Guest JMF Posted September 23, 2018 Share #53541 Posted September 23, 2018 Advertisement (gone after registration) Cheers ! Cheers by JM__, on Flickr Velvia 50 - Konica Genba Kantoku HG 28 Quote Link to post Share on other sites More sharing options...
Advertisement Posted September 23, 2018 Posted September 23, 2018 Hi Guest JMF, Take a look here I like film...(open thread). I'm sure you'll find what you were looking for!
edwardkaraa Posted September 23, 2018 Share #53542 Posted September 23, 2018 M7 ZM 85/2 Superia X-tra 400 by edward karaa, on Flickr 18 Quote Link to post Share on other sites More sharing options...
edwardkaraa Posted September 23, 2018 Share #53543 Posted September 23, 2018 M7 ZM 35/1.4 Portra 800 by edward karaa, on Flickr 19 Quote Link to post Share on other sites More sharing options...
Ernest Posted September 23, 2018 Share #53544 Posted September 23, 2018 Repetition in Monologue Polyptych M-A APO-Summicron-M 50mm LHSA Portra 400 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! 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=3598349'>More sharing options...
A miller Posted September 23, 2018 Share #53545 Posted September 23, 2018 looks like my C41 film from Israel!! Flickr 80 Planar Provia 400X (EI800) X1 Wonderful colors and contrast!! Repetition in Monologue PolyptychM-A APO-Summicron-M 50mm LHSA Portra 400 2 Quote Link to post Share on other sites More sharing options...
Ernest Posted September 23, 2018 Share #53546 Posted September 23, 2018 Flickr 80 Planar Provia 400X (EI800) X1 Always anxious to Oh-pun my eyes to the stellar. Awesome piece, Philip. Mark Rothko said he painted very large canvases so the viewer would be immersed emotionally in the work (subjective), instead of painting small, which put the viewer analytically outside the work (objective). Your photograph mirrors the incredibly detailed graphite drawings of Vija Celmins, whose works are small given her meticulously tight technique. https://goo.gl/images/9F2HXn Cheers, Rog 5 Quote Link to post Share on other sites More sharing options...
gbealnz Posted September 23, 2018 Share #53547 Posted September 23, 2018 Advertisement (gone after registration) Flickr 80 Planar Provia 400X (EI800) X1 Great shot Philip, and while it lacks "depth", I of all people can appreciate the difficulty of getting this. Any idea where it is? There used to be a site where you could upload your shot(s) and it would give you the details of where/what etc. What length exposure? Tracked? As soon as the lights are off across the paddocks (foaling in progress at the moment) in a few weeks I plan on embarking again on this, likely with digital but I might also try the 120 Planar. Gary 1 Quote Link to post Share on other sites More sharing options...
philipus Posted September 23, 2018 Share #53548 Posted September 23, 2018 Oh that sucks Adam. Better use the CS9000 for them and hope you can ICE the crud. looks like my C41 film from Israel!! Wonderful colors and contrast!! 1 Quote Link to post Share on other sites More sharing options...
philipus Posted September 23, 2018 Share #53549 Posted September 23, 2018 Thanks a lot Rog, and for linking to Vija Celmins' work. That's awesomely meticulous indeed. Like a hyperrealistic astro photo. I will have to explore more of her work. Always anxious to Oh-pun my eyes to the stellar. Awesome piece, Philip. Mark Rothko said he painted very large canvases so the viewer would be immersed emotionally in the work (subjective), instead of painting small, which put the viewer analytically outside the work (objective). Your photograph mirrors the incredibly detailed graphite drawings of Vija Celmins, whose works are small given her meticulously tight technique. https://goo.gl/images/9F2HXnCheers,Rog Thanks Gary. I know what you mean.Film will only go so far. Still I'm pretty pleased. I didn't track - still haven't got arond to sorting that - but tried to keep the time short enough to prevent trails. And I pointed the camera pretty much straight up to further minimise the impact of the Earth rotation. I think I may have used something like 25s, but there were still trails so I had to resort to post-processing trickery to counter that. Lost quite a few stars as a result, but at least they're pretty pinpointyish. And I like that one can clearly see their colour, even though they look duller here compared to at Flickr. I checked on astrometry.net and it seems to have been towards Cygnus. Would be very interesting to see your results. I'm sure you have a darker location to shoot from. Great shot Philip, and while it lacks "depth", I of all people can appreciate the difficulty of getting this.Any idea where it is? There used to be a site where you could upload your shot(s) and it would give you the details of where/what etc.What length exposure? Tracked?As soon as the lights are off across the paddocks (foaling in progress at the moment) in a few weeks I plan on embarking again on this, likely with digital but I might also try the 120 Planar.Gary 1 Quote Link to post Share on other sites More sharing options...
