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1966 Rolleiflex 3.5f Planar Type4.
Expired (2006) Ektachrome EPR 64@50
There is a definite lean towards blue, i'm not sure if this due to it being 6 years OOD or if that's just Ektachrome.
E6 process by Peak Imaging
I have to thank Mark Little John, also of flickr for reminding me of Great Mell Fell and the scots pines, all sloping in line with the prevailing winds.
Stroll up after work to catch the last of the sun's rays.
What a fantastic week of weather.
More amazing detail and tonality. This was in fact the first shot I took on 5x4, so nice to see that it worked (in the end)!
17/2/16, 11.15am
Linhof Technikardan S45
Nikkor SW75
Ilford Delta 100 (N+1)
11" f/32, 14mm front rise and 5º of rear backward tilt.
Totally thought this shot was ruined, since I misread the meter as indicating 4 seconds rather than 1/4"(!!), and so shot it at 11 seconds to take reciprocity into account. But it came out perfectly well, it seems, though obviously there's little to no detail in the sky.
Ironically, the second shot I took some minutes later, when I realised my error, isn't so great. I used much too much front rise (I went about 5mm over), so the shot has some vignetting; it's also not quite in focus, and the composition is different. But the exposure is a lot darker and more moody.
Updated edit using 4 frames shot onto lightbox with D800E and 60mm micro stitched in CS6.
Vivitar Ultra Wide & Slim + Fuji Sensia 100 Cross Processed.
kate mellersh in action...almost certainly, taking this shot.
Die einzig revolutionäre kraft ist die kraft der menschlichn kreativität. Die einzig revolutionäre kraft ist die kunst.
"The only revolutionary force is the force of menschlichn creativity . The only revolutionary force is the art"
The monument has been criticized for only commemorating the Jewish victims of the Holocaust, however, other memorials have subsequently opened which commemorate other identifiable groups that were also victims of the Nazis, for example, the Memorial to Homosexuals Persecuted Under Nazism (in 2008) and the Memorial to the Sinti and Roma victims of National Socialism (in 2012). Many critics argued that the design should include names of victims, as well as the numbers of people killed and the places where the killings occurred. Meanwhile, architecture critic Nicolai Ouroussoff claimed the memorial "is able to convey the scope of the Holocaust's horrors without stooping to sentimentality - showing how abstraction can be the most powerful tool for conveying the complexities of human emotion."
In early 1998, a group of leading German intellectuals, including Germany's best-known writer, Günter Grass, argued that the monument should be abandoned.
Several months later, when accepting the Peace Prize of the German Book Trade, German novelist Martin Walser cited the Holocaust Memorial. Walser decried "the exploitation of our disgrace for present purposes." He criticized the "monumentalization", and "ceaseless presentation of our shame." And said: "Auschwitz is not suitable for becoming a routine-of-threat, an always available intimidation or a moral club [Moralkeule] or also just an obligation. What is produced by ritualisation, has the quality of a lip service".
Eberhard Diepgen, mayor of Berlin 1991-2001, had publicly opposed the memorial and did not attend the groundbreaking ceremony in 2000.
Diepgen had previously argued that the memorial is too big and impossible to protect.
Reflecting the continuing disagreements, Paul Spiegel, then the president of the Central Council of Jews in Germany and a speaker at the opening ceremony in 2005, expressed what he called "reservations" about the memorial, saying that it was "an incomplete statement." Specifically, Spiegel said, by not including non-Jewish victims, the memorial suggests that there was a "hierarchy of suffering," when, he said, "pain and mourning are great in all afflicted families." In addition, Spiegel criticized the memorial for providing no information on the Nazi perpetrators themselves and therefore blunting the visitors' "confrontation with the crime."
In 2005, Lea Rosh proposed her plan to insert a victim's tooth which she had found at the Bełżec extermination camp in the late 1980s into one of the concrete blocks at the memorial. In response, Berlin's Jewish community threatened to boycott the memorial, forcing Rosh to withdraw her proposal. According to Jewish tradition, the bodies of Jews and any of their body parts can be buried only in a Jewish cemetery.
In January 2013, a controversy was sparked after the blog Totem and Taboo posted a collection of profile pictures from the gay dating app Grindr, taken at the memorial.
The emerging trend met with mixed responses - while Grindr's CEO Joel Simkhai was "deeply moved" by how app members "take part in the memory of the holocaust", others found using the memorial as a backdrop for hook up profiles to be disrespectful.
In the past, there have been various incidents of vandalism. Despite Eisenman's objections, for example, the pillars were protected by a graffiti-resistant coating because the government worried that neo-Nazis would try to spray paint them with swastikas.
