I like film...(open thread)

[Guest JMF]

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Cheers !

 

Cheers by JM__, on Flickr

 

Velvia 50 - Konica Genba Kantoku HG 28

 

[edwardkaraa]

M7 ZM 85/2 Superia X-tra 400 by edward karaa, on Flickr

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[edwardkaraa]

M7 ZM 35/1.4 Portra 800 by edward karaa, on Flickr

[Ernest]

Repetition in Monologue Polyptych

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[A miller]

looks like my C41 film from Israel!!   

 

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80 Planar Provia 400X (EI800) X1

 

Wonderful colors and contrast!!

Repetition in Monologue Polyptych
M-A APO-Summicron-M 50mm LHSA Portra 400

[Ernest]

Flickr

80 Planar Provia 400X (EI800) X1

Always anxious to Oh-pun my eyes to the stellar. Awesome piece, Philip. Mark Rothko said he painted very large canvases so the viewer would be immersed emotionally in the work (subjective), instead of painting small, which put the viewer analytically outside the work (objective). Your photograph mirrors the incredibly detailed graphite drawings of Vija Celmins, whose works are small given her meticulously tight technique. https://goo.gl/images/9F2HXn

 

Cheers,

Rog

[gbealnz]

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80 Planar Provia 400X (EI800) X1

Great shot Philip, and while it lacks "depth", I of all people can appreciate the difficulty of getting this.

Any idea where it is? There used to be a site where you could upload your shot(s) and it would give you the details of where/what etc.

What length exposure? Tracked?

As soon as the lights are off across the paddocks (foaling in progress at the moment) in a few weeks I plan on embarking again on this, likely with digital but I might also try the 120 Planar.

Gary

[philipus]

Oh that sucks Adam. Better use the CS9000 for them and hope you can ICE the crud.

 

looks like my C41 film from Israel!!   

 

Wonderful colors and contrast!!

[philipus]

Thanks a lot Rog, and for linking to Vija Celmins' work. That's awesomely meticulous indeed. Like a hyperrealistic astro photo. I will have to explore more of her work.
 

Always anxious to Oh-pun my eyes to the stellar. Awesome piece, Philip. Mark Rothko said he painted very large canvases so the viewer would be immersed emotionally in the work (subjective), instead of painting small, which put the viewer analytically outside the work (objective). Your photograph mirrors the incredibly detailed graphite drawings of Vija Celmins, whose works are small given her meticulously tight technique. https://goo.gl/images/9F2HXn

Cheers,
Rog

 

Thanks Gary. I know what you mean.Film will only go so far. Still I'm pretty pleased. I didn't track - still haven't got arond to sorting that - but tried to keep the time short enough to prevent trails. And I pointed the camera pretty much straight up to further minimise the impact of the Earth rotation. I think I may have used something like 25s, but there were still trails so I had to resort to post-processing trickery to counter that. Lost quite a few stars as a result, but at least they're pretty pinpointyish. And I like that one can clearly see their colour, even though they look duller here compared to at Flickr. I checked on astrometry.net and it seems to have been towards Cygnus.

 

Would be very interesting to see your results. I'm sure you have a darker location to shoot from.
 

Great shot Philip, and while it lacks "depth", I of all people can appreciate the difficulty of getting this.
Any idea where it is? There used to be a site where you could upload your shot(s) and it would give you the details of where/what etc.
What length exposure? Tracked?
As soon as the lights are off across the paddocks (foaling in progress at the moment) in a few weeks I plan on embarking again on this, likely with digital but I might also try the 120 Planar.
Gary

[gbealnz]

Thanks Gary. I know what you mean.Film will only go so far. Still I'm pretty pleased. I didn't track - still haven't got arond to sorting that - but tried to keep the time short enough to prevent trails. And I pointed the camera pretty much straight up to further minimise the impact of the Earth rotation. I think I may have used something like 25s, but there were still trails so I had to resort to post-processing trickery to counter that. Lost quite a few stars as a result, but at least they're pretty pinpointyish. And I like that one can clearly see their colour, even though they look duller here compared to at Flickr. I checked on astrometry.net and it seems to have been towards Cygnus.

