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More San Francisco, and again some trees. This is a particularly poorly exposed frame of Velvia 50 which I always shot at EI100 for punchiness. But that evidently did nothing to help me when I decided to include a massive overblown sky in the frame :rolleyes: Still I like this shot not only because it's almost crazy how zig-zaggy Lombard Street is, but because of that really helpful Do Not Enter sign .

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1N EF100-300 Velvia 50 X1 Edited by philipus
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Lessons in shooting film:  (1) a mini-lab will do its best to ruin your film if you don't pay attention (in this case, it folded the film to post back instead of rolling it up and putting into the plastic tub, leading to excessive handling to flatten out with resulting scratches, fingerprints etc); (2) for difficult light, make sure to carry a grey card (after multiple attempts, I still can't quite get rid of the magenta cast in this shot taken in a mixture of blue sky, clouds and foliage).

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Leica R5, Summilux-R 50, Kodak Ektar 100, Nikon CS5000ED, much fiddling in Capture One.

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Did you try to correct the colorcasts with selektive color in C1?
I find Ektar prone to cyan greens and reddish middtones too…
Will use more portra in future.
I digitise with my Lumix G9 and Negmaster PlugIn. That works very well for me…

Edited by verwackelt
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23 hours ago, verwackelt said:

beautiful b&w… i loved Agfapan 25. I wish s.o. would relaunch this film…

 

8 hours ago, Ernest said:

Forty years ago, today, Phil has something to say! Solid and classic. Diptychs prejudice a reading because they can instigate a narrative. The POV is not simply the perspective of the camera eye but the human eye of history that is supposedly stopped for the moment, even with the brush of blur. I argue that the supposed cessation of time is a clock that starts ticking with the dialogue of the observer's viewing. It's a narrative that prompts interpretation on many levels, simultaneously. Consider the nature of allegory, a stated story with a parallel unstated meaning driven by interpretation. Water cascades.

An aside, I appreciate the edge detail, the fine black line that almost insinuates depth to the two-dimensional artifact of the photograph print, itself. Question: did you originally conceive of these two prints as a diptych? The movement of the moment?

Hatje Cantz just published Gerhard Richter Landscape, which considers Richter's various interpretations of landscape over the years. His use of photography as a starting point is significant.

 

2 hours ago, benqui said:

Beautiful, strong contrasts!!

 

2 hours ago, philipus said:

This is a true cracker Phil.

 

Thank you very very much verwackelt, Rog, Marc and Philip. There are just so many great shots on this thread, and I really appreciate people taking the time to comment or give a thumbs up.

Rog, forty years is a long time to try to remember where my mind was at as I took these pictures. I remember it was very cold, in winter, and that I was sleeping in a tiny tent on an air mattress that didn't prevent the cold leaching up to my body. But I'm pretty sure I didn't think of these necessarily as components of a diptych until I scanned them yesterday and the idea occurred to me. These pictures were taken one after the other and I have presented them in the opposite order to which they were taken. I'd normally not have printed them quite so dark but I do like the effect and it seems to help them fit together. Your points of discussion are, as always, well taken and diptyches are very interesting for the reasons you mention - specifically, that they engender a dialogue as the viewer's interest parses into a kind of conversation between one and the other - a dialogue is inferred and the viewer can make up his/her own mind whether to pursue  the idea or not. Steve's thread on Diptyches/Polyptyches, in which you have generously included many fine examples, is such a rich vein of ideas about the interaction between images for that very reason. I also find certain posts such as Antonio's:

infer an ongoing dialogue, as the photographer interprets roughly similar scenes along their path, but considered from different perspectives - both physical and, I guess, metaphysical. I love that tiny figure in that first photo, Antonio - and, indeed the similar tiny figure in Klaus's misty mystery river path from a page or so ago.

I am full of envy of your library, Rog. That Richter book looks quite wonderful. However I think I've blown the book budget buying Trent Parke's The Crimson Line on your enthusiastic suggestion - I'm eagerly awaiting delivery!

And verwackelt, I too wish s.o. (someone?) would relaunch Agfapan 25. What a wonderful film!

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More luck with this one (under open sky, scratches merging with the image):  last rose hips of the season, also showing off the OOF rendering of the version 1 Summilux-R 50.

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Leica R5, Ektar 100, Nikon CS5000ED, Capture One.

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43 minutes ago, AntonioF said:

For example:

Nikon FM2, Nikkor 50/1.8, Kodak Colorplus 200

 
 

Pentax 6x7. 105/2.4, Fomapan 200

 
 

 

Bravo, Antonio! What lovely studies. Flm makes us better observers. Like Monet's haystack or O'Keeffe's door paintings,  we can return endlessly to the same subject with different film or lens, varying light, or just a different mental attitude.

Edited by bags27
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City of Melbourne.   [Tri-X]

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Berlin City (West) Voigtländer Vito CS Portra 400

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On 12/7/2020 at 3:32 AM, Xícara de Café said:

.

Leica IIIf, Summaron 3.5cm 1:3.5, Kodak Tmax 100, Rodinal 1:50 12' 20ºC.

It is strange how something as common as a tire track, a footprint, or a leaf, when rendered properly in a photograph, becomes something fascinating. It is said, "God is light." It is not hard to believe. Well done.

Best,

Wayne

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Vermeer's Box
M-A APO 50 Fuji Natura
Homage Vermeer's A Girl Asleep

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Middelburg NL, 08/2020

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Leica M4, Summaron 3,5/35mm, Ilford FP4+

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Two people listening to music boxes at an exhibition in Beijing in 2004. Mamiya C330, Mamiya-Sekor 55mm 1:4.5, Fujichrome Provia 100? RDP III. I digitised this yesterday with my new/old Nikon D610 and Micro-Nikkor 55mm 1:2.8 + extension.  Sat the transparency slightly elevated on top of an old Samsung tablet showing a white screen. It wasn't elevated enough because I can see the pixels when zoomed in, although not so bad in this image. Will fix it on Flickr later. The Nikkor was at f/8.

Edited by Xícara de Café
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On the theme of paths and light:  an example of what a Leica R5 with Summilux-R 50 (1st version) does with autumn colours on Ektar 100.

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Nikon CS5000ED, processed in Capture One.

Edited by John Robinson
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Another example, same settings.

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Extending the theme of paths... at half the price of Ektar 100. 😄    [FM3a, Pro Image 100]

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