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Ford Capri II 1600L, 1976, Roman Bronze. 'Ghost light' done with a neon work lamp between the front seats.
Canon Eos300D, CZJ Tessar 50mm/f2.8
This is my Certo Super Dollina II. It has a Tessar 50 mm f/2.8 in a Synchro Compur shutter. The coupled rangefinder works quite well. Some of the pictures I've taken with it are in a set (should be linked somewhere on the right there...). It has a slight tendency to scratch the film, which I mean to track down and sort out.
Check out Basicframework's earlier model too: www.flickr.com/photos/basicframework/203341611/
Purchased from the Ballard Goodwill in October for $5.99 and it's such a lovely shade of olive green. Love it.
Day trip to see the cars of Cruising Week, and a first view of the beach and ocean for 2016.
Ricoh GR II
Found this at a yard sale, thinking at the very worst it would look very cool on a shelf. But it works! I put a roll of cheap color film through it, and the meter's always in the neighborhood, and focus seems accurate enough if a bit fiddly. There are some strange color shifts, but I'm going to try a roll of black and white and see what happens.
Rob Porter used his large 90s Cadillac to haul his Daihatsu Midget II pickup truck from Cheyenne, Wyoming to the east coast to tool around in while he’s in the area on business inspecting welds at power plants.
Leon Golub
Chicago 1922 – New York 2004
1979
Acrylic on canvas
305 x 366 cm
Purchase, Horsley and Annie Townsend Bequest
Inventory 1983.1
Golub is one of the masters of political realism, and one of the few American painters of his generation to have steered away from abstraction. Several complex artistic currents come together in his sensibility, which was forged during a stay in Italy (1956-1957), where he discovered Hellenistic, Etruscan and Roman art. Golub lived in Paris from 1959 to 1964, exhibiting with artists under the banner of New Figuration, a movement that sought a third way between Abstraction and New Realism, advocating a critical examination of contemporary social conditions. Golub, for his part, had already developed a grim vision of the brutality of power, which he dubbed "brutal realism". He fully engages in political current events with the "Napalm" series, which evoked the horrors of the Vietnam War. This was followed by a series devoted to the world of mercenaries, paramilitaries and interrogations under torture. Critic Donald Kuspit has described the artist as "the Jacques-Louis David of the reactionary American empire, showing it defending its outposts through mercenaries . . . affecting every life in the world." Characteristic of the other works in the latter series and painted against a background of red oxide, this painting is inspired by the murals of Pompeii. Golub imparts a heroic dimension to a scene that is anything but heroic - mercenaries horsing around. The artist says of them: "they may be brutes, but . . . they're not that different from everybody else . . . they are part of a system of domination and control."