I like film...(open thread)

[Emref]

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Ducks in a row

 

Rosedal Buenos Aires Argentina

 

Minolta XG2 Rokkor 45 F1.2 Sorry  not Leica..). Lucky 100 ASA

Patitos en linea by Alberto Ferme, on Flickr

 

Regards

Alberto

Edited July 18, 2018 by Emref

[Sparkassenkunde]

Maybe this kind of contra jour shot is something to the liking of the Doc?

 

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Leica Minilux - Ektar

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[Sparkassenkunde]

And another view over the Playa de Palma:

 

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Edited July 18, 2018 by Sparkassenkunde

[Sparkassenkunde]

Made a mistake during upload - Sorry!

 

 

 

 

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Edited July 18, 2018 by Sparkassenkunde

[AntonioF]

I spend the last weekend in a resort down south near Gallipoli. The area is affected by a pathogen from Central America called Xylella Fastidiosa which has already killed thousands of olive trees and it's moving north. Puglia region is famous for the olive oil, but I guess in a few years we'll need to find something else to do.

Politicians have been fighting about the contagion for a few years, some of them even said it's fake news ...

My family has 300 relatively young olive trees and we make some oil for personal use. I keep telling my mother we need to think of something else because there are good chances we will have to replace the trees sooner or later.

 

Here's a few shots from the area, taken with M6 and Summicron 35 asph on HP5.

 

20180718-DSC00547 by antoniofedele, on Flickr

20180718-DSC00574 by antoniofedele, on Flickr

20180718-DSC00578 by antoniofedele, on Flickr

20180718-DSC00579 by antoniofedele, on Flickr

[stray cat]

Very very sad to see that environmental degradation, Antonio, and to think what it will do to the economics, the character and the spirit of the region. Are you able to send some pictures to as many politicians as you can think of (especially the ones who are claiming it's all "fake news")? Photography can be a powerful force for change...

Edited July 18, 2018 by stray cat

[Ernest]

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Continuing on the blurry theme from earlier (apologies if this was posted earlier but a search didn't find it).

 

San remo

 

Flickr

TTL 50/1.4A Fuji Pro 160S (EI80) Coolscan 9000

Blur can be such an artful technique, especially getting just the right amount of blur to satisfy an aesthetic statement that works. Too much blur risks subject recognition; not enough may look like a focusing error. What's interesting about your "San remo" is the very artistic control of blur and the absence of burdensome bokeh that can be distracting. Hooray!

 

Here are some blur links for reference:

 

BLUR links

 

https://i.pinimg.com/736x/49/fd/d9/49fdd95b5b49484e6a3f599b06627454--photo-blur-good-photos.jpg

 

https://i.pinimg.com/736x/24/20/6b/24206b60d52b7a47f04ebecd006f0ec3--urban-life-contemporary-photography.jpg

 

https://i.pinimg.com/originals/b8/0d/dd/b80ddd84846e8f31c5a5e40945150174.jpg

 

https://i.pinimg.com/originals/9e/7f/8a/9e7f8ad3c855e13d7d829b237c6ee1fc.jpg

 

https://i.pinimg.com/736x/63/41/7a/63417aae45ae9120f139da181934c78d--distortion-photography-urban-photography.jpg

 

http://www.artnet.com/WebServices/images/ll00147lldTCjGFgnkECfDrCWvaHBOcSZCC/david-armstrong-flatiron-building-nyc.jpg

 

https://i.pinimg.com/originals/7a/df/77/7adf778d35713ae1173cd83f5c06918f.jpg

 

Cheers,

Rog

[Wayne]

I spend the last weekend in a resort down south near Gallipoli. The area is affected by a pathogen from Central America called Xylella Fastidiosa which has already killed thousands of olive trees and it's moving north. Puglia region is famous for the olive oil, but I guess in a few years we'll need to find something else to do.

Politicians have been fighting about the contagion for a few years, some of them even said it's fake news ...

My family has 300 relatively young olive trees and we make some oil for personal use. I keep telling my mother we need to think of something else because there are good chances we will have to replace the trees sooner or later.

 

Here's a few shots from the area, taken with M6 and Summicron 35 asph on HP5.

 

20180718-DSC00547 by antoniofedele, on Flickr

 

20180718-DSC00574 by antoniofedele, on Flickr

 

20180718-DSC00578 by antoniofedele, on Flickr

 

20180718-DSC00579 by antoniofedele, on Flickr

That is horrible news. My buddy rented a place in Spigno Vecchio (Near Gaeta) and I still remember those beautiful, terraced olive groves.

 

Very nice shots.

[Ernest]

Took me ages to even realize this is a double exposure! I guess I wasn't looking hard enough:

 

 

The Shrine, Melbourne 2015

Voigtländer Perkeo 1, HP5+

Applause for the diagonals in this composition, reiterated by the double exposure! It took you ages to see it because it works so seamlessly. If only all of our "mistakes" were so lucky.

