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I suppose at one time or another we all get a little camera shy. Such as the case here when Cry Havoc did just that, she closed her eyes but let me to continue to photograph her.
I bought this off ebay for the shutter (which didn't work) and left the bellows in place to have a go at a 'zoom' pinhole camera. It has three presets 30mm, 40mm, and 60mm.
Wide-open, mirror image. It is funny how easily one can create a (totally one-sided) relationship with a camera. Even project human qualities to it. The Fuji X-Pro3 is one of such cameras that may trigger such temptation. It is very tactile, responds gladly and wants to be treated well. You guessed it: her name is Helen.
This crowd funded camera is made of cardboard (mostly) and shoots Inxtax mini film. The learning curve is continuing - note the bad shots on the right. Even the good ones are not great - yet.
for my Get Pushed partner Pat (www.flickr.com/photos/33929747@N07/): create a photo using camera movement, but this time take an indoor photo somewhere.
Guess who got a new charm?
Macro Mondays group has given us the challenge to capture macro 'Reflections'.
You can't tell from this photo but this display is vertical, mounted on the wall of Downtown Camera on Queen St. in Toronto. I thought it was amazing to see.
Mamiya Universal with my new Mamiya Sekor 250mm f5. The sun shade is almost larger than the camera...
Mamiya Spacer set with a Mamiya 6x7 film back.
Shot with my Fujifilm X-pro1 and a Fujinon XF18mm. Developed from RAW using VSCOfilm03.
It doesn't matter where you are from, everyone knows that coffee & cameras are a perfect match.
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Camera: Yashica Electro 35 GSN
Film: Fujicolor Industrial 100
Scanning Film: Canon Canoscan 9000f Mark II
Missing boxes:
Pentax FA 50mm F1.4
Alien B400 (shipped in boring brown boxes)
Nikon SB-28 (Never got one)
Strobist Info:
Pentax AF-540-FGZ flash fired camera right at 1/4 at 28mm
Nikon SB-28 fired at 1/2 camera left at 1/2 at 24mm
have been really busy and tired to pick up a film camera lately. it's time to take them for a walk and feed them some slides!
happy long weekend!!! :)
Zorki 1 with Jupiter 12, Fuji X-E1 with 7Artisans 35/1.2.
Shoot by Graflex Century Graphic 2x3, Wollensak 90mm f/12.5 Anastigmat Extreme W.A. Ilford HP5. Kodak XTOL 1+2.
Well, my old F80 was shaking, albeit, slightly!! A stack of some of my old cameras!
Flickr Lounge - Weekly Theme (Week 19) ~ Stacked ...
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all.
Red Flag 20, Changhai No.2 Camea Factory China 1997.
The 1977 Red Flag 20 (Hong Qi 20 红旗20) is a Chinese copy of the Leica M4. Reportedly only 182 were made in a period from 1971 to 1976 when production officially ended. The cameras were made on the orders of Chiang Ching, the last wife of Mao Tzeo Dong. With the camera are a f=50mm 1:1.4, a f=35mm 1:1.4 and a f=90mm 1:2.0, all copies of Leitz lenses.
Michaels Camera Museum, Melbourne
I went to the circus this weekend =) If you'd like to see some pictures from there, head here: www.facebook.com/album.php?aid=204974&id=706588689&am...
What is a camera for? What indeed is a photograph? What the hell is art? Shall we continue with the questions?
In painting, the Impressionists first started messing with "reality" in the late 19th century. And then things really got going with Picasso and Braque and their Cubism. Meanwhile photography was desperately trying to establish its credentials as fine art through the work of Alfred Stieglitz and his circle.
As it so happens it was photographers who were at the centre of a new movement that would pull the rug out from the bottom of all the best theories of art. They took the name Dada, and it was a distinct reaction to the horrors of the first truly modern and technological conflict, The Great War of 1914-1918. magazine.artland.com/what-is-dadaism/
Two photographers were among the most creative members of the new movement: Marcel Duchamp (1887-1968) and Man Ray (1890-1976). This would later spread out and merge with Surrealism, the Russian Constructivists and Conceptual Art. That's enough of the history to whet your appetite.
But why is this important? Well I think that the Dadaists were not only the first "artists" to call into question the nature of art, but essentially they were also the first moderns to question the nature of reality itself (well perhaps Einstein beat them to it in another field). The old "scientific" certainties were disappearing fast. When Neils Bohr and his Copenhagen school of Quantum physics emerged (at precisely the same time as Dada!), even Einstein could not go that far. But in fact the Quantum Theory is now the best available way we have of understanding "reality".
