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I have been shooting alot of reflections lately, though in this photo I was really interested in the frames of the door. The reflection was really just what the frame happened to contain.
Old film found in the hearth
of the old tile stove.
One of the negatives included in post-mortem photo.
Manufactured by Agfa Kamerawerk AG, Munich, former West Germany
Model: c.1957, (produced between 1957-1961)
35 mm film Rangefinder camera
Lens: Agfa Color-Solinar 50mm f/2.8, four elements, interchangeable w/ 35-50-90-135mm, special bayonet mount- very easy mounting, filter size 37mm slip-on, serial no.414196
Lens release: press the catch on the lower front of the lens mount and simultaneously turn the lens counter clock-wise gripping the fixed miled ring on the lens
Aperture: f/2.8-f/22setting: by front ring on the lens
Focus range: 1-10m +inf
Focusing: matching yellow rangefinder images in the finder, via turning the ring on the lens, w/DOF scale
Shutter: Synchro-Compur leaf shutter speeds: 1-1/500 +B
setting : ring and scale on the shutter, behind the lens, w/ two little handles
Shutter release: on the right of the top plate, w/ cable release socket
View finder: coupled view/rangefinder, w/ bright-line frames,
Parallax correction by a switch on the top plate adjusts to the 35-50-90mm lenses
130mm lens required a separate viewfinder.
Flip-up protecting cover on the view- and rangefinder windows on front of the camera
Cocking lever: also winds the film, short stroke, on the right of the top plate
Frame counter: coupled with winding lever, advance type, manual setting
Re-wind: knob on the left of the top plate
Re-wind release: button, on the bottom plate
Self-timer: the small green lever must point to V of the dial on the top of the shutter, after exposure and winding it turns to X
Flash PC socket: on the right of the shutter,
M 1/60-1/500, X 1/30 sync., adjustment via the small green lever on the top of the shutter
Cold-shoe
Memory dial : on the re-wind lever
Back cover: Hinged, opens by tha latch on the left side of the camera
Tripod socket: 1/4''
Supporting slide for time exposures on the front of the bottom plate
Body: metal; Weight:
serial no. KZ 5429
The Ambi Silette was a part of the Silette range of Agfa as an interchangable lens rangefinder. In this series there were viewfinders called Silette and rangefinders called Super Silette.
There are three other main Agfa lenses for Ambi Silette: 35mm/f4 Color-Ambion, 90mm/f4 Color-Telinear, 130mm/f4 Color-Telinear
more info: Stephen Gandy's Cameraquest, Manual inOrphanCameras by Mike Butkus, ChromeAgeCameras
Agfa Isolette II + Agnar 4,5/85mm
Lomography LomoChrome Turquoise XR 100-400 Color Negative Film @ISO400
These wire shelf sets are 1x1 foot wire squares with versatile joining brackets. You can create walls or frames quickly, and then take them apart.
Shown in GORGEOUS paisley fabric 225808-25
Shagbark stained legs
Antique Brass finished nailheads
These style of chairs look good in pairs, which this customer decided to do!
Timeframe is approximately 4-6 weeks for custom orders
Visit our Westlake Location today to try out this style from Smith Brothers. Our check it out at www.smithbrothersfurniture.com/catalog/ctl/detail/mid/580...
52 Autumn Frames.
Sometimes I also make strange experiemets - or I have an idea. I shot 2 rolls of Kodak Gold 200 a few weeks back, when there was real nice fall color in the forest. But basically I was pretty inspiration-free, so I just shot right into the trees.
Although the pictures were boring, the color was so nice! So I made a overlay of 52 Frames to get just that: The color. Interestingly, if you know it, you can still sense the foilage on the ground and the pattern of the trunks, as well es lighter parts, when the sky shines through the canopy. So instead of only color there is still some pattern left. The essence, perhaps.
Feel free to download and use my textures.
I would like to thank to SkeletalMess for his wonderful tutorials.
*ICARUS FRAMES* road complete bike
BLUE LUG custom
SPEC
Frame: *ICARUS FRAMES* road
Headset: *CHRIS KING* nothreadset
Front Wheel: *ENVE* classic 45 rim × *DT SWISS* 190
Rear Wheel: *ENVE* classic 45 rim × *CYCLEOPS* powertap
Crankset: *SHIMANO* dura-ace crankset
Shift&Brakelever:*SHIMANO* dura-ace
FD&RD:*SHIMANO* dura-ace
Brake: *SHIMANO* dura-ace
Stem: *ENVE* carbon stem custom painted
Handle: *DEDA*
Seatpost: *ENVE* carbon seatpost
Saddle: *SPECIALIZED*
Steel anchor frames installed inside 10 of the floating bridge pontoons to prepare for post-tensioning. Post-tensioning is a process to reinforce concrete and pulls the floating bridge pontoons closer together.
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the LibrerÃa del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “