I like film...(open thread)

[stray cat]

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1 hour ago, joergel said:

 

 

Leica M6 - Elmar 3,5/50 LTM - TMAX100

Joergel, you have a talent for clean, uncluttered compositions that give your pictures a unique "signature". Always a pleasure to view.

[Steve Ricoh]

1 hour ago, AntonioF said:

Lately I've been using a salad spinner: after the final rinse with decriminalized water and photo-flo, I shake the reels by hand, I put them in the spinner and I pray the centrifugal force to do the job for me. So far it works fine.

Antonio, to be clear about this, you take the reel out of the tank with the film still on the spiral and put the loaded-reel in the spinner? That sounds good, but doesn't the centrifugal force (for the purist that's a fictitious force, centripetal is more accurate) then shed the water from one surface to an adjacent strip on the spiral. Hope you understand my crack-hand description.

[Steve Ricoh]

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Interloper by -Steve Ricoh-

HP5+,  EI 1600, Pentax MX, 100mm f/3.5

[Ernest]

On ‎12‎/‎19‎/‎2018 at 11:24 PM, Doc Henry said:

Rog I am not  expert like you  and I am also not expert in using photo software

My lightroom is always LR2 since many years . With film I don't need it  so I don't look for new vesrion

with my old PC with XP OS.

It's another manner to show "artistic"  side ot  analog photo and you did it very well .

Thanks for your nice comment.

Best H

Thanks for the good words, Doc Henry, but I am not an expert! I am still prospecting the hillside, and I tell you, it keeps getting steeper. Thank goodness for this forum, though, the helpful exchange of ideas and posting of remarkable film images. Thanks kicking off something great!

Cheers,
Rog

[Wayne]

Daughter/aunt and grandson

HP5 @ 1600, Rodinal 1/100, 2 hours.

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Nikon F2, Nikkor 50/1.8

[mikemgb]

Leica M2, 90mm Elmar, Acros 100.

I love, love, love the way this lens renders on this film.

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[mikemgb]

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Gullfoss, Iceland. Nikon Action Touch, Tri X 400.

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[Ernest]

22 hours ago, stray cat said:

 

 

 

Rog, thank you so much for choosing here to share your remarkable constructs. Contemplating them, I am continually visited by Winston Churchill's (by now, unfortunately, hackneyed) phrase (he was referring to Russia, but still). I indeed find each of your assemblages "a riddle, wrapped in a mystery, inside an enigma".

They are challenging, for sure, but they are also infinitely enlightening and, in being so, ultimately rewarding. I get the distinct impression that (like Wayne's pictures) they are, among other things, intimate self-portraits - they certainly have an intensely personal vibe, and I feel we are being let into little secrets about you when I look at them. In "Film Sketch MOS", for instance, we see the recurrent image of the couple from the 1830s I think it was. I am guessing they are relations of yours. We have objects from your personal collection - typeset, an antique natural history book, a (not sure what it is - camera? album?) solid "Made in USA" (this fact seems important) object, bound with a strap and a leaf, presumably picked up from the backyard or street. An out-of-focus tranquil suburban scene on the shores of a lake backgrounds the couple. I have not the intellectual rigour to unravel the mystery behind these small clues, but I know they do connect to a narrative, and I find the exercise of proposing solutions intriguing, even though they are my own imagination and unrelated to the actuality. "7488 Stratus" is a beautiful work and, dispensing of the feeling that I need to unravel it,  I can satisfy myself with just saying that's enough for me to like it (a lot). Then we have the intensely idiosyncratic and targeted memories of being on the film set of CE3K with Vilmos, Nick, & Steve:  "Reliable Meridian II - Mobile, Alabama (1976)" and "Buster's Loans - Mobile, Alabama". I am going to guess that experience was an incredibly satisfying one for you. Now I am going to admit something I probably shouldn't: I haven't yet seen the film. But it is on my Christmas list of things to do, paying particularly close attention to a certain police patrolman.

Again, thank you. And all who post their works here. Am I going too far in suggesting that there is something that comes through as a bit more personal when the work is on film? I actually don't think I am.

