I like film...(open thread)

[hillavoider]

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a recycled cine film with remjet removed on a wet day https://www.melbournefilmsupply.com/

 

 

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[hillavoider]

6 hours ago, Erato said:

The first frame always surprised me and I like it. 😉 

 

 

yes, the first, and sometimes the last

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[Stealth3kpl]

On 6/11/2020 at 11:00 PM, Ernest said:

Poof
M3 APO 50 ADOX Color Implosion

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We have similar wallpaper

Pete

[Erato]

 

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NEOPAN 400PR, Dallmeyer Super-Six 2"/f1.9, M5

[Wayne]

11 hours ago, Kl@usW. said:

Wayne, wonderful. I love the pink baby carriage as the center of the composition.  I would have thoughtlessly chosen a different framing ---but your decision is  perfect. And the Agfa Click  low-contrast lens increases the loved  "portra look". I start thinking about what became of the child that owned the carriage and is the doll still there....

Thanks, Klaus. The Click is one of those things in my life that never fails to bring a smile. Every time I use it, I find myself asking:.. Why don't I use this thing more often?. A plastic, simple, joyful thing; not so different from the carriage. I suppose, hope, the child experienced the same fate as I: not changing too much, but living in a larger, older body.

The below if from the last frame of the roll of Portra 160. It turned out, as it sometimes does, to be a "fat" roll, so some light incursion. It is Griggs, my neighbors labrador retriever, who comes to visit me in the evenings. After collecting the pleasure of a good scratch, he likes to lay in the shadow of the garage building and protect us from squirrels, chipmunks, rabbits, deer.....and the stray bird that may wander to close. I love the photo; am somewhat glad the roll turned out to be a bit "fat."

 

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Edited June 25, 2020 by Wayne

[Kl@usW.]

carrots

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MP; 3,8/24; Portra 160@100

Edited June 25, 2020 by Kl@usW.

[Ouroboros]

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On 6/23/2020 at 11:52 AM, stray cat said:

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cumbria, uk 2010

m6ttl, 90mm summicron, tri-x

Very nice composition and tonal range, Phil. Will make a great print!

[Ouroboros]

26 minutes ago, paulmac said:

Shadow of Light.

Taking advantage of this glorious sunny weather that the UK is enjoying (at last!!).

This morning in "Scoresby Street", Bradford, West Yorkshire.

This name might be familiar to some of the LUF members :-

The street is named after William Scoresby who was a Scientist, Arctic Explorer and Whitby Whaling Sea Captain who then took up clerical robes and became a clergyman. He was Vicar of Whitby in North Yorkshire and then moved to be Vicar of Bradford.

In St Mary's Church Whitby there is still a pulpit named after him as he was greatly thought of as both a sea farer and Vicar at the church.

https://en.wikipedia.org/wiki/William_Scoresby

I had a walk out this morning and took my Leica 111A and 35mm Summaron lens along with a Leitz 35mm viewfinder.

The camera was loaded with Kentmere 100 film that was developed this afternoon in Ilfosol 3.

"I walk along and fondle the beautiful little Leica - in my head I say to myself "Are you mad it's just a camera...... BUT there is something about a little Barnack Leica that transpires it just being an object. It gives but has to be coaxed into giving it's best it's like a steam engine that feels almost alive. Like a Gibson Les Paul. a Fender Telecaster or a Rolex Oyster this is an object of desire - a beautiful thing that like a Jaguar E Type looks good just standing still a Barnack just looks so right.

Robert Capa called it "My Little Leica" and Cartier Bresson said it was like a big kiss, "you can do anything with a Leica".

To me it sees what I see and talks to me with it's little click that slips right in between the heartbeats.

Strange and  quite mad but I love it - fellow LTM and Leica owners will understand but others will just shake their heads and think it's all a bit eccentric and a look nonplused and will never understand BUT we do!

I love my little Leica.

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Good to see your work here again, Paul!

[bags27]

42 minutes ago, paulmac said:

Shadow of Light.

Taking advantage of this glorious sunny weather that the UK is enjoying (at last!!).

This morning in "Scoresby Street", Bradford, West Yorkshire.

This name might be familiar to some of the LUF members :-

The street is named after William Scoresby who was a Scientist, Arctic Explorer and Whitby Whaling Sea Captain who then took up clerical robes and became a clergyman. He was Vicar of Whitby in North Yorkshire and then moved to be Vicar of Bradford.

