Ernest Posted June 14, 2018 Share #50901 Posted June 14, 2018 Advertisement (gone after registration) Leica M6J / 50mm Elmar-M Trix Shot at 800iso; Pushed 1.25 Stops Hand Developed using HC-110 B @20c Subterranean Levitation..... 2018-04-01-0031 by Marc Tauber, on Flickr The UP arrow (for exit) also works with his Flash Gordon anti-gravity belt. 6 Quote Link to post Share on other sites More sharing options...
Advertisement Posted June 14, 2018 Posted June 14, 2018 Hi Ernest, Take a look here I like film...(open thread). I'm sure you'll find what you were looking for!
stray cat Posted June 14, 2018 Share #50902 Posted June 14, 2018 Yes! That guy is floating! 2 Quote Link to post Share on other sites More sharing options...
stray cat Posted June 14, 2018 Share #50903 Posted June 14, 2018 Oh, you do like to tempt with the segue! Lawrence of Arabia had a profound impact on Spielberg, too, so you are hardly alone counting Lean's masterpiece as one of the top films, ever. Before I visit the scene you've chosen, let me echo in a way your point that if we reduce photography to a "stylistic construct, the simpler it is to find photographs everywhere--at will." A mindful characteristic we take for granted in that construct is the emotional connection. It is all in the editing, having a specific point of view. The viewer, after a fashion, becomes the doppelganger, the photographer's double, because in looking at the photograph, the viewer shares exactly the same unique visual as the photographer. It is all in the photographer refracting, editing the world through the lens, the mind, of a unique talent. I remember a comment that Ralph Gibson made in Camera magazine that I saved April, 1978: "I used to stand around waiting for a picture to happen. Then about fifteen years ago, Dorothea Lange told me that you can never take photographs that way. Even though it will sometimes happen, the odds are stacked against you. You have to incorporate your life into the picture. Now I am always working from a set of concerns. It could be problems involving scale, volume, proportions, or surface. I perceive something and experience the urge to photograph it. I try to decide whether I've done the picture before. (I don't want to imitate myself.) If it's a step forward within these concerns, I take the photograph." Gibson's point may be elementary, but I enjoy his brevity and clarity. Still, he seems to have left out the emotional part of the equation. Ultimately, what does the photograph say? What's the issue? What's at risk? It’s editing reality, which brings me to Lawrence of Arabia. David Lean was first an editor with an eye for composition that informed how one shot cut to the next. I could shoehorn an interpretation of the scene you mention into something that might be analogous to the challenges of photography or plight of the photographer, but taking such liberty would be presumptuous. As for the scene of Lawrence extinguishing the match with his bare fingers, it is directed to dramatize a facet of character. Moments later, Lawrence repeats the action, but instead of using his fingers to extinguish the match, he simply blows it out. Cut to: sunrise as the sun announces a new day against a stainless sky over an unspoiled desert. Visually, the match equates with the sun in Lean’s iconic cut, while metaphorically, it could well represent the flames of war, the igniting rebellion, which Lawrence is to extinguish. I don’t remember that Lawrence shares this particular narrative in his Seven Pillars of Wisdom, but he does confess a slide towards the masochistic, which dramatically plays out later in Lean’s film, meaning that the "burning match" scene is hardly gratuitous. Cheers, Rog Thank you so much, Rog. Let's not forget that T. E. Lawrence (my wife is actually a reasonably distant relation) left the original manuscript for The Seven Pillars of Wisdom in a train and then hurriedly, to meet publication deadlines, rewrote the whole thing from memory in a few days - so maybe all that is in there wasn't all that there was to be said. However I suspect it would have been far too daring of even he to have written too much about his own personal idiosyncrasies given the rather post-Victorian attitudes (and laws) prevalent in the