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I like film...(open thread)


Doc Henry

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7 hours ago, Ernest said:

 Phil, thanks so much for trotting Trent Parke centerstage because I had not seen his work. WOW is one of those words spelled the same backwards and frontwards and in the mirror, zigging and zagging down the analog freeway.  Thanks for the YouTube link. Trent is just a little north of mercurial.  Here tell that Starbucks is negotiating for rights to a quad espresso drink they have dubbed the Trent Analog!  Wake up in the morning, grab your Leica,  throw down a steaming Trent Analog Quad Espresso, and be Amazing.

Here are a few more YouTube links:

 

 

Rog, it is I who owe you a debt of immense gratitude. Following your acute and finely nuanced observations on Trent Parke's work - not just his photography, but his sequencing and the way he communicates using metaphor, painting narratives for the viewer to complete, I acquired a renewed interest in his work and revisited the books I have - Minutes To Midnight and The Black Rose. As I don't have the words, in order to continue I am going to have to quote from Apocalypse Now: "And then I realized... like I was shot... like I was shot with a diamond... a diamond bullet right through my forehead. And I thought, my God... the genius of that! The genius! The will to do that! Perfect, genuine, complete, crystalline, pure." Not, in Trent Parke's case, piles of severed, newly inoculated arms, but the sheer genius of being able to tell stories using pictures. Important, moving and very personal stories. I'd always admired his pictures, but when, with your guidance, I came to look at the space between the pictures - the universe of meaning that is carried in that void, suddenly the diamond bullet hit home. Wow indeed. I am confident that you will be even more in awe of his work once you receive The Black Rose. It is staggering work. 

All hail the analog freeway! Now I have some videos to watch...

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Low tide ladder ...

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Canon EOS 1n, Kodak BW400CN

 

 

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.

 

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903SWC with Orange filter (that seems to vignette)

Tri-X @ 400 in R09 @ 1:50

Epson 4870

Gary

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Edited by gbealnz
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Then I got into Miller-Mode, something I've not tried, and used the ground-glass focus screen on the SWC.

Needed colour, obviously, so will further this at some stage.

Same details as above.

Gary

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Canon EF, FD 35/2, Foma 200

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Galileo's Ladder
M-A APO-Summicron-M 50mm LHSA
ADOX Color Implosion

Reconstructed from mental sketches based on the last stone step to the top of the leaning tower of Pisa using the imageless flash frame from the beginning of a 35mm roll of ADOX. Unadulterated analog.

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17 hours ago, stray cat said:

Rog, it is I who owe you a debt of immense gratitude. Following your acute and finely nuanced observations on Trent Parke's work - not just his photography, but his sequencing and the way he communicates using metaphor, painting narratives for the viewer to complete, I acquired a renewed interest in his work and revisited the books I have - Minutes To Midnight and The Black Rose. As I don't have the words, in order to continue I am going to have to quote from Apocalypse Now: "And then I realized... like I was shot... like I was shot with a diamond... a diamond bullet right through my forehead. And I thought, my God... the genius of that! The genius! The will to do that! Perfect, genuine, complete, crystalline, pure." Not, in Trent Parke's case, piles of severed, newly inoculated arms, but the sheer genius of being able to tell stories using pictures. Important, moving and very personal stories. I'd always admired his pictures, but when, with your guidance, I came to look at the space between the pictures - the universe of meaning that is carried in that void, suddenly the diamond bullet hit home. Wow indeed. I am confident that you will be even more in awe of his work once you receive The Black Rose. It is staggering work. 

All hail the analog freeway! Now I have some videos to watch...

Absolutely cannot wait for The Black Rose. The notion of the decisive moment is deconstructing itself--the decisive moment, a reconsideration of this concept that leans heavily on simplistic reductionism, the notion that one photograph "captured" in a fleeting click distills a visual poetry that transcends words. This reduces the photographer to an editor of chance at the behest of luck. How much chance, how much luck? This ushers a consideration of chaos theory, significantly, and complexity applied to photography that demonstrates the accretion of indecisive moments that by their context provides the spine to multiple, even simultaneous, constructed narratives. It is not to argue either/or, but rather a conjunction of the decisive moment in a theatre of indeterminate indecisive moments.

