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I like film...(open thread)


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Am 25.6.2020 um 01:07 schrieb Ernest:

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

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I was about to click the "haha" icon--but then, aren't these utilitarian ideas about how to effectively store the prisoners just terrible ? Maybe covid confinement and the news are making me a bit nervous. As to your "game board"  My guess is that Bentham did some unpublished testing  there in Belarus, and the unfortunate test-prisoner, whose design this  is, smuggled the construction sketch into Benthams notes...perhaps the uneven rectangles are the hidden message: never give up your individuality ... 🤔--even if you are put behind squares ... 

Edited by Kl@usW.
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5 hours ago, philipus said:

Good times ahead? Abuja airport.


Flickr
TTL 50/2 XP2 in HC110 CS9000

Have I missed further regulations for air travel? I thought a facemask was sufficient.

Pete

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vor 4 Stunden schrieb Xícara de Café:

What beautiful and antique looking colour!

Thank you, Xicara. Actually this is exactly the colour the Fuji frontier scan from the lab provided. I didn't touch the colour balance sliders, only a very slight correction of the "lights" in LR because the pink rose was a bit blown. Daylight about noon from a window to the right; so these are the Portra ( and of course the NLX ) colours. 

K. 

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4 hours ago, Kl@usW. said:

.. in color

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MP; NLX @0,95, Portra 160 @100

Vanitas. Your black-and-white still life was more than a bit "knock-yer-socks-off," but this encore reaches a Dies Irae crescendo to "knock-yer-sneakers-off." Barefoot, the feet bleed. The fearful penumbra of the pandemic that recites an allegory that doesn't end well. Such is the perimeter of pandemic. Your flowers give up their fragrance to end as a fetid bouquet. My attention starts with the skull, then makes the counter-clockwise arc to the ravaged pomegranate and the flowers, only to end at the skull and begin the fearful track as if wishing to go against the inevitability of the chronometer. The palette is beautiful and decadent at the same time. James Elkins comments on Hanneke Grootenboer 's The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-century Dutch Still-Life Painting, saying that it is a "sustained meditation on one of the most difficult ideas that the twentieth century produced about painting: that an image is somehow a form of thinking or a model of thought." While her focus is painting, Grootenboer's argument about perspective can certainly shed light in photography. Going beyond Alberti's often quoted notion that painting renders pictorial space by "looking through a window" (see Szarkowski's Mirrors and Windows) to create a representation of reality, she cites Piero della Francesca's idea that "perspective is also a 'view forward,' a prospective view into an imaginary space." 

I look forward to next view into your "imaginary space."

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9 hours ago, Kl@usW. said:

.. in color

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MP; NLX @0,95, Portra 160 @100

Klaus, this is a spectacular photograph. I love the range of freedom that the out of focus presents. Living,  yet not forever. Spectacular. Thanks. Philipus has, on many occasions, presented work that includes a bit of morbidity. This is on par with that past work, and in a still life. It promotes a sense of humility in me.  I value that. Thanks.

 

Best,

Wayne

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HP5+ R09 (time to try some DD-X)

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Brasilia. Nikon F5, Helios 44-2 2/58, Kodak ProImage 100.

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Schwanenwikbrücke, Franz Andreas Meyer 1874-1879 in front of Heinrich-Hertz broadcasting tower, Fritz Trautwein and Rafael Behn 1966-68.

Kodak Portra 400, Summarit 2.5/90

Stefan

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Double Dowser
M3 APO 50 Fuji Natura

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36 minutes ago, christoph_d said:

Hi James, no, Adam left. I don’t know the details. Anyway it is a pity not to see his wonderful images here anymore.

I had a (slight) relationship with Adam and both PMed and emailed his professional account about 6 weeks ago. He's never responded to either.

I believe there was some political tension early on in the epidemic that caused him to leave the site. It's a major loss for us, and I so very much hope he eventually returns.

Edited by bags27
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vor 21 Stunden schrieb Ernest:

Vanitas. Your black-and-white still life was more than a bit "knock-yer-socks-off," but this encore reaches a Dies Irae crescendo to "knock-yer-sneakers-off." Barefoot, the feet bleed. The fearful penumbra of the pandemic that recites an allegory that doesn't end well. Such is the perimeter of pandemic. Your flowers give up their fragrance to end as a fetid bouquet. My attention starts with the skull, then makes the counter-clockwise arc to the ravaged pomegranate and the flowers, only to end at the skull and begin the fearful track as if wishing to go against the inevitability of the chronometer. The palette is beautiful and decadent at the same time. James Elkins comments on Hanneke Grootenboer 's The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-century Dutch Still-Life Painting, saying that it is a "sustained meditation on one of the most difficult ideas that the twentieth century produced about painting: that an image is somehow a form of thinking or a model of thought." While her focus is painting, Grootenboer's argument about perspective can certainly shed light in photography. Going beyond Alberti's often quoted notion that painting renders pictorial space by "looking through a window" (see Szarkowski's Mirrors and Windows) to create a representation of reality, she cites Piero della Francesca's idea that "perspective is also a 'view forward,' a prospective view into an imaginary space." 

I look forward to next view into your "imaginary space."

Rog,   of course  I wasn't aware of these thoughts and theories about still life painting and photography --so thank you for shining a light in that direction. A lot of food for thought... 

vor 18 Stunden schrieb Wayne:

Klaus, this is a spectacular photograph. I love the range of freedom that the out of focus presents. Living,  yet not forever. Spectacular. Thanks. Philipus has, on many occasions, presented work that includes a bit of morbidity. This is on par with that past work, and in a still life. It promotes a sense of humility in me.  I value that. Thanks.

 

Best,

Wayne

Wayne, thank you for your encouragement. I was reluctant to show this still life--b/w and in color--because I was afraid it might appear a bit pretentious. But with  Rog pointing  to the concept of imaginary spaces, I have to admit-this still life shows one of my imaginary spaces.As do your poetic visual finds and as do Rog s fields. 

Living, yet not forever; I will choose this as the new title for the picture in my archive.   

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