I like film...(open thread)

[Suede]

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Old casino on the Kampot Hill, Cambodia – an old French relic, now being refurbished.

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Ilford FP4 125

 

 

[Sparkassenkunde]

 

Reminded me of that well-known invitation from Frederick the Great:

 

p ci

à

venez sans

 

to which Voltaire supposedly replied:

 

G a

I didn‘t know this really nice riddle, thanks for pointing to it!

[Suede]

Excellent Pritam, and the drinking lady to the left adds a surreal touch. Where was this shot?

 

 

I prefer this analogy. That said, I wonder if the Anderson photo wasn't shot on film

 

Incidentally, I watched the new Baywatch movie yesterday and it was actually far better than the 17% ranking on the iTunes tomatometer.

 

 

This is terrific and begs the question if the posing lady is the model in the photo. Remarkable similarity.

 

 

Excellent creative thinking

 

 

Very nice, I hope you will post more photos regularly here. 

 

 

It's a very interesting photo Phil. Almost looks like a statue. It's amazing what people believe sometimes.

 

 

Reminded me of that well-known invitation from Frederick the Great:

 

    p                 ci

              à 

venez            sans

 

to which Voltaire supposedly replied:

 

G     a

 

Philip, in reply to my part, this was in Florence, a morning... and the drinking lady is my wife.

I won't tell her someone called her that 

[stray cat]

This photograph was taken with a Leica M2 on TriX400 film and with a 35mm Summilux pre-asph lens wide open at f1.4 and 1/30 of a second hand held.

I went to the Michelangelo exhibit at the Metropolitan Museum of Art in NYC.

Lighting was a challenge, the gallery was quite dark with lights only on the objects on display. The biggest frustration is to focus the lens on the viewers face quickly and accurately enough before they move away. Most hold their attention only for a few seconds before they move on.

 

Jochem - these art gallery shots are superb - especially the first two which are masterful. As I've been discussing offline with John (Erl) gallery shots can be extremely rewarding as you stand to get exactly what you've managed here - truly candid pictures of intense concentration. For me, the first two stand out because of the incredibly interesting people and expressions.

[fotomas]

Sinar F 4x5", 90 mm?, Fuji NPS

[STK]

MP | Summicron 50 (V) | Fuji Neopan 400 @3200 | XTol

2018-01-15_10-26-44.jpg

.

Superbe

[erl]

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Note for Phil (stray cat)

I'm just leaving now for the NGV. You have inspired me to shoot some film there. I will be pairing the M10 with the M7. Each will exhibit their intrinsic characteristics. Both to be enjoyed, for different reasons.

 

Film will be HP5+ exp @ 1600iso. Haven't quite decided dev style yet.

[Steve Ricoh]

Yes, with some caveats.

 

The film's ability to retain both shadow and highlight detail with severe under or over exposure is exceptional.

 

Ilford's literature, however, states that it is at its best exposing for 200 ASA. My long experience with these films bears this out. 200 ASA produces shadows with loads of detail without over exposing highlights. The negatives are hugely scanable and printable. All films have an inherent ASA due to the manufacturing chemistry. So called "pushing and pulling" are simply under and over exposure, and there is a cost. Necessary on occasion, and in the case of XP2 Super the cost in technical image quality is less than with many other films.

i don't think I'll go anywhere near pushing or pulling C41 development, I've not even attempted B&W yet (apart from doing so in my teenage years). However I'm impressed to read XP2 Super's wide tolerance to over and under exposure with standard box speed development. Must give it a trial run.

[Wayne]

Old casino on the Kampot Hill, Cambodia – an old French relic, now being refurbished.

Casino7.jpg

Ilford FP4 125

Beautiful! Lucky you! A wonderful subject. I look forward to more.

 

Best,

 

Wayne

[Sharif]

Organ Pipe Cactus National Monument, Arizona

 

Organ Pipes #2 by Herr Sharif, auf Flickr

 

Leica M2, Voigtländer Color Skopar 4/21, Kodak Portra 160

 

Sharif

Edited January 16, 2018 by Sharif

[Guest JMF]

protection by JM__, on Flickr

 

Portra 800 - Hexar RF - 28 Elmarit v4

[Guest 10511]

M2, Summaron 2,8/35mm, FP4 

 

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[Guest JMF]

protected by JM__, on Flickr

 

Portra 800 - Hexar RF - 28 Elmarit v4

Edited January 16, 2018 by JMF

[Ernest]

I wasn't sure myself what I was photographing one day during Mary Ellen Mark's workshop in Oaxaca in 2011, so I looked up National Geographic who described it as:

 

"a pre-Lent festival in San Martin Tilcajete near Oaxaca city, Mexico. Dozens of young men and boys run through the town covered in silver or red paint, and motor oil, chasing the townsfolk in this annual tradition before the coming Easter holiday. Many of the greasy devils wear heavy cowbells around their waists which ring loudly as they run, in penance for the sins they have committed as devils. The more bells they wear, the greater number of sins. The bells also act to warn the townsfolk. But the chase of the devils is a merry one. And children especially love being chased."

