| da님의 프로필两毛四一本的,粉红皮,五个字사진블로그리스트 |  도구  도움말 |
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11월 12일 Früher war alles besser-sogar die Zufkunft 這句話的意思是，過去什么都好，甚至將來。當然是過去對將來的設想。
不是牢騷。www.retro-futurismus.de收集了五六十年代一寫彩繪作品，可以看到那時的未來。 all of sudden i miss everyone 天空爆炸的新專輯，一如既往，就是沒有驚喜。
只是覺得題目應景。就是上班走神的時候作的事情。
all of sudden i miss everyone.
7월 10일 不算新聞的新聞不算新聞的新聞 臺灣導演楊德昌于6.29在洛杉磯彼佛力山莊因癌癥去世。在那里買得起房子，想來生前也賺了很多錢。 太酸的文字寫不出來，只能說他和侯孝賢是我最喜歡的華語導演。他一直在電影中探討人生的真意，但又每每落眼于兒女情長，家長里短，于是讓人深思，又不覺得刻意空洞，残酷而温情。他的《獨立時代》的英文名字“A Confucian Confusion”，儒者的困惑，可以作他電影的詮釋。 回想看過的五部電影，除了那些冷峻的鏡頭，復雜的人物關系以及他們身在其中的種種困境，讓我記起的，還有那些值得玩味的臺詞。 《恐怖分子》，1986， 109分鐘 我三十幾年的生命，一下就用光了。 《牯嶺街少年殺人事件》，1991，240分鐘 honey：我在台南，無聊得要命，每天可以看幾十本武俠小說。後來，我叫他們去幫我租最厚的小說來看……其實以前的人，跟我們現在出來混的，真的很像。有一個老包，大家都以為他吃錯藥。我記得，好像全城的人都蹺頭了，而且到處都被放火，他一個人要去堵拿破崙。後來，還是被條子削到。《戰爭與和平》！其他的武俠書名都不記得了，我只記得這一本…… 小明：你的意思是要幫助我來改變我，是不是？你怎麼跟別人一樣啊，我看錯你了，你原來和那些人一樣。對我好，只是想要跟我交換我對你的感情。這樣你就安心了，是不是？你太自私了。要改變我？我就跟這個世界一樣，這個世界是不會變的。你以為你是誰啊…… 《獨立時代》， 1994， 127 分鐘 我都不瞭解自己啊，都不明白自己要什麼，你的幸福怎麼可以叫我來負責呢？ 《麻將》， 1996， 121分鐘 世界上只有兩種人，一種是騙子，一種傻子。 這個世界上沒有人知道自己想要什麼東西，所以他們看雜誌看報紙看廣告看電視聽電臺，希望從其中找到答案，希望讓別人來告訴他們，他們自己到底想要的是什麼。 《一一》，2000，173分鐘 夫：“這裏還是老樣子。小鬼都很乖，沒什麼需要擔心的，山上呢？有什麼不一樣呢？” 妻：“很好，其實真的是沒有什麼不一樣。好象，我每天在跟媽講話一樣，只是那個位子換了一下，我就好像是媽媽，他們好象就是我。他們每天輪流的在跟我將同樣的東西，每天都要重複幾遍，我是覺得這一大堆……真的是沒有那麼複雜。哪有那麼複雜？” 婆婆，我好想你。媽媽讓我給你說話，我不是沒話說，只是不知道該說什麼。好多事你都知道，不然平時你還讓我聽話。他們說你去其他地方，你沒有給我說，我想我肯定知道。這個世界我有太多的不明白，等我長大了，我就明白了。我會帶著他們去找你。
5월 18일 The Futhre of FilmThe future of filmBY HOWARD HOPWOOD, MARKETING DIRECTOR OF ILFORD PHOTO. Although the mainstream digital imaging manufacturers and suppliers seemed to have ceased their alarmist, some would say desperate, predictions of a speedy demise for film-based photography, it is obvious that the market mix of media has continued to change dramatically. Film – the wonder of the photographic age – has survived numerous incursions over recent decades as digital has done battle to hold the high ground in the field of image capture. Now that the extremist ‘either/or’ conflict has abated, just about everyone involved in photography recognises that both film and digital have established individual strongholds while also working together in many instances to provide the best of both worlds. Those strongholds are not fixed, however, as market and technological advances ensure that developments in both fields constantly move their relationship with each other. As colour photography has become more versatile, and the films more stable over the last half-century, black-and-white photography has become a specialist and much sought-after application in the field of creative imaging, capitalising on its ability to produce subtlety in contrast and tonal quality which colour photography has never been able to replicate. Ironically, it has been in recognising its true positioning in today’s marketplace that has enabled black-and-white photography and its associated products and services to carve a defined niche for itself. Fortunately, for those who prefer the purity and textural quality of monochrome, this niche remains vibrant, and is clearly of sufficient interest to support a large and increasingly viable sector of the imaging industry. Most photographic film, paper and chemistry manufacturers have been involved in the black-and-white sector at one time or another, but many dropped out as the popular market declined, leaving ILFORD PHOTO as the world’s leading manufacturer of this genre. The company does not, though, take anything for granted. A great deal of research and development has been, and continues to be, invested in not just maintaining the status quo of black-and-white film, but in taking it further to meet ever-increasing demands from its dedicated customers around the world for greater flexibility of application to enable them to face the challenges of an integrated and constantly advancing technological market. Because of this ongoing innovation, the global belief is that film will not disappear – indeed, it is already enjoying a renaissance – although the rate of consumption will maintain at moderate levels compared to its ‘golden age.It will be less popular with amateur photographers en masse, though a strong band of enthusiasts and professionals around the world still prefer to use film and analogue processing.
