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I like film...(open thread)


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On 1/21/2019 at 9:13 AM, benqui said:

Plaubel Makina 67, Ilford Delta 400 pushed to 800

 

 

 

Sometimes, for me at least, a work appreciates over time, and this is one. The lighting is moody and appropriate to the subject, and there is an air of expectation - of what, I'm not exactly clear on, but that only adds to the mystery. And there is your model's exotic looks, plus that tear in the curtain, which suggests Hitchcock and adds even more to the noir-ish, 1940s Philip Marlow mysteriousness.

6 hours ago, Pax Koduri said:

Took this in the summer of 2011 on a day trip to the Vatican. As a policy they don't allow tripods so I took advantage of the solid wood barriers they put in place to brace the camera and took this long exposure inside the St. Peters Basilica. It feels empty because the throngs of people are practically a blur due to the long exposure.

Hasselblad 500CM + 60mm Distagon + Fuji Acros 100 (RIP)

 

Fantastic, and well done for the initiative. I once did the same thing myself, also, I think, in the Vatican, and left the camera during a time exposure of several seconds. Only problem there was a curious priest came along and picked up the camera! But this is exquisite - the tonality pays tribute to the architecture.

2 hours ago, Cyril Jayant said:

Just one more photo from my Mont Blanc Series.

This is from another perspective of the " La Vallée Blanche, du Chamonix- Mont Blanc."

Blad / 150mm Sonnar / TriX 400 (Flex light Imacon Scans)

 

What an incredible series this is revealing itself to be, Cyril! I can't believe you lugged a Hasselblad - including a 150mm Sonnar! - on such an arduous (and dangerous) trek! Chapeau!

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1 hour ago, Cyril Jayant said:

Another Zoomed and cropped closer Photo attachment ( from a Canon 135mm Camera )  here shows the bravery attempt they are on Icy snow    

 

These are fantastic, Cyril.  I'd love to take that trek one of these days!

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1 minute ago, Matisse said:

Nikon F 2, Nikkor 50, Ektachrome

This nice old guy sells water on the streets in Tunesia.

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wow.  no words...other than nice photo...

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Last summer in Halifax fort, I found that they have a slide projector ( you need a candle or a lantern to make it work) from beginning of 1900 and real slides ( glass sealed with wax ).

I had  my scuba-diving lantern and project some of them.

Really cool to see over 100 years old slides.

I can not post the slides but this is a "old slides projector"

Fuji X-tra 400 Cosina 24mm

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An the classroom 

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9 hours ago, philipus said:

Really excellent Pax, and I agree with you regarding demise of Acros.

This one is really exciting. The transparency is a nice touch. I've been meaning to ask you Rog, how do you get inspiration for the studies? 

Inspiration for the exercise? The color fields are abstract and real at the same time, abstract in the sense that it is about color, not an object per se, yet they are real surfaces, usually with texture or evidence of weathering, perhaps a sense of history as subtext. When I am collecting colors, so to speak, I am not consciously thinking how I will use them. I am sort of at the art supply store picking up tubes of paint. Since I am dabbling in abstract realism, I am thinking about one thing in terms of another, which is the definition of metaphor. This becomes abstract, as well, because my challenge is then to determine how to express the notion of “erasure“ and what that means in context with a multitude of responses. For belladonna nightshade, I started simply with the grays and black, trying for a sense of transparency that Albers charted so well. The illusion of transparency is so interesting because all of the images are opaque, yet the solidity of the surfaces is completely contradicted and they become see-through surfaces. So, now there is a push-and-pull effect that creates a 3-D illusion. Things are not what they appear to be. Out of the grays and black, I wanted two colors, something along the line of complements. The yellow wall shot with that odd brown (that I didn’t much like) and the purplish pink, which I really wanted in some way. Well, that brownish yellow worked out as an overlay with gray. I started looking at the way the colors were working in context with each other and the kind of mystery that the transparency was creating for me, the overlapping even with the transparency that was lost in the blacks. I thought about things that hide danger with beauty in plain sight. Belladonna, deadly Nightshade, a poisonous plant with a beautiful blossom, belladonna, beautiful woman. The flower is bell-shaped with a yellowish center and purple petals.

 I owe all of the heavy lifting to Albers.

Cheers, Rog 🎬

Edited by Ernest
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6 hours ago, stray cat said:

Once again, no sitting on your hands or getting stale - a new direction is forged and this one is, as Philip observed, exciting. The transparency works perfectly here to extend the vision not only across the horizontal, but to well within the plane. An extremely effective three dimensional quandary. The textures are particularly constructive - they sing and take it to an even higher plane. Absolutely first class, exhilarating work that, at not too much at all of a stretch, can also be  viewed from a sociological perspective - Albers and Max Weber have promoted you to dux of the school of color field symbolic interactionist theorists!