Indeed, swastikas were drawn on the stelae on five different occasions in this first year.
In 2009, swastikas and anti-Semitic slogans were found on 12 of the 2,700 gray stone slabs.
In 2014, the German government promised to strengthen security at the memorial after a video published on the Internet showed a man urinating and people launching fireworks from its grey concrete structure on New Year's Eve.
On October 14, 2003, the Swiss newspaper Tages-Anzeiger published a few articles presenting as a scandal the fact that the Degussa company was involved in the construction of the memorial producing the anti-graffiti substance Protectosil used to cover the stelae, because the company had been involved in various ways in the National-Socialist persecution of the Jews. A subsidiary company of Degussa, Degesch, had even produced the Zyklon B gas used to poison people in the gas chambers. At first these articles did not receive much attention, until the board of trustees managing the construction discussed this situation on October 23 and, after turbulent and controversial discussions, decided to stop construction immediately until a decision was made. Primarily it was representatives of the Jewish community who had called for an end to Degussa's involvement, while the politicians on the board, including Wolfgang Thierse, did not want to stop construction and incur further expense. They also said it would be impossible to exclude all German companies involved in the Nazi crimes, because — as Thierse put it — "the past intrudes into our society". Lea Rosh, who also advocated excluding Degussa, replied that "Zyklon B is obviously the limit."
In the discussions that followed, several facts emerged. For one, it transpired that it was not by coincidence that the involvement of Degussa had been publicized in Switzerland, because another company that had bid to produce the anti-graffiti substance was located there. Further, the foundation managing the construction, as well as Lea Rosh, had known about Degussa's involvement for at least a year but had not done anything to stop it. Rosh then claimed she had not known about the connections between Degussa and Degesch. It also transpired that another Degussa subsidiary, Woermann Bauchemie GmbH, had already poured the foundation for the stelae. A problem with excluding Degussa from the project was that many of the stelae had already been covered with Degussa's product. These would have to be destroyed if another company were to be used instead. The resulting cost would be about €2.34 million. In the course of the discussions about what to do, which lasted until November 13, most of the Jewish organizations including the Central Council of Jews in Germany spoke out against working with Degussa, while the architect Peter Eisenman, for one, supported it.
On November 13, the decision was made to continue working with the company, and was subsequently heavily criticized.
German-Jewish journalist, author, and TV personality Henryk M. Broder said that "the Jews don't need this memorial, and they are not prepared to declare a pig sty kosher."
18/2/16, 3pm
Linhof Technikardan S45
Nikkor W210
Ilford Delta 100 (N+1)
1/2" f/16, no movements
First ever large format shot I've edited.
Initial (Very) rudimentary "scan" with D800E and 85PC-E, two shots stitched in CS6 – then re-"scanned"(shot) with 4 shots stitched in CS6 and re-edited.
Film processed by those very competent, very fast, and wonderful people at Peak Imaging.
I can’t afford it very often but every now and again I will shoot a slide film and send it off to Peak Imaging just to remind myself how great Fuji Velvia really is when developed properly as slide.
This latest roll I only got back today after being in the camera since last October, I managed to finish the roll over Christmas/New Year.
This shot was one of the first on the roll and taken on our first ever trek up Pen Y Fan
Alex’s rugby team went up for some sort of team building mountain climb whilst Cath, Eleanor and myself took a more leisurely pace (well, the pace of a three year old which happened to be a lot faster than you would imagine, she loved it).
Not far from the start we came across what I’m assuming to be Welsh Mountain Ponies (if Welsh Mountain Ponies exist that is) . I don’t know how far up we got but as far as I’m concerned, it was over half way.
The quite bizarre thing about this day up a mountain was how quickly the weather did change, from bright sunshine one minute to sheets of rain the next. It’s true what they warn you about walking up mountains.
We had to eventually turn back as it was just getting wetter and wetter and Eleanor had somehow lost her enjoyment of Pen Y Fan (the rugby team were well ahead by this point).
We turned around and started our descent and I don’t think I have ever been wetter from the weather than I got that day, I worked outside for 17 years.
Cath asked me to take a turn carrying Eleanor to which I replied “But I’ve got to keep the camera dry !” so poor old Cath had to carry Eleanor all the way back.
We sat in the car eating scotch eggs waiting for Alex to come back with the car heater blowing at full blast.
We fully intend to climb Pen Y Fan again, this time in the summer and hope to see Dru somewhere along the way.
I’m quite chuffed with this shot and love the way the Velvia has treated it.
