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seawinds 2020

M6TTL, 135mm, Velvia 50

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Some more redscale from Taranto. At the beginning of WWII, part of the Italian battle fleet was heavily damaged by the airplanes of the British Navy. Taranto was unprepared. My literature teacher from middle school told us he was a young guy and he happened to be there that night. He told us people from Taranto watched the attack from the waterfront like they were at an air show. The British planes were so free to fly around that they even passed under the bridge in the first picture a few times. It happened in the night, so I really don't know how much of the story is true, but it sounded cool to me when I was 10-11.

Kodak Max 400 on Leica M6 + Summicron 35 asph

 

 

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Am 15.6.2020 um 22:34 schrieb fotomas:

Another Berlin S-Bahn shot. 

A train is coming in at the station Feuerbachstraße 1986

Fuji HR100

Na, da hätten wir uns treffen können.

Gruß,
Klaus (Kladdi)

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Rain drops

M4-P Visoflex VM75/1.5 Tmax 400 in DDX

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Zenit Horizon 202, Ilford FP4, Rodinal 1:100 Stand

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10 hours ago, stray cat said:

seawinds 2020

M6TTL, 135mm, Velvia 50

Astounding, quietly disarming in the complexity of its simplicity. It seems I am in the circus of balancing painting and photography, wrestling with the intersections not so much to privilege one over the other in that much argued either/or proposition but rather give air time to the confluence of both, the simultaneous push/pull, even stasis. How can we consider your work here without calling the quick dial numbers of Jackson Pollock or Gerhard Richter? See Richter's 949-4 Abstract Painting on exhibit in the Art Basel Viewing Room of the Marian Goodman Gallery mariangoodman.com. Even Seurat is on the party line with his pointillism that flashes us forward to Antonioni's Blow-Up and Chuck Close's portraits, monumental visual constructions of painterly pixelation. What if Pollock latched onto a Leica and launched one of his action painting visions with the harmony of colors in chaos? Oxymoron, perhaps, but it is what his mania calls to mind. Then, there's the perspective ploy of your seawinds that subtly challenges the notion of dimensional perspective and serves up a kind of flora-textured color field, almost flat, that entertains vibrant primaries. Very abstract viewing seawinds from fifteen feet away, then the Rothko coefficient kicks in and the Zen moment beckons with a "come closer" command. Coming closer to scrutinize the tangled color play, so intricate, primal, pristine, almost implausible. Hanging on a museum wall, a very large print without question, seawinds says one thing from afar, yet another up close. To find a place like this, the province of art. Once again, Phil delivers.

And now, for photography Frank Gibson gets a mention, only he insists using for him the "newfound" 135mm for what he calls "the vertical horizon," which is a notion that deconstructs itself, since he prints the vertical images recto and verso in the book, thereby constructing a landscape view that reads horizontally. Instead, shoot landscape mode and arrange diptychs and triptychs vertically, as Phil has done with his diptychs, and eliminate the verso page, altogether. What about white space? Who says the photographs should be printed the same size? What about Rauschenberg constructions? Collage? 

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Tarkovsky Notes for Film
M3 APO 50 ADOX Color Implosion

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What a firework of colouon this page! 

16 hours ago, Ernest said:

Broad Daylight
M3 APO 50 ADOX Color Implosion

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12 hours ago, stray cat said:

seawinds 2020

M6TTL, 135mm, Velvia 50

 

4 hours ago, AntonioF said:

Some more redscale from Taranto. At the beginning of WWII, part of the Italian battle fleet was heavily damaged by the airplanes of the British Navy. Taranto was unprepared. My literature teacher from middle school told us he was a young guy and he happened to be there that night. He told us people from Taranto watched the attack from the waterfront like they were at an air show. The British planes were so free to fly around that they even passed under the bridge in the first picture a few times. It happened in the night, so I really don't know how much of the story is true, but it sounded cool to me when I was 10-11.

Kodak Max 400 on Leica M6 + Summicron 35 asph

 

 

 

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Continuing the colourful theme, here's one from the end of last summer, shot in my mum's garden under the apple trees.

