I like film...(open thread)

[oldwino]

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Goat Play.

IIIc / Nikkor Sonnar 85/2 / Kentmere 400 / Xtol

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Every time I pull out this lens and use it, I am impressed. Such a lovely rendering.

[stray cat]

10 hours ago, Wayne said:

Orphan Minox negs:

I had a hard time choosing between the two; finally gave up. She must be the daughter of the woman in my previous entry, "some folks."

In one sense it feels a bit awkward putting these up. In another, some of them are so good, I hope family may somehow see them.

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Wayne, these are brilliant. There is no awkwardness when found discoveries, like treasure, are presented with such reverence and dignity. When we receive a smile like that, it doesn't matter that it was 60 years ago, it only lifts our day.

6 hours ago, christoph_d said:

Phil,

Your photo brings back memories from my trip through Tasmania, and yes, we too came across a lot of wildlife. Ours though was predominantly dead, either flattened into oblivion on the tarmac, or lying bloated by the wayside, picked upon by birds. I honestly have never seen so many roadkills... a sad sight. 

The landscape though is stunning and there are many items to delight the eye of the observer

M4-P, 28(?), Rollei IR 400

Christoph, this is a beautiful landscape. I hear you with regard to the roadkill - on our lengthy journey (11,000km) through Australia in 2002 we were, like you, terribly saddened at the roadside slaughter.

3 hours ago, Ernest said:

Another pure "less is more," courtesy of Van Der Rohe, and the construction crew: Albers, Mondrian, Newman, Still, Rothko, McLaughlin, Stella, Richter, Bell, Frankenthaler, Motherwell, and linchpin thinkers that includes Saussure, Greenberg, and Derrida, not forgetting Beckett and Kafka for innovation and audacity. Why so many painters in this constellation when I haven't mentioned so many stars in photography. As we have discussed and probably could well emphasize, the genesis of the marriage of art and photography is one of the hallmarks of Vermeer and his use of camera obscura. Your "Hobart 2016" kickstarts not just the minimalist/colorist conversation, but is a reminder of the 17th century perspective boxes, only your 21st century box remains unopened. Is this a portable construction office with the side door? The primary palette is so seductive, whispering, "You talkin' to me? You talkin' to me!" Yes, clicks Contax G2. Don't we just love the red/white perspective square flanked by two triangular shapes of the shed and the folded umbrella, center composition offset by the shadow. Not to mention the two little red squares in the corrugated steel, an Albers footnote. Just so cool!

BTW "On the Green Diptych" is actually nothing more than stucco wall, not astro turf, but it looks like astro turf, hence the name "On the Green." It's that magical Color Implosion mega-grain from ADOX. Thanks so much for your comments!

Cheers,
Rog

Thank you so much Rog. I couldn't help thinking, when I saw that intensely coloured cube, how well the primary colours interacted. It is interesting now to read of how it may reference so much of the thinking of the artists, architects and even writers of the 20th century. Such a simple object in an urban space, yet there it is at the cultural centre of our past century. Of course Albers adds so much context but you have fleshed it out to encompass more than that - a cultural perspective of 20th Century art and thought. There are reasons, I think, why we are sometimes attracted to certain motifs in photography, and you've hit the nail on the head - it is because we've been immersed for so long in these motifs - through art, design etc and their spinoffs - advertizing, pop culture - these motifs resonate and we take their picture.

3 hours ago, greybear said:

Sure you cannot return to turkey after this picture, Phil. I guess they will send you to prison as great spy ... 

A funny story there, Greybear. Way back in 1980, some years before this picture was taken, I was in Istanbul in the winter (it was where I was when John Lennon was killed - I'm sure that tragedy was a cultural milestone for all of us). Anyway there was some sort of military rule and a curfew was imposed - you weren't allowed out on the streets after midnight. One night my friend and I met up with some people and we spent the evening with them at their apartment, drinking Raki and having lots of laughs. Staggering back to our accommodation later on, the witching hour obviously now having past, we were stopped by soldiers. While one guy held me, another questioned me there on the street by inserting the bayonet attached to his rifle into my nostril. I remember thinking "No-one even knows I'm in Turkey (I'd gone on a whim) so if they pull that trigger my family probably won't even find out". It was pretty scary (I'd also seen the movie "Midnight Express" the year before). Anyway they apparently just did it for shits and giggles so I guess I've been down something like the road you suggest.