gbealnz Posted September 23, 2018 Share #53550 Posted September 23, 2018 Thanks Gary. I know what you mean.Film will only go so far. Still I'm pretty pleased. I didn't track - still haven't got arond to sorting that - but tried to keep the time short enough to prevent trails. And I pointed the camera pretty much straight up to further minimise the impact of the Earth rotation. I think I may have used something like 25s, but there were still trails so I had to resort to post-processing trickery to counter that. Lost quite a few stars as a result, but at least they're pretty pinpointyish. And I like that one can clearly see their colour, even though they look duller here compared to at Flickr. I checked on astrometry.net and it seems to have been towards Cygnus. Would be very interesting to see your results. I'm sure you have a darker location to shoot from. astrometry.net that's the one. Let me try it again like I said and we can compare. Tracking mounts certainly help, but you can fabricate one called a "barn-door-tracker" if you want, simple enough. Gary 1 Quote Link to post Share on other sites More sharing options...
greg_may_ Posted September 23, 2018 Share #53551 Posted September 23, 2018 Manchester. TriX_400_M6 (9).jpg by Greg.May, on Flickr 16 Quote Link to post Share on other sites More sharing options...
benqui Posted September 23, 2018 Share #53552 Posted September 23, 2018 Portra 400, Summilux 1.4/35 pre asph, M6 best regards Marc 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! 19 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=3598400'>More sharing options...
Ernest Posted September 23, 2018 Share #53553 Posted September 23, 2018 looks like my C41 film from Israel!! Wonderful colors and contrast!! A hearty thanks, Adam, for your feedback. You wondered about the shots in "Kafka's Door Polyptych"--there are actually four: the red is a full frame horizontal shot, and the green a full frame vertical. For the yellow accent lines, I used two horizontal shots, cropped. The green vertical shot has that little black swatch at the bottom, which made that part of the panel look recessed, like the partial opening of a doorway. Kafka was adamantly opposed to his publisher showing the "monstrous vermin" of "The Metamorphosis," which is metaphoric and not literal, so when the story was first published, the cover illustration showed only a double door cracked open to darkness and a man covering his face with both hands, shrinking from the door. So, this is the inspiration behind "Kafka's Door," which has a very clinical-looking palette, the red/green complementary, and the values reading from dark on the left to the kind of spotlighted green door. I added a taste of yellow because Kafka is at times very humorous. In two of my other recent color studies, "Echo Regressions" (five full frame images) and "Repetition in Monologue" (six images), I constructed the components, for the most part, so they would deconstruct themselves. They don't purport to be anything other than what they are and call attention to fact they are simply a plane of color. Unlike, "Kafka's Door," though, they do have blurred images because I focused on the surface of the panel and used a shallow DOF to throw the reflection out of focus. It's interesting that the color fields in "Echo Regressions" instigate a narrative, from left to right, and that is what brought up the echo idea. This motif is more apparent in "Repetition in Monologue" (six images), again allowing deconstruction, with the repetition of a blurred reflection, though the surface of the panel is in focus. Even though the blurred reflection is repeated, there is a variation between the two and not because one is a full frame horizontal and the other a full frame vertical. I am thinking of Samuel Beckett's use of repetition in his plays where a passage or action may be repeated but is changed by the perception of the repetition. I used the idea of repetition in my other study, "Beckett's What Where Polyptych" (four images) constructing a dark labyrinth of repeating concrete pillars, punctuated with a single red line that seems to come forward in the space, perhaps as a warning or a code. Using the ominous repetition of interrogation, Beckett dramatizes the weight of oppression and the penalty of paranoia. Of course, none of this would surface in looking at my photo, so I think I'll just opt for a soundtrack, perhaps something from Tangerine Dream. Cheers, Rog 2 Quote Link to post Share on other sites More sharing options...
