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There is time for revolution and there is time for love.

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14 hours ago, philipus said:

I think it was one of our Swedish forum members Lars Bergqvist who liked to refer to certain lenses in the Leica line-up as "dogs". I remember he particularly disliked the early 35mm Summiluxes. Hektor was of course the name of Max Berek's dog, so the name does come with a certain pedigree :) I really like this lens though except that there is a very high likelihood (at least when I use it) that parts of my fingers end up in frame...Stopped down though it performs pretty impressively, I think. This is a shot from Heron Island with due to its wonky horizon easily would pass the narrow eye to enter my eternal collection of rubbish.


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Portra 160

It vignettes quite a bit too which can be effectual, like here in Bonn. Another thing that it does - and it is my highly unscientific observation - is to give the grain a very special look. Perhaps I'm just seeing things.


 

 

It is good to see I am in good company with my personal feelings for the 28 Hektor. Obviously, the person who would call the lens a "dog" , in reference to the fact the creator of the formulation named it after his dog,  is not a "dog person:" who would name a failure after their best friend?

Two of my best friends

Leica Ic, 28/6.3 Hektor, Fuji 800 Superia

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As a community, we torture each other by sneaking in and posting large reminders of significant birthdays on the birthday boy's property.

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Leica Ic, 28/6.3 Hektor, Foma 400 at ISO 1600

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Rehearsals.

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Canon EOS 650, EF 1:1.8/50

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M4-P 35 FLE HP3 in HC110B. 

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The bridge of London Wall.

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Bosnia

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1N EF100/2.8 unknown transparency film Coolscan V
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8 hours ago, Wayne said:

It is good to see I am in good company with my personal feelings for the 28 Hektor. Obviously, the person who would call the lens a "dog" , in reference to the fact the creator of the formulation named it after his dog,  is not a "dog person:" who would name a failure after their best friend?

Two of my best friends

Leica Ic, 28/6.3 Hektor, Fuji 800 Superia

Perhaps he named the dog after the lens? 😁

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On 10/23/2020 at 11:07 AM, Kl@usW. said:

Marginal, but so important. I feel inclined to see this as a metaphor of our actual circumstances...  grey in different shades if you stare right ahead, but bright and colorful if you care to look a tiny bit off center...  

 

Yes, yes, yes. You are correct about the emphasis on the peripheral. I like to say it's an effort to remove the parentheses.

22 hours ago, philipus said:

Wow this is brilliant Rog. From a purely graphical perspective the mix of the monochrome and the bright colour is almost like a shock to the system. It's as if the eyes expect, seek to draw even, colour from the gray fields but fail and then simply give up. Really effectively done. 



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Portra 160

It vignettes quite a bit too which can be effectual, like here in Bonn. Another thing that it does - and it is my highly unscientific observation - is to give the grain a very special look. Perhaps I'm just seeing things.


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Velvia 100

Wow this is a really striking image Ken. Very well executed.

 

Thanks, Philip. The effort here was to go minimal and restrict the palette. Also, working on non-rectilinear with the interchange notion, like an aerial perspective.

21 hours ago, atournas said:

Three letters and a girl.

Is this The Woman Who Fell to Earth? Very intriguing shot, this is.

11 minutes ago, philipus said:

Bosnia


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1N EF100/2.8 unknown transparency film Coolscan V

Do I hear a Matisse cutout in this dramatic "cut-out?"

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Geometrical.

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Clouds #2

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MP; Summarit 2,4/50; Delta 400; D76

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Foma 400 @ 1600. Further experimentation.

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Ic, 28/6.3 Hektor

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Same

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Versatility: I mean, it is a shot of nothing, but a damn good shot of nothing......Ultimate point and shoot performing when I pulled it out of my back pocket and accidentally  fired the shutter. :) 

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Ic, 28/6.3 Hektor, Foma 400 @ 1600

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Gig

.

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Zeiss Ikon Ikonta, SK Xenar 45/2.8, Foma 400 @ 1600

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