UK at the time. A good read, though, and when Edward and others (I think) have so beautifully photographed Wadi Rum and other places that were described it is always an incredible delight for me. I really like your recollection of Ralph Gibson's quote - it is indeed brilliant advice (after Lange) from which we could all benefit. But you are right to add the question of emotion, and - critically - "what's at risk?". Also this: "The viewer, after a fashion, becomes the doppelganger, the photographer's double, because in looking at the photograph, the viewer shares exactly the same unique visual as the photographer. It is all in the photographer refracting, editing the world through the lens, the mind, of a unique talent.". We enter into a transaction with the viewer of our photograph - whether it be in a room, a gallery, on LUF or wherever. We don't necessarily choose the specific viewer for our photograph, and often the viewer simply by serendipity comes across our photograph. But once the relationship is consummated, the transaction agreed and completed, the two are forever enjoined. To my way of thinking, Lawrence in the scene is, among other things, expressing his right to entertain his idiosyncrasies. And why not? We all have them and they are, as you perceptively point out, unique to each one of us. And if we wish to present a front to the world, why on earth would we not want to invoke every one of our own idiosyncrasies - because only then will we be presenting something that is truly and exclusively "us". Certainly Ralph Gibson took that well on board, especially in his early work - that trilogy built around The Somnambulist is such a perfect little exercise. As did many artists we know of and admire - even cherish. Those who copied others well, who knows them? And, yes, that cut to the desert - it's the kind of moment of genius that even the great David Lean must have thought "YES!" as he punched the air. I know we in the audience felt it. As you state: "It is all in the editing, having a specific point of view.". The editing in that movie is perfection. I hope anyone here who hasn't seen Lawrence of Arabia will maybe get the chance to do so. There are very few movies that are so intensively photographic in their mise-en-scène (Antonioni's "L'Avventura" is another). With practically every scene - were it a still photograph we'd be hailing it as a masterpiece. And of course the movie is so much more than even that. While we're at it with the wordplay - the profound realization that "Leica" is an anagram of "Alice". So when we are using our Leicas we may well understand why it is we find ourselves in Alice's wonderland. 5 Quote Link to post Share on other sites More sharing options...
philipus Posted June 14, 2018 Share #50904 Posted June 14, 2018 Wow terrific Marc. Leica M6J / 50mm Elmar-M Trix Shot at 800iso; Pushed 1.25 Stops Hand Developed using HC-110 B @20c Subterranean Levitation..... 2018-04-01-0031 by Marc Tauber, on Flickr Quote Link to post Share on other sites More sharing options...
philipus Posted June 14, 2018 Share #50905 Posted June 14, 2018 Two more, also with the 85/1.8 and Ektar. Flickr Flickr 14 Quote Link to post Share on other sites More sharing options...
Siffi Posted June 14, 2018 Share #50906 Posted June 14, 2018 I agree, love the tones - what film? Thank you Ilford XP1 (taken sometime in the 1990s) 1 Quote Link to post Share on other sites More sharing options...
gbealnz Posted June 14, 2018 Share #50907 Posted June 14, 2018 Advertisement (gone after registration) Two more, also with the 85/1.8 and Ektar. Flickr Flickr You're right Philip, it is a nice lens, superb shots. Gary 1 Quote Link to post Share on other sites More sharing options...
Steve Ricoh Posted June 14, 2018 Share #50908 Posted June 14, 2018 Ronald Wycherley aka Billy Fury Pentax MX, 135 f/3.5 Agfa Vista 200 Plustek Scan Billy Fury in Profile by -Steve Ricoh- Billy Fury Head-On by -Steve Ricoh- 15 Quote Link to post Share on other sites More sharing options...
chrism Posted June 14, 2018 Share #50909 Posted June 14, 2018 Wildlife photography with M2 and 50 Lux: Feed me! by chrism229, on Flickr That's Better! by chrism229, on Flickr 13 Quote Link to post Share on other sites More sharing options...
