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digitized with Sony NEX6 and Leica Macro-Elmarit-R 60mm, stitch of two parts left and right
image reworked
about 25 years old :-)
please no group icons without any individual comment!
Digitized from an old transparency. Originally shot with an Olympus OM1, Tamron 90 mm Ć’2.8 Macro. Original film type escapes me.
Digitized with Negative Lab Pro v2.1.2
Canon EOS 3 | EF 16-35mm f4 | Kodak Ektar 100
Digitized with Negative Lab Pro
Home developed in Unicolor Stock | 102ÂşF
IMG_4137-positive-Edit
while decluttering the garage I unearthed a box of slides and flicking through these slides a few well forgotten ones grabbed my attention so I put them aside for digitizing and among them this one which looked to me delightfully slidy and decidedly non digital , no silly filters required, no trickery to make it look old and grainy, it's already is :-)
the scene, I have no clue, I suspect it's not Moscow , it can be Baku (Azerbaijan) as a guess, late 80s ..
Fiordland National Park, South Island, New Zealand 1984.
Analog capture, Monolta X-500, Tokina 28-70 mm, Fuji slide, digitized with Nikon Coolscan 5000 ED in 2004 in too low resolution, processed by Snapseed 2016.
GĂĽnter MĂĽller / Hans Joachim Irmler / A23H
There are two more unreleased live recording special mixes of Taste Tribes, one at Faust-Studio and one by GĂĽnter MĂĽller in the archives.
Subterranean Collectives: Taste Tribes and the Entelechy of Sound:
If 7k Oaks openly aligned itself with Joseph Beuys’ “social sculpture,” Taste Tribes may be seen as its more subterranean counterpart—less oriented to ecological symbolism and civic space, more attuned to the cryptic energies of the urban periphery, where graffiti marks the wall and sound marks the ear as parallel inscriptions of collective life. Both ensembles were founded by Alfred 23 Harth in 2007: 7k Oaks in Rome with Massimo Pupillo, Luca Venitucci, and Fabrizio Spera, and Taste Tribes with Hans-Joachim Irmler (Faust) and the Swiss electronic improviser Günter Müller, later joined by Wolfgang Seidel (Eruption). Their emergence corresponded to a moment when Harth, after years in Asia and collaborations in Japan, returned to re-situate himself within European avant-garde traditions—yet not simply to return but to reimagine them through dialogue across generations and geographies.
The very name Taste Tribes emphasizes plurality, nomadism, and the refusal of hierarchy. “Tribes” designates both solidarity and fragmentation—temporary affiliations forged in ritual rather than fixed institutions. Their covers, emblazoned with four graffiti-like figures across both the 2008 and 2023 releases, act as surrogate signatures. Not portraits in any conventional sense, these glyphs instead function as visual analogues of alter-egos, painted marks that echo the very logic of improvised sound: provisional identities traced against a mutable background. Just as graffiti asserts a presence in anonymous public space, the Taste Tribes inscriptions claim the space of sound as a site of ephemeral authorship—collective, corrosive, and resistant to commodification.
Where 7k Oaks invokes Beuys explicitly—through its name, its ecologically charged dedications, and even track titles like Soziale Plastik—Taste Tribes embodies a more veiled articulation of the Goethean–Steinerian–Beuysian lineage. Goethe’s concept of entelechy described the inner formative principle by which the plant “makes itself out of itself”—an organic self-unfolding irreducible to mechanical repetition. Steiner, taking Goethe as the “Copernicus and Kepler of the organic world,” emphasized that Goethe had discovered the hidden laws of living form, just as astronomers had charted the laws of the cosmos. Beuys, inheriting this current of thought, transposed it into the social domain: art, like life, was no longer an object but a vital process; every human action could become sculpture, a force within the living organism of society.
It is precisely at this nexus that Taste Tribes situates itself, though in sound rather than in visual or ecological form. Their improvisations are not “pieces” but processes of emergence, sonic entelechies that unfold from within rather than being imposed from without. Noise-fields, electronic scatterings, the guttural breath of Harth’s reeds, the drone and churn of Irmler’s organ, the digitized flicker of Müller’s electronics—each gesture seems to contain the seed of its own self-determination. Improvisation here is not chaos but a morphology, akin to Goethe’s archetypal leaf, in which variation is the manifestation of a deeper, lawful principle.
In this light, the graffiti-figures that adorn their albums are more than decoration. They may be understood as glyphs of entelechy—graphic correlates to the music’s organic unfolding. Just as Beuys’ “7000 Oaks” made visible the slow work of transformation in the city’s ecological and social landscape, Taste Tribes inscribes transformation sonically: an acoustical “urban forest” grown from noise, feedback, and communal breath. If 7k Oaks plants the tree, Taste Tribes tags the wall—both reimagining art’s place in lived space, one through ecological grafting, the other through acoustic insurgency.
Ultimately, Taste Tribes challenges the listener to hear improvisation not as arbitrary play but as a social and organic law of becoming. Their soundworld exemplifies how the avant-garde, in the wake of Goethe, Steiner, and Beuys, continues to insist on creativity as an irreducible vitality: anarchic yet ordered, ephemeral yet archetypal. By foregrounding ritual over authorship, graffiti-mark over signature, process over object, Taste Tribes demonstrates that in the realm of sound as in life, the most radical art is not constructed—it grows.
This is my updated setup for digitizing slides and negatives:
- Nikon D90 camera
- Micro Nikkor 55mm f/3.5 AI
- extension tube(s)
- Kaiser slimlight plano lightbox
- Copier stand
- Darktable software
Relative to my previous setup, I now have a better lightbox which is thinner and with even illumination. I upgraded from the D80 to the D90 (could also use my D7200, but I rather keep the D90 mounted ready to go). I am also experimenting with longer extension tubes to photograph the film in several shots (increasing the digitization resolution), but this requires stitching them together so makes the workflow more complicated. I also moved from RawTherapee to Darktable which is a pretty good RAW processor. The lightable is pretty good and is supposed to be 5000K but when I set up the D90 to that color temperature there is a color cast; this was fixed by setting the D90 to 5260K.
The photo on the left is the result of placing the Negative on a Light Box, that has light evenly emitted at 5,000°K. I set that Color Temperature in the camera.
I used this Manfrotto tripod setup.
flickr.com/photos/cassidyphotography/50738301196/
I used a Nikon D3x and a Nikon 200mm Micro-Nikkor f/4.0D lens and filled the frame. I could have easily gone edge-to-edge, but this was merely a trial run to prove to myself I could do it.
Using Photoshop or Nikon Capture NX2, I simply used a color-picker on the edge of the photo and then selected the whitest white and the darkest black and in Levels set the reciprocal.
A gentle reminder about copyright and intellectual property-
â’¸ Cassidy Photography (All images in this Flickr portfolio)
Camera: Agfa Ambi Silette (1958)
Lens: Color Solinar 2.8/50mm
Film: Kodacolor 200
Developed by: flash foto, MĂĽnchen
Digitized with Sony a 7RIII
Location: Murano, Venezia, Italia
Geologic formations of lava turned to stone. Located near Gaggi, Sicily, Italy. Digitized Tri-X film negative from my days stationed in Sigonella, Sicily with the US Navy as a photographer.