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I like film...(open thread)


Doc Henry

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I do wish Henry would relent and come back to this thread. I sent him a PM six weeks ago and the forum says it hasn't even been read. If Philip can't entice him with flowers. maybe I can get him to come and tell me off for converting colour film to B&W!

 

Trip 35, Superia 400, Argentix presskit, X1 scan, converted in LR:

29390869408_cf3fd8493e_c.jpg

On the 'Great Trail' by chrism229, on Flickr

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Nikon F-801, Fuji Pro 400H

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Me too Chris.

This was from a magical day we spent with the aforementioned Doc, and Philip. In Ghent. Simply awesome day, something we will not forget.

Leicaflex SL with 50 Summicron.

XP2

Gary

 

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I do wish Henry would relent and come back to this thread. I sent him a PM six weeks ago and the forum says it hasn't even been read. If Philip can't entice him with flowers. maybe I can get him to come and tell me off for converting colour film to B&W!

 

Trip 35, Superia 400, Argentix presskit, X1 scan, converted in LR:

29390869408_cf3fd8493e_c.jpg

On the 'Great Trail' by chrism229, on Flickr

He'd castrate you for sure...

 

...without anaesthetic

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I, too, think of Henry often. I was thinking of him when I shot this.

 

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Rolleiflex D, 2.8 Planar, Ektar

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And this:

 

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Same camera, lens, film

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Viridian Link Diptych

M-A APO-Summicron-M 50mm LHSA Portra 400

Correction: Joined Diptych

Cheers, Rog

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Out of curiosity, walked through one of the local casinos (River Boat.) Saw this: "Puppies" and "Kittens" themed slot machines. I would have laughed out loud.........Reached for trusty Minox B, instead.

 

Fuji Acros 100 (RIP)

 

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From last Fall. Fuji 100 12 exposure test roll. Agfa Ambi-Silette. 50 2.8 Color Solinar.

 

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Ghost of Christmas Past.

 

Rollei 16s, Kodak DoubleX

 

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Crimson Blind Diptych

M-A APO-Summicron-M 50mm LHSA Rollei Redbird

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Cadmium Scarlet Strip Triptych

M-A APO-Summicron-M 50mm LHSA Rollei Redbird

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In Venice? You need a loan for a spritz in Venice!   :)

Actually a spritz would be nice right now at work!

 

 

Foma 400 is very nice in HC-110 or, at least, it worked well for me. I've never tried Foma 200.

 

 

Venice and a Bellini !

 

https://www.livinglanguage.com/blog/2013/06/28/the-bellini-the-most-celebrated-italian-summer-cocktail/

 

Cheers, JM

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p1949289427-5.jpg

 

Pile of Rubble 2016

M6TTL, 50mm Summicron, yellow filter, Tri-X

Often quoted, Barthes’s “Death is the essential form of photography,“ and that what we see in the photograph is merely “the that-has-been.“ The concept is heavily freighted and marginalizes the issue of indeterminacy in a photograph by siding with the idea that the photograph documents an action interrupted and immortalized in suspension. Now, the curtain rises on the proscenium of “Pile of Rubble 2016.” This is a title that Samuel Beckett would have included in his notes of Krapp’s Last Tape about an author who laments his failed publishing history as a writer. “Pile of Rubble,” indeed. More like the set of Beckett’s “Waiting for Godot.“ Pile of rubble, the circus of civilization has come and gone. And abandoned factory in the background tattooed with graffiti only around the entrance, perhaps not so much as art but rather a warning: “My turf, now.“ But no one is in contest, other than perhaps time. Indeterminacy, unending. Why does the Sultan/Mandel evidence reach out to us with the silenced clanking wheels of industry? Silence is one of the hallmarks of Samuel Beckett’s theater that would find warm reception in the pile of rubble. Sound of clapping O.S.

 

Cheers,

Rog

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Rog, I always love reading your discourses on the pictures before you. Simply put, you add value to the pictures (at least you do for me). I find out so much about the art-historical and cultural context of a picture (your thoughts on Adam's pictures surely come to mind here) and contextualize what is presented before you into a wide spectrum of otherwise barely (or not at all) considered territory. I can't tell you how much I appreciate it; it adds an entirely new dimension (read: universe) to my consideration of even my own pictures.

 

And now a question for you. These series of high-art juxtapositions of colour that you so kindly present here. My suspicion is that there is yet another level of abstraction at work with the choice of the fascinating emulsion called Rollei Redbird. As I (further) suspect that it somehow alters or distorts certain colours - how do see that as playing into your framework of creating "evidence" - at once recognizable as quotidian ephemera but also alluding to a higher purpose, a nod and a wink to high art?

 

I must admit I also thought of you when I posted "Pile of Rubble" because I thought the background building might well have been one that Antonioni may have chosen for one of his buildings. Oh, and on Antonioni - you mentioned the film that made me interested in (OK besotted with) photography in the first place - Blow Up. Ten or so years ago Sue and I were in London and, having done my research, I headed down to Charlton to Maryon Park where the park scenes in that wonderful film were shot. To my amazement (and absolute delight!) I found the park to be exactly the same as it was when the film was made - the tennis court is still there, all the paths and steps are the same - even the area up top where Thomas hid behind trees (still there) photographing Vanessa Redgrave and later discovering (or did he?) on his negatives that he'd witnessed a murder.* Anyway, so enraptured was I that time slipped by and I got locked in!** I wish I had pictures but I was using digital at that time and of course that disk got destroyed and the evidence of my visit there no longer exists - a bit like Thomas found with his pictures!

 

* Sadly, the antiques shop where he bought the propeller was bulldozed and is now a Tesco supermarket - not quite the same thing really.

** I had to scale a wall to get out. I skinned my knee.

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