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I like film...(open thread)


Doc Henry

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Striking an awkward pose in front of a department store in Stockholm to the apparent amusement of a gaggle of teens.

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40/4 Ektar X1
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Dossier Redaction
M3 APO 50 Fuji Natura

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This one speaks to me a great deal, Rog. I recently watched excellent The [redacted] Report which features quite a few documents with fat black lines across the pages and it - redactions - is something I'm personally quite familiar with from working with war crimes cases for a long time, where we often had to redact, sometimes a great deal, to keep witnesses and other vulnerable persons safe while at the same time respecting as best we could the dictate that court proceedings should be as public as possible. It may be to kick in an open door to say that the fiery blood orange (is it orange vermillion in part?) works perfectly as a symbol for the harm that might be done to whomever benefits from the redaction were the big line not to be there. In one case I worked on - the Lukic and Lukic case - house burnings were prominent crimes and witnesses described how the orange flames licked the night sky as 60-70 persons were burnt alive. Equally, it could be the other way around. You mention a dossier. Of what? Is it relating to bad, wicked even, business practices? Is the redaction, then, a finding of malpractice or dastardly deeds that someone in a leading position wishes to keep from the public eye? It is not uncommon, of course. If there is anything people are more afraid of losing than money, it is their faces. The last, really intriguing detail, for me the icing on the cake, is the crack that runs across the redaction itself. This is simply a fantastic little detail that goes to an absolute truth, at least to my mind. No measure, however well carried out, whether benevolently to protect someone/something or maliciously to hide the corrupt always risks being insufficient and to expose whatever is being hidden. Really a fantastic image all around.

2 hours ago, Ernest said:

Dossier Redaction
M3 APO 50 Fuji Natura

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Side-street jeweler/artist Rome

SWC Portra 400

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Slipper Orchid taken with my new toy a Canon Eos 7s with the 24-105 on Fuji Industrial 

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focusing and macro are now a whole new world

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14 hours ago, fotomas said:

Well - I lived there my first three years. But all I can remember from that time was the S-Bahn.

Here is another from Frohnau.
Passengers waiting in the train 1982.

Fujicolor F-II

This is an amazing picture.

14 hours ago, philipus said:

This one speaks to me a great deal, Rog. I recently watched excellent The [redacted] Report which features quite a few documents with fat black lines across the pages and it - redactions - is something I'm personally quite familiar with from working with war crimes cases for a long time, where we often had to redact, sometimes a great deal, to keep witnesses and other vulnerable persons safe while at the same time respecting as best we could the dictate that court proceedings should be as public as possible. It may be to kick in an open door to say that the fiery blood orange (is it orange vermillion in part?) works perfectly as a symbol for the harm that might be done to whomever benefits from the redaction were the big line not to be there. In one case I worked on - the Lukic and Lukic case - house burnings were prominent crimes and witnesses described how the orange flames licked the night sky as 60-70 persons were burnt alive. Equally, it could be the other way around. You mention a dossier. Of what? Is it relating to bad, wicked even, business practices? Is the redaction, then, a finding of malpractice or dastardly deeds that someone in a leading position wishes to keep from the public eye? It is not uncommon, of course. If there is anything people are more afraid of losing than money, it is their faces. The last, really intriguing detail, for me the icing on the cake, is the crack that runs across the redaction itself. This is simply a fantastic little detail that goes to an absolute truth, at least to my mind. No measure, however well carried out, whether benevolently to protect someone/something or maliciously to hide the corrupt always risks being insufficient and to expose whatever is being hidden. Really a fantastic image all around.

And this is an amazing story and interpretation, Philip, breathing a fresh and unexpected life into Rog's wonderful Dossier Redaction, interpolating within Rog's free construct a narrative of your own experience. Your reaction is obviously quite personal and affected (in the meaning of "deeply moved").

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More "Cars in Pedestrian Historic Areas"

Leica M6, Summicron 35 asph, HP5@1600

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1 hour ago, paulmac said:

To me , the greatest British Photographer and my photographic hero - Bill Brandt.

