I like film...(open thread)

[philipus]

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On 10/8/2019 at 1:15 AM, A miller said:

ha ha, I wish I could as good in my hat as he does in his.  And where's your hat, btw??? 😉

Why, here of course  

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80 Planar Ektar X1

[Ernest]

14 hours ago, stray cat said:

This is... brilliant! You’ve taken it to a new level, Rog. Now, looking at this, I can’t UNsee Malevich sitting at his desk.

Thank you so much, Phil, for the reassurance in knowing that I am not the only zany one, here.  UNseeing, yes!  It is only appropriate that this echoes Dostoevsky’s observation: “Try and set yourself the task not to think of a white bear, and the cursing thing comes to mind every minute.“ Ha, Ha.

Rog 🎬

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[benqui]

M4, APO 90, Ilford Delta 400

 

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[Ernest]

2 hours ago, Kl@usW. said:

I´ve been coming back to this picture- the mixture of sharpness and haze is fascinating-the green halos are the -albeit toxic- cherries on the cake... 

This is the Thambar-M lens I have been using with ADOX Color Implosion to get that “mixture of sharpness and haze” accentuated with toxic grain. Toxic cherries? Sounds delicious!

2 hours ago, Kl@usW. said:

now where there is a desk-there must be a chair. Why do I see Rietveld lurking around the corner ?

My Rietveld book includes measured shop drawings for the red blue chair I promised to build, someday.  And then there is that stupendous zigzag chair! 

1 hour ago, philipus said:

 

WOW Rog, this is awesomeissimo. But maybe Malevich is carrying a concrete, um, plank

 

Surfboard,  maybe? Ha, ha.  Thanks for the creative perspective. 

[sblitz]

fishing last weekend with my cousin on his boat in Nantucket Sound .... ill with cancer not sure how many more fishing trips, but I treasure the ones we get to go on ... 50mm summilux, M4, portra 400 ... 1000 f/11

 

 

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[sblitz]

Kodachrome July 1960 on the Etaples train station in pas-de-Calais in France. That's me making like a porter. My dad took the picture, Leica III f, my guess is the lens was a 35mm f2.8 Tanar  Tanaka Kogaku Miss my dad more, but I miss Kodachrome too . . . . . 

 

 

 

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[mikeamosau]

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17 minutes ago, sblitz said:

Kodachrome July 1960 on the Etaples train station in pas-de-Calais in France. That's me making like a porter. My dad took the picture, Leica III f, my guess is the lens was a 35mm f2.8 Tanar  Tanaka Kogaku Miss my dad more, but I miss Kodachrome too . . . . . 

 

 

 

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Fantastic photo! 

[sblitz]

here is another version of my cousin, color corrected it -- the sea was not green .... 

 

 

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[A miller]

On 10/8/2019 at 4:22 PM, Ernest said:

BUT we need to consider that he's not wearing either, simply hiding behind a life-size cardboard cut-out with nothing more than a lens opening. At least, a plausible theory until we see FM's last posting, "Hold Up on the Strand!" There is good reason to cower in the shadow of FM.

Conceptually, I applaud the move of the shadow off the subject, asserting a kind of autonomy, definition of the FM as an entity in his own right. "We are nothing without our shadow."

LOL, very good, Rog.  Had me rolling, as usual 😂

5 hours ago, philipus said:

Why, here of course  


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80 Planar Ektar X1

Ha ha, love it, Philip.  Great photo.

4 hours ago, benqui said:

M4, APO 90, Ilford Delta 400

 

 

Love it, Marc, as well as the fresh face 😉

[A miller]

Finally got my roll developed from my lovely afternoon outing with Marc @benqui late last August.  A couple of mild crackers are emerging 😉

M7, 28mm elmarit pre-asph, Portra 400 ⚡

 

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Edited October 10, 2019 by A miller

[benqui]

vor 4 Stunden schrieb sblitz:

here is another version of my cousin, color corrected it -- the sea was not green .... 

 

 

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A very vood portrait! For sure he will love it!

vor 2 Stunden schrieb A miller:

Finally got my roll developed from my lovely afternoon outing with Marc @benqui late last August.  A couple of mild crackers are emerging 😉

M7, 28mm elmarit pre-asph, Portra 400 ⚡

 

Wow! Looks really very good!! Never thought that you get such a style with the flash and daylight!

[nefarious]

Lower Don Valley again; this time with my Hasselblad 503cx, Zeiss Planar 80mm f/2.8 on Kodak Ektar 100.  The light was VERY bright and I was working with a light meter on my phone and a degree of guesswork... 

