I like film...(open thread)

[Doc Henry]

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7 hours ago, chris_z said:

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Pentax 67II, Tri-x

Superb shot Chris , nice black and white tone of  Kodak TX

What is your developer ?   Thanks

Best Henry ,   the source of "can' s worms" in this thread

[Doc Henry]

13 hours ago, Wayne said:

I am not sure what it is, but whenever I walk by it I stop and smile. Architecture changes through the ages, I imagine if one were there to see it, It might have appeared, in pretty much the same way, in ancient Athens or Rome.

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Foca Universal, Oplar 28/6.3, Kodak 400 Ultra

 

12 hours ago, Wayne said:

 

 

Your Foca is now fully operational and  I am glad to contribute for this second life of this camera like you demonstrate in these pictures Wayne

Very nice color and b&w pictures

 

11 hours ago, Ernest said:

Pepsi Black Cat Diptych

Nikon F Nikkor 85mm
Tri-X & RGB (ECN-2)

A diptych study using Tri-X and color, how one photograph informs the other and creates a dialogue.

The Tri-X sat undeveloped for 47 years, and I had no idea of what was on the roll. The Pepsi door I shot in Mobile, Alabama in 1976.

Well done and great  black and white tone  of  Kodak TX  400 Roger

Best regards

Henry

Edited December 4, 2018 by Doc Henry

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[Suede]

Just in time...  [T-Max 400]

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[oldwino]

Agfa Isolette III / Delta 400 / Xtol Replenished

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[christoph_d]

12 hours ago, Ernest said:

I really like your statement: "I like the mystery in photography; photography as an art conjuring up images." This emphasizes the interplay between the viewer and the intentions of the photographer. You have selected this shot for what it says, perhaps in a universal sense, but each viewer will construct an individual narrative. One strength of this shot is the ambiguous identity of the young couple, and in this way, it becomes universal. The "of-the-moment" entanglement of the legs, the impromptu posture, the playful caressing, the loving abandonment--all has a refreshing innocence. My question is this: this is one page of your book, what would you select as the adjoining photograph? Would they counter each other, like scenes in a film? Would it expand the moment between the two lovers? Would it contradict the visual statement, ironically? What if your facing photograph were of a battalion of young soldiers marching down the boulevard? What if it were a war torn country house? What if? And then, what about the rest of your book? What will keep us turning the page?

Cheers,
Rog

Hi Rog, 

Thank you for putting so much effort into thinking and writing about my humble photographic attempts. I have to admit that, by and large, I am thinking of my pictures as self-contained - in that, for most of the time, I seek to find (or is it create?) the "ultimate picture". I think it was on this forum that I once read about the concept of one picture carrying over to the next in a more literal manner, and "the Americans" was used as an example. A hat is somewhere in a first photograph, a hat in a very different setting returns in the second. A cigar on the second can be found in the third etc. I am not sure if I can detect this concept being followed scrupulously through though, but perhaps I am blind to some of the obvious cues that Robert Frank used. 

I did like his choice of a blank page adjoining a photograph, and most of my photographs I'd chose to display like that. With all this in mind I will leave your question as to my choice of adjoining photograph unanswered. I will attach, however, a picture that I would definitely not chose on the adjoining page, but which I am quite happy with nevertheless.

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M5, 35, Foma200

Best regards

Christoph

[gbealnz]

Some more Ghent, with the Leicaflex SL and XP2 Super.

Gary

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[gbealnz]

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[gbealnz]

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[Stealth3kpl]

16 hours ago, Wayne said:

I am not sure what it is, but whenever I walk by it I stop and smile. Architecture changes through the ages, I imagine if one were there to see it, It might have appeared, in pretty much the same way, in ancient Athens or Rome.

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Foca Universal, Oplar 28/6.3, Kodak 400 Ultra

I like the 3 blue bins against the 3 blue steps of sky.

Pete

[gbealnz]

And the three doors, and three wires (OK< might be 4, but)

Gary

[MT0227]

19 hours ago, A miller said:

Who do you think wears the pants in this household....? 😉

Portra 400, M-A, 28mm

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The one in front

[Stealth3kpl]

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055 by Pete, on Flickr

 

 Neopan 400 @250, HC110 1+49 6 mins @20C , Plustek 8100, Vuescan.

 

Pete

[Stealth3kpl]

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066 by Pete, on Flickr

Neopan 400 @ 250, HC110 1+49, 6 mins @ 20C. Plustek 8100 and Vuescan.

MP and 50mm Elmar.

Pete

[Stealth3kpl]

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045 by Pete, on Flickr

Neopan 400 @ 250, HC110 1+49, 6 mins @ 20C. Plustek 8100 and Vuescan.

MP and 50mm Elmar.

Pete

Edited December 4, 2018 by Stealth3kpl

[Ernest]

5 hours ago, Doc Henry said:

 

Your Foca is now fully operational and  I am glad to contribute for this second life of this camera like you demonstrate in these pictures Wayne

Very nice color and b&w pictures

 

Well done and great  black and white tone  of  Kodak TX  400 Roger

Best regards

Henry

Thanks so much, Doc Henry. I was amazed that Tri-X was that resilient. As I said, I had no idea of what was on the roll and was pleasantly surprised with the image. Stay well.

