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I like film...(open thread)


Doc Henry

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On 1/18/2019 at 4:49 PM, Cyril Jayant said:

 "Contre Jour" well seen. at🕕 pm during autumn dusk.

George Pompidou Center, Paris. My favorite image of my favorite Place in Paris.  

M6 I 50mm Submicron I TRI-X 400  

 

Awesome, Cyril.  In a lot of ways similar to the oft-sho scene in Grand Central Station. Same energy and the contrast is superb.

On 1/18/2019 at 5:36 PM, Rennrocky said:

Berlin City West Leica CL C40 Fuji 400

 

I like the contrast in this one.  A gritty street scene.

23 hours ago, Ernest said:

Real
M-A APO 50mm ADOX Color Implosion

Color fields harvested from the urban forest.

 

Really like the color scheme here, Rog, as well as the geometric design.  Well done!!

16 hours ago, joergel said:

 

 

Leica M2 - probably Summicron 2/90 - TMAX100 in D76

Another stunner, Joerg.  So simple yet so much to feast on.  

14 hours ago, Doc Henry said:

Kodak TX400 dev D76-Leica MP-50 Summilux Asph

Best H

 

Wonderful, Henry!!

13 hours ago, MarkP said:

Leaping out of tall buildings 🙂

Parachutes are for wimps...

Well, I hope you wore your cape, Clark!!!   

12 hours ago, PeterGA said:

 

The imperfections are perfect, Peter :)

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14 minutes ago, A miller said:

Drugstore Film, NYC

(well, it was taken in a drug store 😂)

M-A, 28mm elmarit pre-asph

Portra 400

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The balancing act on this one has me off balance with applause: composition, the depth, the palette, the golden fur coat against the teal wall, those sunglasses and no sun, you're just outside her hula hoop, the three hoodies outside, the window reflections, and the considerate signage with "No appointment necessary." Red accent, hot diggity. "You lookin' at me, young man? I got Whole Foods!"

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23 hours ago, stray cat said:

Rog, having read Albers' "Interaction of Color" a few months ago, his ideas and teachings are only just starting to connect with me. When I see such an exercise as "Real" and the marvellous "Notation Tab" (and many thanks to Philipus for that wonderful notion of it being a sunrise over a cubist mountain) I can immediately identify aspects of Albers' instruction. However, it takes much more than just an intelligent interpreting of Albers to construct, from largely ordinary source material, such wonderful, playful and thoughtful artworks. These are always a great pleasure - thank you.

Just love how you pump life into these photographs. And I so appreciate your take and the tip of the hat from other forum shooters. Interaction of Color is the bomb, and another incendiary collection of Albers creativity is One and One Is Four: The Bauhaus Photocollages of Josef Albers.  Straightaway, the first photograph is Albers in 1930 taking a shot of the viewer with his Leica. What follows is the backstory of the discovery of the photocollages--lets just call them Bauhaus diptychs plus--and more. John Szarkowki is quoted in the preface saying that Albers was a "great photographer," and that the photographs were a "fantastic discovery . . . one of the best of the century." Albers says that "one and one is two--that's business," but "one and one is four--that's art--or if you like it better--is life." This speaks to the notion we've discussed regarding fragmentation in photography, how fragments are connected by the viewer into a meaningful, interpretive dialogue. Closing the gap between fragments to construct a sense of the whole. I notice somewhat a similarity in some of Albers's diptychs with the photocollages of Katrien De Blauwer, who doesn't take photographs but cuts magazine photos from the 60s for her intensely personal work, essentially biographical in a way. We've talked about the marriage of photography and music when you mentioned Ralph Gibson's affinity for the guitar, but De Blauwer has even issued a vinyl LP by Danny Clay with her book Stills. Her work embraces the concept of fragmentation and has been characterized as having an Antonioni tone. I agree. She is not a photographer, though current publicity defines her as a photographer with scissors. As I mentioned before, Rauschenberg got into some issues using printed media photographs that weren't his, so he shifted to taking his own photographs. I recommend his Photographs In + Out City Limits New York C. and Photographs In + Out City Limits Boston, as well as Robert Rauschenberg: Photographs 1949-1962. An additional book on color theory that is useful is Johannes Itten's The Art of Color.

Cheers,
Rog

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5 hours ago, Ernest said:

The balancing act on this one has me off balance with applause: composition, the depth, the palette, the golden fur coat against the teal wall, those sunglasses and no sun, you're just outside her hula hoop, the three hoodies outside, the window reflections, and the considerate signage with "No appointment necessary." Red accent, hot diggity. "You lookin' at me, young man? I got Whole Foods!"

Thanks, Rog.  It does really hold together, which makes me wonder why it has been sitting in my pile unseen for a few years.  Sometimes, I just figure myself out! 

35 minutes ago, christoph_d said:

Film still is indeed the first impression I had. Very nice! Was there any further interaction - after that curious gaze through the shades?

Rgds

C.

Thanks, Christoph.  No interaction.  It was a drive by shooting (oh wait, I forgot you don't like violent references! 😧)

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7 hours ago, A miller said:

Drugstore Film, NYC

(well, it was taken in a drug store 😂)

M-A, 28mm elmarit pre-asph

Portra 400

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Everything about this photograph proclaims its brilliance...

Flu shots, whole foods, fur coat, big sunglasses, world weary disdain. 

Almost too good ... Almost ;)

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On 1/19/2019 at 12:28 AM, Cyril Jayant said:

Philipus Amazing Macro photo and I enjoy all of your photos. What lens is this?