Some modern beach huts at Swanage.
Swanage Pier an hour or so after sunrise.
Nagaoka 4x5 field camera with 90mm f/8 Super Angulon.
1/8 sec at f/22. Front rise was used to maintain the verticals.
Fuji Provia 100F developed by Peak Imaging and scanned on an Epson V550.
© Carl Hall 2016. All rights reserved. See more at www.carlhall.co.uk
[LF0079]
Lomo Lc-a + Vivitar Ultra Wide & Slim + Double Exposure Collaboration with ξαβλ + Kodak Elite Chrome 200 + Cross Processed.
From Roll 1 of a double exposure collaboration with the very lovely ξαβλ (anglicised = xabl or try xav/xavvy, zabble or 'greek letters I can't find on my keyboard' as is your wont! ;)) He ran the film through his Lomo Lc-a around Bristol, and I ran it through my Vivitar Ultra Wide & Slim a second time - mostly around Bristol, but with one or two from London thrown in. Neither of us had any idea about what the other had pointed the camera at, neither did we 'line the film up' before starting, so there is even more randomness of frame edges & overlaps at play during some of the shots.
Taken whilst on a flickr walk with the equally lovely -fiona- on tour from Melbourne, Australia.
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With the exception of an Olympus Trip, I sold all of my 35mm camera equipment at the beginning of 2017. This was a decision I have regretted since. Although not a big film user at the time, I missed my 35mm kit.
I have already replaced one of my cameras, a Canon EOS 30V Date, and while I...
More at:
emulsive.org/articles/5-frames-with/5-frames-with-73-koda...
Filed under:
#film, #filmphotography, #believeinfilm, #5FramesWith, #Canon, #CanonEOS30VDate, #Epson, #EpsonPerfectionV800, #Kodak, #KodakTMAX400TMY2, #PeakImaging, #5FramesWith, #Articles
Nikon F80 + Nikkor 50mm f/1.8 + Fuji Velvia 50.
Velvia 50, shot during a fabulous trip to New York with M in June 2007. That was the beginning of my journey with the Nikon F80, my 'first' film SLR, and the true workhorse of my stream even now.
Lomo Lc-a + Vivitar Ultra Wide & Slim + Double Exposure Collaboration with ξαβλ + Kodak Elite Chrome 200 + Cross Processed.
From Roll 1 of a double exposure collaboration with the very lovely ξαβλ (anglicised = xabl or try xav/xavvy, zabble or 'greek letters I can't find on my keyboard' as is your wont! ;)) He ran the film through his Lomo Lc-a around Bristol, and I ran it through my Vivitar Ultra Wide & Slim a second time - mostly around Bristol, but with one or two from London thrown in. Neither of us had any idea about what the other had pointed the camera at, neither did we 'line the film up' before starting, so there is even more randomness of frame edges & overlaps at play during some of the shots.
Taken whilst on a flickr walk with the equally lovely -fiona- on tour from Melbourne, Australia.
Lomo Lc-a + Vivitar Ultra Wide & Slim + Double Exposure Collaboration with ξαβλ + Kodak Elite Chrome 200 + Cross Processed.
From Roll 1 of a double exposure collaboration with the very lovely ξαβλ (anglicised = xabl or try xav/xavvy, zabble or 'greek letters I can't find on my keyboard' as is your wont! ;)) He ran the film through his Lomo Lc-a around Bristol, and I ran it through my Vivitar Ultra Wide & Slim a second time - mostly around Bristol, but with one or two from London thrown in. Neither of us had any idea about what the other had pointed the camera at, neither did we 'line the film up' before starting, so there is even more randomness of frame edges & overlaps at play during some of the shots.
Taken whilst on a flickr walk with the equally lovely -fiona- on tour from Melbourne, Australia; and who patiently put up with quite a considerable amount of jumping antics during the day.
I've had some 35mm film canisters in a box for years, literally around two decades. I bit the bullet the other day and had them processed.
Most of what came back it was junk. Some because my photographic technique sucked, some because the film was over/under exposed. It was surprising how many of the images turned out so well, however, given that it was maintained at room temperature in living areas that frequently got uncomfortably warm in the summer months.
Lomo Lc-a + Vivitar Ultra Wide & Slim + Double Exposure Collaboration with ξαβλ + Kodak Elite Chrome 200 + Cross Processed.
