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18 hours ago, Sparkassenkunde said:

In contradiction to your point of view I do not see anything chaotic in here. Rather than chaos I see a clockwork, although I can't make out the way it works, already. Probably because of the straight lines I see a strong order and my mind is trying to find the mechanism behind, that moves the different parts. Wonderful work it is! 

Phil
Rog - I want to "like" this a few hundred times, but I'm not able. This is wonderful - this is categorically chaotic class!

Apparently it IS all in the timing, just as IT (whatever that may be) is in the mind of the creative force dealing with a particular set of stimuli. With Disaster Deconstruction, Zone VI, 18% and the others you've trained those illuminated Leica frame lines in a unique and idiosyncratic way onto all sorts of irresistible color field pandemonium. This is so fascinating to witness. You've taken pure theory and energized it with a wild kinetic upheaval. I'm sure Szarkowski would have the words.

James
In contradiction to your point of view I do not see anything chaotic in here. Rather than chaos I see a clockwork, although I can't make out the way it works, already. Probably because of the straight lines I see a strong order and my mind is trying to find the mechanism behind, that moves the different parts. Wonderful work it is! 

To Phil and James, I certainly appreciate you putting this work under a critical lens. At once, Phil invokes the category of chaotic class, and my antennae pick up other equally provocative notions of idiosyncratic frame lines, color field pandemonium, and kinetic upheaval—all descriptors in the fold of chaos theory. There is poetry, here. James, on the other hand, argues that “rather than chaos,” he sees “a clockwork” that evidences some sort of “mechanism behind (it), that moves the different parts.” There is architecture, here. Both of these critiques are astute, and I argue that they are both right.

The motivating idea was to construct a visual argument that reflects/refracts disaster and its deconstruction. The very notion of disaster is chaos, disorder, but it is characterized by fluctuation deviating from order. The fluctuation between order and disorder is turbulent and manifested by fractals in infinitely complex patterns, such as clouds, coastlines, and hurricanes.

The “clockwork” construct, then, confronts the notion of disaster with chaos as its mainspring. I had no thought of clockwork, though the graphic elements of this construction read in a clockwise pattern, beginning with the large cloud photograph. It is a forgettable photograph, really with nothing remarkable to say. It is pedestrian, especially with the telephone wires. It’s a throwaway. But, the cloud, that cumulus in Rollei Redbird with its connotation of disaster in the distance was evidence. I gave it a name. Disaster. It was no longer just a throwaway. It had dimension. No witnesses, but dimension. There’s no testimony. Just the cloud hovering over some non-descript dark buildings. I used Rollei Redbird for its incendiary palette and grain, limiting the colors to grays and rust orange for their cautionary tone. Now, to construct the images, the planes, all stucco wall surfaces, save the glass window reflection of the cloud, which isn’t evident. I wanted to create layers, a palimpsest of imagery, with really only the cloud as a photographic image. The planes I arranged in eight layers, which includes the viewfinder frame lines as one layer. The layering and the construct itself is to create a dimensional maze, of sorts; it’s not one rectangle, a window that draws the viewer into a scene. Here, is a jumble of fragments, making a statement on ordered disorder—disaster. A rectangular spiral, using atmospheric perspective: darker elements close, lighter elements, farther away. The “blank slates” invite inscription.

Deconstruction; the system deconstructs itself. Postponement of completion.

Cheers,
Rog

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Zone VI AP6
M-A APO 50 ADOX Color Implosion & E100

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Zone VI AP5
M-A APO 50 E100

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Time for some SNOW. Shot in Sälen in Sweden this past February. Yep, I ski with at least two cameras, Hasselblad kit in the backpack and the M6 around my neck under my jacket. Call me crazy. I call it photographic padding in the event of a fall :D

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80/2.8 Ektar X1
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More Gimp colour reconstruction from filtered Tri-X with some stop motion thrown  in. Nikon F2 Photomic, Nikkor-S Auto 50mm 1:1.4, coloured filters, Kodak Tri-X 400 @ 400, PMK 1:2:100 13' 24º.

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WOW Andy, these are truly sublime!! 

3 hours ago, adan said:

Same roll, same data, around the other side of the same cone... (I was feeling a bit Bert Stern-ish, Art-Kane-ish, 60's Vogue experimental that day.)

 

 

4 hours ago, adan said:

Hah - snow, meet cinder cone

Hi, There!, Craters of the Moon National Monument, 2014.

Also Hassy, 60mm f/3.5 Distagon, also Ektar.

This is a WOW from me too, like having your head punched by Tyler Durden.

12 minutes ago, Xícara de Café said:

 

 

More Gimp colour reconstruction from filtered Tri-X with some stop motion thrown  in. Nikon F2 Photomic, Nikkor-S Auto 50mm 1:1.4, coloured filters, Kodak Tri-X 400 @ 400, PMK 1:2:100 13' 24º.

 

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New shoots

MP Visoflex Summarit 90/2.4 Ektar in Digibase 

 

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Some sort of blue hydrangea that caught my eye whilst out walking in Cholmondeley (pronounced "Chumley") Castle Gardens in Cheshire, UK, taken with Pentax MX, 50mm f/1.7 on Fujifilm Superia X-TRA 400

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Guest Nowhereman

This photo, taken with the M6 and the Summilux-50 pre-ASPH on Agfa Scala, is in my Frog Leaping photobook, which will be presented at Offprint Paris 2019, held at the École des Beaux-Arts concurrently with Paris Photo on 7-10 November. We completed the print run last week in the Netherlands, and there is a link for the flip-through video in this post in my LUF thread: Photobook Publishing and its Discontents.

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Edited by Nowhereman
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Kodak Pro Image 100

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This bloke didn't make it to Bollywood, but eager he was...  Almost blinded me with that shirt and mop too!

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Au Gaou by JM__, on Flickr

Au Gaou by JM__, on Flickr

Cinestill 50D @200 pushed 2 stops - Nikon F2 - 50 Summicron R v2 in Nikon F mount

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"Passing Time" Fuji 200 Zeiss 50 1.4

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"Colorful Smell " Fuji 200 Zeiss 135 2.8

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Edited by Calin
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