#MonocleLens
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tomzahradka.bsky.social
Sometimes people send me photos of how they’ve attached a UV filter to my lens using gaffer tape. So, I thought—why not make a proper filter adapter? Here’s one of the first prototypes.
#camerafilters #monoclelens #uvfilter #cameraattachment #fujixt5
March 7, 2025 at 6:30 AM
abbsound.bsky.social
A Smoky Break Between Eras / Still Life with a German Accent

Smoke holds the pause,
the camera warms the silence —
silver breathes the light.

#MonocleLens #AdoxCHS100 #FilmPhotography #35mm #BlackAndWhite #BNW #ZeissIkon #StillLifeFilm #film #lomography #ClassicMono #Pictorialism #PentaxSpotmatic
“Indoor Ether of Old Journalism” The pipe has grown cold. In the monocle's soft mist — The old Zeiss Ikon. A pipe lies on the table, and inside the pipe, there is darkness. Behind the pipe sits a large German Zeiss Ikon camera, but it doesn't spy on anyone because the Jupiter-8 monocle has conjured up so much fog that all the letters in the manual got mixed up. Smoke was coming out of the pipe, but it turned into pure silver on the ADOX CHS 100 II emulsion. The spirit of old photography walks around the room in woolen socks, coughs, and looks for its newspaper clippings from the last century. Time sat on the edge of the table, wrapped itself in a negative, and decided to wait until the D-76 developer completely dissolves all minor details. There will be no news today; only the Pakon remains, quietly scanning this absolute silence. Total peace and positive inaction. ⚙️ Technical Credits Camera: Pentax Spotmatic SP II (№ 5247478) Lens: Monocle (custom modified from "Jupiter-8" 2/50) Film: ADOX CHS 100 II + dev. D‑76 Scanner: Pakon F235+ Date: 6 June 2018 Subject: Zeiss Ikon Super Ikonta B2 531 in background Philosophy: “The best ideas are born not when you look into the viewfinder, but when the pipe goes out and the camera simply waits.” The Optical Coma of Old Journalism Wide Open The ash is so sharp. The vintage camera sleeps In soap bubble blur. The citywalker unscrewed the monocle and put a Japanese glass to his eye. The hole opened to the value of "one point four," and space was sliced in half like smoked sausage. Up front, only the pipe remained, spilling its ash. The ash became sharp and concrete, like an invoice from the accounting department. But in the back, the German Zeiss Ikon camera grew indignant and turned into a set of glass flares. It wanted to shoot a serious reportage but completely dissolved in Japanese bokeh. The light ran into the Mamiya Sekor lenses, got lost there, and forgot where it was going. The ADOX CHS 100 II film looked at this outrage, sighed, and developed only what it could reach. The rest was eaten by an optical catastrophe. The Pakon scans the light bubbles and thinks of eternity. ⚙ Technical Credits Camera: Pentax Spotmatic SP II (№5247478) Lens: Mamiya Sekor 55mm f/1.4 (max aperture) Film: ADOX CHS 100 II + dev. D‑76 Scanner: Pakon F235+ Date: June 6, 2018 Background: Zeiss Ikon Super Ikonta B2 531 Philosophy: “Bokeh is just reality's way of politely declining to be documented.”
July 9, 2026 at 2:40 AM