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we are happy to announce that 'introduction to uxn programming' is now published as an #ebook in #epub, #gempub and #mobi formats!

originally available online as the #uxn tutorial, this is a carefully revised version for you to have it offline and available anytime:

introduction to uxn programming is a beginner's, slow-paced and comprehensive guide of the uxntal programming language and the varvara computer.
written and illustrated by @sejo
foreword by @neauoire


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ողջոյնի գազել կամ նոր խաղալիք 

ողջոյն, եթէ ինձ չէք մոռացել, ես քամին եմ ու ես նոր տուն ունեմ։
ֆեդերացիաս կարծես նորմալ աշխատում ա, բայց ես վստահ չեմ, որ բոլորիդ հասցնում եմ հետեւել, շնորհակալ կը լինեմ, եթէ օգնէք, քանի որ բայ դիֆոլթ պարզ ա, որ ցանկանալու էք ինձ կարդալ
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I made a small #drawing. It's on A4 Khadi rough cotton rag paper (320 gsm), I used #watercolour pencils and bistre and the Chinese writing brushes shown in the picture.

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Thanks to incredible hacking by sigrid we're streaming natively from Plan9 9Front on twitch.tv/sdfpubnix right now! Working on getting ffmpeg peertube support and may test this today. Join us for video only native live streaming

#plan9 #9front #stream #twitch #hacking

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Philosophy means “love of wisdom, or sophia”. Taken further, we can also think about photography — our love of photography, the love of photos, and the love of making photos!

For the love of photography

I love photography. Photography is my passion, and my life calling. To innovate, motivate, and inspire others in photography is my supreme life task and goal. To make photos out of love — this is the foundation of all of photography. Photography without love is empty and vain.

Photography as a tool to augment your love for life and in life

The never ending journey

The greatest joy and excitement about photography? The journey shall never end!

The post Philophoto appeared first on ERIC KIM.


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An Odd Length; Voigtländer 75mm 2.5 Heliar

Most prime lens SLR kits are a 28-50-85 or 135. Most rangefinder kits are a 28 or 35-50-90. 75mm is an odd focal length. I don't think it's even available for SLR's and most rangefinder shooters fall on the side of either 50 or 90 - the distinction between normal and portrait focal lengths. 75. What is it? Is it a short portrait lens or a long normal lens? Is it for capturing details, documenting events or posed portraits?

Lately it seems that most shooters who are daring or confused enough to hazard this question are using a Cosina Voigtländer 75mm 1.8 Heliar. Reviews generally concede that this popular lens is quite fine. A buddy of mine, photographer John Nelson lent me his for a few weeks and I honestly didn't take a single frame behind it. Optically, I'm sure it's great but the Heliar 1.8 is just too long, particularly with a hood. I didn't find that it balanced well on any of my cameras.

Admittedly, I am biased because I cut my rangefinder teeth on the older Voigtländer Heliar 2.5. Yes, obviously the 75 Heliar M is a good deal faster than it's LTM predecessor but what I really enjoyed about the 2.5 was it's size and handling, which seemed totally ignored in the speed-centric upgrade. Big apertures are wonderful, but they aren't everything!

A candid that I'd have never gotten with a wider or larger lens - Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak TMAX P3200

You see, the CV 75/2.5 is about the size of most 50/2's, even with it's smart-looking circular hood screwed on. The lens balances very nicely on my Leica M6 TTL and also my Voigtländer Bessa R2, keeping the weight of the camera planted in the palms. The 75/2.5 even seems right at home on my Leica IIIc. A proper brightline finder is rare and costly but how cool to have a telephoto on a Barnack that is not front-heavy or blocks the finder?

So while the 75 is very short for a telephoto, I like that it gives you some reach while maintaining compactness and discreetness that not even a Pinocchio 90/4 Elmar or Elmarit can offer. This is great for preserving a casual approach while still getting in tight on a subject. Additionally, the 75/2.5 was one of the few lenses that that I also felt comfortable with shooting handheld below the reciprocal. I'd often use it a 1/60th or even 1/30th and was satisfied with the results.

This photo was featured in PhotoKlassik in a discussion about CV 75's. I believe I was at 1/60th. - Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Fuji Pro 400H

The 75/2.5 is one of those special lenses that really delivers the sharpness of in focus areas and the smoothness of out of focus areas in healthy amounts. The multi-coating and relatively complex 6 element/5 group design prevents veiling flare and highlight blooming too.

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak TMAX 100

This balance and precision makes it wonderful for detail shots as well as portraits. And with regards to portraits, it's stealthy enough to be as adept at candids as its performance is for posed work.

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak Ektar 100

But to answer the initial question, I may still be scratching my head as to what subject matter, exactly, the 75mm length is best suited for. As I look through my images with the 75/2.5, subject is rather all over the place!

