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3 hours ago, Kl@usW. said:

All blue Philipp... a statement ?  Anyway, great photo.. btw: is the canon ltm something beyond `nice to play with´ ?   

 

Thank you so much Klaus. This is certainly a blue era in so many ways, although I can't say I selected the colour scheme for the photograph with that in mind - it was just there! As for the Canon 50mm f1.4 ltm, it is a lovely lens, well-built, nice positive clicks and focusing, and lots of beautiful character wide open. It is no Summicron, though. Here is a comparison "young leaves" torture test photo I took with the Canon the same time as I took the summicron one above (both 1/1,000 sec at f2, minimum focus distance - 1m for the canon, 0.7m for the summicron):

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... and the summicron one (both of these have been linked from my rough jpeg proof scans btw):

So, in answer to your question, I certainly value the Canon ltm lens, especially when I feel like playing with "character" or just want to use f1.4 (which isn't that often, though I really should use that aperture more often, because I do like the effect). It is a useful and valued addition to my camera bag.

My 50mm and 35mm Summicrons, along with Elliott Erwitt's old 135mm Elmar, have just returned from having a CLA by Youxin Ye. They were all pretty dusty inside; now they are spotless!

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magpie

industrial 100 

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45 minutes ago, Ernest said:

I can only imagine how J.M.W. Turner would have interpreted this water--a palette of raw sienna, yellow ochre, sap green, Prussian blue--and those clouds!

Ray Bans, please! This vibrant palette calls to mind what Ernst Haas would find in New York. You do have a way with color.

Just gliding along, loving the mood.

Oh, thank you Rog - I just saw this had arrived as I was thinking about and composing my reply to Klaus! I'll add more in just a little while, as I'm heading out the door right now.

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Last night outside Trump tower ..... Leica M-A50mm summilux, Ilford HP5+ developed in Ilford DD-X (by me, my 2020 accomplishment 🙂 )

 

 

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9 minutes ago, sblitz said:

Last night outside Trump tower ..... Leica M-A50mm summilux, Ilford HP5+ developed in Ilford DD-X (by me, my 2020 accomplishment 🙂 )

 

 

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She doesn't look really happy! Great photo and great idea!

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what is it

portra 400 

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Match Point

📷M6TTL 👓Elmarit 90/2.8 🎞expired Fujichrome Sensia 200

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5 hours ago, hillavoider said:

carwash 

fuji industrial 100

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This is just wonderful, hillavoider. I've tried to take carwash photos but haven't been able to do it. You've nailed it and this becomes a beautiful and intriguing abstract.

4 hours ago, Ernest said:

Fugitive Field
M-A APO 50 ADOX Color Implosion & Fuji Natura

Ah, yes, Rog, a Fugitive field - but where's the one-armed man? Ralph Gibson (or is it Dr Richard Kimble?) talks (ad infinitum) about the advice Dorothea Lange gave him at 21 about the need for having a "point of departure". You have not a "point" but a "line" ie a "sequence of pints" of departure. You've looked at art, great art, and reimagined it emanating from found objects in the real world. Then you've taken it further. As here, you've added an element of mystery. What was that tape holding on to? Was it a notice that we should be aware of? Should we hurry on out of Ocean Park? And this engenders a further question about signs and their meanings - for instance, what meaning has an "ex-sign", as you've apparently included here? If a sign is no longer there, is the meaning no longer relevant? Was there any meaning and/or message in the first place? Yes, these are the labyrinthine paths down which you send us.

55 minutes ago, sblitz said:

Last night outside Trump tower ..... Leica M-A50mm summilux, Ilford HP5+ developed in Ilford DD-X (by me, my 2020 accomplishment 🙂 )

 

 

This is a great piece of social documentation, Steve, taken on rather an interesting night. Her expression is difficult to read - there seems a kind of smugness, but also perhaps some indecision or uncertainty. Her billowing dress and the blurry passer-by just add to that sense of inscrutability. And congratulations on getting the home developing going! It looks like you've hit the ground running!

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mornington 2020

m6ttl, I've forgotten what lens, ektar 100

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On 11/3/2020 at 5:14 PM, JMF said:

lar doce lar by JM__, on Flickr

TriX - 24x27 Leica M - 50 Rigid Summicron

I have a soft spot for cats and spent a while at your lovely photo. Thanks for the memories.

