I like film...(open thread)

[benqui]

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Tmax 400, Apo 50, M6 and light and shadows

 

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[A miller]

1 hour ago, benqui said:

first of all: how can I ever forget this photo?Yes really very cool. Good to know what I have to wear for my NY trip in August! And I am sure that you, as an experienced husband, will never break rule number 1: never ever contradict your wife! Happy wife, happy life. Life could be so easy!

so true, Marc, a golden rule it is 👍

38 minutes ago, benqui said:

Tmax 400, Apo 50, M6 and light and shadows

 

 

 

Wonderful!  Absolutely love those shadows from the blinds with  the natural light seeping through.  Very well done.  Is this a model that we haven't seen before?

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[benqui]

vor 2 Minuten schrieb A miller:

Wonderful!  Absolutely love those shadows from the blinds with  the natural light seeping through.  Very well done.  Is this a model that we haven't seen before?

Thank you Adam, much appreciated! Yes, we did some shootings together, I love her naturalness. You need only some light, a film and a finger to press the shutter release...

[Steve Ricoh]

1 hour ago, benqui said:

Tmax 400, Apo 50, M6 and light and shadows

 

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I'm stunned !!

[hillavoider]

trees

Fuji Industrial

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[A miller]

19 minutes ago, hillavoider said:

trees

Fuji Industrial

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very nice natural colors with distinct greens that are nicely not muddied between the brown ground and blue sky.  Did you get this from Japan and if not from where?  I'd be really interested to see more from this film...

[MT0227]

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M6J~50 Elmar-M~TriX pushed 1 stop in HC-110 (b) at 20C

Full house on this night.....

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2018-11-15-00016 by Marc Tauber, on Flickr

[hillavoider]

Just now, A miller said:

very nice natural colors with distinct greens that are nicely not muddied between the brown ground and blue sky.  Did you get this from Japan and if not from where?  I'd be really interested to see more from this film...

Yes, thanks, I got a couple rolls in Japan not realizing I can't get it here in Australia , the guy who develops the film and knows a lot more then me about film said he just got back from Japan with 100 rolls as he loves it so much,  not expensive either 

I have some more shots, maybe not amazing images however

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Edited February 19, 2019 by hillavoider

[MT0227]

13 hours ago, gnuyork said:

I found these negatives (that I forgot about) under a pile of books on my coffee table. Was trying to flatten them. These were shot a few years ago. I was testing a camera that was gifted to me, a Canon AE-1 Program with a 50 mm lens. I did these scan this past Friday (after nearly a week in Vegas for work, scanning was my resting therapy). I used my newly acquired 9000ED and I must say, using the 35mm holder is a bit of a pain. I think I prefer my 5400 for scanning 35mm, though the 9000 is of course great for 120.

Film used was expired TMax 100 and I can't remember the developer, it was either D76 or XTOL.

 

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Love the tones, big fan of the middle frame.

[hillavoider]

And GinZA!

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[Kleinkamera]

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Rails, Austin, Texas

M6 / HP5+

[Photon42]

8 hours ago, benqui said:

Tmax 400, Apo 50, M6 and light and shadows

 

Very nice 👍 

[Wayne]

A couple of old friends, stopping by to let me know the cold days of Winter are waning.

Rollei 35S, Sonnar 2.8/40, Fuji Natura 1600

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[Steve Ricoh]

52 minutes ago, Wayne said:

A couple of old friends, stopping by to let me know the cold days of Winter are waning.

Rollei 35S, Sonnar 2.8/40, Fuji Natura 1600

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You're showing off now, Wayne, with the Sonnar version of the Rollei 35. 😊

[Wayne]

45 minutes ago, Steve Ricoh said:

You're showing off now, Wayne, with the Sonnar version of the Rollei 35. 😊

Thanks. I loaded up that roll of Fuji Natura 1600 as a TEST roll for using the camera again. I did it before I looked at what a roll of that film is going for now. Google it. I will not be using Natura for the purpose of testing again.

Best,

Wayne

[Wayne]

Not an attempt to proselytize, but I think it a good example of the quality of the Fuji Natura 1600 image. Rollei 35S, 2.0/40 Sonnar. I am starting to like the "zone focus" thing.

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It was pretty dark. About two hours before sunset. Sun on opposite side of building.

Edited February 19, 2019 by Wayne

[stray cat]

On 2/18/2019 at 4:00 PM, Ernest said:

Thanks for the Wiki-cite, but this is so ballistic, it's hardly "Claytons" by the definition. Don't we just love Russian double negatives: this is not "something that is obviously ineffective." I can barely make out the scrawl near the green door: "Hans Hoffman slept here." Yes, it do drive the rent up. Looking now for Pollock's loft in Chelsea.

Rog - here’s the truth (I swear by almighty, etc) of how it all went down.

