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I like film...(open thread)


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Untitled by JM__, on Flickr

 

Ilford Pan F 50 - Bessa R - 28 f3.5 Kohki LTM

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Au Brusc by JM__, on Flickr

 

Au Brusc by JM__, on Flickr

 

Ilford Delta 100 - Plaubel W67

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On 11/6/2018 at 12:35 AM, Wayne said:

 

Linhof Technika 6x9, Zeiss Planar 100/2.8, Long expired Svema 64 120 film

Very lovely, Wayne.  Congrats on the new camera :)

On 11/6/2018 at 1:19 AM, gbealnz said:

Some more Venice.

R6 with 50 Summicron

Portra 400

 

Wow, really love these colors, Gary.  

On 11/6/2018 at 12:48 PM, Mark II said:

A couple more from Barcelona, both M7 with Delta 400. The first is at EI1600 and the second at box speed, both processed in DD-X 1+4.

 

 

 

Wow, very good, Mark.  That first is a cracker reportage shot.

On 11/6/2018 at 2:07 PM, Bobitybob said:

Sunbeams ...

 

 

Mamiya 645 Pro TL, Kodak Portra 160 (Expired)

Very lovely light, Robert.

On 11/6/2018 at 2:53 PM, R-4 said:

Heidelberg in winter (Feb. 2009, Kodak Tmax 100, R4, Elmarit-R-24):

 

Fantastic winter scene!

On 11/6/2018 at 5:19 PM, JMF said:

 

Au Gaou by JM__, on Flickr

 

Ilford 3200 - 2 inch Cooke f2 LTM - M3

Very good, Jean Marc!

On 11/6/2018 at 5:25 PM, mdachs said:

 

Wolkenburg, horse chestnut alley

 

 

m4-2 2/50IV tri-x

 

Joachim

Very lovely, Joachim.  Almost looks like infrared film.

8 hours ago, frame-it said:

Leica M5 + 50mm Summilux f1.4 ASPH + LOMO 800

 

 

LOVE these strong colors

4 hours ago, joergel said:

 

 

Leica R6 - zone plate - Fuji slidefilm expired 2011

Wow, what a painting!

3 hours ago, JMF said:

 

Untitled by JM__, on Flickr

 

Ilford Pan F 50 - Bessa R - 28 f3.5 Kohki LTM

Excellent, Jean Marc.  Love how the dark figures of the kids are juxtaposed against the bright white foamy water...

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Leica M5 + 50mm Summilux ASPH + Fuji Xtra 800 / Night / Available light

 

under the neon signs

 

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19 hours ago, stray cat said:

On the excellentDiptychs, Triptychs and Polytychs (Open Thread)

I mentioned I'd found an old camera and, on developing the roll of film within it, found there was a photograph of me on it from the 1970s and one from just a few years ago. Well, it turns out a couple of details were askew - the photo I thought my wife had taken of me a few years ago I'd actually taken of her. Still, I think it makes for quite an interesting diptych, which I'll post here as the images were not made on a Leica camera:

Time Machine Diptych c 1978 - 2008

Kodak Autographic, Ilford HP4

Awesome marriage of images, how fortuitous. The composition: where one flare bleeds, it gives life to the adjoining flare! The window background framing of both portaits, meeting in a "corner" intersection! Both portraits, friendly, endearing looks into the lens of time, warm smiles, so casual and incandescent. Both portraits, the same relative head size, too. This is such a marriage portrait. That this is analog with the persistence of the images speaks to the endurance of the moment, though captured in the past, persists in the present. This isn't just a double portrait, a diptych of two personalities--there is a presence, an unspoken narrative that is authored by the shared boundary of these two images.

Cheers, Rog

Edited by Ernest
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2 hours ago, A miller said:

I am very unapologetically becoming a "one trick pony" with my pano format.  😂  There are just so many vantage points that have been building up and now I finally have a way to capture them.   I love how Ektar handles the blue gases in the atmosphere on a cloudy morning.

From Pebble Beach in Dumbo, Brooklyn

617s iii, 90mm Schneider Super Angulon XL, Ektar

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And the yellow of the rectangular whatever left side, awesome.

Gary

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On ‎11‎/‎4‎/‎2018 at 7:30 AM, Steve Ricoh said:

I was only thinking, creating and presenting images 'how I feel' about something, rather than presenting a facsimile of something, albeit a 2D representation. And bang, here's an example, I suspect. Did you 'feel' the scene and capture and present how you felt? For some reason that's what I'm getting here, and bravo!

I hope Rog (@Ernest) reads this and helps to take the concept further. It's not new, I've read about others who strive to present how they feel.

Where's Rog?

