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On 5/18/2021 at 9:59 AM, John Robinson said:

I am curious about the strong fading towards the LH side of the image as I have seen this on my M3.  Is it vignetting in the lens, something to do with the lens shade, something about scanning of the negative or a shutter fault?  On my M3, if I shoot at 1/500 or 1/1000 I get fading of the image that looks like this.  Rather than sending the camera off for overhaul by Leica, I have opted for some ND filters so that I can shoot at 1/250 or slower, at which speeds the camera is totally reliable.

Well imho it looks like your m3 is in needs of a cla.  I think the second curtain reach the first one too fast at the end of its travel.  Something like a brake problem.

 

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Tribute to Luc Besson 😁

Leica M2-R, Zeiss Biogon 35mm f/2.8 ZM, Konica VX400 long expired

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the Saxophonist

Rolleiflex T2 wide open Fomapan 200@100

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Alfie ...

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Canon T90, FD 2.8/24, Fomapan 200

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Street photography

Leica M5 - 35Summilux - PanF50

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Edited by leicamour
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Washing off. M4-P VC 75 f/1.5 Nokton HP4 in Cinestill Monobath

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Street photography

Leica M5 - 90Elmarit - Ilford SFX

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Venus

Nikon F2AS - AIS50/1,8 - Ilford fp4+

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Street photography

Thelephon - Leica M5 - 35Summicron - Ilford SFX

Nice lady - Leica M6 -  35Summicron - Ilford fp4+

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On 5/20/2021 at 7:22 PM, stray cat said:

Thank you Rog! Re the matter of "No Matter": it is a wonderful example of breaking that tyranny of the rectangle. 

The tyranny of which I am about to restore (you caught me scanning today!):

Pole, Mornington 2021

Rolleiflex, 50mm Distagon, FP4+

This "Pole" certainly plays on the mind with the resonance of "the presence of absence." We have the polarity of what we see and the allusion to what we don't see. Sidestepping the semantic slope that slips from "seeing'" to then "understanding," there is that strata here layering the textual versus the visual, words/letters and that teeter-totter with images.  MO/TEL, courtesy of the backslash pole, calling up MOTOR HOTEL. A roadside hotel for motoring guests. We aren't going to stop at the Bates Motel, but there is still something very black-and-white Hitchcockian about the tonality of Phil's MO/TEL that leads us up the pole, out of frame, intriguing. What does the pole posit? An announcement, a command, an advertisement, or plainly just another visual image (at the mercy of gravity pulling it askew)? Is it one in a series of anemic power line poles? It's the confounding absence that intrigues with its absence confounding. MO/TEL segues to a symphony (Bernard Herrmann) of MOTORS, car engines humming, prompted by the word motor and all that it conjures as noun, adjective, or verb. And we cannot avoid the play of space in square format, so casually disarmed from the symmetrical composition by an emphatically slicing pole just a whisker off-center. 

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1 hour ago, leicamour said:

Street photography

Thelephon - Leica M5 - 35Summicron - Ilford SFX

Nice lady - Leica M6 -  35Summicron - Ilford fp4+

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A dazzling cinematic voice you have! I have in mind the soundtrack, but what do you suggest? 

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Sliding
Tele-Rolleiflex Portra 800

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