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This was inspired by Picasso. It is of a paintbrush drawing a lightbulb with the 'ghost' of myself visible from the process.
Manufactured by VEB Pentacon, former East Germany
Model: c. 1979, version 4.1 (A&R 1, Hummel 059), (produced between 1977-83)
All Exa 1b produced between 1977-85
as to Andrzej Wrotniak
35mm film SLR film camera
BODY
Lens release: simply screw counter clockwise
Focusing: simple matte glass screen, ring and scale on the lens
Shutter: Mirror acts like a curtain as a part of the shutter, vertical moving, due to this maximum speed is limited to 1/175
Speeds: 1/30-1/175 +B setting: dial under the rewind crank knob
Shutter release: on the left fron of the camera, w/cable release socket
Cocking lever: also winds the film, short stroke, on the right of the top plate
Frame counter: on the cocking lever knob, regressive type, manual setting
Viewfinder: eye level SLR pentaprism, interchangeable
Finder release: by a small lever on the back of top plate, turn it left and pull-up the finder
Mirror: not instant return. Mirror is actually a part of the shutter mechanism. When the shutter released, the mirror goes up as in a conventional SLR, but when the exposure is over, a second cover rotates upward to block the light. There is no real shutter curtain.
Re-wind lever: folding crank type, on the left of the top plate
Re-wind release: by a small knob beside cocking lever
Flash PC socket: on the right front of the camera, M and X, setting with the speeds knob
Cold-shoe: none
Self-timer: none
Memory dial: for ASA, a ring on the cocking lever knob under the frame counter
Back cover: removable with the bottom plate, opens by a thumb wheel on the bottom plate
Engaving on the back cover: Made in G.D.R.
Film loading: special take-up spool
Tripod socket: 1/4''
Strap lugs
Body: metal; Weight:
serial no.700490
LENS:
Domiplan (Meyer Optik), 50mm f/2.8, fully automatic, 3 elements
filter thread: 40.5mm serial no.10416736
Domiplan is the standard lens of Exa 1b.
Mount: M42 screw mount
There is a standard M42 type arc/lever on the body, that depresses the pin on the lens that closes the diaphragm blades. When the pressure is let up, the lens opens fully again. A half-depression of the shutter release allows a depth of field preview.
Aperture: f/2.8-f/22,
Focus range: 075-12m +inf
+original ever ready case
VEB Pentacon licensed the production of screw-mount Exas (some late Ib version 4.4 and all Ic version 4.5) to Certo Camera Werk, Dresden-Großzsachwitz, a part of VEB Pentacon. Cameras built by Certo have serial numbers preceded with a letter C.
The later models of Exa 1b have black plastic top- and bottom plates.
Exa 1b body is virtually identical to Exa Ia except rewind knob replaced with a crank and the lens mount is M42 (Pentax/Practica standard), instead of the traditional Exakta bayonet mount. The camera also has internal aperture coupling for M42 automatic lenses.
Exa 1b uses most standard Exakta viewfinders, waist-level and prism.
Other main lenses are Tessar, Makinon and Super Takumar.
Exa 1b is not a real part of the Exakta/Exa system, although its family relationship with Exa cannot be denied.
Exa 1b renamed as Exa 1c without practically any other changes.
More info
USC rowing team warming up before a meet at Ohio State University, Columbus, Ohio.
For total detail, please View Large on Black
thanks Marco, Raiko, Phillipp, Vera, Anna, Christoph, pixel pancho, On Off crew and all the persons we met at the strokes, that was great!
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Aún recuerdo ese día en el que desperté por primera vez a tu lado, cuando noté que podía confiar plenamente en ti, sin decepcionarme nunca. Recuerdo esa sonrisa después de un primer beso... Recuerdo cada momento a tu lado, los buenos y malos, todos, todos a tu lado.
Por muchas tormentas que se avecinen sé que llegará la calma, y que estaré en esa tormenta cobijada entre tus brazos, en un caliente abrazo.
Me encanta dormirme mientras me miras y me acaricias el pelo, dormir entre caricias, dormir a tu lado, vivir a tu lado, vivir juntos, unirnos hasta ser solo uno.
I don't normally put "best viewed on black" - but I think it is. Please press "L" and let me know what you think. Cheers
1. I chose to go with a balanced symmetrical composition. The globe is my force that is centered with the candles on either side balancing the photo; thus, allowing everything to fall equally away from the center of my picture. It was shot horizontally to connote serenity which complements the lit candles and the atmosphere. The candles were purposely placed at a slight angle because I wanted them to embrace the globe. The camera was placed on a tripod and was level with the candles and slightly above the globe.
2. I wanted a shallow depth of field to focus on the candles and blur the globe. The background consists of a smooth, dark red wall. Tints are made by adding white to a color and the lit, white candles create that soft dark pink hue above the globe. The lit candles create a nice contrast in tone and color as the photo drifts from light to a darker background. The smooth lines of the candle also contrast with the sphere-shaped globe. All of these points: from the color of the wall, globe, candles and the two glows that are emitted from the candles above the globe were chosen specifically for my story which is explained in #5.
3. I photographed this scene at different times of the day to coordinate with the lighting to observe how it changes the photo. Lighting definitely can do that. I understand completely why the golden hours of shooting (sunrise and sunset) are called the golden hours. Shooting this at night made the photo too dark and during the noon hour created sun spots on the wall. This photo was taken early evening and with natural light coming in from the window. I diffused the lighting with drawn shades to eliminate glare on the wall. The lit candles add a dimension to the photo that was interesting. It creates a soft light and the reflection changed the color composition, also.
4. Technical challenges included working with lit candles. At night, I had a problem with two blue tinges from the lit candles showing up on my photos. Using a tripod (my first time with a tripod) and angling the camera down on the scene helped alleviate some of that, but still felt the photo was too dark despite moving my ISO to 200. Any higher than that made my photo grainy. Photographing at early evening, my settings were adjusted accordingly for a better shot. My Fstop was at 2.8 to allow for shallow depth of field. My white balance was on cloudy and the ISO was at 80 because I had enough natural light. My shutter speed was 25 to coordinate with the lighting also. I used the tripod and 2 second timer mostly because it allowed for a better focus manually on the candles.
5. My story: My pathophysiology teacher, Sue, read an excerpt from a book, “My Stroke of Insight”, which tied in very nicely with her lecture on strokes. It piqued my interest, and I decided to read it. This book is what I based my photo on, but it forced me to be creative and go outside my comfort zone! I am hoping after you read my story that my photo is not too eccentric and could be applied to the cover of this book. The is a real life story about a 37 year old, Jill Bolte Taylor, a Harvard-trained brain scientist who has a blood vessel explode in her brain. As an inquisitive neuroanatomist, she recognizes what is happening to her and watches her mind completely deteriorate to the point where she cannot walk, talk, read, write or recall any aspect of her life. She recovers, which is amazing, and writes this book of her journey through this process. She describes the brain as your universe (thus the world globe) and how her brain digresses as the hemorrhage (thus the dark red wall color) affects the right and left sides of her brain (the two hues above the candles). The insight (the lit candles) that Jill gains into the unique functions of her left brain and right brain as she shifts away from normal reality is amazing. Jill experiences herself “at one with the universe” in the absence of her left brain’s neural circuitry. Jill now tours the nation to help others how to rebuild their brains from trauma and maximize quality of life for them and those with normal brains to better understand how to cultivate our minds. Jill is quoted: “I believe the more time we spend running our deep inner peace circuitry, then the more peace we will project into the world, and ultimately the more peace we will have on the planet.”