 

Yes, this subdued palette is very moody, and even though 2D, as Steve points out, has a dimensional aspect that controlling DOF offers. This same effect can be created using different images in a polyptych, some in focus and others out of focus, which gives the illusion of depth. Colors, as we know, create different responses, demonstrated in the work of many artists, namely those working mainly with color fields: Mark Rothko, Barnett Newman, and Josef Albers are examples. Pairing up images with separate color fields is a way to add emotional tone to polyptychs. Ernst Haas and Saul Leiter used color and fragmentation in their photographs in a way that said much more than catching an identifiable image, which I find as a source of constant discovery. Saussure said that we know colors by what they are not; so, we learn that "red" (as a signifier) is red because it is not brown, or blue, or yellow, or whatever. Apply this in a way to images in context, and it's like editing scenes in cinema. Take a close shot of a young girl in a room, looking out a window, smiling; next, cut to a point-of-view shot through the window of a scene outside where a mother is playing with her four-year-old son who loses a helium filled balloon on a string that slips from his grasp. Imagine if we change that POV shot to two young boys beating up another boy. Two entirely different narratives determined by the cut, the context.

I am posting here two polyptychs, which have one shot in common, but different contexts. One is obviously a narrative, images I shot of Jimmy Carter running for president. The second polyptych juxtaposes simple shadows I shot last week with the same flower print skirt shot from 48 years ago, and I've added color fields for their metaphoric tone.

Carter Running

Nikon F Nikkor 85mm
RGB (ECN-2) An Eastman Kodak motion picture film stock this company sold. Really not intended for still photography (but, hey, I was young).

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Shadows Flower Print

M-A Thambar-M
ADOX Color Implosion

Nikon F Nikkor 85mm
RGB (ECN-2)

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vor 3 Stunden schrieb Ernest:

Yes, this subdued palette is very moody, and even though 2D, as Steve points out, has a dimensional aspect that controlling DOF offers. This same effect can be created using different images in a polyptych, some in focus and others out of focus, which gives the illusion of depth. Colors, as we know, create different responses, demonstrated in the work of many artists, namely those working mainly with color fields: Mark Rothko, Barnett Newman, and Josef Albers are examples. Pairing up images with separate color fields is a way to add emotional tone to polyptychs. Ernst Haas and Saul Leiter used color and fragmentation in their photographs in a way that said much more than catching an identifiable image, which I find as a source of constant discovery. Saussure said that we know colors by what they are not; so, we learn that "red" (as a signifier) is red because it is not brown, or blue, or yellow, or whatever. Apply this in a way to images in context, and it's like editing scenes in cinema. Take a close shot of a young girl in a room, looking out a window, smiling; next, cut to a point-of-view shot through the window of a scene outside where a mother is playing with her four-year-old son who loses a helium filled balloon on a string that slips from his grasp. Imagine if we change that POV shot to two young boys beating up another boy. Two entirely different narratives determined by the cut, the context.

I am posting here two polyptychs, which have one shot in common, but different contexts. One is obviously a narrative, images I shot of Jimmy Carter running for president. The second polyptych juxtaposes simple shadows I shot last week with the same flower print skirt shot from 48 years ago, and I've added color fields for their metaphoric tone.

Carter Running

Nikon F Nikkor 85mm
RGB (ECN-2) An Eastman Kodak motion picture film stock this company sold. Really not intended for still photography (but, hey, I was young).

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Indeed, two totally different stories are popping up, the 2nd perfectly explaining Jimmy Carters (and curently my) facial expression.

Thanks.

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Some more Portra 400 and the R6/50 Summicron.

 

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4 hours ago, Ernest said:

Yes, this subdued palette is very moody, and even though 2D, as Steve points out, has a dimensional aspect that controlling DOF offers. This same effect can be created using different images in a polyptych, some in focus and others out of focus, which gives the illusion of depth. Colors, as we know, create different responses, demonstrated in the work of many artists, namely those working mainly with color fields: Mark Rothko, Barnett Newman, and Josef Albers are examples. Pairing up images with separate color fields is a way to add emotional tone to polyptychs. Ernst Haas and Saul Leiter used color and fragmentation in their photographs in a way that said much more than catching an identifiable image, which I find as a source of constant discovery. Saussure said that we know colors by what they are not; so, we learn that "red" (as a signifier) is red because it is not brown, or blue, or yellow, or whatever. Apply this in a way to images in context, and it's like editing scenes in cinema. Take a close shot of a young girl in a room, looking out a window, smiling; next, cut to a point-of-view shot through the window of a scene outside where a mother is playing with her four-year-old son who loses a helium filled balloon on a string that slips from his grasp. Imagine if we change that POV shot to two young boys beating up another boy. Two entirely different narratives determined by the cut, the context.

I am posting here two polyptychs, which have one shot in common, but different contexts. One is obviously a narrative, images I shot of Jimmy Carter running for president. The second polyptych juxtaposes simple shadows I shot last week with the same flower print skirt shot from 48 years ago, and I've added color fields for their metaphoric tone.

Carter Running

Nikon F Nikkor 85mm
RGB (ECN-2) An Eastman Kodak motion picture film stock this company sold. Really not intended for still photography (but, hey, I was young).

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Fascinating discourse on colour, love it!

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