Robert testing out the new polaroid I-2

Los Angeles, CA

AUGUST AFTERNOON | FAYE FISCHER | MASTERS OF THE AIR

Summary: Faye Fischer and her newly acquired friend Ken Lemmons spend a sunny afternoon at Thorpe Abbotts, Faye thinks about the past few years and is then (not so) rudely interrupted by a certain curly haired pilot. Who had managed to make her blush several times some days ago.

Warnings: general war violence, implied minor (and not canon) character death.

Word count: a bit over 2500

Note: this was meant to be a little less than 1k word blurb, turned into way more. I hope it isn't too boring as most of it delves into Faye's experiences before the mota canon. That is also because I use my ocs to study certain historical events, so this really is just self indulgence. Please pretty please let me know what you think of it! (This fic is also posted on AO3)

AUGUST 21, 1943, 16:32 

“What kind of name is ‘Just-a-Snappin’ even?” Faye Fischer wondered out loud, only half expecting an answer from the man in front of her as she came to sit up from her lying position in the grass. She squinted, just about able to make out the text on the B-17 Ken Lemmons was working on. Her squint disappeared as he came into her sight, blocking the warm ray of sunshine she had been enjoying moments prior, her eyebrows furrowed into a frown. “You’re gonna have to ask Blakely that one,” answered the curly haired man standing in her sun. Looking at him, she wondered why he would hide those curls under that beanie. Probably so all that working grease wouldn’t get into it. 

Faye shrugged, letting herself fall back into the grass. “Whenever I ask Blakely a question, the man answers with a goddamn riddle,” she let the end of her sentence continue into a sigh. Ken just laughed, his hands firm on his hips. The sun made the edge of his curls shine, almost like an aureole. Visually, him standing in her sun wasn’t so bad, it looked quite pretty. Her skin was starting to miss the warmth of the sun rays, though. Faye’s fingertips tapped on the cap of her camera lens, the Contax II had been laying on her stomach, under one of Ken’s work rags, to shield it from the sun. “Keep standing like that,” Faye ordered him as she removed the cap from the lens, turning on her camera. 

“Aren’t you only supposed to use that for… you know… work purposes?” she heard him ask as she fiddled with the exposure settings. A scoff escaped past her lips as she lined up the viewfinder with her left eye. “Shut up, they made me pay for my own film rolls when I arrived in England, so they’re mine technically anyway” Faye deadpanned in response, snapping a photo of Ken. “Besides,” she continued, putting her camera back under the rag again, letting her head fall back into the grass, “don’t you think the photo I just took wouldn’t go over well with all those war bond leaflets?” She held up her hands, reading an imaginary leaflet “Purchase a war bond so our curly haired cuties can maintain our bomber planes!” she sarcastically called out. It earned a belly-laugh from Ken, who then turned around, readying himself to get back to his maintenance work as he continued laughing, “I hope to God not.” Faye smiled in response, “Yeah, well, I’ve taken more leisure photos on this camera than the OSS would be comfortable knowing. It is only fair because nearly all film rolls were mine anyway,” she trailed off, closing her eyes again as the warm August sun blanketed her. 

The warmth took her back to August, nearly three years back, 1940. To the emerging hills behind Mulhouse, in the occupied region of the Alsace in France. Back then, she too had snapped a photo that the OSS would turn their noses up at. She couldn’t help it, though, the sleepy little cottage the, back then, above ground resistance she was attached to used as their base of operations was too pretty against the sunny hills. Plus, the whole rule against taking photos that do not directly aid the war effort was bullshit anyway. They increased her morale, no? Surely a heightened sense of morale would aid the war effort. Just like her friend, and resistance member Isidore was aiding the war effort by developing the photos Faye had taken recently. His girlfriend, Julienne, a distant cousin of Faye’s neighbors back in Louisiana, the Klotz family, laid next to her in the grass, yelling at her sweetheart to stop working so hard and join them in the warm sum. She still remembered the minty smell of the Ground Ivy that tickled against her cheeks in the field near the cottage as she watched Isidore exit the cottage, some of the successfully developed photos under his arm, he dropped them above the two women. The photographs whirled softly down onto them, like those propaganda leaflets that had recently been dropping from planes over the region. The association made her chuckle. She much preferred these photographs over those leaflets. 