 Thanks so much, Phil, for your generous comments. Color field symbolic interactionist theorist!  Love it when you talk like that.  This calls for marketing T-shirts and baseball caps. The Fedora is out because that market has already been cornered, I hear. Wow! Max Weber! I have not bumped into him since undergraduate studies.  Yes, I had fun experimenting with this study. I wanted to try and push the transparency, just for Albers, to see how far I could get.  I have to be careful now what I think online because you mention 3-D effect, and that is exactly what I want to try.  Wink, wink, nudge, nudge, say no more, say no more.  Time to roll out the Belplasca.

 Cheers, Rog 🎬

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12 hours ago, pico said:

Your work reminds of the days with Josef Albers Color theory.

 

Spot on, Jac! See above for Rog's thinking along the lines of Interaction Of Color.

While you are here, I'd be remiss if I didn't suggest you consider posting some of your film pictures in this thread - from what I've seen of them, they could only enhance an already impressive collection of photographs.

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10 minutes ago, Ernest said:

 Thanks so much, Phil, for your generous comments. Color field symbolic interactionist theorist!  Love it when you talk like that.  This calls for marketing T-shirts and baseball caps. The Fedora is out because that market has already been cornered, I hear. Wow! Max Weber! I have not bumped into him since undergraduate studies.  Yes, I had fun experimenting with this study. I wanted to try and push the transparency, just for Albers, to see how far I could get.  I have to be careful now what I think online because you mention 3-D effect, and that is exactly what I want to try.  Wink, wink, nudge, nudge, say no more, say no more.  Time to roll out the Belplasca.

 Cheers, Rog 🎬

OK, it always pays to have google and a thesaurus handy, but the Belplasca was obviously a cunning little device - as long as you had the essential viewing accessories. I take it your nascent 3D exercise is going to attempt something along the same lines but (drum roll please...) WITHOUT the accessories! Crowd cool-ectively inhales in awe, then thundrous applause resounds!

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Hotel Plaza Berlin City West Leica CL Fuji 400

 

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I am still waiting for our first killer snow blizzard this year.  😴

In the meantime, I have just had an interview regarding my series published on the LFI blog:

https://lfi-online.de/ceemes/en/blog/adam-miller-winter-in-new-york-1789.html

Have a look! :)

I am scheduled to take over the LFI Instagram account this weekend during which I will be posting 4-6 of my images on their feed.  I probably will stick to the theme of blizzards and so if anyone has any personal favorites they'd like to suggest and help me curate that would be much appreciated!

Edited by A miller
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1 hour ago, A miller said:

I am still waiting for our first killer snow blizzard this year.  😴

In the meantime, I have just had an interview regarding my series published on the LFI blog:

https://lfi-online.de/ceemes/en/blog/adam-miller-winter-in-new-york-1789.html

Have a look! :)

I am scheduled to take over the LFI Instagram account this weekend during which I will be posting 4-6 of my images on their feed.  I probably will stick to the theme of blizzards and so if anyone has any personal favorites they'd like to suggest and help me curate that would be much appreciated!

Congratulations Adam

" All images on this page: © Adam Miller
Equipment: Leica M3, Leica M7 with Elmarit-M 28 mm f/2.8, Summicron-M Dualrange 50 mm f/2, Leica SF-24D Speed Flash
"

A good point for Film and Leica Analog M7 Adam Thanks for reminding that Film is still alive

Best H

 

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Buzzzy working. It's a pain to colour balance expired film.

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Flickr
80 Planar+32E Portra 400VC (expired, EI100) X1
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1 hour ago, A miller said:

I am still waiting for our first killer snow blizzard this year.  😴

In the meantime, I have just had an interview regarding my series published on the LFI blog:

https://lfi-online.de/ceemes/en/blog/adam-miller-winter-in-new-york-1789.html

Have a look! :)

I am scheduled to take over the LFI Instagram account this weekend during which I will be posting 4-6 of my images on their feed.  I probably will stick to the theme of blizzards and so if anyone has any personal favorites they'd like to suggest and help me curate that would be much appreciated!

Congrats Adam. And imho a much better image selection than on Phoblographer.

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An oak tree

Nikon F, Nikkor 50/1.4, Kodak Colorplus 200

20190121-DSC02115 by antoniofedele, on Flickr

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