The sale of all formats of film has been stable for the last 9 to 12 months, though the brand mix has been undergoing some noticeable shifts. Agfa Photo and Konica films are no longer available, and the statements made by Kodak are causing concern amongst users of black-and-white film. All of these factors have strengthened |LFORD PHOTO’s resolve to continue to not only serve, but to also develop, the market for premium quality black-and-white films. An ‘ILFORD PHOTO equivalents’ list for Kodak, Agfa and Forte products is available on the ilfordphoto.com website. An indicator of ILFORD PHOTO’s commitment to its customers is its willingness to provide products which manufacturers catering to the mass markets would not even consider due to their relatively low demand. A good example of this attitude can be seen in ILFORD SFX 200 film which is an extended red sensitivity product. This line was discontinued during ILFORD PHOTO’s restructuring in 2005. However, the company has been receiving numerous requests for its SFX 200 to be re-introduced, and so has been looking at ways of producing a small quantity of the product once or twice a year to meet the needs of those seeking it. A route to achieve this was created, and the film was recently re-introduced worldwide. The infrastructure required to ensure that the black-and-white market thrives is clearly very important to ILFORD PHOTO. To provide support for non-professional photographers using black-and-white film, the company has established a process and print service in the UK, which has been very successful and ensures that real black-and-white photography – black-and-white films printed on black-and-white photographic paper – continues to be available. In addition to using ILFORD PHOTO’s prepaid processing services, there are still a number of enthusiasts and photography students who process their own films and print in their own darkrooms. There are also hire darkrooms available, and ILFORD PHOTO is gradually making a list of the available facilities on its website (www.ilfordphoto.com). As for professional photographers, there is still a good number of high quality professional labs offering excellent film processing and printing, including toning, etc, for those who do not operate darkrooms. Given all of which, there is every reason to view the future of film with optimism, albeit on a different scale to that which it enjoyed just a few years back. Now that the industry has recognised that rather than competing for market share, digital and film have each settled into their separate, though often complementary, niches, they can be viewed as parallel markets. As far as anyone can anticipate future market trends, it seems that film in general will be with us for some time yet, with black-and-white maintaining its own dedicated following.
2월 5일 墨西哥的胜利？ Pan's Labyrinth, (by Guillermo Del Toro, 2006) nominated for 6 Oscars.
Babel, (by Alejandro González Iñárritu, 2006) nominated for 7 Oscars.
Children of Men, (Alfonso Cuarón, 2006) nominated for 3 Oscars.
Three directors are friends and from Mexico.
9월 9일 再见!
第一张是最后一次用A1,大概半个多月前去看烟火. 第二张是它现在拍的东西的样子. 念叨了半年多要卖掉它,结果死在我手上. 04年毕业前买的，在星光,和小p骑车去的，当时要买的是nikon 5600，结果觉得A1手感好，就买了它。 就放在桌子上半个月而已. 再见拉. 最后，赶紧收拾起桌子上放了快一个月的F3和两颗镜头，小心的装进包里面。 9월 7일 我这是怎么了? 在翻上个月的照片，当时满意的现在十之八九不满意了。
这两天不知道哪根筋歪了，又关注起器材了。从holga到pentacon six，又到bessa L+15mm，翻了很多照片。还好这些都是能承受得起的穷人玩意。
可是买回来，摆着看么？ 8월 24일 god speed u! As mentioned, I post this entry for an event, recording and commemorating.
Everything will follow and we must move on.
:P 8월 19일 似曾相识 买了Nano以后，坐地铁的时候就不得闲。听来听去，发现很多似曾相识，原来是大学的时候听过，竟然都不记得了。比如现在听得lady&bird（女人和鸟）的do what i do(做爱做的事)。
最近奥林匹亚公园在搞sommer fest(夏节)，有些印第安的乐队在那里表演，我粗略统计了下，至少有三个，有的以唱为主，有的以器乐为主，有的还带跳舞的，但极有可能是一伙。
上次去游泳的时候，听了一阵子，突然觉得有的地方旋律似曾相识，我想了一会，原来是还珠格格！ |
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