The desire to photograph with panorama cameras came over me rather late in life. This may have been due in no small part to a persistently nagging publisher from my early days as a journalist who didn't see the point of panorama photography, married a with a dreary Swiss woman who ordered him around and blocked all my attempts at panorama photography.
He was just a Lower Saxon cold blood and was proud of it, which is a mystery to me personally.
As my late friend Thomas Lichtherz sang:
Dull, stupid and earthy.
Those are our Lower Saxons.
Since the gallery self-publishes, there are also pictures of panorama cameras to be seen and my former publisher CK may be slumbering in unsuccessfulness.
All in all, my experiences with foreign small publishers are such that I don't want to repeat them again at the age of 66. They may have sonorous names, but: No substance. No professionalism. No reach.
Panoramic cameras: In the meantime, a wide variety of models are in my collection in a safe archive near Hamburg.
All types of construction are represented, including some fake panorama cameras, which, however, will end up on the flea market in the foreseeable future.
The pictures here were taken with a Horizon S3 Pro on Lomochrome Purple film.
In the meantime we have got rid of one of these cameras for the work of our gallery because of its almost grotesque unreliability. Two more serve us; until further notice.
Torn film perforations, completely torn film, incorrect exposures, streaky exposures: there is nothing that does not exist with this camera. When it destroyed several films in a single day, the last hour with us had come.
Hang up your head, Horizon.
When it works, however, the results are impressive Overall, but the optics of the old Horizon, which was produced by Krasnogorsky Mekhanichesky Zavod (KMZ) from 1967 to 1973, seem to have been better than those of the newer models, although the nominal technical data are identical. Incidentally, the new Horizon only comes into focus at the infinity range of its lens.
The cemeteries at Hallesches Tor have fascinated me since my youth and have remained almost unchanged since the seventies. Actually, they are three cemeteries connected to each other. They even resist the Muslim vandalism that is omnipresent in Berlin.
This exhibition catalogue perpetuates an analogue installation that was shown on a North Frisian farm for exactly one day in 14 January 2023.
After the exhibition, the photographs were given away to the visitors.
The image selection was made by Martina Hellmich.
The lab work was done by Photo Weckbrodt in Hannover.
Please visit us on the Internet:
www.galerie-fuer-kulturkommunikation.com
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