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Me and a friend found this and one other raccoon near eachother at a place where people dump their trash, illegally probably. I took both heads for processing.
altreforme is a young and innovatory brand, with deep roots based on a long entrepreneurial tradition.
altreforme is established in 2008 as productive diversification of Fontana Group. The engineering sector, engaged from more than fifty years with the manufacturing of metal bodies for the most worldwide well-known and prestigious automotive companies, gives shape to a creative project exclusively intended for the contemporary design world
When I was younger I used to watch in fascination as my dad turned a block of clay into a masterpiece. Each day I would wake up see what he was working on then go to school and come back in anticipation for the changes and progress. No matter how weird and messed up I thought it looked at certain points. It would always end in a beautiful sculpture.
He hasn't worked on one for ages but he was recently hired to make a horse. This is just a model, he's gonna make a bigger bronze version that I can't wait for. But I'm happy to be watching the process again.
The Autochrome Lumière (Wikipedia) was an early color photography process patented in 1903 by the Lumière brothers in Lyon, France, and first marketed in 1907. Autochrome was an additive color "mosaic screen plate" process. It was the principal color photography process in use before the advent of subtractive color film in the mid-1930s.
When I got the processed film from the laboratory, I had this feeling to get "Autochromes" views, in particular in the 6x6 medium format. The color saturation, the contrast and precision of each views was simply amazing, observable as they were taken, straight on the film out of the camera!
On August 31, 2024, I decided to use a Fujichrome Velvia 100 film roll I had in the fridge since several months for my first reversible color film attempt of my life in 120 format. I choose my Hasselblad 500 C/M equipped of its normal lens Carl Zeiss Planar 2.8/80mm with a simple Anti-UV filter and a metal shade hood Bronica adapted to the lens with a B60 mount to the 67mm thread adaptor.
The film was carefully exposed for 100 ISO using my Minolta Autometer III either with its 10° selective viewer taking care of the high lights or using the incident light dome to measure the incident light.
View Nr. 8: 1/500s f/2.8 focusing @ 0.9m
Inside the Victoria Green House
Parc de la Tête d'Or, August 31, 2024
69006 Lyon
France
The exposed roll was then given to a professional lab equipped for E6 reversal process.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm film.
The RAW files obtained were inverted within LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG's together with some documentary smartphone color pictures.
About my Hasselblad 500C/M:
I remember that somewhere around 2002, I considered to buy a Hasselblad camera. I gave up because I had no more access to a darkroom and I found too complicated to recreate one or to delegate the processing to a service lab. Afterward, I started digital photography that distracted me to operate again with films until more recently. It is only when I could manage in 2022 a reliable and quality way to exploit my negatives in a reasonable time, that I really could enjoy again of analog photography.
On July 17, 2024, I decided to buy "my" Hasselblad in a very traditional way, almost as I could in the 90’s, in a local real photographic store, Lyon, France. The store « Carré Couleur » of Jacques Larger, rue Servient, Lyon, France, is a long-time specialist of professional medium-format camera’s including Hasselblad ones. They had on display several revised and 6-month guaranteed camera’s and a large choice of lenses and accessories.`
I choose a 500 C/M year 1978 and a Carl Zeiss lens Planar T* 1:2.8 f=80mm of the CF series year 1986, plus a small set of little Hasselblad goodies. The 500 C/M is totally mechanical without any electrical nor electronic circuitry. The 500 C/M's were produced in Göteborg, Sweden, from year 1970 to 1994. They followed the production of the 500C camera’s (1957-1970). The latest V-series camera (503 CX, CW, CWI etc) ceased in 2006 and Hasselblad then produced only digital camera’s but also digital camera backs that could fit to the V-series includingbthis 500 C/M (www.hasselbladhistorical.eu/HS/HSTable.aspx)
This CF lens series has central shutter Prontor (Synchro-Compur for the earlier Zeiss series). They are more cylindrical than earlier series and equipped of the proprietary bayonet filter mount B60. The delayed shutter realease was also abandoned. The focusing screen is the « Bright » series with the Dodin stigmometer in the screen centrer and the squared cross-ruling lines. Later 501 and 503 were basically equipped with an even more brighter screen called « Acute-mat ». The camera back could dated from year 1977 is an « A-12 » back « A » standing for « Automatic ». The film advance automatically stops at view 1 with view counter on the right camera side.
After a complete demo by Jacques Larger, I studied the camera manipulation at home with the user manual in hand (an original edition of 1980) before doing the decisive « film d’essai » (test film) on a sunny morning of July 20, 2024.
The results show very high-quality, highly-contrasted negative views, perfectly exposed and spaced proving the good technical state of the camera, film magazine, and the lens/shutter.
3x5 Web ad to be advertise on websites check mark is a rollover button to take you to Processing.org website.
Wellsford, New Zealand, December 2010
These are my first, fumbling steps in Processing. None of this stuff is particularly good or interesting, but I'm learning as I go.
Interactive generative design.
Reference to the quote « Form follows Function » of the architect Sullivan, Sound Form follows is a process of deformation, production volumes, objects by sound.
A 3D object, here a simple sphere, thus is distorted in accordance with the music, creating new forms, each reflecting sound at a time.
Screenshot from my in progress live performance set up, built in Processing and controlled with Pure Data, with a high degree of integration with my musician teammate's sound synthesis system.
So this projects was my final project for my degree, its a self initiated project about the design process.
to cut a long story short i made up three things i really believe in about design. these were as follows:
Process is just as important as product
Design is a labour of love
and One amalgamation of things i
believe design should be.
all these three things were created using three different process, three which i really enjoy doing being:
Screen printing
Hand Drawing
Digital
These were then all documented from intial ideas to production to try to give people a greater appreciation for design and the design process.
The Videos for each of these pieces will be up soon!
This is the digital part of my project, i wanted it to be a book and a poster so that poeple could read the words separately then open up to have a composition of all of them together, all the words are adjectives of what i think design should be