Voigtlander Bessa R2 | Voigtländer 75mm 2.8 MC Color-Heliar | CVS 200

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak Portra 160

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | CVS 200

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Fuji Superia 200

Sadly, I'm currently without this wonderful little lens. My copy seemed prone to the aperture assembly falling apart for no good reason. Twice, while minding its own business in my camera bag, I reached for it and happened to see that aperture blades had scattered around its insides. Once, I sent it back to Stephen Gandy for repair and then the second time, I decided to put more effort into my expensive, tough-as-nails 90mm f2 Summicron Pre-ASPH instead of labor over this cheap troublesome Cosina product. I sold my copy of the 75/2.5 as it was and wiped my hands of it for several years.

However, as I look through my photos taken with the Voigtländer 75 and remember how much I liked that lens, I have found myself scanning the interwebs for a replacement. As noted, I find the Voigtländer 75/1.8 Heliar too large. It's actually about the same physical length at my 90 Cron and that seems ridiculous. The 75/1.5 Nokton looks even more bloated and heavy. Bessa rangefinders probably don't have enough EBL to even focus these lenses and they're both M mount, so I could only use them on my M6, not my R2 or LTM's. The Leitz 75's are beautiful but crazy expensive. And while I like this odd length, I'm not sure I like it THAT much! There are some weird new 75 M lenses by Kipon, 7Artisans, and Meyer Optic. I don't know, I am just not taken with rendering I've seen with any of these. And honestly, I do like buying LTM lenses when possible because it's fun to use them on my knob-wind Leica's.

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak TMAX 100

This image of an abandoned house was picked up by 120 Clicks. - Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Ilford XP2

So where does all this leave me? Well, I think that if I found one at a low enough price to gamble my negative perception of its durability again, I'd still choose a Voigtländer 75/2.5 Heliar. I see from eBay listings that it's very common for these lenses to show some hazing, presumably from lubricant evaporation. I have yet to see any discussions of the aperture blades falling out like mine did though, so maybe I had a lemon. Haze is something that's easy enough to address with cleaning and re-lubricating, so maybe I should add the cost of a CLA to the purchase. But do I really need an unreliable lens with an odd length in my kit? Would it serve merely as a distraction from the 50 and 90? Or could it be that perfect hybrid of length, size and performance that would make it a daily carry, general purpose lens?

Leica M6 TTL .85 | Voigtländer 75mm 2.8 MC Color-Heliar | Kodak Tri-X - This was the last photo that I took with the Heliar 75/2.5 and was perhaps a great end to a meandering path.

Currently, with the pandemic largely shutting down my paid photography work, I have no good reason to buy another 75, or any photo gear at all really. But when I look at this last photo that I took of my daughter with the 75 Heliar, and remember how much I used to use this lens, I can't help but consider picking one up again!

Oh and by the way, I usually used my 75/2.5 with an LTM adapter on my M6 TTL. If you want to use this lens on a screw mount body, you'll need a brightline finder.

How about you? Do you use a 75mm lens? Which one? Would you consider using one if you don't currently?

Thanks for reading and happy shooting!

_Follow, Favorite, Like, Add, Insult, ContactJohnny Martyr _

#filmphotography #leica #lensreview #martyrmusings #portraits #reviews #voigtlander #35mm #35mmfilm #75mm #75mm15nokton #75mm18heliar #75mmlens #7artisans #aperture #apertureblades #bw #bessar2leicaiii #bokeh #cameralens #color #compact #cosina #cosinavoigtlander #detail #details #durability #film #flaring #generalpurpose #goto #haze #heliar #hood #kipon #leicaiiic #leicam6ttl #lemon #lens #lenshood #ltm #ltmlens #mlens #meyeroptic #performance #portrait #precise #rangefinder #rangefinderlens #rangefinderlensreview #recommendation #reliability #repair #sharp #sharpness #shorttelephoto #small #smooth #telephoto #thoughts #tiny #voigtlander75mm25heliar #voigtlanderbessa #voigtländer

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Monika Mitterdorfer: An Artistic View of the Real World

After a stint with digital photography, Vienna-based lomographer Monika Mitterdorfer (@agrimony) finds her way back to film and captures painterly, textural multiple exposures.

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Fujicolor C200 Review

Fujicolor C200 is a daylight balanced, ISO 200 film offered by Fujifilm, currently is one of the few films remaining in the Fujifilm consumer series after the discontinuation of Superia 200. Along with Fujicolor C200 the other option is the Fujicolor X-TRA 400, a similar film in the ISO400 range.

When searching for more information about this film, many people wonder if this film is a re-packed Superia 200 others affirm that is Agfa Vista Plus 200. I can confirm that is not any of those, it looks similar to the Agfa, but it is quite different from the Superia 200. I believe the Fujicolor C200 is a different and low-cost Fujifilm emulsion that is cheaply produced, in order to reduce costs and keep a consumer film in the market. The main difference probably is the lack of the famous 4th layer included in Superia 200. Although C200 is introduced as the cheapest option available, I was quite pleased with the results, much more than with the Superia 200. Without getting too technical, here is how the structure of both films looks side by side.