So the concept of photo montage was born. Putting together distinctly unrelated images to create a new photography - to MAKE a photograph rather than to simply TAKE one. Perhaps the most famous of all (though least controversial then) was Man Ray's image of a woman as a violin. roblangleyimages.wordpress.com/2013/04/28/making-meaning/
The Surrealists added a new dimension - the unconscious through the influence of Freud and Jung. All these traditions are worth exploring again in this age of digital photography where the internet universe is literally flooded with TAKEN images.
The French cultural theorist Roland Barthes (1915-1980) wrote perhaps his most influential book near the end of his life, and it was all about his (non-photographer's) perspective on the nature of a photograph. He called it "Camera Lucida" meaning from the Latin, "light chamber". But the Camera Lucida was also a device invented by William Hyde Wollaston in 1806 to assist artists to sketch the world. Remember that the pioneer of photography in Britain, Henry Fox Talbot (1800-1877) called photography "sketching with light".
Jamie Windsor does a wonderful job of presenting Roland Barthes' ideas about "Camera Lucida", so you'd do well to watch his presentation: "How to understand the PUNCTUM in PHOTOGRAPHY — Roland Barthes’ CAMERA LUCIDA"
www.youtube.com/watch?v=P15OTM3E97s&t=515s
My point here is to say that there is indeed a place for photo art or the "made photograph" (I showed you some of the work of leading Australian photo artist Anne Zahalka recently). My preference is for the hands-on cut-and-paste methods of the Dadaists - photo montage. Something that requires the artist to manually "construct" the image rather than simply to rely on ready-made apps to do the job (Duchamp would appreciate that pun).
* I should add that I took both photographs incorporated into this little montage. The man disappearing down the lens is from an image crafted by Iain McIntyre, Tiger By the Tail Designs in 2004. The meaning of this montage is for you to decide.
A low-cost Japanese camera made by Fuji (the leatherette on the back is stamped "Made by Fuji Photo Film Co."). The lens is a Fujinar 4.5cm f/3.5, three elements, and on the inside of the hinged back there is a small sticker recommending Fuji film.
Quite well made for a cheap camera. The shutter has 4 speeds (25-200) plus B, all working reasonably accurately, and the shutter is extremely quiet. The diaphragm has only 4 blades but moves easily with very little friction. And the front element focuses easily and smoothly after all these years (I'm guessing this camera was made in the late 1950's, before Fuji got serious about making good cameras).
But as was common with early 35's in the U.S.A., you have to push a small lever on the back after each exposure in order to release the winding mechanism (reminiscent of the Argus C-3 of the 1940's). The sprocket is in the film tracks and is not geared to the winding knob. And you have to set the frame counter to zero yourself. And you have to cock the shutter yourself (with the left hand side of the black rocker arm) and you release the shutter with the right hand side of the rocker arm. Both operations are easy enough to do using the forefingers of both hands while you hold the camera.
There is no double exposure prevention, so you can easily make double exposures with this camera. You just cock the shutter again and fire. I am anxious to try this camera with film. I am always motivated when a camera requires special effort to obtain results.
The camera was photographed on a hand-embroidered Hungarian tablecloth from the 1950's.
Film transport knob and wheel of the Brownie Bulls-Eye camera (from the late 1950s) . When the film is winded , the vertical wheel also turns , unlocking the double exposure prevention and resetting the shutter.
(for "Macro Mondays")
Olympus OM-D E-M5
Olympus m.Zuiko 25mm 1.8
Olympus m.Zuiko 45mm 1.8
Olympus m.Zuiko 75mm 1.8
Olympus m.Zuiko 40-150mm 3.5-5.6 II R
Carl Zeiss Jena Sonnar 135mm 3.5 M42
Carl Zeiss Jena Pancolar 50mm 1.8 M42
Helios 44M-4 58mm 2.0 M42
See more on gerrit-worldwide.de
Leidolf Wetzlar! This camera’s 50mm f/3.8 lens and apparent top shutter speed of 1/200 seems very limiting, which may be part of the reason Leidolf wasn’t around for very long. With only three shutter speeds (plus bulb), no light meter and no way to check focus, it must have been maddening to take good photos with this camera.