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The view through older Glass


farnz

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M10P ASC + 1954 Angénieux R11 28/3.5 (Exakta converted to M), wide open @ ISO 6400

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M10P ASC + converted 196X TH Cooke Speed Panchro 75/2 Ser. II, wide open @ MFD

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50mm Canon 1.2 LTM black v1 on M10-P ASC

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50mm Canon 1.2 LTM black v1 on M10-P ASC

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M10, Summicron 5cm, 2.0 Radioactive

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M10 + Summar 5cm 2.0

Claus

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Summar 5cm 2.0  + Ricoh GXR

 

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Similar to the 70/2.7 found on Roland cameras. This one used to belong to a Peggy Norm folding camera.

M10M + converted 1933 Dr. P. Rudolph Kleinbild-Plasmat 50/2.7, wide open

 

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Summar 5cm 2.0  + Ricoh GXR

 

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Leica M3, Elmarit 90 2.8, Adox CMS 20 II Pro (developed in ADOTECH IV), wide open (this lens is sharp!) 

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M10M + uncoupled 1959 Corfield Lumax 45/1.9 v1 LTM, wide open

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🤣🤣

No, nothing of the sort, fortunately! These are plaster sculptures/models - essentially "raw masters" - from Canova's workshop, aka "La Gypsotheca" (now a museum, wonderful place btw). The dots were positioned so as to guide the transfer to the final marble statue, with the bulk of the carving work being performed by his assistants. Canova himself would then complete the job, including in particular the fine grinding and polishing.

Not all of them suffered from measles, though (same place, camera, lens and settings as above):

 

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Edited by Ecar
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1929 fixed 50mm Elmar f3.5 close focus on Leica 1a with Ektachrome 100

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The Antony Gormley statue 'Another Time', standing atop his pedestal, Watches the River Flow. Limehouse Riverside, London, yesterday morning(*).

M Monochrom, 21mm f4 Super-Angulon (M), Leitz Red filter;

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Sharp-eyed readers will spot another Gormley statue almost centre-of-image. I believe the latter is resident in the garden of Sir Ian 'Gandalf' McKellen who was also responsible for the installation, in 2013, of the former in its rather striking location.

Incidentally Sir Ian is also co-owner of 'The Grapes', a public house dating back to 1583, of which the water-side balconies can be seen here at the point where the wooden steps leading up from the Thames joins the ramshackle agglomeration of rickety platforms. Nice pub!

* I posted this a little bit earlier elsewhere to illustrate a point regarding how to sort-out vignetting with this lens when used on a digi-body but probably just as fitting here.

Edited by pippy
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French countryside from the train

MP - 35 Kinoptik Apochromat - Portra160 (slightly cropped)

 

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MA - Angénieux Alitar S1 Alpa converted to M mount - Silbersaltz 500T

 

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28 mm Elmarit v2 infinity lock 1969  - TMax 400 - Leica MP 0,58

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50 mm Nikkor f1.4 2000 Millenium edition w/ Amedeo adapter on Leica MP 0,58 and TMax 400

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50 mm Nikkor f1.4 2000 Millenium edition w/ Amedeo adapter on Leica MP 0,58 and TMax 400

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