#Zenza

[mysticallty]

Videns: I was gonna make a jobs about sodium, but then I thought.. Na, nobody would understand it. Made me salty tbh

Zenza: NaBro I understand the feeling 😔

Path Changer: ...?

[ultralowoxygen]

Zenza Bronica ETR by Steve Green Via Flickr: Zenzanon MC 50mm f2.8 lens Cinestill 800T 120 film

[inktho]

TWINNING

[katiachausheva]

Between the days

[waltergilgen]

Last week with my Zenza Bronica ETRSI and Ilford XP2 Super. And today snow in the city …

[creatorbiaze]

ive had this drawing as awip since forever (2023 something) but its close enough to done so.

Behold. Zenza vezexe

[0f0t0graph]

Who said you can’t street a Bronica S2…….

[alanflowerspersonalblog]

[ 2014 Jacksonville, FL ]

[sebbyisland]

Sorry I’m still thinking about how they just revealed he has an undercut LIKE IT WAS NOTHING!!!! Anyways more thoughts under the cut

This chapter was and the prev was interesting because it confirms Maikeru has a plot-relevant relationship with his sensuality and beauty similar to Urara in that he takes different aspects of himself and tailors it to become a rakugo bombshell, but unlike Kaisei, whose sensuality is a tool but it’s not his real self, which is like a stray dog fighting to live. What’s interesting is that unlike Urara, Maikeru used to be pretty bad with people and maybe even unfriendly and too self-flattering, so his interest in “flashy” looks defining him plays into this. When blonde maikeru says “If Im not blonde, Im not me,” he’s making a playful joke obvi but it’s also serious—the way he stands out and it’s considered his main strong point is how flashy/attractive/charming he is, but people generally don’t like genuinely being around him, basically confirms that his “flashy“ self is less about him as a person and more about how he interacts with others. Blonde Maikeru isn’t REALLY Maikeru, but it’s the Maikeru he’s seen AS and embraces. Rakugoka Maikeru loves how rakugo lets you “do everything yourself.” Rakugo is evaluated you and your own skills, which is what was missing in his life as Blonde Maikeru. He’s still a performer at heart so that aspect of rakugo doesn’t bother him because it’s still ultimately on HIS terms. But people see this and assume it’s the other way around, that he treats rakugo like he’s still Blonde Maikeru. This is also why he’s gonna get Shin’uchi—he’s dead serious about this. He’s genuine. And he has the nin/rakugo ego to back it.

I’m SO curious what genre of rakugo he will pick. I wouldn’t be surprised if it’s a normal comedy, but also what if it’s a more dramatic or horror story?!?! AHHHH VERY INTERESTED IN WHERE THEY TAKE THIS CHARACTER TBH!!!! Maybe because Inalso want to see Issho Arakawa struggle with his ideals.

This also might be the moment Zensho Arakawa finally takes the L. He’s always been cartoon evil but this chapter reallt emphasized it. Zensho thinks he’s part of the other Shinuchi but I’m pretty sure they are all going to call him out during the evaluations and he’s gonna be the source of the drama that news stations will focus on in a form of poetic justice <3 basically I’m just super excited. I also wonder if Kaisei is watching all this unfold? He tbh might also try to be Shinuchi before this story ends.

[phonovice]

とても暑い日の渋谷 / Shibuya on a very hot day.

Zenza BRONICA S2A , NIKKOR-P.C 75mm f/2.8

Kodak PORTRA160

[raffaellopalandri]

Photography of the Day - Rainbow

A double rainbow after the storm. Rainbow – Photo by Raffaello Palandri The photo, in square format, has been taken with a Zenza Bronica SQ-B. The negative has been developed and printed at home and then digitally scanned.

[tuxedomoon-64]

Zenza Raggi

[ultralowoxygen]

Untitled by Vlad Tretiak Via Flickr: Tblilisi, Georgia Bronica GS-1 Fuji Pro400H Instagram Linktree

[ysalis-analog]

[thatrickmcginnis]

JAMES TENNEY, Toronto 1989 + 1991

I hadn't heard of James Tenney when I was assigned to photograph him for Musicworks, a local art music journal, by Nancy, my old editor from Nerve magazine. (It's still around today.) Tenney was born in New Mexico and studied music with Carl Ruggles, John Cage, Harry Partch and Edgard Varese, and was a peer of Steve Reich and Philip Glass, performing in their ensembles. His work would be grouped in with movements like minimalism, process music, electronic music and plunderphonics, but in the '80s he was teaching composition at York University here in Toronto, which is where I photographed him, during and after one of his classes. I knew as soon as I took out my camera that I had a lot to work with - Tenney had a striking, rugged look, and my eyes were immediately drawn to the blackboard with its musical staff and the metal chairs stamped with "Music Dept". Tenney must have liked the results, because I have a record of him buying two of my prints a couple of months later.

My first portrait shoot with composer James Tenney was made during an uncertain time in my career, when my apprenticeship had ended and I was trying to make a living and establish a photographic style. By the time I had my second shoot with Tenney, precisely two years later, I was more confident and technically capable, and booked the session at my Parkdale loft, where I hoped I could achieve something more ambitious than our first shoot. I already knew that Tenney had a great image - a kind of Marlboro Man look that I wanted to accentuate even more with harder lighting and starker compositions. Of course my earlier pictures were an inspiration, and side by side they give some sense of how much my work had moved forward in two years.

My client for my second shoot with composer James Tenney was EAR magazine, another journal devoted to left-field and avant-garde music that had been publishing since 1973. If you don't remember the late '80s it was an exciting time if you were into weird, difficult music; there was a whole new audience for this sort of thing, from jazz to noise to oddball classical and art music, and EAR had become a glossy monthly with offices in New York's West Village above the Ear Inn. When I got my assignment to photograph James Tenney it had a sponsorship deal with Absolut Vodka, which helped pay for a series of CDs that would come with the magazine. Since I knew I was shooting the cover - my first ever glossy magazine cover - I decided to go all out, shooting with cross-processed slide film: it produced a look that seems very "period" to me now - high contrast and bright primary and secondary colours, and I had put a great deal of effort into mastering it.

I was very proud of the results, and of that cover, but unfortunately the magazine was going through ultimately fatal financial problems that would see it go out of business by the end of the year. It was the end of what I remember as an exciting time, culturally, and if I'm honest I still miss the excitement I felt during that period, which provided inspiration when I needed it badly. James Tenney's work is still studied and performed, and as a teacher he was a mentor to a whole generation of younger composers. He died of lung cancer in California in 2006.

[mjmontes]