Oh, how she longed back to be in that sleepy little field just behind Mulhouse. Unknowing and indifferent to what was about to wash over her. Over her dear friends. Over her distant relatives, up north in Sélestat.  How she wished to gain that sense of unknowing and indifference once more. The fleeting feeling of walking back home from the shul on those warm August evenings, taking the train from Mulhouse towards Sélestat, being greeted by her grandmother’s second brother, the one who stayed behind in Alsace. Being taken in to his family, learning about their extensive history and connection to this land. It made her feel proud, like her family here. All of that despite the impending feeling of calamity. That feeling grew more and more with each news item about the Germans inching closer. Forcing themselves back into the territory they’ve claimed as theirs for eras. This time, it came paired with a terrifying venom against a group of people so deeply rooted in this region. 

After the annexation of the Alsace into Nazi-Germany, the resistance group Faye had been attached to by the OSS was forced to go underground. Her work, instead of reporting back to the OSS on current events in the border region between France and Germany, became a high-risk operation that aided the Alsatian resistance in its activities against the Nazi occupier. When it happened, the OSS had forbidden her to associate publicly with her family and the community she had built up. They deemed it ‘too riskful’. And because Faye had no choice, she listened to those orders. And just like that, her growing connection with her ancestral home region, her family, the core of her very identity was snapped away. Just as quick as it had flourished. She watched the treatment of her people become more and more dire every day. She watched and she could do nothing but watch. Nothing outward anyway. In secret, she was doing more than she ever had done. Risking everything to make it harder for the Nazis to spread their hatred and evil. In return, she got the gnarly gift of having to distance herself from the recently cultivating bond with her family that lived halfway across the world from her. 

Yes, she still had Isidore, Julienne and the rest of their group. Though, as they were forced to become underground, a painful strain started to form on their friendship. Understandably so, tensions were high, risks were always there and the imminent feeling of doom never stopped looming over the group. 

Which ended up being for good reason. Come the early February days of 1943, Faye found herself with her left cheek pressed into the cold ground where the minty Ground Ivy once grew. The barrel of a Karabiner 98A straight against her right cheek. She still wasn’t sure who gave up their activities to the SS. She wasn’t sure if she cared enough by then either way. Or now, for that matter. In the two and a half years that spanned from that first summer in Alsace to February of 1943, Faye had grown disillusioned to the point that she wasn’t even sure if she cared about living, or dying. Maybe it was for the better that death seemed so close. That it came to her in the form of a German rifle. 

That was until she remembered why her family decided to migrate to the United States. Back in the late 19th century, the Jews of the Alsace were already facing hardships. And it was those hardships that made her grandparents decide that from there on out, their family line would not suffer under those hardships anymore. So they set sail to Louisiana, because their children, and their children, and their children (and so on), deserved a life of flourishing. So it was there, February 1943, with the cold barrel of a Karabiner 98A pressed to her face, that Faye decided that she would honor that wish. She would not die at the hands of those who wished her dead. 

She wasn’t sure how, but she ran, she ran until her feet gave out and Isidore made them duck into a dense shrub. His face stained with dirt, much like hers. And through the dirt on his face, tears traced their paths. Then it dawned on her that Julienne hadn’t made it out with them. Faye hoped with everything she had in her dear friend wasn’t left out, alone in that cold field. But there wasn’t much time for hoping. They had to make it to safety. To a place where they couldn’t be reached by those who were looking for them. 

Switzerland. Within a few days of frantic fleeing, both of them somehow made it to Basel, just over the border. Isidore’s previously tear-filled eyes had turned empty by then. And Faye feared for him. She feared for everyone they had to leave behind. The fear didn’t leave her when she walked away from the hospital she had helped Isidore to, so his wounds could be looked at. Not caring much for her own, and after the OSS had been made aware of her whereabouts, they had arranged a route to England for her. To ‘escape’ the risk she found herself in, according to the OSS. She still scoffs at the mention of ‘risk’, the OSS would never fully know. And so, after a goodbye ‘for now’ and a promise to keep in touch, she departed for the train station of Basel, on towards Bern, and from there, hopefully England. She watched the fields roll by, they were barren, empty of life. She tried to not let it remind her of Julienne too much. Hoping that her friend had somehow made it to safety, like her sweetheart and Faye.

Her memories were disturbed by the warm sun once again being taken away from her. This time, it wasn’t because a certain crew chief by the name of Ken Lemmons was standing in between her and her blanket of warmth, it was because Faye hadn’t noticed the time pass by and the sun having moved behind the officer’s buildings on the air base. She let out a groan at the feeling of her back cracking as she sat up, her camera falling into her lap. Slowly opening her eyes, to her surprise, ‘Just-a-Snappin’ had been exchanged for a different airplane. Though, her eyes were too blurry from the sun shining onto them, to make out the name. These damn pilots and their airplane names. 

