Two of Us

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Évora, Portugal - September 2010

(Leica M2 + Summicron 50mm)

“Two of Us” – Lennon / McCartney

Two of us riding nowhere
Spending someone's
Hard earned pay
You and me Sunday driving
Not arriving
On our way back home
We're on our way home
We're on our way home
We're going home

Two of us sending postcards
Writing letters
On my wall
You and me burning matches
Lifting latches
On our way back home
We're on our way home
We're on our way home
We're going home

You and I have memories
Longer than the road that stretches out ahead

Two of us wearing raincoats
Standing solo
In the sun
You and me chasing paper
Getting nowhere
On our way back home
We're on our way home
We're on our way home
We're going home

You and I have memories
Longer than the road that stretches out ahead

From the album “Let it Be” by The Beatles (1970)

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Ballad of Easy Rider

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Sítio das Hortas, Alcochete - 2008

(Gandolfi Variant 4x5 + Horseman 6x12 film holder)

“Ballad of Easy Rider” – The Byrds

The river flows
It flows to the sea
Wherever that river goes
That's where I want to be
Flow river flow
Let your waters wash down
Take me from this road
To some other town

All he wanted
Was to be free
And that's the way
It turned out to be
Flow river flow
Let your waters wash down
Take me from this road
To some other town

Flow river flow
Past the shaded tree
Go river, go
Go to the sea
Flow to the sea

The river flows
It flows to the sea
Wherever that river goes
That's where I want to be
Flow river flow
Let your waters wash down
Take me from this road
To some other town


Written by Roger McGuinn

From the Album “Ballad of Easy Rider” (1969)


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Eles não sabem que o sonho...

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Sinto-me esventrado,
Sugado e esvaído,
Traído!

Dos tremoços já as cascas nos levam,
A matança continua, o festim prossegue...

Os sonhos, esses, nunca mos hão-de entaipar!







“Pedra Filosofal” - António Gedeão

Eles não sabem que o sonho
é uma constante da vida
tão concreta e definida
como outra coisa qualquer,
como esta pedra cinzenta
em que me sento e descanso,
como este ribeiro manso
em serenos sobressaltos,
como estes pinheiros altos
que em verde e oiro se agitam,
como estas aves que gritam
em bebedeiras de azul.

eles não sabem que o sonho
é vinho, é espuma, é fermento,
bichinho álacre e sedento,
de focinho pontiagudo,
que fossa através de tudo
num perpétuo movimento.

Eles não sabem que o sonho
é tela, é cor, é pincel,
base, fuste, capitel,
arco em ogiva, vitral,
pináculo de catedral,
contraponto, sinfonia,
máscara grega, magia,
que é retorta de alquimista,
mapa do mundo distante,
rosa-dos-ventos, Infante,
caravela quinhentista,
que é cabo da Boa Esperança,
ouro, canela, marfim,
florete de espadachim,
bastidor, passo de dança,
Colombina e Arlequim,
passarola voadora,
pára-raios, locomotiva,
barco de proa festiva,
alto-forno, geradora,
cisão do átomo, radar,
ultra-som, televisão,
desembarque em foguetão
na superfície lunar.

Eles não sabem, nem sonham,
que o sonho comanda a vida,
que sempre que um homem sonha
o mundo pula e avança
como bola colorida
entre as mãos de uma criança.

In Movimento Perpétuo, 1956



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Let the Sunshine In

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I see a very dark cloud obscuring this land,
Wind of Change blow away all these sick lies,
Clear up the sky!

Let the sunshine in!

"Aquarius"
When the moon is in the Seventh House
And Jupiter aligns with Mars
Then peace will guide the planets
And love will steer the stars

This is the dawning of the age of Aquarius
The age of Aquarius
Aquarius!
Aquarius!

Harmony and understanding
Sympathy and trust abounding
No more falsehoods or derisions
Golden living dreams of visions
Mystic crystals revelations
And the mind’s true liberation
Aquarius!
Aquarius!

When the moon is in the Seventh House
And Jupiter aligns with Mars
Then peace will guide the planets
And love will steer the stars

This is the dawning of the age of Aquarius
The age of Aquarius

Aquarius!
Aquarius!