MT0227 Posted June 14, 2018 Share #50910 Posted June 14, 2018 Thanks Ernest... The UP arrow (for exit) also works with his Flash Gordon anti-gravity belt. 1 Quote Link to post Share on other sites More sharing options...
MT0227 Posted June 14, 2018 Share #50911 Posted June 14, 2018 Thank you Philiip... Wow terrific Marc. Quote Link to post Share on other sites More sharing options...
S/W Posted June 14, 2018 Share #50912 Posted June 14, 2018 My latest from the Manhattan Bridge around dawn, capturing the fast moving clouds with a long exposure. Tmax 100 6x9, red filter Linhof Technika Press 23, Zeiss Biogon 53mm manhattanbridgered filter.jpg S U P E R B !!! 1 Quote Link to post Share on other sites More sharing options...
Steve Ricoh Posted June 14, 2018 Share #50913 Posted June 14, 2018 Agfa Vista 200 Pentax MX, 135 f/3.5 Plustek Scan Balloons by -Steve Ricoh- 16 Quote Link to post Share on other sites More sharing options...
Peter_S Posted June 14, 2018 Share #50914 Posted June 14, 2018 It's been a while....really miss not being able to check in hear as often as I'd like. Work has been insanely busy, fortunately this outlet exists to help keep my sanity. Here is Winter's final parting shot from April 2018 - Jersey City, NJ Waterfront Leica M6J / 50mm Elmar-M Trix Shot at 800iso; Pushed 1.25 Stops Hand Developed using HC-110 B @20c 2018-04-01-0008 by Marc Tauber, on Flickr 2018-04-01-0017 by Marc Tauber, on Flickr 2018-04-01-0003 by Marc Tauber, on Flickr 2018-04-01-0014 by Marc Tauber, on Flickr 2018-04-01-0016 by Marc Tauber, on Flickr 2018-04-01-0024 by Marc Tauber, on Flickr Very nice - b/w film is still my favourite medium when its snowing, really brings across the mood 1 Quote Link to post Share on other sites More sharing options...
Peter_S Posted June 14, 2018 Share #50915 Posted June 14, 2018 (edited) -double post- Edited June 14, 2018 by Peter_S Quote Link to post Share on other sites More sharing options...
Wayne Posted June 14, 2018 Share #50916 Posted June 14, 2018 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! Greetings Minox B, Kodak Vision 3 50D, slit from 16mm film 17 Quote Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! Greetings Minox B, Kodak Vision 3 50D, slit from 16mm film ' data-webShareUrl='https://www.l-camera-forum.com/topic/205842-i-like-filmopen-thread/?do=findComment&comment=3537577'>More sharing options...
A miller Posted June 15, 2018 Share #50917 Posted June 15, 2018 T H A N K Y O U ! ! ! S U P E R B !!! 1 Quote Link to post Share on other sites More sharing options...
A miller Posted June 15, 2018 Share #50918 Posted June 15, 2018 (edited) NYC (can anyone see me?) M-A, 28 cron, Fuji Pro 400H 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! Edited June 15, 2018 by A miller 13 Quote Link to post Share on other sites Simply register for free here – We are always happy to welcome new members! ' data-webShareUrl='https://www.l-camera-forum.com/topic/205842-i-like-filmopen-thread/?do=findComment&comment=3537644'>More sharing options...
Ernest Posted June 15, 2018 Share #50919 Posted June 15, 2018 NYC (can anyone see me?) M-A, 28 cron, Fuji Pro 400H Lower right hand corner, Mr. Noir! 3 Quote Link to post Share on other sites More sharing options...
Likaleica Posted June 15, 2018 Share #50920 Posted June 15, 2018 This is also Merlin, 2 years earlier, shot on Hasselblad 203FE + 110mm Planar. Film was the excellent Kodak 400VC processed in Agfa C41. Merlin is a beautiful dog, Erl. Thanks for sharing. 1 Quote Link to post Share on other sites More sharing options...
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