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I like film...(open thread)


Doc Henry

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Guest Nowhereman

I think this picture will suggest different meanings depending on the context. In a book about a megacity it could suggest “like sardines”; in a fish restaurant as a large print it, could suggest something else. Same for sequencing: when one image follows another one in a book or exhibition a narrative appears, even if there is no “story.” A 150x100 cm (60x40 inch) print of this photo hangs in a box frame in a restaurant in Mae Rim near Chiang Mai, called Love Sushi, next to a photo of the same size of fish with a more anodyne look.

 

Although I took this picture long before I ever heard of Portuguese photographer Paulo Nozolino, I was reminded of his dark vision, dealing largely with entropy and death, when I recently saw this print in the restaurant. Nozolino shoots Tri-X with an M6 and, I believe, a 35 mm Summicron. He only shoots film, to which he has an uncompromising attitude: the English-language blurb for his workshop at Arles stated, "This workshop is not for digital photoshop liars, reportage, landscape or portrait photographers, conceptual artists or career seekers. It is a workshop for the unsure, the poets, the dreamers, all of those who feel they don’t fit in the system!" I do admire him for not having a website, though — not even an Instagram account. 

 

Incidentally, in an hour-long conversation with Alberto García Alix, at the PhotoEspaña Festival last year (video available online), he said that he shoots only 20 rolls of film annually. I thought he was exaggerating, but in an online interview a few months ago he said that he sometimes has a roll of film in his camera for three months before he finishes it.

 

His photographs are so dark that it's difficult to get a sense of them online. Many of his prints are huge: 80x120cm. Perhaps the best way to look at them is in some of the short videos of his exhibitions that can be found online — the exhibition lighting makes the pictures look better. Also, his dark images don't reproduce that well in books. I have his Penumbra (Scalo) and Far Cry (Steidl), which are printed well; but I think, ultimately, one needs to see his prints. Has anyone seen them?

 

M6 | DR Summicron in close focus range | Neopan 1600

post-41618-0-77635100-1531447178.jpg

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Alone in Bangkok essay on BURN Magazine

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I think this picture will suggest different meanings depending on the context. In a book about a megacity it could suggest “like sardines”; in a fish restaurant as a large print it, could suggest something else. Same for sequencing: when one image follows another one in a book or exhibition a narrative appears, even if there is no “story.” A 150x100 cm (60x40 inch) print of this photo hangs in a box frame in a restaurant in Mae Rim near Chiang Mai, called Love Sushi, next to a photo of the same size of fish with a more anodyne look.

 

Although I took this picture long before I ever heard of Portuguese photographer Paulo Nozolino, I was reminded of his dark vision, dealing largely with entropy and death, when I recently saw this print in the restaurant. Nozolino shoots Tri-X with an M6 and, I believe, a 35 mm Summicron. He only shoots film, to which he has an uncompromising attitude: the English-language blurb for his workshop at Arles stated, "This workshop is not for digital photoshop liars, reportage, landscape or portrait photographers, conceptual artists or career seekers. It is a workshop for the unsure, the poets, the dreamers, all of those who feel they don’t fit in the system!" I do admire him for not having a website, though — not even an Instagram account. 

 

Incidentally, in an hour-long conversation with Alberto García Alix, at the PhotoEspaña Festival last year (video available online), he said that he shoots only 20 rolls of film annually. I thought he was exaggerating, but in an online interview a few months ago he said that he sometimes has a roll of film in his camera for three months before he finishes it.

 

His photographs are so dark that it's difficult to get a sense of them online. Many of his prints are huge: 80x120cm. Perhaps the best way to look at them is in some of the short videos of his exhibitions that can be found online — the exhibition lighting makes the pictures look better. Also, his dark images don't reproduce that well in books. I have his Penumbra (Scalo) and Far Cry (Steidl), which are printed well; but I think, ultimately, one needs to see his prints. Has anyone seen them?

 

M6 | DR Summicron in close focus range | Neopan 1600

 

_______________

Alone in Bangkok essay on BURN Magazine

Nowhereman Instagram

 

 

Thanks for the hint to this interesting artist. By looking up some of his work I now clearly see the references between his work and your picture, which is exquisite on its own but gains more substance with the contributed context.