53 minutes ago, philipus said:

A couple posing in the Japanese Garden here in town.

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TTL 90 E-M Superia 200 (EI100) X1

This is just so unutterably beautiful, Philip. To start a new life in such glorious, peaceful and beautiful surrounds - we can be assured their baby will be born to a caring milieu.

2 minutes ago, philipus said:

Let's go to the museum! My five-year-old told me one weekend last summer that she wanted to show me the Mondrian collection at the Gemeente Museum here in The Hague. I of course brought a camera and shot both in that part of the museum and other stuff. All pictures with the Minox 35GT on Portra 160 and scanned with the X1.

Kicking off with one of Mondrian's most well-known paintings, Victory Boogie Woogie (1944) and two of his earlier works, The red cloud (1907) and Forest near Oele (1908).

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What a bright 5-year-old you have, Philip! She hasn't been talking to Rog has she...?

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[A miller]

22 hours ago, Kleinkamera said:

Really like these street photos, Adam. That Portra 400 has such a different look to the 160, which I have used a lot. Of course, the old lenses I use will tend to mute down any color film but I may have to give the 400 a try.

James

Thanks, James.  Good luck with the Portra 400 - can't go wrong!

21 hours ago, stray cat said:

This is such a challenging thread to keep up with! Such great work constantly posted - such a testament to the beauty of film and the various approaches people have to their use of it.

Here's one I've recently reprocessed:

 

Bodrum, Turkey 1987

Canon A1, FD 135mm f2.5 SC, Kodachrome 64

Wow, love that sun kiss, Phil.

18 hours ago, benqui said:

Don't move with that beauty!!! I'll be there as soon as possible😀

🤣

16 hours ago, gbealnz said:

A couple more "pano" style. Sans sprockets of course.

One with the 903SWC, the other with the 503CXi, both Vista 200.

Gary

 

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This second one is stellar, Gary.  Congrats~

14 hours ago, edwardkaraa said:

Kyoto, Japan.

Leica M7 Zeiss 50 Planar Ektachrome 100 by edward karaa, on Flickr

Leica M7 Zeiss 50 Planar Ektachrome 100 by edward karaa, on Flickr

Really great colors, Edward!!  👏

[Ernest]

Sunset Blvd. Billboard Diptychs
M-A Summilux-M 50mm & Macro-Elmar-M
Portra 400 & ADOX Color Implosion

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[A miller]

We had some apocalyptic "schmootz mitosis" during the polar vortex last week 😯

NYC, Portra 400, M7, 28

 

 

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Edited February 14, 2019 by A miller

[Guest Nowhereman]

This is an M6/DR Summicron 50 image shot on HP5. I posted it a couple of months ago here, together with an M10 shot, in a LUF thread on how some cinematographers view film and digital.

It's also in my book project, What's in a Haiku, on which I may just have had a breakthrough on the long and twisted road towards publication — if interested in photobooks you may want to pick up reading in the middle of this LUF thread, which is a sort of journal.

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Edited February 14, 2019 by Nowhereman

[Ernest]

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1 hour ago, stray cat said:

Thank you so much Rog. I couldn't help thinking, when I saw that intensely coloured cube, how well the primary colours interacted. It is interesting now to read of how it may reference so much of the thinking of the artists, architects and even writers of the 20th century. Such a simple object in an urban space, yet there it is at the cultural centre of our past century. Of course Albers adds so much context but you have fleshed it out to encompass more than that - a cultural perspective of 20th Century art and thought. There are reasons, I think, why we are sometimes attracted to certain motifs in photography, and you've hit the nail on the head - it is because we've been immersed for so long in these motifs - through art, design etc and their spinoffs - advertizing, pop culture - these motifs resonate and we take their picture.

I couldn't agree with you more, and when it comes to photographers on this thread, the innate immersion in visual aesthetics is often taken for granted, dialed into the DNA, so to speak. We just know when it's clicking, literally. As you, "the motifs resonate and we take the picture." It's a way of owning the moment in a life that is such an intermission. I am going to look for some popcorn, now.