It’s late ’49 and all the abstract expressionists are gathered one fine day in Pollock’s Studio in Springs, drinking red cordial and getting pretty out of control, and someone, I think it was one of the color field guys, maybe Rothko, says out of the blue, “you know what our problem is?” To which de Kooning (of course - who else - and also, predictably, to the corroborative giggling and carrying on of Kline and Twombly) offers the wisdom that “action painters don’t have no problem, dick, it’s just color field wankers who have issues”. But then Rothko (no, come to think of it it's Barnett Newman) retorts with “nah, even so-called action slackers have the same problem as us - Greenberg reckons we're the epitome of aesthetic value, and there's no arguing that we do psychic improvisation OK but... we ain’t got no FORM to our work”. This of course causes an eruption of murmering and a general disquiet until Clyfford Still suggests “... as in conventionally structured formal subjective composition? You mean like them pyramids they got down there in  Vegas?”.  “Nah, dummy” interjects Lee Krasner, offering around a plate of bread covered with hundreds and thousands, “like the REAL pyramids - in Egypt”.

So Pollock, ever the genial host, immediately rings up TWA and books first class seats for them all to Cairo. Due to numerous factors including the weather, the Super Bowl, a film vs digital debate on LUF and late season bookings they have to travel via Vence in the South of France, which is where they find themselves next day.  Trouble being, they’ve left New York in such a rush they’ve forgotten their paints. Luckily for them Henri Matisse happens to be in the transit lounge and when they explain their predicament to him he responds “Pas de problème, connards, j'ai une palette de rechange. Même les expressionnistes abstraits ne savent même pas dessiner, sans parler de la peinture ...” Which roughly means “I have a spare palette. Take it - and with it may you create beautiful works”.

Soon Egypt looms and they are landing in front of the Pyramids. The plan? To check out the pyramids (which they do) in order to gain inspiration so that they can paint stuff which contains revolutionary things like content and form. Unfortunately it is very expensive to stay in Cairo so they hitch a ride on a felucca down the Nile as far as low-rent Luxor. Their American Express travellers cheques by now having dwindled to almost zero, they’re forced to look for work.

Fortunately, a house painter named Abdul has just sacked one of his workers for stealing his camel so he hires them on a trial basis and points out a row of houses that are, to be kind, lookin’ somewhat drab in their beiges and greys. Abdul exhorts them to “do yer worst, fellers” and, as they only have between them the single palette of Matisse’s to work from, they are forced to draw straws made from the papyrus reeds that grow abundantly on the shores of the  great river. Robert Motherwell draws the short straw but then, and no-one has ever been able to explain what happened next, somehow it is Hans Hofmann who is passed the palette. Hoffman works furiously and paints like a man possessed, each stroke of his brush laden with such unimaginable emotional intensity that it causes Arshile Gorky to swoon and Anne Ryan to faint. However when Abdul returns he just stands, jaw agape, anger growing and can only utter “يا هذا فظيع” before the Abstracts all feel it best to scram at great haste. Abdul, watching the Abstract Expressionists running away, decides he’s seen enough and had enough of the painting game so instead becomes lead baritone, playing Amonasro, King of Ethiopia for that evening’s performance of Verdi’s “Aida” at the Temple of Karnak.

The Abstracts, meanwhile, have decamped in haste and en masse back to the Valley of the Kings from whence they are able to travel by donkey cart, courtesy of an art-loving peasant named Mustafa, to Alexandria. Here they are able to talk themselves onto the Cunard Liner Queen Mary which is on her final journey to California, and they even manage to wangle a gig as a comedy routine onboard. Finally back in the USA, eschewing any notion of changing their styles and instead resuming their former modus operandi of color field and action, the Abstracts shift the centre of the known art world to Long Beach - which explains why the residents of said town are so knowledgeable about all things art. While this is all goin' down Mustafa and his donkeys have kept going and end up in Cairo, where Mus becomes Chief Curator of Antiquities at the British Museum.

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Mustafa, sitting on his ass, Valley of the Kings

A few years later, a lost Australian traveler happens by the long-forgotten walls of what has come to be known colloquially as “حماقة هوفمان”. Deciding to blow off a few frames at the end of his last roll of Kodachrome so he can wait for the onset of digital a mere few decades hence, he points his camera randomly and accidentally takes the only known photograph of the only known extant example of the abstract expressionists’ historic foray into the world of form and content.

As for Abdul, he is still with the opera, although now singing in the mezzo-soprano role of Amneris, Princess of Egypt, in the Elton John/Tim Rice version.

And that, Rog, is exactly how it all went down, I kid you not.

 

 

[Steve Ricoh]

38 minutes ago, Wayne said:

Not an attempt to proselytize, but I think it a good example of the quality of the Fuji Natura 1600 image. Rollei 35S, 2.0/40 Sonnar. I am starting to like the "zone focus" thing.

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It was pretty dark. About two hours before sunset. Sun on opposite side of building.

Zone focusing is liberating, the only thing with my Tessar R35 is the focus ring is quite slack, and easy to nudge. I have to keep an eye on it so it somewhat makes the thing slightly less liberating. 

 

[Keith (M)]

I posted the colour version (Ektar 100) in #58507 but then decided I wasn't happy with the colour balance (often a problem for me), so decided that the strong shapes plus light/shade would make it a better image in b&w. 

(Fuji GW690II, ON1 Photo 10 plug-in)

 

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Hallo,

Look here: Interesting Leica gear

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York Minster seen from the city walls - April 2008

Leica M4P & 35mm Summicron - Ilford XP2

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