 

Brave children if you ask me - some of these guys were plenty scary! Anyway it was a lot of fun and an absolute dream for a photographer lucky enough to be there:

 

 

Greasy Devil, St Martin Tilcajete, Mexico 2011

M6TTL, 28mm Elmarit, Ilford XP2 Super

Such a tempting devil, you are, tugging at the “we want to see the rest of those photographs” of children and black devils gamboling through the streets to a cacophonous symphony of bells and delighted screams. Kudos for sharing this from your Mary Ellen Mark workshop! Can Greasy Devil, as well as the your remarkable portrait of the man in the landfill, open the door to more of Mary Ellen Mark’s workshop? Give a nod to one of the really great street photographers who just passed away in 2015.

 

Looking at Greasy Devil, the composition is dramatic and arresting. Minimal and direct. In Western culture, we read a page from the top left, to the right, then down the page, left to right, left to right. With this photograph, the eye is drawn immediately to the Devil’s head, but he is framed looking to the left, which is contrarian. There is this smudge of a handprint on the wall just to the right, behind him. Reminiscent of crime scene evidence? And then there is the curious rope belt of bells around his waist, hinting at the “sound” of the photograph. Color the scene with classic tonality, shadows in abeyance. It is a photograph that intrigues. Is Mary Ellen Mark smiling?

 

 

Sent from my iPhone using Tapatalk

[Guest JMF]

Juveny by JM__, on Flickr

 

Portra 800 - 28 W Komura Sankyo Kohki LTM f3.5 on Hexar RF

[stray cat]

Note for Phil (stray cat)

I'm just leaving now for the NGV. You have inspired me to shoot some film there. I will be pairing the M10 with the M7. Each will exhibit their intrinsic characteristics. Both to be enjoyed, for different reasons.

 

Film will be HP5+ exp @ 1600iso. Haven't quite decided dev style yet.

 

I'm delighted you've decided to use some film, John! The HP5+ at 1600 should have that intrinsic film "look and feel". It will be interesting to hear, if you would like to share your thoughts, of your experience in using both, especially in the darker corners of the gallery. Anyway, I hope you have a wonderful day at the gallery and I'm certain there are to be some great pictures come of it!

 

Such a tempting devil, you are, tugging at the “we want to see the rest of those photographs” of children and black devils gamboling through the streets to a cacophonous symphony of bells and delighted screams. Kudos for sharing this from your Mary Ellen Mark workshop! Can Greasy Devil, as well as the your remarkable portrait of the man in the landfill, open the door to more of Mary Ellen Mark’s workshop? Give a nod to one of the really great street photographers who just passed away in 2015.

 

Looking at Greasy Devil, the composition is dramatic and arresting. Minimal and direct. In Western culture, we read a page from the top left, to the right, then down the page, left to right, left to right. With this photograph, the eye is drawn immediately to the Devil’s head, but he is framed looking to the left, which is contrarian. There is this smudge of a handprint on the wall just to the right, behind him. Reminiscent of crime scene evidence? And then there is the curious rope belt of bells around his waist, hinting at the “sound” of the photograph. Color the scene with classic tonality, shadows in abeyance. It is a photograph that intrigues. Is Mary Ellen Mark smiling?

 

 

Sent from my iPhone using Tapatalk

 

Thank you so much Ernest for your erudite thoughts. To be honest, this was the first day of shooting during the workshop, and I was feeling a bit jetlagged still (it can be quite an onerous journey from Melbourne, Australia to Oaxaca, Mexico). Which is probably why I didn't really comprehend what was going on. Still, this nice man was kind enough to stand in front of me for long enough. I'll check the proof sheets to see if there may be something else, although I think I've posted a few others here already and I don't want to bore people too much with them. I'd also have to check through my proof sheets to see if Mary Ellen put a blue, red or yellow dot next to this frame - which means she'd want to see a work print of it next day (edit - I checked - no dot). It certainly didn't make the final cut of three pictures though, but I like it.

 

I pinch myself that I had the absolute great fortune to meet Mary Ellen and get to know her a little - my wife and I and a friend from the workshop caught up with her in Sydney as well later in the year, when she was doing stills for "The Great Gatsby", and we kept in touch after that. She was such a lovely person and a great teacher and mentor - as well, of course, of being one of the truly great photographers. I met up with one of her closest friends a year or so ago in New York and we remembered her with great fondness. She is sadly missed.

 

Pretty sure I haven't posted this before - the wind was whipping around blowing up dust everywhere, but the band just closed their eyes and kept on playing:

 

 

San Sebastian Abosolo, Mexico 2011

M6TTL, 28mm Elmarit, Ilford XP2 Super (at 200 ISO)

[chrism]

Yes, with some caveats.

 

The film's ability to retain both shadow and highlight detail with severe under or over exposure is exceptional.

