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2 hours ago, Ernest said:

Very cool! Did you have the foresight to photograph yourself descending the Torrey House staircase, like Sheridan? Thanks so much for the link.

No, 🙂 a missed opportunity! There was still a copy of the original in situ. It was a remarkable house. The owner was a lovely old woman--granddaughter of the original couple who built it--and as a young girl she had watched the San Francisco earthquake/fire of 1906 from the front porch. High up in the Berkeley hills (the stunning address was: 1 Canyon Road), It had a spectacular view of the Golden Gate bridge. I was in an attached back apartment, facing the hills (though I had a deck with a dropdead view of the Bay). We liked each other a lot, though she had initially panicked when she saw how many books I was bringing. Maybe she had previously rented out to science grad students! My then-girlfriend, now wife of 42+ years, and I had glorious times there. Reminds me of John Kenneth Galbraith's article "Berkeley in the Age of Innocence."

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Contax III, Carl Zeiss Jena Tessar 5cm 1:3.5 collapsible, Ilford Delta 100 @ 80, PMK 1:2:100 10' 24°C.

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vor 15 Stunden schrieb Ernest:

This is one of my ultra-favorite photographs in the last 30 days, as you allow, an homage to Gerhard Richter’s “Ema (Nude on a Staircase)” from 1966. As noted in Koenigsklasse III (37) “It is the first work he (Richter) painted from a color photograph that he had taken himself and it attests to his critical contemplation of Marcel Duchamp‘s famous picture ‘Nude Descending a Staircase No. 2’ from 1912, a short time after which Duchamp gave up painting. Richter’s picture conversely supports the argument that painting has not yet lost its validity or as Richter himself said ‘…anti-Duchampian gesture in which it is shown that the figurative tradition has not yet come to an end, that there is still more to be done.’” 

Thank you for your very generous remark and the details about “Ema (Nude on a Staircase)”.   I saw "Ema... " as  a part of a Richter retrospective ( including the "Eight Gray") in Düsseldorf Kunsthalle sometime in the early 00´s.   It was an overwhelming, seminal experience, and  made "Ema.." a vivid part of my visual memory- maybe it  resurfaced on that sunny morning when I ambled down the stairs of the subway on my way home from the physiotherapist and saw people coming down the stairs. I stood there for a few moments until good luck sent me the single girl... 

Isn´t it funny how a visual experience made decades ago has an impact on  today's visual perception  ? 

 

Edited by Kl@usW.
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Leica M4-2, Summicron 50, TMY 400

 

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👻👻👻

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m3, noctilux 50 f1.2, tmax3200 (dd-x), scanned negative

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The choice, 2022

 

 

Hasselblad 501c, Zeiss Planar 80mm f2.8, TMax 100, HC-110(H)

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1 hour ago, SHenry said:

Santa Color 35mm negative color film, ISO 100

105mm macro lens, f/4.0, 1/640s, Nikon F100 film camera, NCPS lab.

 

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SHenry very nice color of this film Santa Color ,  what did Phil talk about  😀

Thanks for posting

Best

Henry

 

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One more, Santa Color 35mm negative color film, ISO 100

105mm macro lens, f/3.5, 1/400s, Nikon F100 film camera, NCPS lab.

 

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Edited by SHenry
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The silence

 

 

Hasselblad 501c, Zeiss Planar 80mm f2.8, Delta 100, Rodinal 1:25

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For our film community meeting I did a series of shots with empty (for rent) shops.

Konica Hexar RF, Elmarit M 28, Ilford PanF 50.

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Lurking...   [M6, Delta 100]

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White wall.   [M6, Silvermax 100]

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11 hours ago, Bateleur said:

The hospice ruin at Disibodenberg, the location of the prayer cards shown in my previous posting on this thread. #83996 

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Ilford FP4

Simultaneously, a closed and open feeling with the timeless stone walls and the absent ceiling, all framed with that ominous arch. The trace of history here yet murmurs. 

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