Cut and print,
Rog

[Ernest]

14 minutes ago, A miller said:

We had some apocalyptic "schmootz mitosis" during the polar vortex last week 😯

NYC, Portra 400, M7, 28

 

 

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OMG Area 51! They have landed! So silent and painless. What's your soundtrack?

[A miller]

22 minutes ago, Ernest said:

OMG Area 51! They have landed! So silent and painless. What's your soundtrack?

Thanks, Rog.  😂😷  How about "welcome to the jungle" by Guns and Roses? 😂

[MT0227]

The November NIghtmare of 2018, the surprise storm that caught the City sleeping.....

M6J~50 Elmar-M~TriX pushed 1 stop in HC-110 (b) at 20C

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2018-11-15-00022 by Marc Tauber, on Flickr

Not on this night!

2018-11-15-00017 by Marc Tauber, on Flickr

 

[djmay]

Up close and personal

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[Ernest]

Safety, Mobile, Alabama, 1976

Nikon F2 Micro-Nikkor 55mm
RGB

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[Wayne]

Orphan Minox neg

We're off to Paris.

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I love old Citreons

Edited February 14, 2019 by Wayne

[Wayne]

Orphan Minox neg.

It is Paris, France; but it reminded me that it has been a couple years since my last reading of Cervantes. It should be read at least once every four or five years. The book grows old with you.

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[philipus]

Thank you Phil. She takes after her mother, no doubt  And I wouldn't be surprised if she's somehow lurking on this thread too haha.

12 hours ago, stray cat said:

What a bright 5-year-old you have, Philip! She hasn't been talking to Rog has she...?

Terrific Adam, really a very cool development of your silhouettes project.

11 hours ago, A miller said:

We had some apocalyptic "schmootz mitosis" during the polar vortex last week 😯

NYC, Portra 400, M7, 28

 

 

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I agree with what Phil said earlier - this is truly a treasure. Are we able to date the film better by virtue of these photos, 50s or?

56 minutes ago, Wayne said:

Orphan Minox neg

We're off to Paris.

 

I love old Citreons

 

[wlaidlaw]

Has anyone tried/got results from the recently available in Europe, Kodak ProImage 100? I am told it is a bit like a halfway house between the heavily saturated Ektar 100 and the subtle palette of Portra 160, which if true, should suit me just fine. I have bought 10 rolls to take to India with me next month, as I understand it is specially suited to hot and humid climates, which it certainly will be in Mumbai and Kolkata, two of my stops. I normally use reversal film for colour but with having to go through a total of 9 airport security scans during my trip before I get back to the UK and not having any cold storage during the trip, I felt negative and lowish ISO at 100, was a more sensible choice. Also with the often very harsh and contrasty lighting in India, the wider exposure latitude of negative compared with reversal, is always helpful. I will use AG Photolab to process and 80MB/Image Noritsu scanning, as I cannot be bothered scanning colour negative myself. Positive or B&W scanning is fine with a BEOON and SL601but I prefer leaving the colour negative to positive conversion process, to the professionals, who get far better results than I do. I had hoped to take my M7 but still waiting for Leica to send a replacement drive spindle to the repairer, after it broke and jammed the camera last November. I am therefore going to take the Hunchback of Solms (R9) instead. 

Wilson

 

[Keith (M)]

Phew - it is so difficult to keep pace with this thread!  Currently  waiting for rolls of Portra 400 and Ektar 100 (both 120) plus a roll of 35mm AgfaVista to come back from the Lab - I shot them during the recent snowy weekend. Am somewhat trepiditious as to whether or not I compensated enough (or too much) for the brightly-lit snow.  

In the meantime, a memory of summer - in this case 2005 at the NT's Buscot Park.  Contax G2, Contax 35-70mm, Kodak Elite Chrome transparency.

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[philipus]

Now with some visitors. First one depicts some earlier Mondrians, the Devotion (1908) at left and the Evolution (1911). 

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[edwardkaraa]

14 hours ago, A miller said:

 

Really great colors, Edward!!  👏

Thanks Adam! Really nice this new E100. 

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[edwardkaraa]

Fushimi Inari, Kyoto.

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Leica M7 Ektachrome 100 by edward karaa, on Flickr

Leica M7 Ektachrome 100 by edward karaa, on Flickr

Leica M7 Ektachrome 100 by edward karaa, on Flickr

Leica M7 Ektachrome 100 by edward karaa, on Flickr