In St Mary's Church Whitby there is still a pulpit named after him as he was greatly thought of as both a sea farer and Vicar at the church.

https://en.wikipedia.org/wiki/William_Scoresby

I had a walk out this morning and took my Leica 111A and F3.5 35mm Summaron lens along with a Leitz 35mm viewfinder.

The camera was loaded with Kentmere 100 film that was developed this afternoon in Ilfosol 3.

"I walk along and fondle the beautiful little Leica - in my head I say to myself "Are you mad it's just a camera...... BUT there is something about a little Barnack Leica that transpires it just being an object. It gives but has to be coaxed into giving it's best it's like a steam engine that feels almost alive. Like a Gibson Les Paul. a Fender Telecaster or a Rolex Oyster this is an object of desire - a beautiful thing that like a Jaguar E Type looks good just standing still a Barnack just looks so right.

Robert Capa called it "My Little Leica" and Cartier Bresson said it was like a big kiss, "you can do anything with a Leica".

To me it sees what I see and talks to me with it's little click that slips right in between the heartbeats.

Strange and  quite mad but I love it - fellow LTM and Leica owners will understand but others will just shake their heads and think it's all a bit eccentric and a look nonplused and will never understand BUT we do!

I love my little Leica.

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This is art. Art of a lost time remembered. 

[Ernest]

18 hours ago, Stealth3kpl said:

We have similar wallpaper

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Pete

And it looks like our interior designer is just coming in from collecting a new design aesthetic from the sticks.

[Ernest]

On 6/20/2020 at 12:36 AM, christoph_d said:

Some colour from Lyon.

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Rollei 35T, Ektar100

Bravo, this is quite an arresting image, aside from the vibrant primary colors offset with black and neutral grays. What are we to make of the two figures, a young man and woman, acting almost like a subtext to the visual rhythm of the old, rusted baby carriage that isn't carrying a baby but pinwheels, and what pinwheels? A galaxy, fireworks, or an 18th-century toy that plays on the wind? Windmills? The gravity in your scenario, yet the carriage is motionless, and the imagination ping-pongs back and forth between the man and the woman, the man inside the window, the woman a reflection outside. And that green! Sap green, the painter would register, and I am thinking of some viridian or even Blockx's emerald green made in Belgium. There's the vignetting giving green even more substance. Oh, to hear the chatter history of this carriage, the narratives carried by the wind teasing pinwheels. A time when nostalgia resonates, this image certainly strikes a welcome note.

Edited June 26, 2020 by Ernest

[Ernest]

15 hours ago, Kl@usW. said:

carrots

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MP; 3,8/24; Portra 160@100

So understated, tell me that carrot farming is a bit radioactive, hence the color of a carrot? And this isn't water irrigating but tiny, controlled nuclear events kept off the front page news. The muted green of the hills stifles the contrarians. Still, there are the flashes of electron events that betray a galactic dialogue protesting the presence of your camera, so markable and (re)markable it will be registered as a carrot collider. Careful where you tread among the carrots. Extra points for audacity, though.

[Ernest]

On 6/21/2020 at 12:19 PM, 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.

A very deep and intriguing reading of these color fields that are at the final curtain only color. Not so fast, my heart protests. We learn color by what it's not, so are we to take it as a subtraction process that moves us farther and farther away until the logic of possibilities rules out but a narrow selection of possibilities, which becomes even more problematic when considered in concert with adjoining color fields. It's the contrast, the harmony, even the dissonance, and the play of texture in the abstraction of an allegorical reading. For the most part, I veer away from defining a specific narrative, opting instead for the intersection of text (a title) and image (the photo-collage). In allegory, there's the stated story and the parallel unstated story constructed by the viewer (audience). I am deeply gratified that the Dossier Redaction triggered such a detailed response in you. Particularly, the crack in all of its allusions. Your response is the most I could hope for any reading of my work because it can be easily dismissed, since it doesn't include people but only their evidence, the residue. It's the presence of absence that intrigues me. The subtext. I think it's fair to say that your work is all about subtext. In theatre, it's not what characters say but what they do. They lie, and that's what makes them interesting, even if we know it at the time or find out later. How do we find the truth or the lie in an image? I ask myself, and some of my collage work calls attention to the fact not only that the collage is constructed, but it cannot be trusted. What is the risk?

