I like film...(open thread)

[A miller]

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New York City

Minolta TC-1, Adox Color Implosion 

 

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[Ernest]

New York City

Minolta TC-1, Adox Color Implosion 

 

Applause for caged irony--everything is in a swoosh of motion blur, except the two signal light repairmen who are frozen and compositionally connected in the center by the workman "pointing" with his pole toward the suspended cherry picker worker. We read left to right, from the blurred pedestrians, up the worker's pole and light post, to the suspended worker at the red signal light. And our continues down the arc of the signal light boom to begin the circle of the composition over again. It's the repetition of the city with its signal lights and stop-and-go traffic. ADOX with its red/green granularity renders like a Seurat impressionist painting, yet so 50's retro. Ironic, yes; everything but the workers is in motion blur.

 

Motion blur as opposed to out of focus blur, the subject for another hour.

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[erl]

Two Roses

I resurrected my Hasselblad 203FE yesterday with the 40mm Distagon and 110mm Planar and took them for a walk. I shot a roll Portra 400, processed in Tetanal.

 

Happy Rose; & Sad Rose

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[erl]

203FE + 40mm Distagon along the clifftop.

 

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[erl]

Continuing my walk, the Rotunda, or "Bandstand" at Sandringham beach.

1.The conventional view and

2. (IMO) the more interesting view.

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[A miller]

Applause for caged irony--everything is in a swoosh of motion blur, except the two signal light repairmen who are frozen and compositionally connected in the center by the workman "pointing" with his pole toward the suspended cherry picker worker. We read left to right, from the blurred pedestrians, up the worker's pole and light post, to the suspended worker at the red signal light. And our continues down the arc of the signal light boom to begin the circle of the composition over again. It's the repetition of the city with its signal lights and stop-and-go traffic. ADOX with its red/green granularity renders like a Seurat impressionist painting, yet so 50's retro. Ironic, yes; everything but the workers is in motion blur.

 

Motion blur as opposed to out of focus blur, the subject for another hour.

 

Sincere thanks, Ernest.  You have a very creative mind, indeed!!

[gbealnz]

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About the marina in Rotterdam.

Leicaflex SL with 50mm Summicron

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Plustek 8100

Gary

 

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[gbealnz]

Continued

Gary

 

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[AntonioF]

Had a strange yellow light in the evening, just about the time the neighborhood cats go out on patrol.

 

img899.jpg

 

Zenit Crystal m39 SLR, MIR 50/3.5, Kodak 200

 

Nice warm colors.

We get that kind of yellow light when the Scirocco winds bring sand from the Sahara desert across the sea, but I doubt that is your case ...

[EoinC]

About the marina in Rotterdam.

Leicaflex SL with 50mm Summicron

XP2

Plustek 8100

Gary

It's a great place, isn't it, Gary? Buoyant history.

[gbealnz]

It's a great place, isn't it, Gary? Buoyant history.

Pun intended of course.

But yes, and to think that when we planned months out we were dead set on staying in Amsterdam. When accommodation was "difficult", we opted for second best, Rotterdam.

What a revelation, and boy were we glad we lucked out with this city, we loved it, and will be back there, such a wonderful place to explore.

Gary

[stray cat]

Phil

Dead solid perfect, you are right on the mark. I could not agree more: this forum is over the top informative and formative. A never-ending Lazy Susan of energetic ideas and novel perspectives.

 

Let me carom off of some of the doors of discussion you open. Color field painting! Yes! I really should not categorize my paired photographs as diptychs because that implies an entirely different lineage, the 11th century religious altar, which is a whole other discussion. They are more appropriately constructed fields of color.

 

The frame of my color field constructs is “to look at the overlooked” and consider the uncommon in the commonplace.

 

Eggleston focuses his vision on a catalog of the banal, mundane object/place much to the chagrin of Ansel Adams who dismisses Eggleston‘s aesthetic. Consider Eggleston’s color photograph of empty gallon plastic water containers on a dirt road as opposed to Adams’s iconic black-and-white photograph of Half Dome in Yosemite Valley. Eggleston defines an aesthetic grounded in urban objects/places that echoes Duchamp’s celebration of what he called the ready-made, such as a common urinal, as art because as an artist, he says that it is art.

 

With my color constructs, I’m playing with planes of color as subject/content rather than image as identifiable object/portrait. Ferdinand de Saussure postulated that we learn what colors are by what they are not; red is the color red because it is not blue, yellow, or green. Even though there is a sense of realism in the planes of color in my photographs—identifiable textures and form, sometimes reflections— I am trying to minimize this recognizability of the thing itself and emphasize contrasting colors as the subject, instead.

 

When there is some small realistic detail in the color field, like a patch in the fabric, a nail in the wall, or a bolt on a girder, it acts like an aha, the surprise recognition that the color field is an actual object. I am thinking of Alexander Pope’s 18th century landscape theory and the design to provide a winding path through the forest of the English estate that surprisingly opens onto a vista to which the visitor exclaims, “Ah, ha!”