Merry Christmas everyone.

Thanks, Phil, for your ever insightful critique of the itinerant acts that find their way into my little circus. When I was about four years old, I got "lost" in the "Hall of Mirrors" at an amusement park (The Pike), and I panicked and started to cry when I couldn't find my way out of the labyrinth of mirrors and glass walls, though I could see my father outside of the maze. Finally,  the Hall of Mirrors operator and my father rescued me from this Borgesian nightmare, and I suppose this became a metaphor for me later in photography: a hall of mirrors and glass walls. Reflection and refraction. When I look at Trent Parke's work that you introduced to me, Minutes to Midnight, for  example, I am struck by his neo-noir sensibility. Mirrors and windows. How Parke has the consciousness to include two jet black pages, recto and verso, at the midnight point of his photographic flight, submerging us into an amniotic rebirth of images. When I first opened Minutes to Midnight, paged through the film that it became, I wrote four words in my Moleskine: Analog alchemy, undertow, screaming.

(to be continued)

Rog

[stray cat]

Thank you so much, Rog. Reading your comments and thoughts always reminds me of the "stargate" sequence in 2001 that we've touched on in the past: there is always an infinite depth of colorful peregrination in your knowledge and your ability to express it.

Reflection and refraction. There is the catalogue of John Szarkowski's 1978 MOMA exhibition "Mirrors and Windows" fairly cheaply and widely available. I've always found the concept interesting and of course his writing on it is really insightful. Mary Ellen Mark, as teacher, remarked on whether you as a photographer were a "participant" or an "observer". Dichotomies that help understand our viewpoint and our orientation.

I am so glad you are able to glean much from "Minutes to Midnight" - and you are right, it does read as a film, something I'd never considered. It shows a side to my country of birth of which I think most of us are ignorant (probably consciously): it is a harsh land in many respects, unforgiving and brutal. He does it poetically indeed, and with (as you so poignantly point out) with that constant hope and promise and destiny of rebirth - the amniotic fluid of life being ever present, counterbalancing the darker side. One can only surmise and reflect that his life has been a visitor to both extremes. Thinking along it now, you could see it as an Australian version of Robert Frank's "The Americans".

I only wish that "dream/life" were to be made available again. Perhaps it will.

Your story from your childhood paints a scary, nightmarish picture indeed. It is those feelings that we are in a hopeless situation - trapped, even if we can see the agent of our liberation outside, that are the most chilling. It can't help to have had a deleterious effect on the young child's fragile, eggshell mind (to quote The Doors). Still, on the positive side, the experience - that memory/memento -  has matured to be able to be channeled into a conduit for some staggering art which must give you, as well as it does us, a high degree of pleasure.

[bazzabuzz]

I just recently got back into film after a 25 year hiatus. There's really something special about film with its occasional grittiness. The overall concept also forces the photographer to frame his composition, and ensure that he has his exposure correct because each firing of the shutter is cost. 

Here's just a quick experiment with a roll of XP2 expired 20 years ago and the results didn't come out too shabby (sorry about the small file size though - am only allowed 0.49MB lol). Love for the pros here to give me comments so I can get back to bettering my craft in film.

Merry Christmas all!

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Edited December 22, 2018 by bazzabuzz
grammer mistakes

[Doc Henry]

1 hour ago, bazzabuzz said:

I just recently got back into film after a 25 year hiatus. There's really something special about film with its occasional grittiness. The overall concept also forces the photographer to frame his composition, and ensure that he has his exposure correct because each firing of the shutter is cost. 

Here's just a quick experiment with a roll of XP2 expired 20 years ago and the results didn't come out too shabby (sorry about the small file size though - am only allowed 0.49MB lol). Love for the pros here to give me comments so I can get back to bettering my craft in film.

Merry Christmas all!

