help. 

Am 19.7.2019 um 12:32 schrieb Xícara de Café:

IIIf, Summicron 5cm 1:2 collapsible, Kodak Ultramax 400.

Wow, Xicara, your beetles are full of life ( lived ! )  and sun.  I never owned one, but of course they are  part of my and everybody's  automobilistic biography-maybe that's why they are so touching. 

 

Am 20.7.2019 um 22:13 schrieb philipus:

This was shot from one of the walkways up to the Narikala fortress. The Tbilisi Central Mosque is in the foreground and the Tabor Monastery on the hilltop.


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40 Distagon CFE+1.4x P.C. Mutar Ektar X1

Philipus, very nice balance of the bright building and the beautiful blue background. 

 

Edited by Kl@usW.
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Rashomon Triptych
M-A APO 50 ADOX Color Implosion

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Paper Edge V
M-A APO 50 & Macro-Elmar-M ADOX Color Implosion

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vor 7 Minuten schrieb Ernest:

Rashomon Triptych
M-A APO 50 ADOX Color Implosion

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witness # 1: Well, there was  blood all over the place, but, you know, first it looked  like self-inflicted but then, in the distance, I'm pretty sure it was these knights..at least 10 of them, yes, I'm sure. No, I could clearly recognize them.... 

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11 minutes ago, Ernest said:

Paper Edge V
M-A APO 50 & Macro-Elmar-M ADOX Color Implosion

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Hello Ernest,

Nice photo.

It is nice that you do all of these photos.

Best Regards,

Michael

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one of my favorite pastimes.... 

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M 2, Slx 50 , Portra 160 @ 100. 

Edited by Kl@usW.
tech data
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4 hours ago, Kl@usW. said:

witness # 1: Well, there was  blood all over the place, but, you know, first it looked  like self-inflicted but then, in the distance, I'm pretty sure it was these knights..at least 10 of them, yes, I'm sure. No, I could clearly recognize them.... 

Klaus! You are a screenwriter, aha! I was perhaps somewhat presumptuous in dressing this triptych in Kurosawa's Rashomon costume, but the very idea of the unreliable narrator speaks to issues that are easily the province of photography, shades of truth and artifice, or as Philip would allow, the play of penumbra and umbra, the gradations of the eclipse of imagery that charges the imagination and discharges reality of the moment. The photograph is about what can't be seen. It's amusing when we consider cars with catalytic converters--the very term "catalytic converter" is all about photography, the image that is a catalyst to see what is absent. Kurosawa's landmark film in 1950 defined innovatively the unreliable narrator by dramatizing four different accounts, testimony, of a crime. You say that "there was blood all over the place!" Indeed! In Kurosawa's style, "first, it looked like self-inflicted, but then, in the distance . . . it was these knights, at least ten of them." Yet, you are at first "pretty sure," then "yes, I'm sure." Then, your great line: "No, I could clearly recognize them." What was ambiguous now becomes clear recognition. This is Herman Melville's "Bartleby the Scrivener," who says famously when asked to work, "Yes, I prefer not to." The positive "yes" countered with the negative "prefer not to." Now. to circle back to the scene of the crime, er, I mean the "Rashomon Triptych." It certainly is the hue of dried blood, reviving all dark connotations, thereof. There is the ambiguity and simultaneously the clarity of the material objects: a steel surface, in focus, and steel paneling inside window framing, also in focus, though there is the reflection of out-of-focus landscape. Cars, a parking lot, sky, trees, pehaps another building. What is this, then? Nothingness. What is it we cannot see? Is this what it is about? Kiarostami's 24 Frames is an innovative film concerned about what is not seen before and after a scene.

Please, don't give me a hard time because I didn't use four images for a polyptych: four images as the visual equivalent of Rashomon's four stories.

I can get away with using "Rashomon" here, since it is a term that has bled into the world the lawyers referring to the Rashomon effect, the discrepancy in testimony of witnesses recounting different perspectives of the same event.

Thanks so much for your feedback and creative reading.

Cheers,
Rog

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4 hours ago, Michael Geschlecht said:

Hello Ernest,

Nice photo.

It is nice that you do all of these photos.

Best Regards,

Michael

Thanks so much, Michael, for your kind words. The user forum is always an adventure, "seeing" from so many different perspectives!

Cheers,
Rog

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