Diptychs, Triptychs and Polytychs (Open Thread)

[Ernest]

Advertisement (gone after registration)

Routine III: M-A Thambar-M CS f/2.4 Fuji Natura

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

[Ernest]

Barricade Schedule  M-A APO 50 E100, Thambar-M CS Fuji Natura

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

[Advertisement]

The Leica Q3 is available for pre-order at B&H Photo Video and Adorama

[Ernest]

Barricade IV  M-A Thambar-M CS Fuji Natura & APO 50 ADOX Color Implosion

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

Edited October 28, 2019 by Ernest

[Ernest]

Not Again Diptych M-A APO 50 ADOX Color Implosion & Thambar-M CS E100

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

[Ernest]

Start One Again  M-A APO 50 E100 & ADOX Color Implosion

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

[Ernest]

Rat Rod Number 
M246 &  M-A APO 50 & Macro-Elmar-M  E100, ADOX Color Implosion

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

[Ernest]

Advertisement (gone after registration)

Waiting Twosome
M-A Thambar-M CS & APO 50  Fuji Natura & E100

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

[Ernest]

(no)thing numbered
M-A APO 50 & Macro-Elmar-M ADOX Color Implosion

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

[Ernest]

Static
M-A APO 50 ADOX Color Implosion & E100

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

[stray cat]

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

seaside 2013

canon a1, FDn 35mm f2, velvia 50

[stray cat]

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

the post-apocalyptic paradigm 2013

Might it not be that this series is the product of a darkly bleak nihilistic world view; one informed by a forlorn and desolate despair attenuated solely by its own meaningless contextualisation into a subcapitalist dematerialism that systemetizes consciousness as a paradox? Or, put more simply, one that summarily deconstructs a totemistic dialectic denoting a mytho-poetical totality, whilst simultaneously altruistically reinforcing Foucault’s critique of Marxist capitalism and re-proposing the suggestion that reality may be used to intrinsically underpin elitist perceptions of class? After all, inarguably, the premise of post-semioticist libertarianism states that language may - nay must -  be used to entrench the status quo.

m6ttl, elmar 50mm, tri-x

[Dan Bachmann]

nothing profound here - it was actually a lens test - Industar 22 vs 50mm Summilux Pre Asph on a Leica M9

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

 

 

[Dan Bachmann]

Kristina Lao

Leica M9, 50mm Summilux Pre-ASPH

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

 

[Ernest]

On ‎11‎/‎4‎/‎2019 at 2:33 AM, stray cat said:

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

the post-apocalyptic paradigm 2013

Might it not be that this series is the product of a darkly bleak nihilistic world view; one informed by a forlorn and desolate despair attenuated solely by its own meaningless contextualisation into a subcapitalist dematerialism that systemetizes consciousness as a paradox? Or, put more simply, one that summarily deconstructs a totemistic dialectic denoting a mytho-poetical totality, whilst simultaneously altruistically reinforcing Foucault’s critique of Marxist capitalism and re-proposing the suggestion that reality may be used to intrinsically underpin elitist perceptions of class? After all, inarguably, the premise of post-semioticist libertarianism states that language may - nay must -  be used to entrench the status quo.

m6ttl, elmar 50mm, tri-x

Straightaway, this is one of the five most important works I have seen in the last year, and I am challenged to think of the other four in order! A triptych, so layered with allusion that navigating through this mental landscape requires cartography skills and imagination that invites a language that blurs its antecedents. I can't help the referents to other artists, but yet it becomes one way, not the only way, to triangulate this work. This consideration requires a split screen, or at least my iPhone, to look that this construction to even begin to assess its dynamics. Yes, three photographs, well, almost--photographic evidence of three photographs that embrace the caveat that these are taken to be photographs, themselves, re-photographed. The three telephone wires in the lower right corner of the cloudscape do not escape. The not-incidental texture of the re-photographed photographs is subtle evidence in this people's exhibit to indict our sensibility, the sense of place, time, power, sexuality, an affront to Thomas Cole's Course of Empire, re-visioned by Ed Ruscha with such lapidary indictment. Joseph Beuys keeps pushing to the front of the line, demanding an audience. Yes, it's in concert with your visual cacophony. The Course of Empire. And, there's Otto Dix and Ludwig Meidner. So many artists in this hallway! So, what is Foucault doing here? It's not so much the critique of Marxist capitalism, but that Discipline and Punish: The Birth of the Prison cannot be orphaned, particularly the chapter "Panopticism," as well as Piranesi's prison etchings I have mentioned in the past.

Forgive the intro, but I will be back at the turnstile. Joseph Beuys is so persistent, such an insolent brat, don't you just love?