These sculptures have been appearing for some time in the river in the city centre.  Then one day there was a rise in the water level and they were all gone; no idea whether they were removed to safety or washed away.

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Has-R001-11a by Duncan G, on Flickr

[Bateleur]

8 hours ago, sblitz said:

Kodachrome July 1960 on the Etaples train station in pas-de-Calais in France. That's me making like a porter. My dad took the picture, Leica III f, my guess is the lens was a 35mm f2.8 Tanar  Tanaka Kogaku Miss my dad more, but I miss Kodachrome too . . . . . 

 

 

 

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Love this photo Steve! And the sentiments too.

[Suede]

Baker at work.  [Tri-X]

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[Guest JMF]

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dans Paris by JM__, on Flickr

Cinestill 50D @200 pushed x2 - Nikkor 24 f2 - Nikon F2

[Suuumm55]

vor 13 Stunden schrieb benqui:

M4, APO 90, Ilford Delta 400

 

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wunderbare Lichtführung, die diese aussergewöhnliche u. natürliche Schönheit betont     -    super Marc

[ash13brook]

On 9/30/2019 at 10:23 PM, Ernest said:

What genre, you wonder? In a word: postmodern. Color field is a concern, also.

Thank you so much for your interest in my work and the implication of whether or not it is indeed photography. Perhaps you are right; perhaps it’s not photography at all; perhaps it’s not even a photograph. Is it swerving back to the optics of painting, the genesis of visual expression? It is a question that I wrestle with, constantly, since I view my work as the starting point of a visual argument. It is not so much a contest between text and image because there is so much in the gradations that are difficult to express, such as the valance of emotion in a color. The allegorical reference of an image. The artful ambiguity of perspective. Derrida underscored the slippery slope of making either/or propositions that disallowed gray areas of consideration.

Thanks to Phil, I have been re-reading John Szarkowski’s essay in William Eggleston‘s Guide: “ . . . the meanings of words and those of pictures are at best parallel, describing two lines of thought that do not meet; and if our concern is for the meanings in pictures, verbal descriptions are finally gratuitous" (13).

So, what are my concerns? For me, the emphasis is not on what a photograph is “of,” but rather what a photograph is “about.” Is it about something present because it is absent?

Recently, I posted a series of questions, which define some of the concerns in my work. Is the photograph a statement? If so, what does it say? Can it not be a question, perhaps the scaffolding of interrogation? Is the question, itself, a statement? Is there a conflict? What are the conditions for resolution? Or is the resolution irresolute? What are the casualties? What is at risk? Can a photograph be a line in the sand? What is the challenge of such a metaphor? Can boring be interesting? Can the commonplace be unique? Can a photograph dismantle itself, deconstruct? Is what is not seen in the photograph, actually what is to be seen? Is not all photography metaphoric, revolving meaning? Or is it simply evidence that risks allegorization? What is the penalty of being irrelevant? Why is there no such thing as erasure? Consider the photograph of absence, the allusion of completeness in incompletion.

In all fairness, I don’t know that I can help you understand my work, other than to say, it makes its own statement, and if I could have said it any other way, I would be challenged to find it. As you would guess, my work is deliberate. I am always on the hunt. Postmodern photography is a broad umbrella, I know, but what interests me is work that challenges the very concept of the photograph. See this thread: 3033-3034.
 

Cheers,
Rog

Thanks for this discussion.

I'll admit to being ignorant of most of the discussion about some of your pieces. Some I really like, but for reasons I might not understand.

But, thanks mostly for the reference to Szarkowski's essay in the Eghgeston book. A Szarkowski text was used in photographic class i took at the local college in the late 80s and I really enjoyed it. And I'm a fan of Eggleston, even though I don't own any of his books. That wrong was just righted. Plus I'll have the Szarkowski essay, which I'm looking forward to.

For those of you who do understand the intricacies of these pieces and sometimes reference artist/authors - a small footnote about the source would be a great help to (at least) me.

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Leica R6 - Summicron 2/50 - Agfa Precisa CT100

[Stealth3kpl]

On the subject of hats...

Portugal, probably Portra.

Pete

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Edited October 10, 2019 by Stealth3kpl

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Hallo,

Look here: Interesting Leica gear

[MT0227]

Some pastel summer color.....

Jenkinson's Boardwalk - Point Pleasant, NJ

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2019-08-30-00001 by Marc Tauber, on Flickr

• M6J - 50 DR Summicron
• Portra 400 in Unicolor C41 Press Kit
• Nikon LS-9000