Yes, the notion of "dossier" is threatening, and the idea of "redaction" is just as suspicious, even frightening, because it implies there is an authority beyond our purview. Kafka. Redaction for protection is another thing, so the word comes heavily freighted. I was doing some research (decades ago) in the National Archive in Washington D.C. that involved reading some WWII Military Record Groups. It was the first time I had seen the words "Top Secret" stamped in red across the typewritten page of a report. Then, there were the pages with redactions, "deemed in the interest of national security." Forty years after the end of WWII? 

Thanks, again, for your reading and substantive feedback, Philip. Much appreciated.

[christoph_d]

9 hours ago, paulmac said:

Shadow of Light.

 

The man who found himself alone walking down a "ginnel" between two wool mills.

Stott Hill, Bradford West Yorkshire UK.

Picture made with a Leica 111A and 35mm F3.5 Summaron lens.

Film was Kentmere 100 developed in Ilfosol 3.

All these pictures are from one or other of my projects - to me the only way to do "my" photography is single-mindedly go out every day with with a Leica. For me it's usually my 1936 111A with normally three lenses 35mm F3.5 Summaron - 50mm F3.5 Elmar - 90mm F4 Elmar. Three because I won't carry a bag and so it's one lens on the camera and one in each pocket of my jacket. The more lenses that you carry the less pictures that you take because photography  (to me - not gospel!) becomes a gear chore.

I grew tired of digital photography and I came to not like the images that are just too perfect - I grew to dislike the immediacy of seeing it and the urge to "chimp" the screen.

I refuse now to use an exposure meter and just use the Sunny 11 rule that to me works better in the UK than Sunny 16. Standardise everything and change very little - sunny day with my goto ISO 100 film equals 1/250 at F8 or other combinations and then just adapt to how I want it to look contrast wise.

I just don't want to be chasing a meter reading anymore - don't know why I changed but I did.  Maybe I only shoot B&W and it's not so critical but I am not at ease with colour so I don't bother. B&W is more graphic and can carry emotion that is only rarely seen in a colour pic.

Nothing wrong with liking gear at all - I did for years but one day just thought "Had enough of all this"  and so I freed myself from the digital merry-go-around got my 111A CLA'd and  stopped using digital other than for more ephemeral pictures when I use a M262.

Just my thoughts and maybe to others complete rubbish and probably it is - so take no notice!

Any way enough of my Lockdown musings - make of it what you will and here's the pic:-

 

Regards Paul Mac

 

 

 

 

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I sympathize with your musings - less is more when you are walking about. Though the ability to Pre-chose other equipment depending on light, place, motive and mood is nice to have. And your results speak for themselves. 

[christoph_d]

3 hours ago, Ernest said:

Bravo, this is quite an arresting image, aside from the vibrant primary colors offset with black and neutral grays. What are we to make of the two figures, a young man and woman, acting almost like a subtext to the visual rhythm of the old, rusted baby carriage that isn't carrying a baby but pinwheels, and what pinwheels? A galaxy, fireworks, or an 18th-century toy that plays on the wind? Windmills? The gravity in your scenario, yet the carriage is motionless, and the imagination ping-pongs back and forth between the man and the woman, the man inside the window, the woman a reflection outside. And that green! Sap green, the painter would register, and I am thinking of some viridian or even Blockx's emerald green made in Belgium. There's the vignetting giving green even more substance. Oh, to hear the chatter history of this carriage, the narratives carried by the wind teasing pinwheels. A time when nostalgia resonates, this image certainly strikes a welcome note.

Thanks Rog. My thoughts when I see a pram on stairs or a hill always move towards the Potemkin stairs of Odessa, and the film that immortalized them (also masterly cited by Terry Gilliam in Brazil but that is a different story). On first glance everything seemed wrong here, the pram points up, not down, bright colors instead of colourless b&w, the pinwheels (is that what they are called?), the interaction of the two figures. Still,  for me I still think “Odessa”. 

[Stealth3kpl]

22 hours ago, Wayne said:

who comes to visit me in the evenings

❤️

Pete

[philipus]

Fantastic Pete. You caught Smiley on one of his fresh air breaks. This is who I want to be when I grow up. I already have the pipe(s).