 

Here's a link to The Paris Review article on Chris Marker's Studio photographed by Adam Bartos:

 

https://www.theparisreview.org/art-photography/6819/chris-markers-studio-adam-bartos-and-ben-lerner

 

Thanks for the take on the "join" technique that I stumbled on and started using in 1983 when I had a show with a couple of my photographer buddies. I found that I could join three separate images for a work 20"x60". I will see what I can do to pull something for scanning out of the old file.

[Wayne]

Somehow I suspect there's a lot more at play here than just the lens, Wayne! A truly spontaneous moment of happiness deftly captured.

I guess I am, naturally, obsessed with the subject. But, there is something else. So often photographs transport to past.....or, cause reflection on here and now. Sometimes I look upon a shot that drags me into the future. I see the couple, maybe 50 years in future, after looking at  digital photographs of this time (those that have not been lost in the due to electronic anomalies and/or accidents) looking on this shot and thinking:...."Yeah! that is us, and how it was."

[Ernest]

On Reflection by -Steve Ricoh-

Ektar, Pentax mx, Plustek

How can I understand this piece; are these photographs displayed on a wall, or did you assemble them for posting? This is a particularly interesting sequence of six images that reminds me in a way of the LensWork magazine portfolios of "Seeing in Sixes" that calls for six images grouped in what they call a "haiku-like structure." Anyway, six photographs. Is this kind of what you are doing with your six images? These images work off of one another and start to form a narrative, or at provide speculation of a narrative. You might have started something here with this abstract narrative.

[Ernest]

Thank you, Rog for giving such considered and articulate insight to a host of possibilities in art - many classically realized yet altogether more full of potential. Your mention of L'Eclisse is right on the mark. One of the most thrilling and stimulating passages of cinema for me is the final seven minutes of that wonderful movie. So much is said and alluded to in so minimalist a way. It is pure cinematic genius - inspired, mature and audacious. If any here haven't seen it - please do yourselves a huge favour. My one short attempt at film direction/production was directly inspired by it (

). As a side-note, the penultimate (long, interestingly also seven minutes) scene of his later film The Passenger is a masterpiece of conception, planning, cinematography and inspiration. Watch that and then look up what it took to get it (Wikipedia has a good description) - then try to work out what it all means.

Phil, I have been thinking about your great short film "Savage Sky," wondering if you could provide the inside track of your thinking and experience in making it. Here's my rough breakdown:

 

Savage sky 1:34 77 scenes (Roughly)

Begins and ends with the same shot of a trees with sky above.

Sky: 18 shots

Opening shot: 8 shots (Beginning & ending)

Girls face shot: 18 shots (6 exterior)

Girls feet: 3 shots

Hill with grass and sky: 5 shots

Interior shed: 7 shots

Two boys and a girl walking on beach: 3 shots

Guitar player silhouette: 4

Girl beach silhouette: 2

Ocean: 3

Ocean surf in reverse: 3

Bushy tree: 1

 

Repetition

 

I watched it many times, and about half of the time I turned the sound off and watched the silent short film for the visual rhythm, the play of light, content, motion/non-motion/reverse motion--reading it like a series of Marker stills circumscribing a narrative, circumscribing because it's not literal, more like the structure of a visual poem. Anyway, just thought you could share some insight from the viewfinder side of lens.

 

Cheers,

Rog

[Ernest]

Double Plum

M-A APO-Summicron-M 50mm LHSA ADOX Color Implosion

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[Guest JMF]

Another van

 

(null) by -Steve Ricoh-

Ektar, Pentax mx, 135 f/3.5

 

 

A classic Type H Citröen :-)

[A miller]

Really cool series, Steve.  Love the colors and the creative subject matter.

Another van

(null) by -Steve Ricoh-
Ektar, Pentax mx, 135 f/3.5

 

Welcome back, James!!  On vacation we go with your venerable Minilux!  Love this one! 

What a nice color on this van. Perfect framing!

 

In the following snapshot I just love the color rendition of Ektar:

 

Bild-1-130.jpg

 

Minilux - Kodak Ektar

 

Very nice, Dirk.  Is that an image of you on her shirt?

a picture with the Rolleiflex 3.5F and the CineStill 50 film:

 

My Love by Dirk Raffel, auf Flickr

 

Love the colors and classic feel to this one, James.   

Thanks for the hint to this interesting artist. By looking up some of his work I now clearly see the references between his work and your picture, which is exquisite on its own but gains more substance with the contributed context.

 

The following picture has no connections to the work of others - it is one of my usual snapshots only:

 

Bild-1-220.jpg

 

Minilux - Ektar

[Wayne]

Vacancy

 

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Ricoh 35 (first edition,) Riken Ricomat 45/3.5, Fuj Superia 100

[Wayne]

As I have already exposed my sentimentalism with a previous photograph I will commit a bit more. The below is from the first roll of film in my new/old Agfa Super-Silette with Solagon 50/2. Unfortunately, when the camera arrived from Germany the shutter speed and Aperture control rings were kaput, requiring me to disassemble the lens structure down to the shutter blades of the Prontor leaf shutter assembly..My daughter looked on with great skepticism and provided less than encouraging commentary on my efforts directed toward repair of the "old camera." I know I must have been wearing my most self-satisfied-jackass expression when I announced my success. This was the first shot. I thought I had advanced far enough to get a good frame. Evidently not. At any rate, my daughter gets, not only an image of her and her much beloved pups, but a reminder of her quirky father and his constant fiddling with old cameras. Definitely a film-only thing.