“Let the Sunshine In”
We starve, look at one another, short of breath
Walking proudly in our winter coats
Wearing smells from laboratories
Facing a dying nation of moving paper fantasy
Listening for the new told lies
With supreme visions of lonely tunes

Somewhere, inside something, there is a rush of
Greatness, who knows what stands in front of
Our lives, I fashion my future on films in space
Silence tells me secretly
Everything
Everything

…

Singing our space songs on a spider web sitar
Life is around you and in you
Answer for Timothy Leary, dearie

Let the sunshine, let the sunshine in
The sunshine in
Let the sunshine, let the sunshine in
The sunshine in
Let the sunshine, let the sunshine in
The sunshine in


“I Got Life”
I got life, mother
I got laughs, sister
I got freedom, brother
I got good times, man

I got crazy ways, daughter
I got million-dollar charm, cousin
I got headaches and toothaches
And bad times too
Like you

I got my hair
I got my head
I got my brains
I got my ears
I got my eyes
I got my nose
I got my mouth
I got my teeth
I got my tongue
I got my chin
I got my neck
I got my tits
I got my heart
I got my soul
I got my back
I got my ass
I got my arms
I got my hands
I got my fingers
Got my legs
I got my feet
I got my toes
I got my liver
Got my blood


I got my guts
I got my muscles
I got life
Life
Life
Life
Life
LIFE!

And you got a lot of nerve baby!

And I'm gonna spread it around the world, mother.
Yeah, I'm gonna spread it around the word, sister.
Yeah I'm gonna spread it around the world, my brother.
So everybody knows what I got.

From the musical "Hair" - The American Tribal Love-Rock Musical (1968)
Lyrics: James Rado & Gerome Ragni
Music: Galt MacDermot





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Sketches of Spain - Badajoz, Extremadura (August 20, 2010)

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All photographs made with Rolleiflex SL35
Distagon HFT 35mm f/2.8
Carl Zeiss Sonnar 85mm f/2.8

Technical Data:
Camera - Rolleiflex SL35
Lenses - Distagon HFT 35mm f/2.8 + Carl Zeiss Sonnar 85mm f/2.8
Filme - Agfa APX 100
Developer - Rodinal, diluted 1+50
Location - Badajoz, Spain
Date - August 20, 2010
Scanner - Epson Photo 4990




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Leica M2 + Leica R5 - Feira de Santa Iria, Faro, October 2010

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Following my two other posts introducing the Leica R5, I wish to get back on this topic again.

I wanted to find out if the R5 could fit in my working method, how it could combine simultaneously with other gear, namely with Leica-M equipment. Switching from reflex to rangefinder and back, could maybe produce some discomfort, I feared.
I was concerned that I could lose my focus and concentration.

Working on a visual story, I think that one must be careful enough not to allow for “gaps” to happen, the pictures ought to provide some emotional continuity, a certain smoothness, the viewer should feel interest without strain.

Like a river flowing naturally to the sea…

I have used some brands of equipment that tend to give different shooting sensations. If you change from one piece to the next (inside that same brand, I mean), you clearly notice the variation: some focusing helicoids are stiffer, some aperture rings are looser, the color balance changes a bit, the list could go on and on...
I have seen all of that in rather famous names!

One of the attributes that I cherish the most about Leica, is consistency.
Lenses (cameras or whatever you name), may be built decades apart, but you instantly feel “at home”.
The common handling senses, the same color characteristics, the unequalled high-quality finish…
That famous undefinable “Leica Feeling”?
Yes, that is how legends are born…


Nonsense! – I read a lot of knowledgeable opinion in many Photographic Forums and the like.
Foolish hype! - The experts keep shouting and screaming, crammed with indignation.
It’s only that they (the Leicaists!) can justify the high prices they pay! – I read on, and on…

I very often ask myself if all these defenders of my poor sanity have ever touched a Leica…

Oh, don’t understand me wrong! I know that photographs are made by photographers, not by brands or cameras, not by soulless machines…

But I also know that Leicas do have soul!, and that they can help a hell of a lot to accomplish your goals!

I should know: I have been having a lot of that stuff stuck up my nose…

Looking for a verdict, I put some gear in the bag (wide-angle + normal + an old M2 from 1959, and the R5 + tele), and went out in the fairground, shooting away.

