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11 hours ago, Kl@usW. said:

Thank you, Phil. Actually the strange rendering of the pale blue sky by the Ilford Ortho possibly helped... About the Rolleiflexes I agree; if you find the right scenery for them, the result is magic.  I´m even thinking about a clean 2,8 F...or a GX ...

 

Phil, I saw the  Irving Penn retrospective a couple of years ago in Berlin. Contrasting the elegant portraits of men and women I found his work of cigarette butts and bottle caps highly aesthetic. If you have an explanation why we ( you, me, and all the photographers of urban and rural decay ) find pleasure in this kind of subjects.... let me know. 

btw  the micro nikkor and the agfapan 25  seem to have been a dream team.. 

 

Thank you sincerely, Dr Klaus.

I have no idea why some oddballs such as you and I take pleasure in seeing detritus or decay as aesthetic apogees. It would be worth remarking that the works by Penn to which you refer are, of course, so beautifully arranged, lit and printed (and large!) that it would be cruel not to look at them as objects of visual beauty. But I suspect it goes deeper than that and, in a way, I think there is something very comforting in finding that cast-off and/or vernacular things - to which we are all exposed in our daily lives - have some sort of intrinsic value beyond that they are otherwise shunned. That the objects in the pictures have something in themselves that is worth looking at and thinking about. TMX has made a very good show of that with his pinhole (above) and of course Wayne shows "flyover country" (which I take to mean the territory one normally passes on their way to somewhere else) to be somewhere that, actually seen, never fails to reveal a quiet richness that invites a contemplative serenity for it shows a world where very real lives are lived in a muted dignity.

I want to also mention dsleica's breathtaking domestic scene (above)  - surely a shoe-in for the next "Family of Man" exhibition, as well as Rog's so-well-seen and executed "corner job" illustrating an unfinished, perhaps neglected chore, illustrated in an irresistible simplicity with a graphic richness. And that is not even to touch on the other brilliant works that appear on these pages and throughout "I Like Film". What an impressive showcase and resource this is!

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m3, whichever lens was on the camera 🙈, rollei retro 400 (sfx39ii), scanned negative

ps: most likely Thambar 90

Edited by Aryel
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vor 17 Stunden schrieb stray cat:

Thank you sincerely, Dr Klaus.

I have no idea why some oddballs such as you and I take pleasure in seeing detritus or decay as aesthetic apogees. It would be worth remarking that the works by Penn to which you refer are, of course, so beautifully arranged, lit and printed (and large!) that it would be cruel not to look at them as objects of visual beauty. But I suspect it goes deeper than that and, in a way, I think there is something very comforting in finding that cast-off and/or vernacular things - to which we are all exposed in our daily lives - have some sort of intrinsic value beyond that they are otherwise shunned. That the objects in the pictures have something in themselves that is worth looking at and thinking about. TMX has made a very good show of that with his pinhole (above) and of course Wayne shows "flyover country" (which I take to mean the territory one normally passes on their way to somewhere else) to be somewhere that, actually seen, never fails to reveal a quiet richness that invites a contemplative serenity for it shows a world where very real lives are lived in a muted dignity.

I want to also mention dsleica's breathtaking domestic scene (above)  - surely a shoe-in for the next "Family of Man" exhibition, as well as Rog's so-well-seen and executed "corner job" illustrating an unfinished, perhaps neglected chore, illustrated in an irresistible simplicity with a graphic richness. And that is not even to touch on the other brilliant works that appear on these pages and throughout "I Like Film". What an impressive showcase and resource this is!

Thank you Phil for sharing your thoughts. Food for thought-perhaps to be continued.  Your touch on the "real lives that are lived in a muted dignity" resonate a lot with me.. 

 

The Blackforest Village  ( at the end of the valley) 

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Rolleiflex 3,5 F Planar 75mm; Ilford Ortho ; HC110

Edited by Kl@usW.
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Old wagon at homestead in Odessa, Washington. from way back.   Ilford FP-4 in Rodinal.  Rollei SL-35, 50/1.8 Zeiss.  Scanned on Minolta Dimage 5400 II

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Edited by Aram Langhans
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Floater Line Tunnel
MP APO-Summicron-M 50 ADOX Color Implosion

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Storm Clouds brewing over Mount Connor, Northern Territory, Australia

Hasselblad 501CM, 50mm FLE, Velvia

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Edited by Ramesh
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AZ, USA. Leica M2, Zeiss Planar 50/2 ZM, Kodak Ektar 100

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Pentax K-1000.Sigma 90mm f2.8. OD Fuji 400 rated 200. Apologize not my M3 .  Unable to lift my Leica M3, out of storage!

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Flock of birds over the abbey

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Fujifilm TX-1 (Xpan) 45mm, Portra400

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1 hour ago, Kl@usW. said:

Blackforest Trees #4

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SWC 38mm Biogon; Ilford Ortho +; HC110

This is a wonderful shot though I wish the trees on the left were gone to simplify the composition.  I love the tones.  Perfect for square composition. 

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Flyover Country

Another long visit with my old friend, John Rees. Native of Bavaria. Been here since 1850. This conversation was about whether I have to wait until Easter Mass, or if I could start drinking beer again on Good Friday.  I recall reading somewhere that Poe advocated visiting the dead. I think he was on to something. John has cleared up quite a few issues for me, over the years.

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Nagle Vollenda (6x9), Leitz Elmar 105/4.5, HP5

 

 

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Flyover Country

Welcome back, bird on the wire.

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Nagel Vollenda (6x9,) Leitz Elmar 105/4.5, HP5

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