A miller Posted September 23, 2018 Share #53554 Posted September 23, 2018 A hearty thanks, Adam, for your feedback. You wondered about the shots in "Kafka's Door Polyptych"--there are actually four: the red is a full frame horizontal shot, and the green a full frame vertical. For the yellow accent lines, I used two horizontal shots, cropped. The green vertical shot has that little black swatch at the bottom, which made that part of the panel look recessed, like the partial opening of a doorway. Kafka was adamantly opposed to his publisher showing the "monstrous vermin" of "The Metamorphosis," which is metaphoric and not literal, so when the story was first published, the cover illustration showed only a double door cracked open to darkness and a man covering his face with both hands, shrinking from the door. So, this is the inspiration behind "Kafka's Door," which has a very clinical-looking palette, the red/green complementary, and the values reading from dark on the left to the kind of spotlighted green door. I added a taste of yellow because Kafka is at times very humorous. In two of my other recent color studies, "Echo Regressions" (five full frame images) and "Repetition in Monologue" (six images), I constructed the components, for the most part, so they would deconstruct themselves. They don't purport to be anything other than what they are and call attention to fact they are simply a plane of color. Unlike, "Kafka's Door," though, they do have blurred images because I focused on the surface of the panel and used a shallow DOF to throw the reflection out of focus. It's interesting that the color fields in "Echo Regressions" instigate a narrative, from left to right, and that is what brought up the echo idea. This motif is more apparent in "Repetition in Monologue" (six images), again allowing deconstruction, with the repetition of a blurred reflection, though the surface of the panel is in focus. Even though the blurred reflection is repeated, there is a variation between the two and not because one is a full frame horizontal and the other a full frame vertical. I am thinking of Samuel Beckett's use of repetition in his plays where a passage or action may be repeated but is changed by the perception of the repetition. I used the idea of repetition in my other study, "Beckett's What Where Polyptych" (four images) constructing a dark labyrinth of repeating concrete pillars, punctuated with a single red line that seems to come forward in the space, perhaps as a warning or a code. Using the ominous repetition of interrogation, Beckett dramatizes the weight of oppression and the penalty of paranoia. Of course, none of this would surface in looking at my photo, so I think I'll just opt for a soundtrack, perhaps something from Tangerine Dream. Cheers, Rog That's crazy cool, Rog. Thanks for sharing those insights! 1 Quote Link to post Share on other sites More sharing options...
Guest JMF Posted September 23, 2018 Share #53555 Posted September 23, 2018 Les Embiez by JM__, on Flickr Untitled by JM__, on Flickr Untitled by JM__, on Flickr Velvia 50 and 2 BW conversions - Konica HG28 Quote Link to post Share on other sites More sharing options...
Steve Ricoh Posted September 23, 2018 Share #53556 Posted September 23, 2018 Portra 400, Summilux 1.4/35 pre asph, M6 best regards Marc liv (1 von 1).jpg Your model is extremely photogenic, and your photography brings the best out in her. Bravo! 3 Quote Link to post Share on other sites More sharing options...
Ernest Posted September 23, 2018 Share #53557 Posted September 23, 2018 Not Red Polyptych M-A APO-Summicron-M 50mm LHSA ADOX Color Implosion & Portra 400 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! 12 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=3598428'>More sharing options...
