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10 hours ago, Kl@usW. said:

Yes, sure. I can feel you. Following Philipus suggestion of a fibonacci spiral starting somewhere in the mid right corner I feel a smooth, but not soft surface, coming to a ridge, a little bit of grime there, very satisfying to scratch along that ridge, before entering the planes of the smooth again, oops, a brink, oooops another brink, and then I somehow trail off to a rough, scratchy, uneven hollow sounding surface--eeeh, sending shivers along my spine.  Next round .I´ll have to give the Biblio relic a more  "simultaneous approach" with all my fingertips and a less selective reading... Verdict: A clear Buy ! A very balanced, multifaceted and entertaining piece of work which holds many a surprise for the  fingertips... a haptic treasure trove.. I will add to the happy haptic memories. 😏

I can't begin to express my elation watching you at play the fields of color. The yellow field was my starting point, then I wanted to do something with the lines, especially the line of the wire. It was a line of utility, tensile potential speaking to force beyond the frame. What is a book but a creation of something unexpected waiting to be discovered, realized? There's history in the margins; it's what I was exploring. How can the map of a country on a sphere attain any fidelity represented on a two-dimensional surface? Looking at Jasper Johns's Map (Based on Buckminster Fuller's Dymaxion Airocean World), what's interesting is the painting is a starting point that prompts reconstructing an assembled map in the mind from the fragmented construction. Mapping is such a potent metaphor because it calls into play the lay of landscape, but there's also aerial perspective, an overhead view, sometimes looking simultaneously down at the landscape as in Wayne Thiebaud's work.

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On ‎12‎/‎10‎/‎2020 at 2:45 PM, Kl@usW. said:

At the canal #3

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HB 503;  Planar 2,8/80; Acros II; D76

The sense of depth in this image reminds me of the layering Tacita Dean used in her work, Majesty (2006), combining the photograph of a very old tree with gouache over-painting, which gives the work a sense of time transit. Your At the Canal #3 has a very artful sense of that transit of time: the OOF distance, light fading, the shimmer of the canal water in wind, and the delicate tapestry of foliage, in itself rather unremarkable but in the context with the composition, very remarkable. There is the definite sense of "seeing" in this cinematic POV, but it arouses the other senses, as well. An artful series, on the canal. Something very elemental about it all.

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Lightning escapes from the ground.

M3 Elmar 50/2.8 HP5+

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Kubrick Noon After Malevich No. 2
M-A APO 50 ADOX Color Implosion

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Wash
M-A Thambar-M CS ADOX Color Implosion

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Entry
M-A APO 50 ADOX Color Implosion

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Vlissingen 08/2020

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Leica M4, Summicron 2,0/90mm, Iford FP4+

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Landscape almost lost in the grain of the last roll of T400CN I found in the bottom of the drawer (expired about 9 years ago).  A mysterious quality, or maybe just a mistake?  Was a lovely emulsion in its time, now gone.

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Leica R5, Summilux-R 50 (1st version), orange filter.

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6 hours ago, dimm said:

M3 | Zeiss Sonnar 50mm f1.5 | Kodak Tri-X

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Beautifully processed bw photo, dimm . I love the tonal range in this portrait. 

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Edited by Bo-Sixten
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Mamiya C330, Mamiya-Sekor 80mm 1:2.8, FujiChrome Provia RDP III.

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Fresh batch of Ektar gives a better result (still tending towards magenta cast):  path, fence, tree and last leaves of Autumn in the South Foreland Valley, Kent.

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Leica R5, Vario-Elmar 4/35-70, Kodak Ektar, Nikon CS5000ED, Capture One.

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vor 41 Minuten schrieb stray cat:

carnasserie castle, scotland 2010

m6ttl, 28mm elmarit, fomapan 100

Beautiful b&w…
I will try fomapan when i shot all my Efke and Adox stock...

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Puzzlewood #4.

An area of opencast iron ore pits that date back to Roman times.

Hasselblad 503cw

Zeiss disatgon 50mm Cfi

Ektar in Tetenal C-41

 

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Edited by Ouroboros
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Acers #3

 

Hasselblad 503cw

Zeiss 120mm makro-planar Cfi

Ektar in Tetenal C-41

 

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Edited by Ouroboros
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Cause and effect

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Minox Riga (original Minox,) 15/3.5 Minostigmat, Svema MZ3 ( 3 ISO Expired Russian Cine film)

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Minox Riga, 15/3.5 Minostigmat, Svema MZ3, 3 ISO

 

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Sunoco

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Zeiss Ikon Tenax II, 40/2 Sonnar, HP5

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