Oct 9, 2012

Germinal

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« C’était la vision rouge de la révolution qui les emporterait tous, fatalement, par une soirée sanglante de cette fin de siècle. Oui, un soir, le peuple lâché, débridé, galoperait ainsi sur les chemins ; et il ruissellerait du sang des bourgeois. Il promènerait des têtes, il sèmerait l’or des coffres éventrés. Les femmes hurleraient, les hommes auraient ces mâchoires de loups, ouvertes pour mordre. Oui, ce seraient les mêmes guenilles, le même tonnerre de gros sabots, la même cohue effroyable, de peau sale, d’haleine empestée, balayant le vieux monde, sous leur poussée débordante de barbares. Des incendies flamberaient, on ne laisserait pas debout une pierre des villes, on retournerait à la vie sauvage dans les bois, après le grand rut, la grande ripaille, où les pauvres, en une nuit, efflanqueraient les femmes et videraient les caves des riches. Il n’y aurait plus rien, plus un sou des fortunes, plus un titre des situations acquises, jusqu’au jour où une nouvelle terre repousserait peut-être. Oui, c’étaient ces choses qui passaient sur la route, comme une force de la nature, et ils en recevaient le vent terrible au visage. »
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“It was the red vision of the revolution, which would one day inevitably carry them all away, on some bloody evening at the end of the century. Yes, some evening the people, unbridled at last, would thus gallop along the roads, making the blood of the middle class flow, parading severed heads and sprinkling gold from disembowelled coffers. The women would yell, the men would have those wolf-like jaws open to bite. Yes, the same rags, the same thunder of great sabots, the same terrible troop, with dirty skins and tainted breath, sweeping away the old world beneath an overflowing flood of barbarians. Fires would flame; they would not leave standing one stone of the towns; they would return to the savage life of the woods, after the great rut, the great feast-day, when the poor in one night would emaciate the wives and empty the cellars of the rich. There would be nothing left, not a sou of the great fortunes, not a title-deed of properties acquired; until the day dawned when a new earth would perhaps spring up once more. Yes, it was these things which were passing along the road; it was the force of nature herself, and they were receiving the terrible wind of it in their faces.”
…..
“Era a visão vermelha da revolução que arrastaria a todos, fatalmente, numa dessas noites sangrentas desse fim de século. Sim, uma noite, o povo em torrentes, desenfreado, correria assim pelos caminhos, gotejando o sangue burguês, exibindo cabeças, semeando o ouro dos cofres arrombados. As mulheres gritariam, os homens abririam suas queixadas de lobos, prontos para morderem. Sim, seriam os mesmos farrapos, o mesmo matraquear de tamancos grosseiros, a mesma turba assustadora, suja, de hálito fétido, varrendo o mundo caduco com a sua irresistível avalanche de bárbaros. Arderiam incêndios, nas cidades não ficaria pedra sobre pedra, regredir-se-ia à vida selvagem das florestas após o grande cio, o grande rega-bofe, em que os pobres, numa só noite, extenuariam as mulheres e esvaziariam as adegas dos ricos. Não sobraria nada, as fortunas e os títulos das situações adquiridas desapareceriam, até o dia em que talvez desabrochasse uma nova sociedade. Sim, eram essas coisas que estavam passando pela estrada, como uma força da natureza, e vinha delas o vento terrível que lhes açoitava os rostos.”

Émile Zola – “Germinal” (1885)

 

 
Lisboa, Portugal, 1980
 
(but it could be
yesterday,
or today,
or tomorrow,
or the day after...)
 
 
 
..
 
 
 

Jul 26, 2012

Lisbon - City of Light, City of Pain (II - 2012)

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Technical Data:
Camera - Nikon FM
Lens - Nikkor - S Auto 2.8/35mm
Film - Agfa APX 100
Developer - R09 (Dilution 1+50)
Scanner - Epson 4990 Photo
Date - July 2012
Location - Lisbon, Portugal



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Jul 9, 2012

Lisbon - City of Light, City of Pain (2012)

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Shot with Leica M3 or M4 cameras.
Kodak T-Max 400 developed in Kodak D-76 1+1.
Lisbon, Portugal, in the year 2012.



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Jun 2, 2012

Film Cameras For Lovers - Leica M4 (Photo Gear 15)

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The Leica M4 was introduced in 1967.
It combined some of the features of previous models, the Leica M3 and M2: the viewfinder - magnification 0,72 - was the most complete of them all, having the frames for the 35, 50, 90 and 135mm lenses (M3 = 50, 90 and 135mm; M2 = 35, 50 and 90mm).
On the Leica M4, the 35mm and the 135mm brightlines appear together. They appear automatically when you insert a certain lens, or you can preview the field of view of a given lens with the preview lever.






Leica M4 + Summicron 50mm


Other novelties of the Leica M4 included a new rewind lever instead of the old extendable knob (much slower to operate) and an improved loading system, without the separate take-up spool.
You only have to insert the end of the film into the slots of a fixed take-up spool.
These new features obviouslly contribute for a much faster and easier change of film.