 

Ilford's literature, however, states that it is at its best exposing for 200 ASA. My long experience with these films bears this out. 200 ASA produces shadows with loads of detail without over exposing highlights. The negatives are hugely scanable and printable. All films have an inherent ASA due to the manufacturing chemistry. So called "pushing and pulling" are simply under and over exposure, and there is a cost. Necessary on occasion, and in the case of XP2 Super the cost in technical image quality is less than with many other films.

 

 

With respect to the underlined part, I completely agree if you are developing it in C-41 for standard time. You will have incorrectly exposed negatives if you vary the ISO and you will have to accept that when you scan or wet print them. XP2 Super may handle this more gracefully than silver halide films, but the issue remains.

In B&W developer it is much more like the effects of pushing and pulling a silver halide film. I'm not rescuing severely under or over exposed negatives, but developing them for different times (anywhere between 3 minutes for ISO 50 and 18 minutes for 1600) to get negatives of the desired density. There is a price to pay still, but it's to do with decreased or increased contrast, and I can live with that for the lack of grain.

[A miller]

Love these, Jochem.   I'v been meaning to drag myself to one of our museums and this may be just the motivation.  Thank you!!   

This photograph was taken with a Leica M2 on TriX400 film and with a 35mm Summilux pre-asph lens wide open at f1.4 and 1/30 of a second hand held.frame#22.JPG

 

 

This photograph was taken with a Leica M2 on TriX400 film and with a 35mm Summilux pre-asph lens wide open at f1.4 and 1/30 of a second hand held.

 

 

Very interesting; I am not one to drop names but the street sign overlapping with the palm tree reminds me of a couple of Lee Freidlander photos involving street signs...

https://fraenkelgallery.com/exhibitions/1960-2010-or-how-i-got-from-there-to-here-in-100-pictures-or-less

 

 

Oneway

(Sicily, Castellammare del Golfo)

 

 

Plaubel Makina 67 * Ilford FP4 Plus * Adox FX 39 * 1+14 * Reflecta MF 5000

 

 

This one tells a fun story; the juxtaposition of the chaotic background with the chaotic (in a good way) musical band has my eating ringing!

I'm delighted you've decided to use some film, John! The HP5+ at 1600 should have that intrinsic film "look and feel". It will be interesting to hear, if you would like to share your thoughts, of your experience in using both, especially in the darker corners of the gallery. Anyway, I hope you have a wonderful day at the gallery and I'm certain there are to be some great pictures come of it!

 

 

Thank you so much Ernest for your erudite thoughts. To be honest, this was the first day of shooting during the workshop, and I was feeling a bit jetlagged still (it can be quite an onerous journey from Melbourne, Australia to Oaxaca, Mexico). Which is probably why I didn't really comprehend what was going on. Still, this nice man was kind enough to stand in front of me for long enough. I'll check the proof sheets to see if there may be something else, although I think I've posted a few others here already and I don't want to bore people too much with them. I'd also have to check through my proof sheets to see if Mary Ellen put a blue, red or yellow dot next to this frame - which means she'd want to see a work print of it next day (edit - I checked - no dot). It certainly didn't make the final cut of three pictures though, but I like it.

 

I pinch myself that I had the absolute great fortune to meet Mary Ellen and get to know her a little - my wife and I and a friend from the workshop caught up with her in Sydney as well later in the year, when she was doing stills for "The Great Gatsby", and we kept in touch after that. She was such a lovely person and a great teacher and mentor - as well, of course, of being one of the truly great photographers. I met up with one of her closest friends a year or so ago in New York and we remembered her with great fondness. She is sadly missed.

 

Pretty sure I haven't posted this before - the wind was whipping around blowing up dust everywhere, but the band just closed their eyes and kept on playing:

 

 

 

San Sebastian Abosolo, Mexico 2011

M6TTL, 28mm Elmarit, Ilford XP2 Super (at 200 ISO)

[A miller]

Old man, old car. Baalbeck, Lebanon.

 

M7 ZM 50/2 Ektar 100 by edward karaa, on Flickr

 

Love it, Edward.  Congrats on the great capture!

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[A miller]

I"m taking a small break from my regularly scheduled programming of the NYC snow blizzards scenes to share one from a couple of weeks ago.

It was a Sunday morning at 4am @ -15C and with snow still on the ground I thought it was a good opportunity to continue my pursuit of some good night photos in Central Park.

I planned everything out and pack meticulously the night before so that I could tip toe out of my home just before 4am like a mouse.  I packed my film like a champion.  Then got to the Park and realized that I FORGOT MY F$$KING LIGHT METER!  So I had to wing it.  AND THEN MY IPHONE DIED AFTER THE FIRST EXPOSURE!  So I had to count out loud for these 8-10 minute exposures (which sucked almost as bad as not being able to watch TV during the long exposures ).  

I brought a bunch of film stock with me but ended up shooting Acros 100 (b/c I thought the grays and low contrast would help capture more shadow detail without severely blowing the highlights), Delta 3200 (which came out nice but I like the Acros better) and - of course - Ektar ( )

Here's one from the Acros 100 with the Hassy SWC

Gapstow Bridge, Central Park

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Edited January 17, 2018 by A miller