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I like film...(open thread)

Doc Henry

By Doc Henry
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Michael Hiles
Michael Hiles

Bonjour Henri,   I still prefer black and white film (I use almost no colour). The advantages of digital don’t mean much to me. Seeing instant results is not so useful, since what comes out of a cam

Cyril Jayant
Cyril Jayant

This photo is from a series from some of my crazy, extreme photo adventures I  had photographing Mountains "Alpinists " and rock climbers. This is Alpes mountain range which is called   "Le Massive du

helged
helged

On a week-long stay at the Faroe Islands, I took the ferry from Torshavn (the 'capital') to the southernmost island, Suduroy, and looked up potential shooting locations on the island. This image was t

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Prosophos

Prosophos

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It's been a while again, in that I couldn't find the time to comment here. I tried to keep up and even managed to give some "Thanks", but there is so much going on here - awesome! Congrats to Adam for the stunning exhibition. I guess this is a thrilling experience and hope it will be rewarding in monetary terms, too.

 

I have a question on this particular image, Adam. Very unusually for your work, which is almost ever near perfection, I noticed some vertical streaks in the left part of this picture. Are these on the film itself or where there some troubles while scanning?

 

I am happily surprised to see Stuny post here! It is wonderful to see these pictures from, at least to me, very exotic places of this wonderful planet. Please keep it up :)

 

Since my last appearance here I did some rolls in my Mamiya 645, but was not that happy with the results, so stay calm, I will not flood this thread unnecessarily. This portrait of my wife was caught on Cinestill 800. As you might see, her hair is slowly coming back again. Hopefully I will get to photograph her long curly hair in some months time:

 

 

attachicon.gifBild-1-208.jpg

Mamiya 645 1000s - Sekor-C 80 - Cinestill 800

 

Beautiful in every sense.

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Prosophos

Prosophos

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Happy Friday to everyone. 

Here's one from last Thursday evening in New York.  

There was huge crowd of photographers at this location but all of them were far to my right, in the wrong place in my opinion and dead center is the best way to compose this scene.

Will continue my pursuit of a better photo but this one - still in draft form - seems promising. 

 

Brooklyn Piers

Linhof Technika Press 23, 53 Zeiss Biogon, Ektar 6X9

attachicon.gifpiers1.jpg

I very much like your chosen vantage point and the resulting image.

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Wayne

Wayne

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Awesome, like a charcoal drawing. What a great find you found in the expired Svema 125!

Out of interest, what ISO did you rate it at?

I shot it at 50. I am going to try 25. The Diafine seems, in my experience, the developer to use with this old stuff.

 

Thanks.

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david strachan

david strachan

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Nobody


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Leica IIIc Summicron 50mm collapsible Kodak Gold 200 ISO


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david strachan

david strachan

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Evening Ceramic


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Leica IIIc Summicron 50mm collapsible Kodak Gold 200 ISO


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david strachan

david strachan

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Lavender


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M6, Elmar 9cm lens head on Visoflex III, Kodak Gold 200 ISO


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david strachan

david strachan

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Monstera


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M5 Summicron 50 mm collapsible Ilford FP4


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A miller

A miller

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Great photo, Wayne, with sublime greens.  

attachicon.gifimg48o9-2.jpg

 

Pin Oak

 

Rolleiflex 2.8D Planar, Ektar

 

Thanks as always for your close look, James.   Your comment on the vantage is interesting.  I agree that there is more that can be done with the composition by shifting further to the left.  However, the tide was (and usually is) to high to move much farther to the left.   There is about 2 meters of dry land left, but only a few feet before exposure to the crashing "waves".  Secondly, I was already beyond the metal chain (with a sign saying "no people beyond this point) that defines where people are not allowed :)  In fact, this was the first exposure that I took out of an entire roll and was approached by two NY Parks policemen and asked for my ID and threatened unless I moved to the other side of the chain, which was to the right.  Everyone else was much more to the right of me and in my opinion screwing up the composition.  I felt that having the camera dead center between the two sections of the piers was effective at leading the eye towards the center of the frame even though the skyline was weighted toward the right.  In any case, it is one of those spots that I will be frequenting again and again.  As the summer ensues, the sun will start setting more directly behind the section of the lower Manhattan skyline, which should provide more balance to the spread of the colors and light.  I'm excited!!

I came back to this picture more than once and came to the conclusion, that it could be improved just a little with a camera position a few steps to the left. Although I don't know the spot myself, I imagine the line of poles in the water at the left side continue to the stones by one or two poles. If this where the case, I think they would form a good line from the lower left side of the frame to lead the eye to the skyline. The small puddle of water on the stone in the front adds a nice spot in this composition, so my eyes have something to wander about in this picture. Btw., someone should saw off this annoying lamp post at the right side, as I think it disturbs the skyline  :ph34r:

 

Thanks, Peter.  :)

I very much like your chosen vantage point and the resulting image.

 

Beautiful, Chris.  You might consider deepening the blacks a bit as they seem grayed out on my screen

 

Pippa 2018 #2 by chrism229, on Flickr

 

C.

 

Very nice, Logan.  Yesterday I was at one of the galleries in Brooklyn in the same building as my exhibit and I was schmoozing with the manager and trying - quite unsuccessfully - to charm her into showing my work.  She was of course a real pompous bitch and boasted that the gallery only showed work from a small group of photographers (one being Martin Parr, whose photographs of close ups of food shown at the gallery last Fall was one of the most bizarre and amateur-looking series I have ever seen).  One of the series of photographs on display was a collection of very small (looked like 5"x7") silver gelatin prints of work that looked exactly like a cross between your work and Wayne's.  Simple old B&W photos of homes and cars.  Apparently it was a post-humous exhibit and considered a "lost collection" (I wonder why :rolleyes: ) and they were asking a fortune.  As she said "there's a lot of silver in those prints" I was biting my tongue mightily trying not to tell her what I thought about that!!

Leica M-A, Summarit 35mm/2.4 ASPH, Tri-X 400

 

 

 

Beautiful, Peter!!  Very well seen and original.

Braided.

 

Leica M3 + 50mm Summicron DR + Kodak Tri-X 400.

 

―Peter.

 

 

 

Really beautiful colors int his one, David.    Congrats.

 

Lavender

attachicon.gifLavender.jpg

M6, Elmar 9cm lens head on Visoflex III, Kodak Gold 200 ISO

 

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mikemgb

mikemgb

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From a film I scanned this evening, the Mississippi in St. Louis.

YashicaMat LM, Ilford Delta 100 (expired).

 

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mikemgb

mikemgb

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The next frame.

 

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Edited by mikemgb
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logan2z

logan2z

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Very nice, Logan.

 

<snip>

 

As she said "there's a lot of silver in those prints"

 

Thanks Adam (for the record, my name is Andrew but my username is confusing).

 

That line about 'a lot of silver in those prints' has to be one of the funniest things I've heard in a long time.  You should have called her on it!  :)

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