r-wos.org

every machine is a smoke machine if you use it wrong enough

  • horses, ep. 2

    horses, ep. 2

    Turns out, printing on fabric is much harder than on paper. I’ve tried first with normal printing ink which didn’t work at all. This was with water-based fabric ink. It hasn’t gone horribly wrong but it would have needed more ink still. Though that would have killed the fine details even more probably. Maybe one…

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  • at the lake

    at the lake

    Camera: Reflex-Korelle, with a Zodiak-8 fisheye lens. Cropped by shutter malfunction. The additional complication is that the shutter speed (I had it on nominal 1/500s) was also sort of fluctuating randomly between 1/100s and 1/1000s. But I’ll have to pull the shutter curtains now anyway, the leading edges got mangled and they neither open nor…

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  • home

    home

    The Internet: Rectilinear lenses [ensure] that straight lines remain straight in your photographs. This is crucial in scenarios where maintaining the correct proportions and shape of subjects is essential, such as architectural and interior photography. Me: For houses use a fisheye because it do make funny shape. A 30 mm Zodiak-8 lens in this case,…

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  • over at Brecht’s place

    over at Brecht’s place

    Well, actually more like Helene Weigel’s place. And the guest house, if I understood that right. It was built as a sculptor’s studio, which explains the huge glass front. The room behind it was very impressive but a bit too dark for my little box camera. There was a quote in the museum somewhere that…

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  • that tower again

    that tower again

    You too can have stars on your daytime images if you just don’t mix your development chemicals enough. I think that’s what that is. There’s also water stains that I didn’t see when I was scanning it. Additionally, this was overexposed to hell and back because I don’t look at my light meter nearly often…

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  • where there’s a will there’s a lake

    where there’s a will there’s a lake

    With an Ihagee Exakta Varex IIa that amazingly has not broken yet, with a Sonnar f4/135 mm. On Kodak Gold 200. Home-developed and I didn’t even mess up the colors too much, so there’s something.

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  • x

    x

    They’re upside down because that is more interesting. Also digital because that is more easier. With a full-spectrum converted Olympus OM-D Who Gives A Fuck Mark II, but without any filters and converted to black and white so you can’t really tell a difference to a non-hacked camera. If I knew what I was doing…

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  • at the races

    at the races

    With a mid-1930s Zeiss Ikon Box-Tengor 54/2, on Lomo Color 400 film. Not a camera built for color photography really, but it’s kinda nice to use. There’s only one shutter speed (1/60s or so, depends a bit on the current moon phase), three aperture settings (slow, slower, and slowest) and three focus distances (close things…

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  • travelers

    travelers

    Very nice tour this year – I got a new (30 year old) Yamaha GTS 1000, which doesn’t sound or look as neat as my old Moto Guzzi V7 but it’s a) much faster b) more comfortable, and c) doesn’t have random parts falling off of it. Well that’s not quite true, a plastic panel…

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  • city (abstract)

    city (abstract)

    In today’s episode of my old camera is falling apart and i can’t use it right: A 1930s Welta Weltix or Watson or Welti (it’s difficult to tell). Its 5 cm / f 2.9 Steinheil Cassar doesn’t do much contrast under the best of conditions, even before you add my accidental double-exposures, overexposure, and the…

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