Hi Cyril, it's the 55 Micro-Nikko 2,8 AI-S.

br

Philip

On 1/19/2019 at 12:08 AM, Ernest said:

Yes, I like your interpretation,  Philip.   Kind of like Paul Klee at the Josef Albers Cafe. Actually, I constructed these images upside down from the way they are presented here, but when I ran a test print to get some distance, I thought it looked better in the reversed orientation, like Adam has suggested in some of my other constructions. 

 Cheers, Rog 🎬

One thing I've noticed with many of your constructions is the shadows which add an extra dimension (together with the various textures) and affect how the fields interact with each other. I like Albers' works but I like the three-dimensional 2D character, if there is such a thing, of your constructions more.

On 1/19/2019 at 11:16 AM, Doc Henry said:

Kodak TX400 dev D76-Leica MP-50 Summilux Asph

Best H

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On 1/19/2019 at 11:19 AM, Doc Henry said:

Kodak TX400-Leica MP-50 Summilux Asph

Scan Nikon CS 5000 no correction when scan "linear curve"

Best  H

 

Well done Henry, these two Eiffel photos are truly terrific. I really like how you've lined up verticals and horizontals and how you've framed them, with the first almost making me blush :) Outstanding stuff.

9 hours ago, A miller said:

Drugstore Film, NYC

(well, it was taken in a drug store 😂)

M-A, 28mm elmarit pre-asph

Portra 400

Terrific composition Adam. How did you get this really cool vintage look from the Portra?

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Stumped!  Dyrham Park (National Trust). M7, 50mm Summilux-M ASPH, HP5Plus, Rodinal.

 

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Edited by Keith (M)
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I recently posted in another forum a stronger version of the well-known one camera, one lens movement. It is the idea of one camera, one lens, one frame, that works best with medium format. This self-imposed shooting economy forces you to become extremely thoughtful with your photography. It usually takes me 20-30 days to finish a 120 roll film (I shoot with other cameras, too). And I feel like following the so-called Ernst Haas principle: twelve printable frames from one roll film.

The above idea came with good timing! I tried to sell my M9 and I failed. The sensor---second replacement---was found to be corroded, too. I had decided to shoot only film, but now I'm keeping it. I'm not going to give off the M9 for 1000 euros! What I did, though, as a measure against the temptation of machine-gun shooting, was to buy a 2 GB SD card. Such a card is equivalent to roughly two films on the M9. Time will show.

Paul

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12 minutes ago, atournas said:

I recently posted in another forum a stronger version of the well-known one camera, one lens movement. It is the idea of one camera, one lens, one frame, that works best with medium format. This self-imposed shooting economy forces you to become extremely thoughtful with your photography. It usually takes me 20-30 days to finish a 120 roll film (I shoot with other cameras, too). And I feel like following the so-called Ernst Haas principle: twelve printable frames from one roll film.

The above idea came with good timing! I tried to sell my M9 and I failed. The sensor---second replacement---was found to be corroded, too. I had decided to shoot only film, but now I'm keeping it. I'm not going to give off the M9 for 1000 euros! What I did, though, as a measure against the temptation of machine-gun shooting, was to buy a 2 GB SD card. Such a card is equivalent to roughly two films on the M9. Time will show.

Paul

 

Paul it's a long time now I don't touch my two digital M and it's a good thing  no stress,

tired of cleaning the sensor

Film  rest and pleasure  ... and color more beautiful and  mostly faithful 

Best  wishes for 2019  Paul and family  

H

 

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1 hour ago, philipus said:

Well done Henry, these two Eiffel photos are truly terrific. I really like how you've lined up verticals and horizontals and how you've framed them, with the first almost making me blush :) Outstanding stuff.

Terrific composition Adam. How did you get this really cool vintage look from the Portra ?

Thank you Philip for your nice comment 😁

11 hours ago, A miller said:

Wonderful, Henry!!

Thank you Adam  🙂

10 hours ago, A miller said:

Drugstore Film, NYC

(well, it was taken in a drug store 😂)

M-A, 28mm elmarit pre-asph

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!

She appreciates your presence .  Well done Adam

Best  H

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10 hours ago, Ernest said:

The balancing act on this one has me off balance with applause: composition, the depth, the palette, the golden fur coat against the teal wall, those sunglasses and no sun, you're just outside her hula hoop, the three hoodies outside, the window reflections, and the considerate signage with "No appointment necessary." Red accent, hot diggity. "You lookin' at me, young man? I got Whole Foods!"

 

On 1/19/2019 at 1:36 AM, Ernest said:

Real
M-A APO 50mm ADOX Color Implosion

Color fields harvested from the urban forest.

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Very nice composition and Subtle colors make the photo very interesting. Well done Earnest  😀

On 1/19/2019 at 10:19 AM, Doc Henry said:

Kodak TX400-Leica MP-50 Summilux Asph

Scan Nikon CS 5000 no correction when scan "linear curve"

Best  H

 

😍 Monochrome Doc. Henry. Nice tones and contrast,  

23 hours ago, PeterGA said:

😮very Surrealistic Image. Bravo Peter😍

10 hours ago, A miller said:

Drugstore Film, NYC

(well, it was taken in a drug store 😂)

M-A, 28mm elmarit pre-asph

Portra 400

Lovey Capture Adam, 😀 , and the vintage colors with the FLU SHOTS notice to go with, that frames the whole story in this photo. Lovey .

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Minox B, Agfa Copex Rapid

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Interior of St Peter's Church, Dyrham Park. Recumbent figures dedicated to George Wynter, who died in 1581, and his wife Anna. 
Leica M7, 50mm Summilux-M ASPH, HP5Plus.

 

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