 

 

 

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

 

Fuji Superia 100. Expired, of course.

Edited July 19, 2018 by Wayne

[Steve Ricoh]

How can I understand this piece; are these photographs displayed on a wall, or did you assemble them for posting? This is a particularly interesting sequence of six images that reminds me in a way of the LensWork magazine portfolios of "Seeing in Sixes" that calls for six images grouped in what they call a "haiku-like structure." Anyway, six photographs. Is this kind of what you are doing with your six images? These images work off of one another and start to form a narrative, or at provide speculation of a narrative. You might have started something here with this abstract narrative.

Hi Rog and thanks.

It was a display of some photos in a public area shot through glass, IIRC. I could see the potential for the reflection of a passer-by to become part of the bigger picture, I waited (not long) and snapped. Just the one exposure, trusting on my framing and timing. I could have hung around and fired a few more, but with the uncertainty of the result I moved on. I think my point of departure that day must have been 'anything that caught my eye'; I have lots of days like that!

[stray cat]

Phil, I have been thinking about your great short film "Savage Sky," wondering if you could provide the inside track of your thinking and experience in making it. Here's my rough breakdown:

 

Savage sky 1:34 77 scenes (Roughly)

Begins and ends with the same shot of a trees with sky above.

Sky: 18 shots

Opening shot: 8 shots (Beginning & ending)

Girls face shot: 18 shots (6 exterior)

Girls feet: 3 shots

Hill with grass and sky: 5 shots

Interior shed: 7 shots

Two boys and a girl walking on beach: 3 shots

Guitar player silhouette: 4

Girl beach silhouette: 2

Ocean: 3

Ocean surf in reverse: 3

Bushy tree: 1

 

Repetition

 

I watched it many times, and about half of the time I turned the sound off and watched the silent short film for the visual rhythm, the play of light, content, motion/non-motion/reverse motion--reading it like a series of Marker stills circumscribing a narrative, circumscribing because it's not literal, more like the structure of a visual poem. Anyway, just thought you could share some insight from the viewfinder side of lens.

 

Cheers,

Rog

 

Rog, thank you a thousand times for your thoughtful and generous words. I have written to you separately via PM with some of my source material (took a while but I was rapt to find I still had it).

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Hallo,

Look here: Interesting Leica gear

[stray cat]

Applause for the diagonals in this composition, reiterated by the double exposure! It took you ages to see it because it works so seamlessly. If only all of our "mistakes" were so lucky.

 

Here's a link to The Paris Review article on Chris Marker's Studio photographed by Adam Bartos:

 

https://www.theparisreview.org/art-photography/6819/chris-markers-studio-adam-bartos-and-ben-lerner

 

Thanks for the take on the "join" technique that I stumbled on and started using in 1983 when I had a show with a couple of my photographer buddies. I found that I could join three separate images for a work 20"x60". I will see what I can do to pull something for scanning out of the old file.

 

Thank you so very much, Rog. It's funny how often in fact the double exposure actually does work. I guess it reveals something a little extra about how we approach a subject, much like a contact sheet does - yet the images being superimposed produce one image rather than two, as if two thoughts are sparring in our mind at once. An interesting phenomenon.

 

 

I guess I am, naturally, obsessed with the subject. But, there is something else. So often photographs transport to past.....or, cause reflection on here and now. Sometimes I look upon a shot that drags me into the future. I see the couple, maybe 50 years in future, after looking at  digital photographs of this time (those that have not been lost in the due to electronic anomalies and/or accidents) looking on this shot and thinking:...."Yeah! that is us, and how it was."

 

 

Vacancy

 

img175 (1)-2.jpg

 

Ricoh 35 (first edition,) Riken Ricomat 45/3.5, Fuj Superia 100

 

 

As I have already exposed my sentimentalism with a previous photograph I will commit a bit more. The below is from the first roll of film in my new/old Agfa Super-Silette with Solagon 50/2. Unfortunately, when the camera arrived from Germany the shutter speed and Aperture control rings were kaput, requiring me to disassemble the lens structure down to the shutter blades of the Prontor leaf shutter assembly..My daughter looked on with great skepticism and provided less than encouraging commentary on my efforts directed toward repair of the "old camera." I know I must have been wearing my most self-satisfied-jackass expression when I announced my success. This was the first shot. I thought I had advanced far enough to get a good frame. Evidently not. At any rate, my daughter gets, not only an image of her and her much beloved pups, but a reminder of her quirky father and his constant fiddling with old cameras. Definitely a film-only thing.

 

 

 

img188-2.jpg

 

Fuji Superia 100. Expired, of course.

 

Wayne - please see my above comments re double exposure. These take us somewhere different, yet I can't help but feel that they are also very revealing of the person behind the viewfinder. The second, of the window, might come directly from Edward Hopper, and the photographs of your daughter, her partner, their son and the dogs - this is a window into something very intimate, very comfortable and "right"-feeling - it is an insight into the sheer happiness that family brings. These are very, very precious photographs.