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1 hour ago, Ernest said:

This is another of your masterful images that plays on the mind, like trimeter, three metrical feet to a line of verse. Dead tree ghost, lava black birth, grass green born. It never ceases to be amazing how new grass asserts itself in the lava fields. It certainly makes a statement in this otherwise monochromatic composition. Poetry of the visual kind.

Thank you sincerely, Rog. Your thoughts have led to my own thoughts, taking the lava field photograph as an example. The value of any still photograph, to quote the "bleeding obvious", is that it takes a selected moment in time and space, and there it is, forever waiting to see the light of day again, independent of its original context if need be. So we begin, with pictures such as Klaus' wonderful double exposure, and with this lava field photograph, a conversation about nature. Same with Chris's woodpecker portrait, without a woodpecker in sight. It's very probable that, with my own picture, I was simply aware of the branch and the grasses as compositional elements - I have other pictures from the same location playing around with these same elements in different configurations. But now, now that a conversation has been started about nature and its resilience, my original simple idea of composing a picture has been turned into something different. I like how that can happen. This goes to the heart, perhaps, of why we post pictures or show them to people at all - to gain different perspectives, different approaches, and learn new ways to look at something. I go back, too, to Philip's wonderful and important (I think) series on the rooms in which he worked, bringing to justice the perpetrators of those diabolical crimes in the former Yugoslavia. These rooms, just rooms, represent something way more important than what generators or tiles or chairs or computer monitors describe. Klaus' ghostly grasses tell us more about time than that some things move at different rates than others. There is the seen in a picture and the unseen (just on the previous page, look at Bo's photograph at his mother-in-law looking at a photograph, Antonio's or hillavoider's beachgoers seen/not seen, Charles' horses with a human figure watching over both horses and photographer, Dimm's wonderful hurricane not-yet-happened, Steve's glorious sprocketed graffiti of a timeless scene of interaction/non-interaction, and James' (Sparky's) marvellous and idyllic paddle towards the sunrise (sunset?) on calm and untroubled waters. Your own phrase comes to mind: the presence of absence. This thread continually dishes up the most wonderful ideas and images of imaginative discourse.

Edited by stray cat
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Memphis, 2021

 

 

M2-R | Lux' 35mm f/1.4 | Ilford FP4+,  EI 400, Rodinal 1:25

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Sprocket Rocket, EZ400, Stand Developed in Rodinal.

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15 hours ago, Kl@usW. said:

 Girdling--in german ringeln-is  common in picidiae aka woodpeckers, particularly in springtime. The birds do this to draw the sap from the tree. Try this for yourself by cutting a twig from a birch in spring and sample the sap... It´s got a faint, floral taste you will remember.  Nice photo btw, I can relate to the fascination of trees in all their aspects. 

Here is the back of the same tree when it was smaller. Lots and lots of carefully aligned woodpecker holes:

 

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Plaubel W67 - Acros 100

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2 hours ago, JMF said:

 

Plaubel W67 - Acros 100

Probably the most impressive pulpit I have ever seen.

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I’ve got your back... Rolleiflex 3.5F, Tri-X, D76.

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Edited by Bo-Sixten
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Times Square looking up ... Ektachrome Voigtlander 15mm Leica MA

 

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Approach
M-A Thambar-M ADOX Color Implosion
Steel and stucco.

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Tie dying a shirt. Hasselblad 500cm, Planar 80/2.8, XP2 Super @200, Diafine, Nikon 9000 scan.

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Found some more old negs yesterday. This dates back to xmas day 2001.

Nikon FM2, 28mm, Fuji Reala.

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1 hour ago, chrism said:

Tie dying a shirt. Hasselblad 500cm, Planar 80/2.8, XP2 Super @200, Diafine, Nikon 9000 scan.

Grateful Dead softly in the background? :)

 

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Here"s a few from a recent trip to the Oregon coast. The first three are from the Yanina Head National Scenic Area in Newport, Oregon. The other two are from a side road that parallels Rt 101 and is a single lane in some directions. It leads to Cape Foulweather and eventually to the Devils Punchbowl.

Leica M4, Voigtlander 35 2.0 Ultron ASPH V1, Ilford Delta 400, Ilfotec HC 1:31, Scanned with a Sony A7II, FE90G 2.8 Macro, Negative Supply Carrier Mk 1, 5x7 Light Source Pro 95 CRI

It was a stunningly bright, sunshiny day on the coast!

 

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Edited by madNbad
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I just realized all of the images above suffer from motion blur. The negatives are sharp but the table I’m currently using to set up the camera scan is not the most stable. My choice at this time is to either raise the ISO for a higher shutter speed or use the dining table. Eventually, a better platform is in order. My apologies for the fuzzy photos.

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Sprocket Rocket Microclicks | Foma 400 | Rodinal Stand Developed

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