I like film...(open thread)

[Ernest]

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On ‎11‎/‎23‎/‎2018 at 1:45 AM, stray cat said:

I'm going to have to plead "not guil;ty" to provoking any invigorating dialogue unfortunately. The only reason I mentioned the name was because when I did a search no book like the one you described came up. No matter - it is so exciting to have an extremely thoughtful and provocative photographer such as Gibson put his thoughts about the art into words and pictures. I really am looking forward to receiving the book, although now I think that perhaps I should have checked out Refractions first. Do you think it will matter?

I now have the quote you quoted in mind: A good photographer is sensitive to that which the eye cannot see. This will occupy me, no doubt, for some time.

We are in Kafka's court, so no matter how you plead, you're guilty, even if you haven't been charged with the crime of provoking "invigorating dialogue," whether on street corners or the Internet. Ha, ha, ha. Kafka must be given applause for his comedy. As for a "refractive" Ralph Gibson, Refractions is an idea generator, if nothing else! What else is there, anyway? Of course, it's out of print and pricey, but a good used book would be worthwhile. I'll send a chapter topic list from the contents. I think Overtones is a good ongoing discussion and illustration of Gibson's diptych mindset. Early on, he understood the implications of recto and verso in the layout of his Somnambulist and just about every book since. It is worthwhile to note that Albrecht Durer, who produced the first artist illustrated book, The Apocalypse (1498), recognized the notion of recto and verso by printing the verse from the "Book of Revelation" that his woodcut illustrated on the reverse side of the print. With a deconstructive view of The Apocalypse, what Durer did not take into account was that the verse on the back of one print was readable, of course, only when the page was turned to the next illustration, leaving the viewer with only the view of the next illustration on the recto, while readying the text on the verso. This detail has escaped academia and not mentioned in The Spenser Encyclopedia. In fact, The Spenser Encyclopedia neglects to credit Durer with his inventive illustrations, which leads to a consideration of emblematic imagery in Renaissance emblems. This is the cornerstone of diptych theory, which has generally been overlooked.

Cheers,
Rog

[A miller]

On 11/23/2018 at 2:06 PM, Doc Henry said:

Superb color Adam ....   really superb

Best

Henry

Thank you very much, Henry!

On 11/23/2018 at 4:16 PM, schattenundlicht said:

White on White...

... is the domain of film, imho.

Fully agree with you, and looks like you made good use of your time while shopping with your wife 

13 hours ago, BlackDE said:

Outstanding!

Thank you!! 

11 hours ago, edwardkaraa said:

TVSII Ultramax 400 by edward karaa, on Flickr

I like this one, Edward.  The composition of the angles of the bus door and the scooter

10 hours ago, schattenundlicht said:

Impeccable, again. Your entire NYC pano series is worth being printed in a large format, high quality book. However, I would have to change the format of our coffee table for it

I really appreciate that   I am busy trying to find large walls in NYC and beyond to showcase these bad boys

8 hours ago, Ouroboros said:

One of my favourite locations, as some may have already gathered!

Callanish Standing Stones at sunrise.  October 2018.

Fuji GSW690iii

Ektar

 

 

Very beautiful, Steve.  I'll bet this one is bittersweet for you, seeing as how the Ektar blows away any of your sacrosanct Veliva from this location 👻 😂😂  

8 hours ago, Keith (M) said:

Tangled trio. M7, C-Sonnar 50mm, Kentmere 100.

 

Very nice, Keith.

3 hours ago, christoph_d said:

Evening mood near Lisbon. I am using up some old stock of Adox 50. I am afraid it is disintegrating though: there is a strange delimitation going on ... luckily not too much is visible on this picture.

 

MP, 50, Adox50

Rgds

C.

Really love this one, Christoph

2 hours ago, problem child said:

Autumndream.

 

Portra 160.

 

 

Beautifully mysterious.  Welcome to the thread!

1 hour ago, Ernest said:

Portrait to Landscape: The History of Photography

M-A Macro-Elmar-M & Summilux-M 50mm ASPH.
Nikon F2 Micro-Nikkor 55mm
ADOX Color Implosion & JCH StreetPan 400

It is with a good measure of tongue-in-cheek that I sidle up to the topic of "the history of photography" because it encompasses such an astounding panorama that even Miller's 6x17 world would be hard-pressed to meet the task. Nevertheless, LUF is the turf of experimentation, cast aside the propensity for folly. So, I started with the foolish notion of portrait and landscape as the scaffolding to build this experiment. I say foolish because it's ill-conceived to start with such a binary notion, an either/or limitation of photography. Still, lump all people into the category of portrait, conveniently ignoring that much of it is in landscape mode, and everything else into landscape, whether it's vertical or horizontal and all the other degrees of inclination, as one is so inclined. That neatly wraps up the subject of photography, albeit with raggedy ends. As for hardware, let's skip over pin-hole notions in the light of Vermeer, even Niepce at his window, and jump to the wonderment of stereoscopy, the most popular photography of the mid-nineteenth century. The photograph of Lincoln on his death bed opposite the Ford Theatre was a 3D photograph; only one half of the 3D photograph survives. A note on the mid-nineteenth century photograph (purposely blurred here) of the couple; I collected it from an antique store 45 years ago and noticed the names written in pencil on the back--John H. Malona + Melvina Malona. The names were unique, so my wife had no difficulty tracing the family down through Ancestry.com.  I offered to send the original photograph to the descendent, but he said that the emailed photo was enough. That's history. The background page I used is from Illustrirtes Konversations - Lexikon (1874), and the 6x6 stereo viewer is Carl Zeiss.