[stray cat]

1 hour ago, Ernest said:

Straightaway, this is one of the five most important works I have seen in the last year, and I am challenged to think of the other four in order! A triptych, so layered with allusion that navigating through this mental landscape requires cartography skills and imagination that invites a language that blurs its antecedents. I can't help the referents to other artists, but yet it becomes one way, not the only way, to triangulate this work. This consideration requires a split screen, or at least my iPhone, to look that this construction to even begin to assess its dynamics. Yes, three photographs, well, almost--photographic evidence of three photographs that embrace the caveat that these are taken to be photographs, themselves, re-photographed. The three telephone wires in the lower right corner of the cloudscape do not escape. The not-incidental texture of the re-photographed photographs is subtle evidence in this people's exhibit to indict our sensibility, the sense of place, time, power, sexuality, an affront to Thomas Cole's Course of Empire, re-visioned by Ed Ruscha with such lapidary indictment. Joseph Beuys keeps pushing to the front of the line, demanding an audience. Yes, it's in concert with your visual cacophony. The Course of Empire. And, there's Otto Dix and Ludwig Meidner. So many artists in this hallway! So, what is Foucault doing here? It's not so much the critique of Marxist capitalism, but that Discipline and Punish: The Birth of the Prison cannot be orphaned, particularly the chapter "Panopticism," as well as Piranesi's prison etchings I have mentioned in the past.

Forgive the intro, but I will be back at the turnstile. Joseph Beuys is so persistent, such an insolent brat, don't you just love?

Thank you so much once again, Rog. I had a suspicion you'd appreciate the little tip of the hat to some PoMo wank - and thank you, by the way to the Monash University's "Post Modern Generator" for the text. I have no idea what Foucault is doing in the narrative, although I did once try to read Umberto Eco's Foucault's Pendulum once and lasted just slightly longer than it took for my eyes to kind of glaze over and the realization that a cup of tea and a good lie down would probably serve me better than persisting with the novel. And, even there, even as a friend of Michel Foucault, Eco was ostensibly referencing Léon Foucalt - the physicist rather than the philosopher - although you'd have to think that some high-octane intellectual nudge-nudge wink-winking would have had to have been going on there.

However I did once have to wade through Marx's "Communist Manifesto" for some reason whilst in pursuit of what they loosely call "an education", and at another time I had a photography lecturer who was a huge fan of Joseph Beuys and I do prefer to buy the (now disparaged) story about him being wrapped in felt because - well, because it's a good story. Even if he is an insolent brat. I will have to look up Piranesi, Dix and Meidner (sounds like a law firm or ad agency, if we accept that there's a fundamental difference between the two). Thomas Cole and Ed Ruscha have already had lots of bookmarks inserted and I look forward to reading about the evolution of both Course of Empire works.

To deconstruct: the poster and the shopping trolleys happen to be on contiguous frames on a roll of Tri-X, and the clouds were taken at around the same time. When I saw them line up on a proof sheet (albeit an electronically-derived one) I thought it might be fun to run them together as a triptych. When I did put them together the title the post-apocalyptic paradigm sprang to mind (who knows where that came from) and of course this necessitated the looking up of the PoMo generator to give it its proper due.

Still, if MoMA come knocking I reckon I could whip up a couple of inkjet prints - although they'd be well advised to have deep pockets. After all, there are indisputably great works like Peter Lik's Phantom 🤮 to consign to second place on the expensive photo scale.

[Ernest]

Snow White Learning  M-A APO 50 & Macro-Elmar-M  ADOX Color Implosion , M246 APO 50

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

[Ernest]

On ‎11‎/‎4‎/‎2019 at 2:33 AM, stray cat said:

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

the post-apocalyptic paradigm 2013

Might it not be that this series is the product of a darkly bleak nihilistic world view; one informed by a forlorn and desolate despair attenuated solely by its own meaningless contextualisation into a subcapitalist dematerialism that systemetizes consciousness as a paradox? Or, put more simply, one that summarily deconstructs a totemistic dialectic denoting a mytho-poetical totality, whilst simultaneously altruistically reinforcing Foucault’s critique of Marxist capitalism and re-proposing the suggestion that reality may be used to intrinsically underpin elitist perceptions of class? After all, inarguably, the premise of post-semioticist libertarianism states that language may - nay must -  be used to entrench the status quo.

m6ttl, elmar 50mm, tri-x

This is so postmodern, the echo of it gets stapled to the three rings of my circus. It's belligerently occupying that "must do" folding chair that Beuys has surrendered all too willingly. More applause for Phil! Clap-clap, clap-clap. I am still trying to ad lib the gaps.

[stray cat]

On 11/10/2019 at 10:10 AM, Dan Bachmann said:

nothing profound here - it was actually a lens test - Industar 22 vs 50mm Summilux Pre Asph on a Leica M9

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

 

 

This works so well together, Dan - be it lens test or not. In fact, as an aside, I far prefer the look from the Industar, but that's just me I guess. But the pairing sets up one of those puzzles where we look for what has changed between the two pictures eh happy/sad, open/closed etc - and what does it all mean? Well it still has me trying to figure out all of that, but in a most pleasant way. Love the colors, too.

[Ernest]

 

test

Edited November 15, 2019 by Ernest
DOUBLE post

[Advertisement]

Hallo,

Look here: Interesting Leica gear

[Ernest]

Bunker Works III Diptych M246 APO 50

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!