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I like film...(open thread)


Doc Henry

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vor 20 Stunden schrieb A miller:

 

Really interesting subject matter.  Never saw tree trunks like that!


 

Thank you Adam. These trees are in a pond in my neighborhood. I like them very much :)

Regards

Joerg

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Deck cargo, Guidecca.

R6 with 50 Summicron

Portra 300

Gary

 

 

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And an old gate, Massama,Sardinia.

SWC

Delta 100 in R09 @ 1:50

Gary

 

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22 hours ago, gbealnz said:

Much nicer than midday, that's for sure.

Gary

Thanks, Gary; I agree :)

 

 

Wow, this is really cool, Rog.  Lots going on here and the palette is so very complimentary.

22 hours ago, Ernest said:

Pink Pearl Eraser Polyptych

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

Color field study to define the margins of "erasure," but, at the moment,  I only got as far as the Pink Pearl eraser itself. The inspiration was Rauschenberg's Erased de Kooning drawing. Watching interviews with Rauschenberg recounting his concept of the work and the complicity of de Kooning who gave him the drawing to erase, I read the artistic gesture differently than Rauschenberg allows. He talks at length about the process and the finished work but seems to miss the significance of his statement, namely, that artists are constantly re-imagining the work of other artists, and in making their own statement, they are in essence "erasing" the work of their predecessors--not literally, until Rauschenberg, but figuratively. We are all familiar with the instability of silver nitrate motion picture film and the preservation efforts to save those films, and there is the alarming poor condition of Niepce's 1826 photograph, being erased by time and light exposure. What will happen to the 2,500 rolls of undeveloped film Saul Leiter left? Erasure doesn't have to be subtractive, though; in the sense of pentimento, it can show the trace of previous work made in the process of artistic choice.

In this color field study, I used 6 images and Josef Albers's technique of the illusion of transparency.

Cheers, Rog

 

 

 

 

Good stuff, Marc.  Hope the weather improves soon so we can finally get together for a long over due shoot.

21 hours ago, MT0227 said:

Sundown in Asbury Park NJ.    A look down Wesley Lake at the old Casino and Steam Plant.

Linhof Master Technika Classic
Rodenstock Sironar-N 1:5.6/150
Rollex 6x9 Back
Ektar
Developed w/Tetenal C-41 Press Kit
Scanned w/ Nikon LS-9000

 

 

Thanks :)

21 hours ago, MT0227 said:

Awesome colors my friend !

 

Sincere thanks, Marc.  I really appreciate your feedback.  And yes, shooting into the sunlight is a breeze with film 😉

13 hours ago, benqui said:

Wow Adam! Up to now this is my favorite shot from the dead sea! I think especially with film you do not have These problems with the direct sun. Digitally the direct sun sometimes looks like an atomic explosion or supernova. As fas as I can see on your photo, also the soil of the sea is made of salt cristalls, I did not know that.

 

Wow, LOVE the infrared and very well seen and executed, too, Ian.

3 hours ago, ianman said:

Tintagel, Cornwall - Circa 1997

Nikon FM2, 28mm 1:2,8, Kodak High Speed Infrared

Tintagel, Cornwall by Ian Mantripp, on Flickr

 

Ooh la la 💕

3 hours ago, benqui said:

Tmax 3200 on ISO 1600, M6, Apo- Summicron 90

 

best regards

 

Marc

 

 

 

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20 minutes ago, A miller said:

Miller Mediterranean Seascape, take 6 🏝️

Sunrise, Tel Aviv

Ektar, 503cw, 80mm Planar

 

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This should be made real big and put on your wall...the colors are just tremendous! 

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55 minutes ago, A miller said:

Thanks, Gary; I agree :)

 

 

Wow, this is really cool, Rog.  Lots going on here and the palette is so very complimentary.

 

Good stuff, Marc.  Hope the weather improves soon so we can finally get together for a long over due shoot.

 

Thanks :)

 

Sincere thanks, Marc.  I really appreciate your feedback.  And yes, shooting into the sunlight is a breeze with film 😉

 

Wow, LOVE the infrared and very well seen and executed, too, Ian.

 

Ooh la la 💕

 

 Thanks, Adam. I had these three images  and the little one on the far left of the piece already had the perfectly complementary purple (red/violet)  and that viridian green of a window.   The purple plays off of that large green field and moving right, the intensity of the color decreases as the area of the purple becomes larger, until it is practically the color of the Pink Pearl eraser.  Love playing around with Josef Albers’s color ideas and the transparency effect. 

Cheers, Rog

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On 10/11/2018 at 8:16 AM, Ernest said:

Bunker Recall Corridor

M-A APO-Summicron-M 50pmm LHSA
Rollei Redbird 400

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Great to see that you've rejoined Mark Rothko in the bunker!

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1 hour ago, stray cat said:

Great to see that you've rejoined Mark Rothko in the bunker!

 There are a lot of colorful characters down here,  so take the down elevator, the one that doesn’t have any buttons, and join the party. We’ve got Borges in charge of map making, but there is no guarantee we will ever find our way out, again,  since he doesn’t seem to be satisfied with his draft of “Garden of the Forking Paths“ and seems to be totally preoccupied. Barney Newman is a kick when he’s not seeing red.  And Pollock is getting a little too chromatic.  Still, it is a jolly crowd as long as they lay off of the punch and stop singing “Somewhere Over the Rainbow.“

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vor 5 Stunden schrieb A miller:

Miller Mediterranean Seascape, take 6 🏝️

Sunrise, Tel Aviv

Ektar, 503cw, 80mm Planar

 

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I love the different Colors, like in a dreamland! You look at this photo and feel relaxed!

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My indulgence with the "sprocket-less" 35mm film in the SWC continues. Both from a similar area.

SWC

Vista 200

Plustek 8200

Gary

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Edited by gbealnz
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Well, I thought I added them, only one has shown.

Other here.

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2 hours ago, gbealnz said:

My indulgence with the "sprocket-less" 35mm film in the SWC continues. Both from a similar area.

SWC

Vista 200

Plustek 8200

Gary

 

 

2 hours ago, gbealnz said:

Well, I thought I added them, only one has shown.

Other here.

 

 

Very nice!

While in Rome, I hope you got some real CARBONARA as well !!!

 

 

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On 10/11/2018 at 3:38 AM, Ernest said:

Pink Pearl Eraser Polyptych

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

Color field study to define the margins of "erasure," but, at the moment,  I only got as far as the Pink Pearl eraser itself. The inspiration was Rauschenberg's Erased de Kooning drawing. Watching interviews with Rauschenberg recounting his concept of the work and the complicity of de Kooning who gave him the drawing to erase, I read the artistic gesture differently than Rauschenberg allows. He talks at length about the process and the finished work but seems to miss the significance of his statement, namely, that artists are constantly re-imagining the work of other artists, and in making their own statement, they are in essence "erasing" the work of their predecessors--not literally, until Rauschenberg, but figuratively. We are all familiar with the instability of silver nitrate motion picture film and the preservation efforts to save those films, and there is the alarming poor condition of Niepce's 1826 photograph, being erased by time and light exposure. What will happen to the 2,500 rolls of undeveloped film Saul Leiter left? Erasure doesn't have to be subtractive, though; in the sense of pentimento, it can show the trace of previous work made in the process of artistic choice.

In this color field study, I used 6 images and Josef Albers's technique of the illusion of transparency.

Cheers, Rog

 

 

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

I like how you've selected the colours in this one, Rog. It looks like a C41 negative strip.

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