Leica M4 + Super-Angulon 21mm + external finder


Most other (minor) changes were of cosmetic nature - at least from the outside - but I should maybe still point out the new shape of the angled advance lever with its hinged plastic tip. I find it more confortable and more reassuring to use.
Somehow it feels better to me, but that's just my opinion... I know that other people prefer the old-style lever. 









Leica M4 + Elmarit 28mm + external finder


Production of the Leica M4 officially stopped in 1971, although some small batches have been manufactured at a later time.
Some special models were made for use with motor-drives - marked M4 MOT or just M4M - and some models were produced for the American Army - known as KE-7A, made by Ernst Leitz Canada, in Midland.
You can find the Leica M4 manufactured in standard chrome finish or black enamelled, later cameras were also produced in black chrome. Both plants in Wetzlar, Germany, and Midland, Canada, produced the M4.
I could be tempted to think, that the Leica M4 represents the last classic production M camera, the pinnacle of the german camera industry, the cherry on top of the cake!
But then again maybe no, that place must be reserved - at least chronologically speaking - for a (maybe) less appealing - not meaning less innovative! - camera, the Leica M5.

Let's leave that story for another day...

Greetings to you all!







Leica M4 + Summicron 50mm
Fátima - Portugal, May 13th, 2011
(Agfa APX 100, Kodak X-tol 1+1)




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May 17, 2012

"The Loner" - Circus Probst, Schwetzingen, June 1983

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Circus Probst - Schwetzingen, Germany, June 1983
(Leica M2 + Versenkbar Summicron 50mm)





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May 4, 2012

Alfama, Lisbon - July 1987

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Hasselblad 500 EL/M + Carl Zeiss lenses
Ilford HP-5 + Kodak T-Max 400
developed in Kodak D-76 1+1
Alfama, Lisbon - July 1987







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Apr 27, 2012

High Time

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Mourão, Portugal - August 1985
(Hasselblad 500 EL/M)




“High Time” – Jerry Garcia/Robert Hunter

You told me goodbye, how was I to know
you didn't mean goodbye, you meant please don't let me go?

I was having a high time, living the good life, well I know

The wheels are muddy, got a ton of hay,
now listen here, Baby, 'cause I mean what I say.

I'm having a hard time, living the good life, well I know.

I was losing time, I had nothing to do,
no one to fight, I came to you.
Wheels broke down, leader won't draw,
the line is busted, the last one I saw.
Tomorrow come trouble, tomorrow come pain,
now don't think too hard Baby, 'cause I know what I'm saying.

I could show you a high time, living the good life, don't be that way.

Nothing's for certain, it could always go wrong,

We could have us a high time, living the good life, well I know.


From the album “Workingman’s Dead” by the Grateful Dead (1970)


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St. Stephen - The Eleven

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Mourão, Portugal - August 1985
(Hasselblad 500 EL/M)




“Saint Stephen” – Jerry Garcia/Phil Lesh/Robert Hunter

Saint Stephen with a rose, in and out of the garden he goes,
Country garden in the wind and the rain,
Wherever he goes the people all complain.

Stephen prospered in his time, well he may and he may decline.
Did it matter, does it now? Stephen would answer if he only knew how.
Wishing well with a golden bell, bucket hanging clear to hell,
Hell halfway twixt now and then,
Stephen fill it up and lower down and lower down again.

Lady finger, dipped in moonlight, writing "What for?" across the morning sky.
Sunlight splatters, dawn with answer, darkness shrugs and bids the day goodbye.

Speeding arrow, sharp and narrow,
What a lot of fleeting matters you have spurned.
Several seasons with their treasons,
Wrap the babe in scarlet colors, call it your own.
Did he doubt or did he try? Answers aplenty in the bye and bye,
Talk about your plenty, talk about your ills,
One man gathers what another man spills.

Saint Stephen will remain, all he's lost he shall regain,
Seashore washed by the suds and foam,
Been here so long, he's got to calling it home.

Fortune comes a crawlin', calliope woman, spinnin' that curious sense of your own.
Can you answer? Yes I can. But what would be the answer to the answer man?


Recorded by the Grateful Dead on the albums “Aoxomoxoa” and “Live/Dead” (1969)


“The Eleven” – Phil Lesh/Robert Hunter

High green chilly winds and windy vines
In loops around the twisted shafts of lavender,
They're crawling to the sun.

Underfoot the ground is patched
With arms of ivy wrapped around the manzanita,
Stark and shiny in the breeze.

Wonder who will water all the children of the garden
When they sigh about the barren lack of rain and
Droop so hungry neath the sky.

William Tell has stretched his bow till it won't stretch
No furthermore and/or it may require a change that hasn't come before.

No more time to tell how, this is the season of what,
Now is the time of returning with our thought
Jewels polished and gleaming.
Now is the time past believing the child has relinquished the rein,
Now is the test of the boomerang tossed in the night of redeeming.

Seven faced marble eyed transitory dream doll,
Six proud walkers on the jingle bell rainbow,
Five men writing with fingers of gold,
Four men tracking down the great white sperm whale,
Three girls waiting in a foreign dominion
Riding in the whale belly, fade away in moonlight,
Sink beneath the waters to the coral sands below.


By the Grateful Dead, from the “Live/Dead” album (1969)





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