On 11/3/2020 at 9:47 PM, Ouroboros said:

Stanton Moor, Peak District.

Leica MP

28mm summicron asph

Adox Silvermax

 

A thoughtful and imminently satisfying composition.

11 hours ago, hillavoider said:

kodak 3200 at 1600 

MP, 28mm 

Ah ... the lovely C32 (P) class. Is this a recent photo?

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On 11/4/2020 at 10:14 AM, stray cat said:

young leaves 2020

m6ttl, 50mm summicron, ektar 100

Lovely colours ... warm and comforting and a composition to jog the memory of a past summer.

5 hours ago, plaidshirts said:

Match Point

📷M6TTL 👓Elmarit 90/2.8 🎞expired Fujichrome Sensia 200

Good timing and a scene to invoke interest and ask "did she get the point?" I hope so.

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1 hour ago, Bateleur said:

I have a soft spot for cats and spent a while at your lovely photo. Thanks for the memories.

A thoughtful and imminently satisfying composition.

Ah ... the lovely C32 (P) class. Is this a recent photo?

yes, its the steam train out of Thirlmere, good fun 

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Highrise ...

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Leica AF-C1, Rollie Retro 400s, Rodinal 1:100. Stand

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It's Autumn and there are mushrooms everywhere but not a bite to eat ...

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Leica R5, Summicron-R 35, Kodak Ektar 100, Nikon SC5000ED, Capture One.

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17 hours ago, stray cat said:

Ah, yes, Rog, a Fugitive field - but where's the one-armed man? Ralph Gibson (or is it Dr Richard Kimble?) talks (ad infinitum) about the advice Dorothea Lange gave him at 21 about the need for having a "point of departure". You have not a "point" but a "line" ie a "sequence of pints" of departure. You've looked at art, great art, and reimagined it emanating from found objects in the real world. Then you've taken it further. As here, you've added an element of mystery. What was that tape holding on to? Was it a notice that we should be aware of? Should we hurry on out of Ocean Park? And this engenders a further question about signs and their meanings - for instance, what meaning has an "ex-sign", as you've apparently included here? If a sign is no longer there, is the meaning no longer relevant? Was there any meaning and/or message in the first place? Yes, these are the labyrinthine paths down which you send us.

Provocative and thoughtful is your brand. Instigator. You keyed off of "fugitive" and on-the-run Gibson's "points of departure." Lange may have added in her advice to consider "a point of arrival," as well. I must admit that I remembered your photograph in Italy of a bulletin window against a red background with only torn corners of notices still stuck to the glass, only it was dimensional and abstract because shadows of the paper corners gave a 3D effect. So last week when I saw this black utility door with the what we left of masking tape from a posted notice, I had that aha! moment. I started with this image and thought of it as evidence of what wasn't there. The notice, long gone--a fugitive. It was an idea that has always intrigued me as a fulcrum in photography: present though absent. The allusion to something that is absent, that enlists the imagination to connect fragments of what is seen with what isn't seen into a meaningful narrative. What is abstract and non-linear is fair. We see this in Jasper Johns, for instance, and the collaboration with John Cage, Merce Cunningham, and even Rauschenberg, not to mention Samuel Beckett's Fizzles. The other thing that interested me was the nature of fugitive light and particularly red watercolors that fade and are notoriously fugitive, such as alizarin crimson. 

Signs and their meaning, which you bring up, is such multi-layered terrain. Knowing things by what they're not (Saussure). I find just the notion of punctuation, translated from text to image, an intriguing proposition. Punctuation, as graphic signs that inform language production, encodes intonation to clarify syntax and meaning. It can signal silence and stillness, even conveying indirectly visible features. Emotional texture. 

Your question asking if there was any meaning and/or message in a sign in the first place points to the well-known citation that no meaning is the meaning. I think back on seeing at the San
Francisco Museum of Modern Art Gerhard Richter's 1962 Tisch that he painted from a Domus magazine photograph; he obliterates the image of a table with a large smear in the center of the black-and-white painting. It registers along with Rauschenberg's Erased de Kooning. In imagination, we resurrect from the scumble the allusion of that which is not there.

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Plateau Diagonal
M-A APO 50 ADOX Color Implosion

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Fuji GSW iii 690 Delta 400 in HC110-B

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