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With little opportunity to travel and see new places, I changed the approach and  bought a new old camera. Agfa  Isolette iii is a simple folding camera with a 4,5/75 lens. I was pretty sure it would need  a CLA as an immediate measure--but it is working and even the bellow doesn't leak... 

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Agfa Isolette III, @ 5,6;  Ilford Pan F expired and damaged ( black dots on the back side of the film, probably sticky paper ), but usable as a test film--( thanks @gbealnzfor the idea ) , Rodinal 1+50

Edited by Kl@usW.
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On ‎1‎/‎17‎/‎2021 at 3:23 PM, Kl@usW. said:

Somewhere among  inherited photos  I found a couple of this kind of photo-- my great grandmothers family took the discomfort of a long travel to have a family  photo made before the two sons went to the trenches: exposure time about half a minute, heads fixed with some construction, but, what I found highly disconcerting was the veil over their eyes: nobody can suppress the flicker of the lid for such a long time-so the eyes are blurred; not completely but quite.. Nightmarish. 

She describes her goal "“I keep trying to find ways to shift the viewer’s attention away from the object they are looking at and toward their own perceptual process,” she has explained. “How can I make you aware of your own activity of looking, instead of losing your attention to thoughts about what it is that you are looking at?”   So making us aware of our perceptual process is not an easy thing... 

Not really, I had to look it up, but they describe gouache simply as a mixture of a coarse pigment and stuff that makes the resulting color opaque... the german Wiki gives chalk as the usual addition, the english wiki none. So a white gouache seems to be a very special thing-white but opaque... like a gray horse  ? 

YES YES YES--great photo !! The color. The graphic composition. The Explosive Grain ! 

Thank you graciously for the carousel of comments that keeps me going round and round with ideas. The "eyes are blurred" is really an idea that haunts and hooks the imagination. An analog somethingness that alludes to the posture of photography, how it documents and even deconstructs, the blur of history fixed, yet moveable. You say "nightmarish," yet it's something to relish. 

Barth plies the schema of blurring, perception and interception, and it calls to mind my memory of a series of large (4' x 4') black-and-white square format portraits, all blurred, that I saw about forty years ago at SFMOMA. Viewed from about thirty feet, the portraits gave the illusion of being in sharper focus, but at a closer distance, the blur deconstructed the image to the point where there was optically the struggle to make sense out of the blur by imagining the sharpness that was absent. This was the terra firma of Antonioni's Blow-Up and the theatre of ambiguity in its aspiration for acuity as Thomas, the photographer, struggles to make sense of photographic fragments, moments, that he has witnessed but didn't see. In making the film, Antonioni says that he "wanted to question the reality of our experience." Barth's enterprise is instructive in that she produces images that serve as a catalyst to simultaneously depart, yet return to the images, as indistinct and distinct.

I misspoke about "white" gouache, you are right, and I don't know where I got that notion because the two Tacita Dean works I referenced don't state "white" gouache but simply gouache. I had it in my mind thinking back to my youth, all gouache was white and was actually to be avoided in transparent watercolor painting that used only the white of the paper itself for white in the painting. Transparent watercolor is the key, and I never ventured into opaque watercolor, such as the Winsor Newton Designer Gouache Series. I used only Winsor Newton oils, alkyds, and transparent watercolors. I remember seeing gouache show design production art at Universal Studious that was very high key, dramatic. Dean's Majesty, for the record, is "Gouache on black-and-white fibre-based photograph mounted on paper, 300 x 420 cm." This is a massive work made on four overlapping sections of paper. Now, I know where I must have picked up the "white gouache" notion; the Tate Museum description notes that "all the area surrounding the tree's leafless branches and trunk has been overpainted with white gouache, isolating its structure and form. At the other end of the scale is Dean's work on postcards, overpainted with gouache.

Thanks for the audience for No Exit. I think it's a Pandemic Poem. Talk about your "nightmarish!"

Edited by Ernest
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Memory Recall
M-A APO 50 ADOX Color Implosion
Re-visioning a diptych blur.

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Leica iiif/fuji Acros100/Nippon Kogaku Nikkor 5cm

Automated "Selfie Studio"

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Leica iiif/fuji Acros100/Nippon Kogaku Nikkor 5cm

Drink Wine

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10 hours ago, JMF said:

Au Père Lachaise by JM__, on Flickr

Ektachrome 100 - 35 Summilux v2  - M6 Classic 

I really like the color on this one! The rusty fence in combination with the stone and moss looks just great!

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Fence in the sand dunes, Sandwich Bay, Kent.

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Leica R5, Summilux-R 50 (I), Orange filter, Ilford XP2.

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M6, 35 CronASPH1, Fuji Reala, C-41 self Fuji Hunt

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Rethymnon, Crete 1987

Canon A1, FD 24mm f2.8 SSC, Kodachrome 25 + polarizing filter

Edited by stray cat
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At the edge of England.

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Leica R5, Summilux-R 50 (I), Fuji Superia 400.

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Rest in peace in an archetypical English churchyard.

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Leica R5, Elmarit-R 90 (I), Fuji Superia 400.

Edited by John Robinson
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IIIf, Summicron 5cm 1:2 collapsible, Fomapan 100, PMK 1:2:100 8' 24°C.
 
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Leica iiif/fuji Acros100/Nippon Kogaku Nikkor 5cm

Save Water!

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Leica iiif/fuji Acros100/Nippon Kogaku Nikkor 5cm

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Leica iiif/fuji Acros100/Nippon Kogaku Nikkor 5cm

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vor 4 Stunden schrieb frame-it:

Leica iiif/fuji Acros100/Nippon Kogaku Nikkor 5cm

Covid Lunch time Rush Hour

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Incredible: no one on the streets! Where is it?

vor 4 Stunden schrieb Bo-Sixten:

Études, 12. Leica M-A, M4, Tmax 400, FP4.

Very funny idea!!

vor 1 Stunde schrieb stray cat:

Rethymnon, Crete 1987

Canon A1, FD 24mm f2.8 SSC, Kodachrome 25 + polarizing filter

For me it is always amazing how perfect the colors of the Kodachrome films look after such a long time. 

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