Cheers,
Rog

 

This is completely fascinating, Rog.   I always learn a lot from you.  Thank you!

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[A miller]

The ever-changing midtown Manhattan skyline about an hour before sunrise.   Colorful brush-strokes in the foreground care of Ektar ♥️ 

Technorama 617s iii, 90mm Schneider Super Angulon XL

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[benqui]

vor 5 Stunden schrieb leitna:

ah jetzt sind sie endlich da, die Bilder aus der Plaubel Makina

Ja !!! Und die Kiste macht richtig Spaß!😀

[frame-it]

Leica M5 + 90mm M APO Summicron ASPH f2.0 + Kodak Color-plus 200

Dismantled

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[benqui]

vor 8 Minuten schrieb A miller:

The ever-changing midtown Manhattan skyline about an hour before sunrise.   Colorful brush-strokes in the foreground care of Ektar ♥️ 

Technorama 617s iii, 90mm Schneider Super Angulon XL

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Wow! It was worth to rise with the sun in order to get such a breathtaking photo! It must have been very early in the morning (and I am sure your wife said: take a photo in the morning from what you want, but do not wake me up)

[Wayne]

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Canon EF, Canon FD 50mm 1.4, Foma 200

[Wayne]

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Canon EF, FD 50/1.4, Foma 200

[stray cat]

10 hours ago, Ouroboros said:

One of my favourite locations, as some may have already gathered!

Callanish Standing Stones at sunrise.  October 2018.

Fuji GSW690iii

Ektar

 

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!

 

1 hour ago, A miller said:

The ever-changing midtown Manhattan skyline about an hour before sunrise.   Colorful brush-strokes in the foreground care of Ektar ♥️ 

Technorama 617s iii, 90mm Schneider Super Angulon XL

Look at this! We have two pictures, two locations worlds apart in space and time and yet the similarity - the cohesion - is remarkable. Both I would regard as masterpieces - they have in common such beautiful early morning light and the stones/buildings are set against such subtleties of dawn and pre-dawn light. The more I look at these two - both individually and even moreso as a pair (a diptych even!), the more I am completely stunned, both visually and by the ideas and even fantasies that these wonderful pictures engender. Remarkable work, Steve and Adam.

[stray cat]

8 minutes ago, Wayne said:

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Canon EF, FD 50/1.4, Foma 200

Wayne, this is sensational and, to me at least, perfectly illustrates a quality inherent in film that I think is an enormous part of its appeal; Henry has stated it previously - that "softness". To be precise, that transition from acute detail to a very pleasing softness - not bokeh exactly, but a kind of transitional perfection. The older Canon FD lenses help - I think they are superb at it, as evidenced in your two pictures. And this Foma 200 works perfectly too - in fact I'd have sworn it was Tri-X.

[stray cat]

2 hours ago, Ernest said:

We are in Kafka's court, so no matter how you plead, you're guilty, even if you haven't been charged with the crime of provoking "invigorating dialogue," whether on street corners or the Internet. Ha, ha, ha. Kafka must be given applause for his comedy. As for a "refractive" Ralph Gibson, Refractions is an idea generator, if nothing else! What else is there, anyway? Of course, it's out of print and pricey, but a good used book would be worthwhile. I'll send a chapter topic list from the contents. I think Overtones is a good ongoing discussion and illustration of Gibson's diptych mindset. Early on, he understood the implications of recto and verso in the layout of his Somnambulist and just about every book since. It is worthwhile to note that Albrecht Durer, who produced the first artist illustrated book, The Apocalypse (1498), recognized the notion of recto and verso by printing the verse from the "Book of Revelation" that his woodcut illustrated on the reverse side of the print. With a deconstructive view of The Apocalypse, what Durer did not take into account was that the verse on the back of one print was readable, of course, only when the page was turned to the next illustration, leaving the viewer with only the view of the next illustration on the recto, while readying the text on the verso. This detail has escaped academia and not mentioned in The Spenser Encyclopedia. In fact, The Spenser Encyclopedia neglects to credit Durer with his inventive illustrations, which leads to a consideration of emblematic imagery in Renaissance emblems. This is the cornerstone of diptych theory, which has generally been overlooked.

Cheers,
Rog

Thank you sincerely, Rog. My head will spin for some time with that concise injection of cultural history but I am incredibly happy to be able to learn so much - these references you've made will provide the basis for much further research, which I always enjoy.