Ernest Posted September 24, 2018 Share #53558 Posted September 24, 2018 Repetition in Monologue II Polyptych M-A APO-Summicron-M 50mm LHSA Portra 400 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! 11 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=3598450'>More sharing options...
stray cat Posted September 24, 2018 Share #53559 Posted September 24, 2018 A hearty thanks, Adam, for your feedback. You wondered about the shots in "Kafka's Door Polyptych"--there are actually four: the red is a full frame horizontal shot, and the green a full frame vertical. For the yellow accent lines, I used two horizontal shots, cropped. The green vertical shot has that little black swatch at the bottom, which made that part of the panel look recessed, like the partial opening of a doorway. Kafka was adamantly opposed to his publisher showing the "monstrous vermin" of "The Metamorphosis," which is metaphoric and not literal, so when the story was first published, the cover illustration showed only a double door cracked open to darkness and a man covering his face with both hands, shrinking from the door. So, this is the inspiration behind "Kafka's Door," which has a very clinical-looking palette, the red/green complementary, and the values reading from dark on the left to the kind of spotlighted green door. I added a taste of yellow because Kafka is at times very humorous. In two of my other recent color studies, "Echo Regressions" (five full frame images) and "Repetition in Monologue" (six images), I constructed the components, for the most part, so they would deconstruct themselves. They don't purport to be anything other than what they are and call attention to fact they are simply a plane of color. Unlike, "Kafka's Door," though, they do have blurred images because I focused on the surface of the panel and used a shallow DOF to throw the reflection out of focus. It's interesting that the color fields in "Echo Regressions" instigate a narrative, from left to right, and that is what brought up the echo idea. This motif is more apparent in "Repetition in Monologue" (six images), again allowing deconstruction, with the repetition of a blurred reflection, though the surface of the panel is in focus. Even though the blurred reflection is repeated, there is a variation between the two and not because one is a full frame horizontal and the other a full frame vertical. I am thinking of Samuel Beckett's use of repetition in his plays where a passage or action may be repeated but is changed by the perception of the repetition. I used the idea of repetition in my other study, "Beckett's What Where Polyptych" (four images) constructing a dark labyrinth of repeating concrete pillars, punctuated with a single red line that seems to come forward in the space, perhaps as a warning or a code. Using the ominous repetition of interrogation, Beckett dramatizes the weight of oppression and the penalty of paranoia. Of course, none of this would surface in looking at my photo, so I think I'll just opt for a soundtrack, perhaps something from Tangerine Dream. Cheers, Rog This is fascinating Rog. Your explanation of your use of artistic, cinematic, dramatic and literary allusions in your own art - your constructions - irreducibly imbues them with a purpose well beyond the surface beauty with which they are so generously gifted. These constructions continue to best themselves as you continue to throw caution to the wind and allow them to break out of any preconceived pattern/shape. Having left the rectangle behind you've embarked on an altogether more intriguing path, being unafraid to mix film stocks, colors, shapes and textures. It is fascinating to watch the progression and I think we all feel privileged. Plus these are really fun works. I have one item on my wish list: somewhere (website, photo hosting site) where we could be allowed to look at them as a group. I think the progression then would become even clearer. 1 Quote Link to post Share on other sites More sharing options...
Ernest Posted September 24, 2018 Share #53560 Posted September 24, 2018 This is fascinating Rog. Your explanation of your use of artistic, cinematic, dramatic and literary allusions in your own art - your constructions - irreducibly imbues them with a purpose well beyond the surface beauty with which they are so generously gifted. These constructions continue to best themselves as you continue to throw caution to the wind and allow them to break out of any preconceived pattern/shape. Having left the rectangle behind you've embarked on an altogether more intriguing path, being unafraid to mix film stocks, colors, shapes and textures. It is fascinating to watch the progression and I think we all feel privileged. Plus these are really fun works. I have one item on my wish list: somewhere (website, photo hosting site) where we could be allowed to look at them as a group. I think the progression then would become even clearer. Thanks, Phil, and a resounding shout out for broadcasting the creativity you encourage on this thread with your WWW guerrilla Internet radio station. Well, maybe it’s not a radio station, but your voice is loud, clear, and witty. Thanks for the nudge nudge in the direction of cobbling a website together with my work, though it is all a sketchy circus. I am missing the elephants, though that is just as well for their benefit. Cheers, Rog 1 Quote Link to post Share on other sites More sharing options...
Recommended Posts
Join the conversation
You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.