On 6/22/2020 at 8:06 PM, farnz said:

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M3 and 50/2 Rigid Summicron with APX 100.

Haha great idea Andy! And congrats to all for helping keep this amazing thread alive and kicking, and usually the most active thread on the forum, too. Go film!

On 6/22/2020 at 6:42 PM, adan said:

BTW - a belated shout-out for S/W, who took us to post # 70000 in this thread just last week!

Does he get a gold slidemount or some such as a reward?

I'm very happy that you fell into this rabbit hole. Brilliant photograph.

On 6/22/2020 at 5:44 AM, hillavoider said:

focusing and macro are now a whole new world

Excellent Pete, congratulations  

On 6/22/2020 at 10:14 PM, Stealth3kpl said:

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

This one made me screech to a halt, WOW. I absolutely adore landscapes like this where there's just a tiny little reflection of human activity or presence somewhere. 

On 6/23/2020 at 12:52 PM, stray cat said:

cumbria, uk 2010

m6ttl, 90mm summicron, tri-x

Wonderful portrait Pritam

On 6/23/2020 at 1:28 PM, Suede said:

Mel herself at Mel's.   [Tri-X]

 

Very intriguing Rog, like a cubist panopticon.

On 6/25/2020 at 1:07 AM, Ernest said:

Game Board
M-A APO 50 ADOX Color Implosion
Abandoned game from note fragments on Jeremy Bentham's Panopticon and Other Prison Writings.

What a smooth macro!

On 6/25/2020 at 1:37 AM, Xícara de Café said:

Nikon F2 Photomic, Micro-Nikkor 55mm 1:2.8 Ais, Kodak ProImage 100.

Does one have to remove the remjet on a rainy day or does it work on other days too?  Wonderful colours.

On 6/25/2020 at 5:59 AM, hillavoider said:

a recycled cine film with remjet removed on a wet day https://www.melbournefilmsupply.com/

 

 

This is a lovely photo, a great canine portrait. Who needs sharp perfect boring images when they can be like this, full of soul and feelings?

On 6/25/2020 at 11:12 AM, Wayne said:

Thanks, Klaus. The Click is one of those things in my life that never fails to bring a smile. Every time I use it, I find myself asking:.. Why don't I use this thing more often?. A plastic, simple, joyful thing; not so different from the carriage. I suppose, hope, the child experienced the same fate as I: not changing too much, but living in a larger, older body.

The below if from the last frame of the roll of Portra 160. It turned out, as it sometimes does, to be a "fat" roll, so some light incursion. It is Griggs, my neighbors labrador retriever, who comes to visit me in the evenings. After collecting the pleasure of a good scratch, he likes to lay in the shadow of the garage building and protect us from squirrels, chipmunks, rabbits, deer.....and the stray bird that may wander to close. I love the photo; am somewhat glad the roll turned out to be a bit "fat."

 

 

 

[philipus]

Good times ahead? Abuja airport.

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TTL 50/2 XP2 in HC110 CS9000

[Xícara de Café]

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Nikon F5, Helios 44-2 2/58 + extension tube, Kodak PromImage 100. 

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Hallo,

Look here: Interesting Leica gear

[Kl@usW.]

vor 11 Stunden schrieb Ernest:

So understated, tell me that carrot farming is a bit radioactive, hence the color of a carrot? And this isn't water irrigating but tiny, controlled nuclear events kept off the front page news. The muted green of the hills stifles the contrarians. Still, there are the flashes of electron events that betray a galactic dialogue protesting the presence of your camera, so markable and (re)markable it will be registered as a carrot collider. Careful where you tread among the carrots. Extra points for audacity, though.

no problem treading among the carrots-apart from getting dirty cycling shoes.  And yes, a few kilometers upstream-and they take the water from the stream--is a nuclear power plant..who knows. I thought the late and hazy afternoon light was the cause of the tint of the irrigation.. but, alas, these are going to be, as the farmer told me, only "industrial carrots" 😮.  You or me won't have them on the plate, they are darker, contain little sugar but a lot of carotene... so its more probably you'll meet the carot or what became of it in the yellow of your egg, the salmon steak or in the skin ointment... good luck... but in the end, we all are a bit radioactive.. already.