Also, I was able to track down a copy of Refractions at a very reasonable price, so that is now on its way to me as well. Ideas generation sounds like where it's at. And I love the Kafka reference to guilt even without charge. Gregor Samsa will never rest while you're on his case!

[Ernest]

5 minutes ago, stray cat said:

Thank you sincerely, Rog. My head will spin for some time with that concise injection of cultural history but I am incredibly happy to be able to learn so much - these references you've made will provide the basis for much further research, which I always enjoy.

Also, I was able to track down a copy of Refractions at a very reasonable price, so that is now on its way to me as well. Ideas generation sounds like where it's at. And I love the Kafka reference to guilt even without charge. Gregor Samsa will never rest while you're on his case!

I certainly have more than an affinity for Kafka and Die Verwandlung, sometimes translated as The Transformation, as well as the more popular The Metamorphosis, since Gregor is nearly Roger backwards. Now, if my middle or last name started with a "G", that would be too Kafkaesque! Glad you scored Refractions at a reasonable price, since new copies are going for upwards of $250+. My, my, ideas can be pricey and good ideas, priceless. Gibson is never boring. Mono and Political Abstractions push the Gibson diptych brand mixed with his fragmentation.

[A miller]

3 hours ago, benqui said:

Wow! It was worth to rise with the sun in order to get such a breathtaking photo! It must have been very early in the morning (and I am sure your wife said: take a photo in the morning from what you want, but do not wake me up)

Many thanks, Marc.  That's the only downside of shooting sunrises - sleeping on the couch with the dog 😫

2 hours ago, stray cat said:

 

Look at this! We have two pictures, two locations worlds apart in space and time and yet the similarity - the cohesion - is remarkable. Both I would regard as masterpieces - they have in common such beautiful early morning light and the stones/buildings are set against such subtleties of dawn and pre-dawn light. The more I look at these two - both individually and even moreso as a pair (a diptych even!), the more I am completely stunned, both visually and by the ideas and even fantasies that these wonderful pictures engender. Remarkable work, Steve and Adam.

Very well said, Phil, sincere thanks as always for your insights and feedback.  I think the light is more special in Steve's photo, and made even more special with the Ektar, which is another thing our photos have in common 😉  

[Ernest]

BTW Phil, thanks so much for pointing me in the direction of Larry Sultan & Mike Mandel ages ago. Completely off my radar. Evidence.

[sblitz]

Sloane Sq Tmax3000 Leica MA 50mm Summilux

 

 

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[sblitz]

Bank Station .... Ektachrome Leica MA 50mm Summilux

 

 

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[AntonioF]

A modern art installation in Palazzo Palmieri (Monopoli).

Bones made of clay on a boat. A reference to the migrants crossing the Mediterranean sea.

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20181118-DSC01717 by antoniofedele, on Flickr

[stray cat]

4 hours ago, Ernest said:

BTW Phil, thanks so much for pointing me in the direction of Larry Sultan & Mike Mandel ages ago. Completely off my radar. Evidence.

My pleasure, Rog, absolutely! I find it an intriguing book, and I think it actually sits exceptionally well alongside Ralph Gibson's Black trilogy, very much for the reasons you spoke about - their pairing of pictures is, like Gibson's, provocative, masterful.

6 hours ago, Ernest said:

I certainly have more than an affinity for Kafka and Die Verwandlung, sometimes translated as The Transformation, as well as the more popular The Metamorphosis, since Gregor is nearly Roger backwards. Now, if my middle or last name started with a "G", that would be too Kafkaesque! Glad you scored Refractions at a reasonable price, since new copies are going for upwards of $250+. My, my, ideas can be pricey and good ideas, priceless. Gibson is never boring. Mono and Political Abstractions push the Gibson diptych brand mixed with his fragmentation.

$250! Aaaagh! I'm doubly pleased to have found a used copy ("good" condition which probably means falling apart!) for just over $30 (mind you, shipping worked out about the same). Photobooks - some of them at least - are obviously hugely collectable. A few years ago Sue and I were in a local gallery and noticed they had two copies of Trent Parke's "The Black Rose" catalogue - $75 each. Sensing they's become collectable we bought two - and later sold one for $500 (which bought me my lovely Canon 50mm f1.4 ltm lens)! Unfortunately this story has no sequel - but one always lives in hope.

3 hours ago, sblitz said:

Bank Station .... Ektachrome Leica MA 50mm Summilux

 

 

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Thanks for the memory Steve - this was my commuting stop when Sue and I lived in London many years ago - they were my steps! The new Ektachrome seems to love red!

[edwardkaraa]

4 hours ago, sblitz said:

Sloane Sq Tmax3000 Leica MA 50mm Summilux

 

 

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Nice one Steve!

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[edwardkaraa]

9 hours ago, A miller said:

The ever-changing midtown Manhattan skyline about an hour before sunrise.   Colorful brush-strokes in the foreground care of Ektar ♥️ 

Technorama 617s iii, 90mm Schneider Super Angulon XL

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I’m running out of superlatives for your photos, Adam