Autisti-continuity ?

dee

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Generally , my glitched head latches on to something which , for a while calms the chaos . Eventually , however , i become dee-tached from it all once again , causing a not so merry go round of finding and losing the few things which are less '' out of phase '' than just-about-everything .

However , an entire '' family '' has remained ' real '' for almost 18months , which is a record . It's also unusual for my head to accept '' not sameness '' in shapes of my toys .

the toys in question are Leica 1 /Zorki 1 / Fed 1 , Zorki S , and Zenit 1 / S
Though I prefer them in pretend Leica guise , I seem OK with the Zenits .

I can kind of tolerate Leica IIIc .. and Fed 2 .. but they remain dee'stanced somehow not '' right '' [ like broken Leica II / Fed 1 ? ]

To my dee-light , the same effect [ dee'fect ? ] seems to happen with my Leica M 8 and Digilux 3 / Panasonic L1 '' twins '' ...even my Kievs seem to connect in a dee'ferent way .

My cameras have literally helped me to focus through the constant bewilderment .. sort of lostness , and I still marvel that the magic '' safeness '' hasn't dee'sipated

I guess this is outside the norm for comments in this forum , but it is great for me to be able to share with proper people .

This must sound really crazy , but ASdee is really dee'sruptive !
I won't say it's keeping me sane ... but I never forget a close friend with the same dee'sruptions who isn't here anymore ... and she / he did not have a proper home / career / and attachments to something which makes the noise bearable ...

Not bad for so compromised little Leica pretenders from across the Iron Curtain !

dee
 
Hey Dee

Is it the patterns and simmilarities and differences between the different versions of similar same camera that you enjoy? Like how the Leica II became the Fed and the Zorki and then the Fed and the Zorki and the Leica each evolved seperately?

I enjoy this too. I love how in the early 1950s, the Contax II was being made in Stuttgart, West Germany, Jena East Germany, and Kiev, Ukraine. It is good to see how they maintained their sameness but also acquired differences

tim
 
hi tim
from other stuff , I realise that i need '' sameness '' - continuity , constancy ... whereas a Fed 2 is too '' not same '' as a Leica II , I can enjoy all the variants , colours , finishes of Leica II style cameras .
I am actually dee lighted that i am able to extend my connection to the Zenit S and Zorki S , and am now able to use an I 22 from a Zenit on my Leica Dig 3 and an I 22 rigid from a Zorki on my Leica M 8 - providing that continuity .

There is also the fascination with the , to me , intriguing and mysterious world behind the Cold War ... and the old fashioned TOE shop in London which imported those strange atractortive Russin cameras and accs - with that distinctive smell !

It's as if the Russian continuation adaptation of the Leica II extends something which is uniquely familiar and safe for me ... and the Zenit 1 or S is the original miniature SLR !

dee
 
It is an interesting question of when a camera has become not similar enough (ie the switch from the Fed 1 to the Fed 2) to be something else entirely. I'd have to see a lot more cameras to have a good idea of that!

I also enjoy the intertwining of history and politics and people and the Cold War with these cameras. The forces that meant that similar cameras were being made on both sides of the iron curtain are curious to think about

how does that I 22/ M8 set work?

tim
 
i must say that i dont fully understand dee's first post. it seems chaotic to me...
He say he have great family off Leica 1 Zorki 1 Fed 1 Zorki S and Zenit 1/S kameras, and he not use other toys for next, him also have full Leica collection but prefer great little cameras make behind the curtain iron and Oder-Neisse border because he nostalgic cold war era, güdd fur dee, interesting for others I not know.

Zsálu endzoekhoszd,
Wlad
 
Nice to see that Soviet photoequipment serves other purposes besides taking pictures, namely keeping people's heads together. 🙂
 
dee made the great point that the cameras we love are at the intersection of 20th century technology and history. if you think about it, it is remarkable that 20th century political movements have made it so that in 2008 the masses can still be using 1930s Contax and Leica technology.
i am glad that the cameras are something that dee finds meaningful and helpful to him. and i think his observations about what constitutes a "family" of cameras are a good way to start a great conversation
.
 
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