I walked in his footsteps in Halifax in the West Riding of Yorkshire, UK.

Halifax, is where  Bill Brandt came in 1937 and made some of his most famous images for an article that he was commissioned to photograph for Lilliput Magazine "Hail Hell and Halifax".

Brandt pointed his camera at streets very similar to these that are little changed in over 70 years. 

His images  "Catch Points" and "A snicket in Halifax" were made about half a mile away from where I took these. 

Brandt used a Rolleiflex and I used my 1936 Leica 111A along with the beautiful little gem of a lens - the Summaron 35mm F3.5

I self impose myself to use just basic equipment as I have tired of the rat race of modern digital and it holds nothing for me now.

Film was my current standard Kentmere 400 because it gives the lovely rich blacks that I like. I processed it in Ilfosol 3 at 1-9 dilution for 6.5 minutes with 3 inversions of the tank per minute.

Pictures from one of my current projects - "The Wool Towns of The West Riding".

Regards Paul Mac.

 

 

These are beautiful, Paul.

Pete

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1 hour ago, paulmac said:

To me , the greatest British Photographer and my photographic hero - Bill Brandt.

I walked in his footsteps in Halifax in the West Riding of Yorkshire, UK.

Halifax, is where  Bill Brandt came in 1937 and made some of his most famous images for an article that he was commissioned to photograph for Lilliput Magazine "Hail Hell and Halifax".

Brandt pointed his camera at streets very similar to these that are little changed in over 70 years. 

His images  "Catch Points" and "A snicket in Halifax" were made about half a mile away from where I took these. 

Brandt used a Rolleiflex and I used my 1936 Leica 111A along with the beautiful little gem of a lens - the Summaron 35mm F3.5

I self impose myself to use just basic equipment as I have tired of the rat race of modern digital and it holds nothing for me now.

Film was my current standard Kentmere 400 because it gives the lovely rich blacks that I like. I processed it in Ilfosol 3 at 1-9 dilution for 6.5 minutes with 3 inversions of the tank per minute.

Pictures from one of my current projects - "The Wool Towns of The West Riding".

Regards Paul Mac.

 

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

 

Bravo for everything said and every photo posted!

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1 hour ago, paulmac said:

I self impose myself to use just basic equipment as I have tired of the rat race of modern digital and it holds nothing for me now.

A couple of days ago I resolved to sell my Leica M240 and Leica Q. They are the best digital cameras I've owned and I enjoyed using them for the month I used them 2 or 3 years ago! Digital just holds no interest for me and what I'm interested in. In a week's time I'll be picking up my new enlarger. I haven't done any printing since my O Level in about 1983, but I've just had a desire for a few months to have another go. Film photography is so interesting. Getting the exposure right, developing the negatives, learning to scan, and soon, developing the prints. I've renewed my relationship with my Hasselblad, dusted off the Pentax 67 and found my Fujifilm GF670. But what is important in photography, apart from creating an image, is having fun and I just don't get it with digital.

Pete

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vor 2 Stunden schrieb Stealth3kpl:

A couple of days ago I resolved to sell my Leica M240 and Leica Q. They are the best digital cameras I've owned and I enjoyed using them for the month I used them 2 or 3 years ago! Digital just holds no interest for me and what I'm interested in. In a week's time I'll be picking up my new enlarger. I haven't done any printing since my O Level in about 1983, but I've just had a desire for a few months to have another go. Film photography is so interesting. Getting the exposure right, developing the negatives, learning to scan, and soon, developing the prints. I've renewed my relationship with my Hasselblad, dusted off the Pentax 67 and found my Fujifilm GF670. But what is important in photography, apart from creating an image, is having fun and I just don't get it with digital.

Pete

I can relate to that without making a religion of it. Analogue photography for me is just  much more a challenge  and thus more interesting. I sold my 240p too..and got me another MP..just in case they stop producing that thing..but I will keep my Canon 5D4 anyway-for the photos  whenever I  don't really care but need a result asap. 

Edited by Kl@usW.
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