 

In addition to the artists you mentioned, a hopper full of others come to mind: Barnett Newman, Mark Rothko, Dan Flavin, Jasper Johns, Robert Rauschenberg, Gerhard Richter, Clyfford Still, and the Bauhaus.

 

As for equipment, I am using my latest thrill, a black chrome M-A, while my M3 is in for CLA, with either a 50 mm or a 90 mm. I like the Macro-Elmar-M, and I have been giving the Thambar-M some exercise. Kodak Portra

400 is vibrant, but I have been mixing up the scenario with ADOX Implosion after seeing Adam’s work. I like the painterly granularity, almost pointillist “Implosion“ look. Though ADOX is rare, I have been prospecting in the hills of Kentucky and found a rich vein which may just upset the gold standard. Don’t I wish?

 

Anyway, as you and Wayne point out, there is a lot prospecting to do in the backyard. And around the block.

 

This is so great, we are opening our minds to exploring ART with our cameras and that delicious medium that is FILM! There is no boundary to what our minds can conjure, and we are able to sit on the shoulders of giants when we are willing to. I'm glad you mentioned Barnett Newman as I knew there was someone important I was missing, and your mention of Marcel Duchamp, who was also someone who came to mind. All this ART is somewhat known, I'm sure, to us all - at least subconsciously. The Adams - Eggleston conflagration is something that I'm sure we are all at least somewhat aware. To be able, in photography, to find the materials, and set them to creative use - not just photographing "things" but photographing light, and colour, and mood, and texture and all manner of things. These are photographs that only exist because of the photographer's imagination and a determination to realize that mind's picture as a visual entity - one that is able to be shared with us all. The assemblage of inclusions - the visual cytoplasm that exists within the picture frame (or within the diptych/triptych etc) - is a product of our imagination and skill - it is our contribution to art.

 

This is a picture I took some time ago which I gradually came to realize is not a picture of a hire lot I passed in the street:

 

 

When I was still at school the Australian Government controversially bought Jackson Pollock's "Blue Poles" for a staggering (at the time) $3,000,000 and it caused all sorts of ructions in Australian society. Of course it therefore necessarily became a cause célèbre among those of us of a certain age group. It still makes me swoon each time I see it in the flesh. Anyway, as I became more familiar with my picture above, I came to understand that this is my homage to that great work of art.

 

This picture, too (which was produced during my short-lived digital dalliance - ssssh!) puts me in mind of the work of - is it Miro? Klee? Anyway one of those artists whom I grew up venerating, and I am happy to try to forget that it was an abandoned notice board in Orvieto, Italy:

 

 

In both cases the photograph is not a picture of what it is a picture of - it is something altogether different.

 

Thank you Rog, Wayne and all who contribute here for constantly opening up our minds to new possibilities and ways of seeing. Each of us has that vision that only belongs to us, individually.

[Brabu]

Neuhardenberg, a small village in Brandenburg 

 

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M4 + CBiogon 2,5/35 - CHM100 - D76

 

 

[edwardkaraa]

M7 ZM 50/2 Ultramax 400 by edward karaa, on Flickr

[edwardkaraa]

FM3A 50/1.2 AIS Portra 400 by edward karaa, on Flickr

 

FM3A 50/1.2 AIS Portra 400 by edward karaa, on Flickr

[A miller]

M7 ZM 50/2 Ultramax 400 by edward karaa, on Flickr

 

very nice, Edward.  Bangkok has a subway?

[edwardkaraa]

very nice, Edward. Bangkok has a subway?

Thank you Adam! This is actually a sky train but there is also a subway.

[A miller]

New York City was set ABLAZE with sky-fire during an epic sunrise last month.  I nearly had to call in the fire department for help; but alas Mother Nature put it out on her own.  Natural disaster averted - whew!!!

Ektar 6x9

Linhof Technika Press 23, Zeiss Biogon 53mm

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Edited June 3, 2018 by A miller

[edwardkaraa]

New York City was set ABLAZE with sky-fire during an epic sunrise last month. I nearly had to call in the fire department for help; but alas Mother Nature put it out on her own. Natural disaster averted - whew!!!

 

Ektar 6x9

Linhof Technika Press 23, Zeiss Biogon 53mm

New York City ablaze.jpg

How do you do it, Adam? Do you just set up then do a magic sunrise dance or do you recite an incantation?

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[A miller]

How do you do it, Adam? Do you just set up then do a magic sunrise dance or do you recite an incantation?

HA HA, LOL. It's actually more simple and uneventful than that. I just keep going to these spots relentlessly until I get that surreal sky-fire show.

 

Kind of like how my dog is relentless in how he sits right at my feet at the kitchen while I am chopping vegetables waiting for a piece to drop on the floor. At some point - even after a long time - there will invariably be a piece of two that falls out of my cutting board and onto the floor. And he is ALWAYS there waiting for it :)

 

I am like my dog with the sunrises and sunsets. More often than not I show up and get nothing. It is so unpredictable that the only way to get it is to just keep showing up and waiting patiently - like a dog

Edited June 3, 2018 by A miller