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Leica iiiC/ nippon-kogaku 50mmLTM, fuji Acros100

Nameless/Faceless

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Leica iiif, Canon 50mm f1,4 LTM, fuji industrial /CYO100

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Leica iiiC/ nippon-kogaku 50mmLTM, fuji Acros100

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1 hour ago, stray cat said:

How very timely, Rog. I’m currently reading Philip K Dick’s “Do Androids Dream of Eclectic Mops”.

That ought to mop up the question of whether or not Deckard is a Nexus 6. Get a DieHard for Priss.

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Vineyard #3, looking down at the valley

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as before

Edited by Kl@usW.
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Leica iiif, Canon 50mm f1,4 LTM, fuji industrial /CYO100

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More from the old negatives file:  gargoyles at the Old Royal Naval College, Greenwich.  Example of when the grain merges with the texture of the image.

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Leica 3C, Summitar 50, Agfacolor 200, Nikon SC5000ED, cropped to 90mm equiv angle of view in Capture One.

Edited by John Robinson
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Hahahahaha I'm having such fun reading this, Rog :D Double entendres galore, just my kind of mental fare. And thank you for the reminder to watch Pi again 🙏🏼

On 12/12/2020 at 3:08 AM, Ernest said:

Astounding! I am going to be more careful with the games my subconscious plays because you are reading me brilliantly! Ha, ha. That circus left town already. "Slightly squished Fibonacci." This is indeed a marketing opportunity. I want my XL T-shirt in Kodak 18% gray.  "Slightly squished Fibonacci spiral superimposed!" I know they're not, but these should be the lyrics to a Morrison platinum album from the Doors. Round up the most likely suspects. Forget the usual. This is only the second time I can remember in my short LUF voyage that Fibonacci has been intoned. The first for me was two years ago in a response to Timothy Floyd's unforgettable photograph of a bicyclist and a tunnel. I say "unforgettable," but my memory is forever self-destructing, even before Derrida entertained the notion of deconstruction. And, the third time Fibonacci made my headlines, which was actually the first time, was in Darren Aronofsky's brilliant underground film, Pi.  Audacious. You'll recognize Mark Margolis in a Pi walk-on from his Hector Salamanca role in Breaking Bad.

Now, I am curious about the question of having your eyes or your brain checked. Hint. I just check mine at the door on the way in and forget about it. You see, one issue that keeps calling my attention is that "white divide of nothingness" between the verso and recto of the Biblio Relic diptych. I worked through 23 artist proofs before arriving at the final diptych, which still stands suspect in the lineup, but however much I tried, the white divide keeps calling attention to itself and creates a kind of three-dimensional simultaneous play of the verso/recto color fields. Perhaps it's the nothingness of the color fields, mainly playful cad yellow, that keeps calling for some resolution, something other than a thin wire for the balancing act. Yellow, though, has so many other colors, including caution and infection, not just sunny happiness, bla, bla.

There's the other issue of the margins and the very title, Biblio Relic. There's the trace palette of marbleized paper and the memory stain of Umberto Eco's The Name of the Rose; don't lick your finger to turn the page of a book.

Yes, I would have Dr. Klaus check my eyes, but the brain I checked at the door. Nonetheless, thank you for the Fibonacci theme.

I'm happy this one survived. Brilliant photo in every respect.

On 12/12/2020 at 2:55 AM, dimm said:

M3 | Zeiss Sonnar 50mm f1.5 | Kodak Tri-X

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Positively astounding Steve. What a mystical place. I see a mossy elephant in the lower left-hand corner. I must stop smoking whatever it is I smoke haha.

On 12/12/2020 at 1:47 PM, Ouroboros said:

Puzzlewood #4.

An area of opencast iron ore pits that date back to Roman times.

Hasselblad 503cw

Zeiss disatgon 50mm Cfi

Ektar in Tetenal C-41

 

Superb Klaus. What definition. 

On 12/12/2020 at 12:34 PM, Kl@usW. said:

Adding to the undocumented sub-thread: the shadow force..

