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Lisbeth #4
2009
Acryl auf Leinwand
60 * 80
Retrospective
12.4.2015 - 14.6.2015
Johannesgasse 16
1010 Vienna
Sometimes you get lucky - this purple finch landed in a japanese maple, finding a bit of light and framing itself nicely in the branches and leaves.
Zeiss Ikon Ikoflex IIa w/ Zeiss-Opton Tessar 3.5/75 and Kodak Tri-X (Kodak D76 1:1, Ilford rapid fixer). f/5.6, 1/10s. Epson V700 and Silverfast SE Plus 8.0 @ 4800 dpi, downsized to 2400 dpi. Retouched and cropped.
The lens isn't too keen on backlid situations. But what to expect from a Tessar lens anno ca 1955? But I think it held up fairly good here.
I've also noticed that Tri-X generally doesn't like backlid situations, just like the lens. ;) The skintones loses definition and you mostly have grain texture instead of skin texture.
The image would have been sharper if I had owned a cable release at the time.
The dress is quite interesting, a traditional Ukrainian summer dress. Too bad that the clear red embroidery aren't showing as well.
Model: Alyona S.
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Deer in Ojibway Park. #OjibwayPark #nature #mono #monochrome #blackandwhite #digitalphotography #Nikon #D7200 #forest #deer #framed #winter
Pentacon Six TL w/ Carl Zeiss Jena Biometar 120mm f/2.8 and Ilford FP4+ @ EI 400/500 (Kodak Xtol 1:0, Ilford rapid fixer). f/4, 1/250s. Epson V600 and EpsonScan @ 4800 dpi, downsized to 2400 dpi. Retouched and cropped.
I set the meter on the camera to 400 but developed as 500. Crushing the lighlights is rarely something you have to worry about when you're pushing film, so some extra time will just bring out whatever there is on the shadows.
I really like how FP4+ handles a 2 stop push. Sure it's contrasty, but it's not like Tri-X at 1600. But it really helps having dull and soft light.
The location was the water treatment plant in Lund, because my buddy Diane from Munich wanted to shoot something near the water in my landlocked city, Lund.
Model: Caroline Wollberg (Sweden Models Agency)
In 1937 Geoffrey Mander MP did something remarkable - he persuaded the National Trust to accept a house that was just 50 years old.
The local paint manufacturer and Liberal MP had been left the timber-framed house by his father Theodore. Taking inspiration from a lecture on 'the House Beautiful' by Oscar Wilde, Theodore and his wife Flora had decorated its interiors with the designs of William Morris and his Arts and Crafts contemporaries.
This house of the Aesthetic Movement was, by 1937, a relic of an out of fashion era. Yet, so complete was the design that it was worthy of preservation. Having given the house to the Trust, Geoffrey and his second wife Rosalie became its live-in curators, opening the house to the public and adding to its contents. In particular they added a remarkable collection of Pre-Raphaelite paintings by Rossetti, Burne-Jones and their followers.
No matter what your looking at, it's always framed by something. Sometimes it a physical frame, sometimes it's your frame of reference.
The frame...
Does it contain us or limit us?
Is it a shelter or a prison?
Is it a place of calm or restlessness?
Is it a space of loneliness or encounter?
Of opportunities or frustrations?
Maybe sometimes it can be more than one thing at a time...
Framed
Shot in the Valley of Fire in Nevada. I have to say that the Valley of Fire lives up to its name, not only in the colour of the rocks but also in the temperatures in early August at midday, when this was shot.
One of several Picture Frames set out by Horsham Council at a selection of nice spots about the area showing off Mt Arapiles in the distance
Camera: Nikon F + Nikkor 55mm f1.2
Film: Ilford FP4 Plus 125
Developer: Adox Adonal
Scanner: Epson v300