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Flickr
80 Planar Ektar X1
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Colour it is then, albeit somewhat subdued by comparison, from that rather expired Fuji.

503CXi, C140-280 zoom (fuscia), and CF100 with Proxar (rose)

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vor 21 Stunden schrieb Ernest:

Double One
M3 APO 50 Fuji Natura

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all of them are excellent, but this is my favorite. Maybe I can explain that another time... right now I'm just enjoying the result. 

vor 14 Stunden schrieb hillavoider:

i'll try tomorrow when this bizzare website lets me post something

 

Same for me: I had some problems with uploading lately.... closing the page and the browser and restarting helped. 

vor 14 Stunden schrieb stray cat:

seawinds 2020

M6TTL, 135mm, Velvia 50

Apart from being `so velvia´  -this is an outstanding example of how a mix of essentially mundane structures, shapes  and colors can result in something special.  If this was a dish, I would ask for the recipe to find out the  ingredient that makes up  for the magic.... but with this photo the answer must be  hidden in plain sight ... 

vor 6 Stunden schrieb AntonioF:

Some more redscale from Taranto. At the beginning of WWII, part of the Italian battle fleet was heavily damaged by the airplanes of the British Navy. Taranto was unprepared. My literature teacher from middle school told us he was a young guy and he happened to be there that night. He told us people from Taranto watched the attack from the waterfront like they were at an air show. The British planes were so free to fly around that they even passed under the bridge in the first picture a few times. It happened in the night, so I really don't know how much of the story is true, but it sounded cool to me when I was 10-11.

Kodak Max 400 on Leica M6 + Summicron 35 asph

 

 

With the story added, the color makes sense  and activates the phantasy.

vor einer Stunde schrieb gbealnz:

Colour it is then, albeit somewhat subdued by comparison, from that rather expired Fuji.

503CXi, C140-280 zoom (fuscia), and CF100 with Proxar (rose)

Both of them very pleasant, Gary. As we don't have wild fuchsia here but roses, I opt for the first as my carry home pic..😃

Edited by Kl@usW.
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vor 5 Stunden schrieb kladdi:

Na, da hätten wir uns treffen können.

Gruß,
Klaus (Kladdi)

Moin Kladdi!

1986? Vielleicht sind wir ja sogar über den Weg gelaufen? Wer weiss...

 

Here another one. This is one of the first S-Bahn pictures I took in Dezember 1982. In this time the S-Bahn was run from the GDR. It also shows the first thing I remember as a child. That is this view from the bridge. A train is waiting at Berlin-Frohnau station. This was the end of line after the building of the Berlin wall. Before and now the trains go further north. In these days the rails was cut a few meters away in my back.

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AE1, Fujicolor F-II

Regards

Frank

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Circumspect
M3 APO 50 Fuji Natura

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Tarkovsky Note for Film
M3 DR Summicron ADOX Color Implosion
Outtake reconsidered.

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Rollei Crossbird

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Edited by hillavoider
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en rouge et noir by JM__, on Flickr

Another shutter problem, this time with a Minolta CLE.

Ektachrome 100 + 40 Rokkor M.

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6 hours ago, fotomas said:

Moin Kladdi!

1986? Vielleicht sind wir ja sogar über den Weg gelaufen? Wer weiss...

 

Here another one. This is one of the first S-Bahn pictures I took in Dezember 1982. In this time the S-Bahn was run from the GDR. It also shows the first thing I remember as a child. That is this view from the bridge. A train is waiting at Berlin-Frohnau station. This was the end of line after the building of the Berlin wall. Before and now the trains go further north. In these days the rails was cut a few meters away in my back.

AE1, Fujicolor F-II

Regards

Frank

And that’s the place where we could have met :)

An aunt of mine was living in Frohnau. Maybe a kilometer further up north you could walk on the abandoned railway tracks looking over the wall and into Brandenburg.

I’m happy those wall-times are over.

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