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35 minutes ago, Ernest said:

Absolutely cannot wait for The Black Rose. The notion of the decisive moment is deconstructing itself--the decisive moment, a reconsideration of this concept that leans heavily on simplistic reductionism, the notion that one photograph "captured" in a fleeting click distills a visual poetry that transcends words. This reduces the photographer to an editor of chance at the behest of luck. How much chance, how much luck? This ushers a consideration of chaos theory, significantly, and complexity applied to photography that demonstrates the accretion of indecisive moments that by their context provides the spine to multiple, even simultaneous, constructed narratives. It is not to argue either/or, but rather a conjunction of the decisive moment in a theatre of indeterminate indecisive moments.

Sometimes, I think it is just the fact that something screams at you, and has been screaming, but has become background noise.............Until.  :)

Catalpa and pick-nick table.

 

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I thoroughly enjoy your writing and photography, Roger. How long have these two been screaming to be photographed? I think I could shoot three or four rolls just on this scene. But then.........Somebody might think I am nuts.

Canon EF. FD 35/2, Foma 200

Long live film

 

Best,

Wayne

Edited by Wayne
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Burn Pile.

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Canon EF, FD 35/2, Foma 200.

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1 hour ago, Ernest said:

Absolutely cannot wait for The Black Rose. The notion of the decisive moment is deconstructing itself--the decisive moment, a reconsideration of this concept that leans heavily on simplistic reductionism, the notion that one photograph "captured" in a fleeting click distills a visual poetry that transcends words. This reduces the photographer to an editor of chance at the behest of luck. How much chance, how much luck? This ushers a consideration of chaos theory, significantly, and complexity applied to photography that demonstrates the accretion of indecisive moments that by their context provides the spine to multiple, even simultaneous, constructed narratives. It is not to argue either/or, but rather a conjunction of the decisive moment in a theatre of indeterminate indecisive moments.

 

1 hour ago, Wayne said:

Sometimes, I think it is just the fact that something screams at you, and has been screaming, but has become background noise.............Until.  :)

Catalpa and pick-nick table.

 

I thoroughly enjoy your writing and photography, Roger. How long have these two been screaming to be photographed? I think I could shoot three or four rolls just on this scene. But then.........Somebody might think I am nuts.

Canon EF. FD 35/2, Foma 200

Long live film

 

Best,

Wayne

OK we are most certainly entering heady territory here. I love the ideas and connections and connotations that are constantly motivated by this thread. "the accretion of indecisive moments". "the fact that something screams at you, and has been screaming, but has become background noise.............Until". We have reached, I think, a really important juncture here. We can throw out the book on decisive moments if we so choose. Remember that scene in Dead Poets Society where the Robin Williams character got the students to tear out the page of pompous gobbledygook from their poetry readers? Are we at that point? Don't get me wrong - Cartier-Bresson and the whole decisive moment thing are critically important moments in the evolution of photography, and his writings are far from gobbledygook. But we can liberate ourselves, as Rog so eloquently points out and as Wayne's work so eloquently testifies, and still be in the vanguard of modern photographic practice - and it is of our choosing to do so. The visual poetry of the decisive moment is no more or less right than the visual poetry of a grand tree and picnic table that have remained in the view of the artist for years - decades. Or of a construction formed in response to and appreciation of a lingering memory of climbing to the top of the leaning Tower of Pisa. It might be in a photograph from 1976 of the back of a goods train which contains a rusty panel that for all the world looks like a beautifully painted snowy landscape. Tear out those pages! Seize the day! Let's liberate ourselves further from whatever it is that holds us back in our pursuit of our art! Who cares if people think we're nuts? Hell - maybe we are - but still who cares? Find frozen citizens in the street, ladders that go nowhere, lascivious statues set against azure skies, statuesque foals in the fields! And photograph them! So many subjects, so little time!

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