Subway and entry to the Railway Station Köln Ehrenfeld ( Ehrenfeld being a very lively quarter of Cologne)  

MP; 3,8/24; Acros ii; D76

And this, brilliant Phil.

On 12/12/2020 at 12:13 PM, stray cat said:

carnasserie castle, scotland 2010

m6ttl, 28mm elmarit, fomapan 100

Really cool.

On 12/12/2020 at 10:34 AM, Xícara de Café said:

Mamiya C330, Mamiya-Sekor 80mm 1:2.8, FujiChrome Provia RDP III.

Wash, but not away the grain pleeeese! Reminds me of that cartoon I saw with the Cookie Monster in front of the computer, visibly shocked at the message on the screen, Delete cookies?

On 12/12/2020 at 4:44 AM, Ernest said:

Wash
M-A Thambar-M CS ADOX Color Implosion

Impressively done with such a slow film Wayne. 

23 hours ago, Wayne said:

Cause and effect

Minox Riga (original Minox,) 15/3.5 Minostigmat, Svema MZ3 ( 3 ISO Expired Russian Cine film)

Fomapan is soooo nice. I'm looking forward to the results Pritam.

21 hours ago, Suede said:

Chapeau, Phil. This is fabulous, just my kind of a photograph. 

Now I am more than persuaded that the 10 rolls of Fomapan 100 which I ordered, and yet not started using, were not a folly.

That's a large wind farm John. I'm also a bit surprised at the grain and my first thought was a slight under exposure. I mainly shoot Ektar in C41 and have noticed it's quite sensitive in terms of exposure. Still I like this photo and how the grain adds an almost gritty dimension to the scene. Oh do please pull out the Hasselblad too :)

Incidentally, and this is probably old hat to all of you old post-processing dogs, I've discovered that one can control grain quite well in Adobe Camera Raw under the Detail tab's Color, Luminance and Amount (under Sharpening) sliders. I use them in that order and it reduces grain and improves sharpness. Here's an example, a 100% crop of a 35mm Kodak Gold 200 frame.

 

19 hours ago, John Robinson said:

Thanet Wind Farm (100 turbines) off the Kent Coast past Ramsgate, North Sea beyond.  Examining how 35mm Ektar struggles with this level of detail makes me think I should rescue my Hasselblad, currently gathering dust in the cupboard.

Leica R5, Vario-Elmar 4/35-70 at 70.

Wonderful Marc!

13 hours ago, benqui said:

Beautiful Palermo

Hassi 500 cm, 80mm, Portra 400

 

Hehe straight of The Predator brrr :D  Well spotted.

11 hours ago, Ernest said:

Mop Head Aliens
M-A APO 50 ADOX Color Implosion

It was their unintelligible murmuring that blew their cover, two aliens nonchalantly posing as mop heads.

Beautiful photo, and remarkably well behaved for being straight into the sun.

8 hours ago, frame-it said:

Leica iiif, Canon 50mm f1,4 LTM, fuji industrial /CYO100

 

Edited by philipus
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Dare I say it, treeeees...🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴🌲🌳🎄🌴 :D 

This is a colour photo shot at the Muir Woods National Monument.

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Flickr
1N EF 35-70 Velvia 50(EI100) X1
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A moment

Zoe and I approach this small orchard pond, located at top of a rise in the road, from the leeward side. If I crouch as we climb the hill toward the pond, the ducks- always sunning themselves in the grass in the foreground-  have no idea of our approach until we are about ten meters distant. When we are finally detected, the loud quacking and hurried waddling associated with the mad rush to the safety of the water never fails to bring a smile and laugh. I never tire of it. The flotilla then watches on, from safety, as we pass.

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Minox LX, 15/3.5 Minox, Svema MZ3 (shot this time at 12 ISO)

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Portra 160, f/3.0, 1/400s, 105mm macro lens, F100

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Portra 160, f/3.0, 1/1000s, 105mm macro lens, F100

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Clouds In The Gutter.

Bristol 2014. M2. Elmar-M 2.8/50, Ilford HP5+

 

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