Cheers,
Rog

[Ernest]

5 hours ago, christoph_d said:

Hi Rog, 

Thank you for putting so much effort into thinking and writing about my humble photographic attempts. I have to admit that, by and large, I am thinking of my pictures as self-contained - in that, for most of the time, I seek to find (or is it create?) the "ultimate picture". I think it was on this forum that I once read about the concept of one picture carrying over to the next in a more literal manner, and "the Americans" was used as an example. A hat is somewhere in a first photograph, a hat in a very different setting returns in the second. A cigar on the second can be found in the third etc. I am not sure if I can detect this concept being followed scrupulously through though, but perhaps I am blind to some of the obvious cues that Robert Frank used. 

I did like his choice of a blank page adjoining a photograph, and most of my photographs I'd chose to display like that. With all this in mind I will leave your question as to my choice of adjoining photograph unanswered. I will attach, however, a picture that I would definitely not chose on the adjoining page, but which I am quite happy with nevertheless.

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M5, 35, Foma200

Best regards

Christoph

First off, you should be happy with this photograph, but not "nevertheless." Why? It is most assuredly not a "nevertheless" photograph because it has mystery and the magic of "geometry" as HCB would say or "composition" as many of the rest of us say. It has the quality of action "in media res" as we say in theatre and literature; it starts in the middle of something. Interestingly, it's divided into thirds, a priest, I assume, standing in darkness, his white robe the center of focus in the middle of the frame. Cardinal rule: avoid centering the subject, UNLESS the symmetry connotes tradition, which it does here. Such a seemingly insignificant detail, the woman's high heel entering the frame, so significantly. How does it relate? The shadow of the person out of frame, scattering rose petals on the floor? The repetition of the floral mosaic on the floor echoes the rose petals. And then, there's the mosaic vine under the priest's shoes. Wedding, perhaps? If this were a film, these would be cutaway details. In a novel, these would be details that tell. Such are the instincts of the photographer. This is definition by negation, detailing what is in the "background" to define what is in the foreground (unshown). A watercolorist paints negative space, from light to dark, as opposed to an oil painter who paints from middle and dark ground to light.

In any case, I would not discount this in tandem with the young couple shot, particularly on the verso of the page with the young couple on the recto, meaning the two photographs would read left to right. The point you make about the blank pages in Frank's The Americans actually deconstructs the notion that his photographs are standalone. Deconstructed, each photograph printed on the recto (right) side of the book page creates an afterimage when the page is turned to the next photograph. The viewer has seen the first photograph and is now looking at the second photograph, still thinking about the preceding photograph. Take for instance the shot in The Americans of the car covered with a tarp, parked in Long Beach, California between two palm trees. Turn the page, and now there's the roadside accident with four onlookers staring at a large blanket covering the fatalities of the accident. The blanket recalls the tarp. And the next page is what? An open road at night--no cars in sight. The scenes are connected, the gaps are filled by the viewer making mental connections.

Here's another possibility, as an example, how your "Young Couple" shot could work in tandem with another shot. Not that it has to, since your shot works very well solo.

Cut and print,
Rog

 

 It is the last shot with a woman holding her child facing the ocean. 

Edouard Boubat. Rue, NYC. Silver Gelatin Photograph. 1953, printed in 1992. 11 1/2 x 17 1/4 Inches 
https://holdenluntz.com/artists/edouard-boubat

Edited December 4, 2018 by Ernest
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[Wayne]

7 hours ago, Doc Henry said:

 

Your Foca is now fully operational and  I am glad to contribute for this second life of this camera like you demonstrate in these pictures Wayne

Very nice color and b&w pictures

 

Well done and great  black and white tone  of  Kodak TX  400 Roger

Best regards

Henry

It is a joy to shoot. In a world where every other 35mm rangefinder seems, to some extent, based on the wonderful Leica cameras, the Foca is unique. I need to shoot some B&W with the Oplar lenses. It is hard; they do so well with color. Especially when I keep my finger out of the way.

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Oplar 28/6.3, Fuji 400H

 

Best,

 

Wayne

[A miller]

18 hours ago, Doc Henry said:

Superb shot Adam color and framing ....

you come back to your old love of street photos and your M-A works fine !👍

More please 🙂

Best H the "can's worms" who loves street photos in film !

Thanks, Henry.  

17 hours ago, benqui said:

This is one reason why I am a fan of your street photos: very often you wait until you have a direct eye contact with one of your "protagonists". And especially in this case, this is a perfect eye contact!

Thanks, Marc.  Yes I do indeed like the eye contact, even though it is often very fleeting.

13 hours ago, hillavoider said:

i'll take a wild guess and say its not him 

 

awesome photo btw

Thanks   I think you are right.

5 hours ago, MT0227 said:

The one in front

Bingo

5 hours ago, Stealth3kpl said:

045 by Pete, on Flickr

Neopan 400 @ 250, HC110 1+49, 6 mins @ 20C. Plustek 8100 and Vuescan.

MP and 50mm Elmar.

Pete

Gorgeous, Pete

[A miller]

A somewhat painterly scene from the salty shores of the Dead Sea

503cw, 80mm planar, Velvia 50 (PL)

 

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Hallo,

Look here: Interesting Leica gear

[MT0227]

 

Linhof Master Technika Classic ~ Schneider 90/5.6 Super Angulon

Rollex 6x9 ~ Ektar 100 ~ Developed w/Unicolor C-41 Press Kit ~ LS-9000

Some more Blue Hour; in Brooklyn

 

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Blue In Brooklyn by Marc Tauber, on Flickr