From Roll 1 of a double exposure collaboration with the very lovely ξαβλ (anglicised = xabl or try xav/xavvy, zabble or 'greek letters I can't find on my keyboard' as is your wont! ;)) He ran the film through his Lomo Lc-a around Bristol, and I ran it through my Vivitar Ultra Wide & Slim a second time - mostly around Bristol, but with one or two from London thrown in. Neither of us had any idea about what the other had pointed the camera at, neither did we 'line the film up' before starting, so there is even more randomness of frame edges & overlaps at play during some of the shots.
Taken whilst on a flickr walk with the equally lovely -fiona- on tour from Melbourne, Australia.
I realise I have cropped the actual name of the booth off and for that I apologise.
Proper Old School Photograph Booth that I read were all over Berlin but we only saw one which if wasn't being used, we'd have had a go.
Pickleicious Babygirlious to give her the correct Latin term.
Spotted one Sunday afternoon in late Summer outside the front door.
I've had some 35mm film canisters in a box for years, literally around two decades. I bit the bullet the other day and had them processed.
Most of what came back it was junk. Some because my photographic technique sucked, some because the film was over/under exposed. It was surprising how many of the images turned out so well, however, given that it was maintained at room temperature in living areas that frequently got uncomfortably warm in the summer months.
Lomo Lc-a + Vivitar Ultra Wide & Slim + Double Exposure Collaboration with ξαβλ + Kodak Elite Chrome 200 + Cross Processed.
From Roll 1 of a double exposure collaboration with the very lovely ξαβλ (anglicised = xabl or try xav/xavvy, zabble or 'greek letters I can't find on my keyboard' as is your wont! ;)) He ran the film through his Lomo Lc-a around Bristol, and I ran it through my Vivitar Ultra Wide & Slim a second time - mostly around Bristol, but with one or two from London thrown in. Neither of us had any idea about what the other had pointed the camera at, neither did we 'line the film up' before starting, so there is even more randomness of frame edges & overlaps at play during some of the shots.
Southwold Harbour, Suffolk.
Shot on Kodak Ektar 100 with Rolleicord Vb. Film developed by Peak Imaging. Scanned on Epson V700.
Olympus XA2 + Fuji Velvia 50 + Cross Processing.
Arc of Angels by Rick Kirby.
For general information about the slowly developing Portishead Sculpture Trail, you can see progress here.
Lomo Lc-a + Vivitar Ultra Wide & Slim + Double Exposure Collaboration with ξαβλ + Kodak Elite Chrome 200 + Cross Processed.
From Roll 1 of a double exposure collaboration with the very lovely ξαβλ (anglicised = xabl or try xav/xavvy, zabble or 'greek letters I can't find on my keyboard' as is your wont! ;)) He ran the film through his Lomo Lc-a around Bristol, and I ran it through my Vivitar Ultra Wide & Slim a second time - mostly around Bristol, but with one or two from London thrown in. Neither of us had any idea about what the other had pointed the camera at, neither did we 'line the film up' before starting, so there is even more randomness of frame edges & overlaps at play during some of the shots.
Nikon F80 + Nikkor 50mm f/1.8 + Fuji Velvia 50.
I finally processed five rolls of Velvia 50, shot during a fabulous trip to New York with M in June 2007. That was the beginning of my journey with the Nikon F80, my 'first' film SLR, and the true workhorse of my stream even now.
Oh yes, and the delay was because I wanted to process the Velvia as it was intended, in E6 chemicals as slide positives and by the time you get scans as well, that's expensive. So it took a while.
I hope you enjoy the change of scenery and a break from the Burnham Lighthouse, the poppies and for a short period - cross processed film! ;)
Lomo Lc-a + Vivitar Ultra Wide & Slim + Double Exposure Collaboration with ξαβλ + Kodak Elite Chrome 200 + Cross Processed.
From Roll 1 of a double exposure collaboration with the very lovely ξαβλ (anglicised = xabl or try xav/xavvy, zabble or 'greek letters I can't find on my keyboard' as is your wont! ;)) He ran the film through his Lomo Lc-a around Bristol, and I ran it through my Vivitar Ultra Wide & Slim a second time - mostly around Bristol, but with one or two from London thrown in. Neither of us had any idea about what the other had pointed the camera at, neither did we 'line the film up' before starting, so there is even more randomness of frame edges & overlaps at play during some of the shots.
Taken whilst on a flickr walk with the equally lovely -fiona- on tour from Melbourne, Australia.
Stoupe Beck, North Yorkshire. Walking back from Robin Hoods Bay to Ravenscar on the coastal path, we dropped down onto Stoupe Beck sands for a hour of fossil hunting and photography. Perfect.
Photograph made with Bronica ETRSi + 40mm lens using Kodak Portra 160. Film developed by Peak Imaging. Scanned on Epson V700.