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Hi  the image is fine  IMHO  ... you'll have a little more black tone  if film is not outdate

When you shoot film ,  it's a  different way , first no menu setting , no rear screen watching after each shot

....you can take time to compose ,  take time to frame ....  and wait for "the decisive moment à la Henri Cartier

Bresson"  shortly   "be zen"  when shooting , no stress  a pleasure to photograph  ...

...  and no planned obsolescence  !

Have you more pictures like that  ? thanks

Best

H

[Guest]

vor 9 Stunden schrieb stray cat:

Joergel, you have a talent for clean, uncluttered compositions that give your pictures a unique "signature". Always a pleasure to view.

Thank You very much, Phil

Regards Joerg

[Sparkassenkunde]

Am 19.12.2018 um 20:53 schrieb Keith (M):

Lovely city, Luebeck!  We used to stop there for a few days on our way to Ruegen.

 

Am 20.12.2018 um 05:48 schrieb B-A-C:

Man I love Germany.  Hope to visit again soon.  Nice photo.

Thank you both for your feedback. Feel free to drop me a note if you ever happen to come to Germany again

 

 

vor 8 Stunden schrieb mikemgb:

Leica M2, 90mm Elmar, Acros 100.

I love, love, love the way this lens renders on this film.

 

Very nice light in this one, and the composition is perfect!

[Sparkassenkunde]

Talking about Luebeck, this is the most famous landmark of the city, the so called Holsten Gate:

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Ricoh GR 1 - Portra 160

[Sparkassenkunde]

And here some old storehouses:

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Ricoh GR1 - Portra 160

[Wayne]

11 hours ago, mikemgb said:

Leica M2, 90mm Elmar, Acros 100.

I love, love, love the way this lens renders on this film.

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I love this photograph. I can't remember seeing a more creative presentation of the Arch. My mind is still reeling over Fuji's decision to discontinue Acros film.

Best,

Wayne

[bazzabuzz]

6 hours ago, Doc Henry said:

Hi  the image is fine  IMHO  ... you'll have a little more black tone  if film is not outdate

When you shoot film ,  it's a  different way , first no menu setting , no rear screen watching after each shot

....you can take time to compose ,  take time to frame ....  and wait for "the decisive moment à la Henri Cartier

Bresson"  shortly   "be zen"  when shooting , no stress  a pleasure to photograph  ...

...  and no planned obsolescence  !

Have you more pictures like that  ? thanks

Best

H

Thanks for your tips and advice. Much appreciated. Let me dig out other pictures to share with you guys and get more tips

[Keith (M)]

Prezzo! MP, 35mm Summaron f2.8, Portra 400.

 

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[AntonioF]

15 hours ago, Steve Ricoh said:

Antonio, to be clear about this, you take the reel out of the tank with the film still on the spiral and put the loaded-reel in the spinner? That sounds good, but doesn't the centrifugal force (for the purist that's a fictitious force, centripetal is more accurate) then shed the water from one surface to an adjacent strip on the spiral. Hope you understand my crack-hand description.

Yes, I put the loaded reel in the spinner and make it spin for like 10-15 seconds; then I invert the reel and spin it again. A big part of the residual water is removed during the spinning and the film seems to dry much faster (almost) without marks. I started to do it in summer time because the higher temperature makes the excess water dry too fast and it does not have time to slip and drip.

Also, looking at the water marks, it looks like they come out of the sprocket holes, where most of the excess water remains. I have not noticed it with 120 mm film.

Of course, the spinner is not a new thing, I read about it somewhere on the web (so, as a disclaimer, if something bad happens during the spinning, it is not my fault, blame the fictitious forces).

I've never used squeegees. I used to use my fingers, but I was getting even worse marks than letting the film dry by itself.

Edited December 22, 2018 by AntonioF

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Hallo,

Look here: Interesting Leica gear

[mikemgb]

42 minutes ago, Wayne said:

I love this photograph. I can't remember seeing a more creative presentation of the Arch. My mind is still reeling over Fuji's decision to discontinue Acros film.

Best,

Wayne

Thank you Wayne, I have 4 rolls of 35mm and 6 rolls of 120 Acros hoarded away in the freezer for special occasions. 😁