What she did make out was Ken and what seemed to be a pilot, standing by the plane as Ken pointed out several things on the wing. The pilot nodding, seemingly intently listening to Ken. Faye, after rubbing her eyes intensely, was able to make out more of the scene in front of her. Her sight darted towards the plane again, reading. ‘Rosie's Riveters,’ she mouthed the words. Way better name for a plane than whatever Blakely was thinking with his one, Faye thought. Her gaze moved over to Ken and the still unknown pilot again. Squinting, she could make out the brown curls, kept small and neatly arranged on top of his head. The 100th and their tendency to hide their gorgeous curls irrationally annoyed Faye to no end. She eternally cursed Ken for hiding them behind his beanie, too. She looked back to the nose of the plane, ‘Rosie’s Riveters.’ Oh. Robert Rosenthal. The man that had made her blush the other night without even knowing he had. Robert Rosenthal had arrived at Thorpe Abbotts some two weeks after Faye herself did. She had been sitting with Helen and the other women as she watched him come into the officers’ club, his feet carrying him, dancing towards his crewmates. It was his little twist and the way his jacket moved in the air flow created by it; itt had been the first time she smiled that day. And Helen noticed. Sending Faye a teasing look as she dug the nose of her shoe into Faye’s shin. The action made Faye’s cheeks turn bright red, sinking deeper into her seat, disappearing into the shadow of the curved wall as she let out a soft, intoxicated giggle. 

It wasn’t much later, after Nash had successfully achieved a dance from Helen, that Rosenthal’s eyes locked with Faye’s. The same red from before creeping up from her throat to her cheeks as she gave him a shy smile. His returning smile was beaming, like a direct ray of sunlight across the room. She would receive a few more of such smiles from him throughout the night.

Now, with his pilot’s hat snug under his arm, Faye could see him smile at Ken, a thankful smile. And who wouldn’t be thankful for Ken Lemmons. The man worked tirelessly to send them up safely into the air. But, oh she was sure it was Robert Rosenthal standing there, alright. Yeah, that smile, of which she had been on the receiving end several times now, she recognized it. The familiar, uneasy yet welcomed feeling creeped up in her stomach again. She could feel the flush in her throat. Combined with the hours of direct sunlight she had received over the afternoon, remembering their shared looks made her slightly lightheaded as she rose to her feet. Hoping to quietly leave, as to not gain the perception of both men standing some feet away from her. 

Mission unsuccessful, though, damn it. “Fish!” she heard Ken call her. Her arms dropped beside her body as she turned around, her camera swinging with a little delay. She caught it, so it wouldn’t hit her on her stomach. For some stupid reason, her breathing increased in frequency as she watched the two men walk over to her. She had to consciously try to not take a step backward everytime they took one forward. She tried to keep her eyes strictly on Ken.“You think that is a better name for a plane?” he asked, pointing towards the B-17. Her eyes followed his pointing, reading the text on the nose of the plane for a third time. Before she realized, she already voiced her opinion. “I think naming anything but a pet or a human is a weird thing anyway,” she retorted, eyes dead set on Ken. Next to him, she heard a chuckle. “I’m actually quite proud of ‘Rosie’s Riveters’” she heard the curly haired brunette next to Ken say. There was no fighting it anymore, she had to actually look at him now. And she was sure you could compare the color of her cheeks to the apples they served in the breakfast hall, bright red. Still, like she always did, she came up with a retort; “Well, it’s better than Blakely’s, I guess,” she said, a sly, yet slightly shy smile appearing on her lips. The brunette in front of her let out a hearty laugh, his eyes crinkling. It tugged at Faye’s heartstrings, “Yeah, I’ll take that.” he said. And there it was again, that goddamned smile.

foma 100(!), Contax RTS II, Tele-Tessar 300mm f/4 West German

I love these birds they are so human

Riggs Washington DC / Fuji Superia 1600 / Contax TVS II

Mercury In Retrograde

One of my Favorite film cameras is the Mercury II. It's a half-frame camera from the 40's that was supposed to be the American rival to Contaxes and Leicas since we were having... second thoughts about doing business with Germany, and even Japan. Even though I'd adapted this lens to my Fuji X-E2 before, I'd never thrown it on my Sony A7ii.