 

The following picture has no connections to the work of others - it is one of my usual snapshots only:

 

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Minilux - Ektar

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The cathedral of Martina Franca

 

M6, Summicron 35 asph, Tri-X

 

Some fantastic architecture there and in most of the area Antonio, we loved walking around taking in the sights.

The curved building to the right is super impressive too.

Gary

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Some fantastic architecture there and in most of the area Antonio, we loved walking around taking in the sights.

The curved building to the right is super impressive too.

Gary

 

It's a very nice place, but I always find that square/plaza hard to shoot because of all the buildings packed on each other!

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It's a very nice place, but I always find that square/plaza hard to shoot because of all the buildings packed on each other!

I know exactly what you mean.

This would have been with the 35 Summicron on my M6.

I could have a field day with something like the SWC. If we ever get back there............

Gary

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Daughter, son-in-law, grandson, dogs, soft focus, continuing fascination with Agfa Solagon 50/2.
 
It proves to be a somewhat difficult lens to focus wide open. I am elated with the result. I think the softness adds more than it misses. The joy on my daughter's face, photo seems to have captured it about as completely as possible.
 
Agfa Super Silette, Fuji 100 Superia expired.

 

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Double Viridian Triptych

M-A Thambar-M/APO-Summicron-M/Thambar-M CS ND6 ADOX Color Implosion

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Etched Diptych

M-A Thambar-M/APO-Summicron-M/Thambar-M CS ND6 ADOX Color Implosion

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I know exactly what you mean.

This would have been with the 35 Summicron on my M6.

I could have a field day with something like the SWC. If we ever get back there............

Gary

 

Exactly! I see you have experienced the Italian fashion of cars in pedestrian areas!

Here's another shot from below the same building, 35mm deformations included.

 

M6, Summicron 35 apsh, Tri-X

28594797567_c796df2209_b.jpg

20180708-DSC00469 by antoniofedele, on Flickr

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Monologue With Cadmium Punctuation Poliptych

M-A APO-Summicron-M 50mm LHSA Portra 400 and Rollei Redbird

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It's beautiful, Phil. Lucky accident :)

 

Thank you so much, Edward. It's a beautiful building on its own - I think as a place for reflection about the sacrifice many have made it's an outstanding piece of architecture. But, yes, I was very happy with my accident!

 

Fascinating to see Antonio's and Gary's pictures taken from roughly the same place! Interesting to see the "take" two different (very talented) photographers put on what is essentially the same subject.

 

And Rog, I realize one of the many interesting aspects of viewing your work is discerning where the "joins" that make up the diptych/triptych are made. Assembly being a not-inconsiderable part of the construction. You obviously have some colourful walls in California!

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Another van

 

43464578621_9bab35bb39_b.jpg(null) by -Steve Ricoh-

Ektar, Pentax mx, 135 f/3.5

 

 

What a nice color on this van. Perfect framing!

 

In the following snapshot I just love the color rendition of Ektar:

 

attachicon.gifBild-1-130.jpg

 

Minilux - Kodak Ektar

 

BTW what is it with all these 1950s colours suddenly appearing with Ektar? For such a saturated film it lends itself so beautifully to that pastelly look - who'd have thought? I certainly hope to see more in this vein.

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Daughter, son-in-law, grandson, dogs, soft focus, continuing fascination with Agfa Solagon 50/2.

 

It proves to be a somewhat difficult lens to focus wide open. I am elated with the result. I think the softness adds more than it misses. The joy on my daughter's face, photo seems to have captured it about as completely as possible.

 

Agfa Super Silette, Fuji 100 Superia expired.

 

attachicon.gifimg18n0-2.jpg

 

 

Somehow I suspect there's a lot more at play here than just the lens, Wayne! A truly spontaneous moment of happiness deftly captured.

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Another van

 

43464578621_9bab35bb39_b.jpg(null) by -Steve Ricoh-

Ektar, Pentax mx, 135 f/3.5

This, and the previous, are truly brilliant shots. It makes me think of how many times I have looked on similar vehicles and not recognized the photo opportunity presented. True originals.

 

The below is something I shot the other day while putting my first roll of Fuji Superia 100 through a "Ricoh" 35 rangefinder. Now I realize how I should have treated the opportunity. :)

 

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OBTW, the Ricoh looks to be a real bargain for anyone interested in vintage rangefinders. Very solid.

 

Lens: Riken Ricomat 45/3.5

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