Name | Fujifilm Fujicolor C200
ISO | 200
Developer | C-41, CN-16
Available formats | 35mm
Exposures | 24, 36
DX coding | Yes
Availability | ★★★★★

The advantage of reviewing a cheap film is that I don't need to break the piggy bank to buy it, I was able to buy several rolls to try them in different lights and situations. With this film, I used my -now defunct- Nikon F100 with the 24-120mm f3.5-5.6D when hiking and camping in Taiwan. A F90x / 50mm f1.8D for the beach trips, along with the Nikon FM2 with a 28mm and a 50mm f1.8 Ais for my daily life shots, trips to the US and a trip in the French Pyrenees.

The Fujicolor C200 is a really balanced film, rendering a quite balanced palette. As with many Fujifilm films, greens are one of its strongest points. Not so vivid as the Superia line, and it always rendered slightly warm green tones. Not as warm as Kodak Colorplus 200, but warmer than I remember them in the real scene.

Shooting at box speed gives you very natural and pleasant blue tones, really wide tonality and surprisingly this film is quite forgiving in the highlights considering its price.

Reds are more muted than other Fujifilm films, films like Superia 200, or the Industrial 100 are much more vivid and intense. Definitely I prefer this muted red tones, a little bit more "red firebrick" than bright red.

Same as blue tones, yellow tones are natural, balanced and true to color.

In addition, I tested this film in some portraits, with some friends withd ifferent skin tones under natural light and direct flash, to see how this film reacts to different situations. You can click to enlarge this gallery.

Is not a film designed for portraits, but still does a really good job. Natural skin tones, slightly more warm or magenta than they were in real life, but it can be easily solved in post (none of these pictures was edited). In my opinion, is MUCH better than the discontinued Superia 200, and better than Superia 400 shot at box speed (overexposing will solve the magenta skin tone). It wouldn't be my top choice for a portrait session, but it definitely has the potential to be an excellent balanced walk-around film.

Color chart and measurement of the colors.

YELLOW Average Colour R:240.0 G:210.0 B:56.0

RED Average Colour R:210.0 G:110.0 B:60.0

BLUE Average Colour R:68.0 G:121.0 B:158.0

GREEN Average Colour R:158.0 G:195.0 B:76.0

See also: How do I measure the colors?

Overexposing the C200 one stop (Shot at 100 ISO)

There is a small yellow cast over the picture, in the green tones it gets more accented than in other tones, blues are more pastel than at box speed.

Underexposing C200 one stop (shot at 400 ISO)

Blues become strong and more vibrant. However, greens become muddier and they start to fade in the shadows. Shadows become slightly greenish, really typical feeling of other Fujifilm films. I'm not a fan of this green shadows, but I saw people doing a great job doing low-key portraits and work with this technique and they look amazing. I'd rather go for a similarly-priced 400 ISO if you really need the extra speed.

Fujicolor C200 is a film that I really like. It is widely available, it is cheap, you can buy 24 and 36 exposures and the latitude is amazing, you can easily underexpose without worrying too much on burning the highlights. Grain is quite controlled for such a cheap film. With a good scanner and a few minutes of editing you can get amazing results with it. It wouldn't be my top choice in the range of cheap films, I'd rather shoot Superia X-TRA 400 at ISO200, or Kodak Colorplus at 200 as well. But, you can't go wrong with this film, for almost any situation.


Daily use, load it in your camera and ready to go. It will respond correctly to any situation.
Experiment with it, overexpose, underexpose, all the results came out great from every camera I used it.
Widely available, cheap and good, what else do you need?


If you are looking for a sharp, clean image. I felt that it can be quite muddy sometimes.
I wouldn't overexpose it too much, better go for the Superia X-TRA 400 for almost the same price.

Check out the gallery for more shots taken with this film!

#filmreviews #35mm #35mmfilm #35mmfilmreview #35mmreview #agfa #analogphotography #c200review #colorplus #film #filmreview #fujicolor #fujicolorc200 #fujicolorc200review #fujifilm #fujifilmreview #iso200 #iso200film #iso400 #kodakcolorplus200 #nikon #photography #review #superia

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Saving The Ferrania Solaris Disposable Camera.

One of the worst things you can do to expired film is to try to use it in a camera that only uses small aperture and fast speed. After years of slow degradation, it now needs a lens wide open and very slow speed to coax photographs out of it. I took the film out of these very old Ferrania Solaris disposable cameras and am sure glad I did.

Kodak UltraMax 400 (expired), Pentax K1000

#filmphotography #35mmfilm #analoguephotography #expiredfilm #kodakultramax400 #pentaxk1000 #taipei #taiwan

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Ցուցադրել հները

Ապագայի սոցցանցը։ Ոչ մի գովազդ, ոչ մի կորպորատիվ վերահսկողութիւն, էթիկական դիզայն, եւ ապակենտրոնացում։ Մաստադոնում դու ես քո տուեալների տէրը։