Here are some shots!

I figured I'd be able to use the APS-C mode in the menu, which just punches into the sensor, since half-frame is about the same size as APS-C anyway.

Overall, I'm pretty astonished by this lens' performance. It handles color and contrast well, and definitely has a vintage focus fall-off in the corners, which is common for three-element lenses like this one. The Bokeh looks good, and sharpness are on point!

So not bad for APS-C  crop, right?

I've been withholding something. These are all shot full frame. Turns out this tiny lens covers the sensor at wider apertures with just a vignette. Stopped down, the corners fall out. Here's f/2.7 compared to f/8.

Not bad for a lens the size of a quarter!

Contax II 35 mm rangefinder camera with Carl Zeiss 5cm f2 Sonnar T lens, released by Zeiss Ikon in 1936, as a response to the popularity of Leica 35mm cameras. The Contax became the 'first choice' among professional photographers, with famous users like Robert Capa and Alexander Rodchenko. Wiki.

A4: A retake of ‘Normandie’ by Robert Capa in 1944

Background information:

1. How was it made?

- Robert Capa, the most famous war photojournalist, introduced fame, heroism, and charisma in 1939 to the world of war photography. Capa used Contax II rangefinder cameras while photographing during WWII. His technique was to be close to his subjects as he states, “If your pictures aren't good enough, then you aren't close enough.” His first rule was to get close and his second rule was to get closer. In doing so, he was always risking his life to capture reality.

2. What lens focal length? - Focal lens of 50mm (Robert cappa prefers 50mm focal lens for most of his work).

He also used a short depth of field while capturing this photo. 3. What point of view?

- Eye level point of view 4. What type of light?

- Flat light

5. What subject, props, where, when?

- Capa took his series of war photographs by the Omaha Beach Landings on D-Day (June 6, 1944). He photographed snippets of the war (soldiers and their equipment). In order to recreate my chosen photo, I need some props such as a boy/man, a cigarette, a white bandage, and an open air location.

Reflection: What Makes a Photograph Iconic?

Ever since photography was first invented in 1826, it holds the same power which is making people believe what the photo is telling. This is because it is not a painting nor a story being told, it is a solid proof. Even though all photos are believed by everyone, not all photos are iconic. What makes a photo iconic in my opinion is: to be known by everyone in a public culture, to be regarded as depictions of historically significant events, objects of strong emotional connection or reaction, and to be consistently replicated or duplicated across a variety of media, genres, and themes. Furthermore, in order for a photograph to be iconic, the photographer must walk an extra mile and do things that not every photographer would do. For example, Robert Capa captured very iconic photographs because he took unique steps that no photographer would. He risked his life by being in a place of war, he increased this risk by moving closer and closer to his subjects. As a result, he got iconic results and his photos are recognized and replicated by many. In my opinion, another factor that makes a photo iconic is its meaning and its storytelling. Meaning, if a photo has strong meaning without too much going on (telling a story on its own) then it is iconic. For example, the raising of the American flag by Marines on Iwo Jima during World War II is an iconic image and was particularly striking because it depicted how, despite horrific losses and indescribable suffering, the soldiers were able to triumph and hoist the flag. Another example is the V-J kiss picture that followed in Times Square which was iconic because capturing a moment where the sailor is kissing the nurse shows that after a half-decade of conflict, Japan had surrendered and that the War in the Pacific—and thus the Second World War itself—was finally over. In conclusion, iconic photographs emerge from hard work and uniqueness. It is highly measured by how far the photographer is willing to go to capture a raw meaningful photograph.

Analog Therapy; Fixed My Acros/df96 Issue Part 2: Contax G1 - Zeiss 45mm f/2 Planar - Fuji Acros 100 II.

In appreciation for an act of kindness that warranted no reward because I did it because it was the right thing to do… I was rewarded. With Acros film no less. 2 rolls. I can not turn down Acros. But there was an issue. I had not bought Acros since I realized it did not play well with Cinestill df96. Prior sharpness was marred by a cloudy haze. I knew there was risk involved because it was not…

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Contax RTS II 35mm SLR Film Camera Body

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Lauren

Los Angeles, CA

IT WORKED!! THE HORRIBLE TAPE ENLARGER WORKED!!!!

Contax RTS II, Tele-Tessar 300mm f/4 AE West German, Fomapan 100, on Ilford Multigrade RC VC Satin

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