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I like film...(open thread)


Doc Henry

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(re)play III
M-A APO 50 E100

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Hala Diptych
M-A APO 50 ADOX Color Implosion
Kauai blur

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1 hour ago, Ernest said:

Hala Diptych
M-A APO 50 ADOX Color Implosion
Kauai blur

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Hala Diptych. Superb! This is stunning! Where is Odysseus? Tied to the mast of course, resisting the song of the Sirens. A fitting mind-picture for the times.

Edited by stray cat
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Nikon F2 Photomic, Micro-Nikkor 55mm 1:2.8 Ais, Ilford FP4+ 125 @ 100, PMK 1:2:100 8"30' 24ºC.

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On 3/16/2020 at 10:00 PM, gbealnz said:

The colour version of a B&W pic I posted a week ago.

SWC, Portra 400

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I like this one Gary.  The woman with the cane lugging a neon yellow backpack modernizes the scene.  

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Little blue triangle    [Extrafilm 200]

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130 kph, give or take....

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  [Extrafilm 200]

 

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street in Olinda Leicaflex sl, i dont remember what film it was!

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Classroom with sports facilities. 

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vor 22 Stunden schrieb benqui:

M6, Ilford Delta 400, APO 50

 

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I love it, Marc 

vor 18 Stunden schrieb Ernest:

Hala Diptych
M-A APO 50 ADOX Color Implosion
Kauai blur

as you said, our mind is adding that, what we don't see... in this case, the case remains unsolved: what is coming next to the right side ? more grain and blur ? ships ? monsters ? Arthur Gordon Pym on the Grampus  southbound ?   Your diptych takes me on a journey.... 

Am 17.3.2020 um 04:00 schrieb gbealnz:

The colour version of a B&W pic I posted a week ago.

SWC, Portra 400

who said, the SWC is too clumsy for street ? very nice, Gary

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19 minutes ago, Kl@usW. said:

Fog at the canal, 2019-12

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MP, 2/75, HP5, Adox Atomal 49

This is a beautiful example, Kraus, of something that interests me greatly at the moment, photographically - it is the assumption of depth brought about by a pictorial plane that transitions between dark and light. This phenomenon, so expertly and dramatically managed by the painters of and following the Renaissance (I think of, as one later example, Edward Hopper) is something that photography is incredibly well-equipped to explore. It requires of us the vision to see and of course the technical know-how to compose, expose and so on. You have thrown all of that and so much more into this wonderful picture - your multiple planes of light, which so easily could have been pictured as a sort of confused imbroglio (which might not, in itself, be such a bad thing from a different perspective) instead have been presented as this wonderfully harmonious palette of greys. Bravo.

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Inside Abu Simbel

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