How did it feel? Well, I guess that I can say that it felt... "at home"...

Please, take a look and make up your mind. Do you feel any "gaps"? (They are nobody's fault but mine!...).

You are the judge this time!

Technical data:

Cameras - Leica M2 + Leica R5
Lenses - Elmarit-M 28mm + Summicron-M 50mm + Elmarit 135mm
Film - Agfa APX 100
Developer - Rodinal, diluted 1+50
Location - Feira de Santa Iria, Faro, Portugal
Date - October 2010

Scanner - Epson Perfection 4990 Photo






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Leica R5 + Leitz Elmarit 135mm - First Photographs, October 2010

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Three decades ago, when I started getting involved with photography, the 135mm focal length was very popular among photographers. Following that trend, I also bought one such lens for my Minolta equipment, the fine Minolta Rokkor 2.8/135mm. If you visit this blog every now and then, you most likely saw some images shot with that lens.

As some of you also might recall, I later on traded my Minoltas for Leicas, so the Rokkor made place for the canadian built Leitz Elmarit 2.8/135mm in my bag (the model with view and rangefinder attachment, the so called goggles, that improves focusing and framing. Primarily made for the M Leica, I read that the most "recent" version - mine is from 1979! - serial no. 2 600 000 and up, is optically identical to the Leica R lens. While I can't claim that for sure, you should please take note of the missing M in its nomenclature...).

I already posted some images of that lens with goggles directly mounted on a Leica M, as well as with the lens head removed and attached to the focusing mount 16462, to allow the use with the Visoflex reflex housing. In case that you should be interested on this subject, please check my former post about it.

What I want to show today, are some photographs made with this same lens, but this time still done on a different way: I did them with a Leica Single Lens Reflex camera, and Leitz adapter 14167, to allow the use of Visoflex lenses on the Leica R. The combination keeps on needing, of course, the aforementioned focusing mount 16462 (the goggles can thankfully be left at home!).

Yes I know, lots of (very well made) Leitz adapters and focusing mounts, no automatic aperture, darkening viewfinder...
But believe me, if you already own such a lens, it is well worth the hassle.
I just love the combination!

But please, take a look for yourself...

Above photographs made in Faro, October 2010


Trends come and go, like anything else, and this kind of focal length seems to be out of fashion. The evolution and the public's widespread preference for the Zoom lens, have condemned the 135mm prime lens to a certain obscurity...
Lamentably so, as I believe that most photographic systems have produced outstanding 135mm lenses along the years. Just think about Carl Zeiss Sonnar, Carl Zeiss Tele-Tessar, Schneider Tele-Xenar, Pentax Takumar, Nikkor, Jupiter...
Moreover, the 135mm can be a true bargain these days...

For me, such a lens is a very fine balance between portability (all images were shot handheld) and pronounced telephoto effect. Besides, I don't need to be close to the nose of my model if I wish to do a head and shoulders portrait, as I don't need to go to the other side of the street yelling...

I enjoy the shallow depth of field, without too much loss of plasticity, what enables me to achieve a pleasant perspective without sacrificing the three-dimensional sensation!
I also find the 135mm lens to be a very interesting choice for close up photography, by just adding some extension tubes to it, between the lens and the body of the camera.

I suppose that I can honestly say: the 135mm is a true winner for my taste!

Photographs shot in Montemor-o-Novo, October 2010

This post should have its emphasis on the Leica R5...
I actually made this pictures while testing the camera, principally its exposure meter (fantastic!).

Now it is six in the morning and I am getting very tired, the rain is pouring outside, my legs are cold, my eyes are shutting, my brain is coming to a standstill...

Will you please excuse me, but I must be on my way... to bed...
Don't worry, I will come back to the subject... I promise!


Technical data:

Camera - Leica R5
Lens - Leitz Elmarit 135mm (Leica M/Visoflex type) + Leitz 14167
Film - Agfa APX 100
Developer - Rodinal, diluted 1+50
Location - Faro and Montemor-o-Novo, Portugal
Date - October 2010
Scanner - Epson 4990 Photo


HAVE A NICE AND HAPPY NEW YEAR!!!

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