Friday the 13th. Usually for such occasions we go to a party at the Black Cat Bar, a Nob Hill remnant of the old San Francisco Press Club. For 2021, no party.
Two nights earlier, there was live jazz at the upper bar and as always a spectacular end-of-day foggy view from the dining room. But no other diners to share it.
50 meters from the city limits of my destination: Santa Rosa.
Slower than expected return.
Unearthed, thought lost but found in a dutifully-automated archive: a mixture of Armageddons from Breughel and ISIS, made using software I was writing in late 2015. A collision of apocalyptic worldviews.
Since then: fire, drought, tyrants, protests, Panama papers, plagues of mice and microorganisms.
In the spirit of the previous post about impatient film photography, I tried using a “proper” digital camera and macro lens to scan these negatives, rather than a phone. Shot them right through the PrintFile page, still in their sleeves – on very close inspection you can see occasional tiny bubbles and reflections from the transparent sheet.
Even with that interference, the results lets the snappiness of the original lens shine through: the Zeiss 50mm Planar ZM, a close cousin to the Zeiss 45mm Planar that I’ve been so happy with on the Contax G.
Awoke early, couldn’t find my glasses.