 

Would be very interesting to see your results. I'm sure you have a darker location to shoot from.

 

astrometry.net that's the one.

Let me try it again like I said and we can compare. Tracking mounts certainly help, but you can fabricate one called a "barn-door-tracker" if you want, simple enough.

Gary

[greg_may_]

Manchester.

 

TriX_400_M6 (9).jpg by Greg.May, on Flickr

[benqui]

Portra 400, Summilux 1.4/35 pre asph, M6

 

best regards

 

Marc

 

 

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[Ernest]

looks like my C41 film from Israel!!   

 

Wonderful colors and contrast!!

A hearty thanks, Adam, for your feedback. You wondered about the shots in "Kafka's Door Polyptych"--there are actually four: the red is a full frame horizontal shot, and the green a full frame vertical. For the yellow accent lines, I used two horizontal shots, cropped. The green vertical shot has that little black swatch at the bottom, which made that part of the panel look recessed, like the partial opening of a doorway. Kafka was adamantly opposed to his publisher showing the "monstrous vermin" of "The Metamorphosis," which is metaphoric and not literal, so when the story was first published, the cover illustration showed only a double door cracked open to darkness and a man covering his face with both hands, shrinking from the door. So, this is the inspiration behind "Kafka's Door," which has a very clinical-looking palette, the red/green complementary, and the values reading from dark on the left to the kind of spotlighted green door. I added a taste of yellow because Kafka is at times very humorous.

 

In two of my other recent color studies, "Echo Regressions" (five full frame images) and "Repetition in Monologue" (six images), I constructed the components, for the most part, so they would deconstruct themselves. They don't purport to be anything other than what they are and call attention to fact they are simply a plane of color. Unlike, "Kafka's Door," though, they do have blurred images because I focused on the surface of the panel and used a shallow DOF to throw the reflection out of focus. It's interesting that the color fields in "Echo Regressions" instigate a narrative, from left to right, and that is what brought up the echo idea. This motif is more apparent in "Repetition in Monologue" (six images), again allowing deconstruction, with the repetition of a blurred reflection, though the surface of the panel is in focus. Even though the blurred reflection is repeated, there is a variation between the two and not because one is a full frame horizontal and the other a full frame vertical. I am thinking of Samuel Beckett's use of repetition in his plays where a passage or action may be repeated but is changed by the perception of the repetition.

 

I used the idea of repetition in my other study, "Beckett's What Where Polyptych" (four images) constructing a dark labyrinth of repeating concrete pillars, punctuated with a single red line that seems to come forward in the space, perhaps as a warning or a code. Using the ominous repetition of interrogation, Beckett dramatizes the weight of oppression and the penalty of paranoia. Of course, none of this would surface in looking at my photo, so I think I'll just opt for a soundtrack, perhaps something from Tangerine Dream.

 

Cheers,

Rog

[A miller]

A hearty thanks, Adam, for your feedback. You wondered about the shots in "Kafka's Door Polyptych"--there are actually four: the red is a full frame horizontal shot, and the green a full frame vertical. For the yellow accent lines, I used two horizontal shots, cropped. The green vertical shot has that little black swatch at the bottom, which made that part of the panel look recessed, like the partial opening of a doorway. Kafka was adamantly opposed to his publisher showing the "monstrous vermin" of "The Metamorphosis," which is metaphoric and not literal, so when the story was first published, the cover illustration showed only a double door cracked open to darkness and a man covering his face with both hands, shrinking from the door. So, this is the inspiration behind "Kafka's Door," which has a very clinical-looking palette, the red/green complementary, and the values reading from dark on the left to the kind of spotlighted green door. I added a taste of yellow because Kafka is at times very humorous.

 

In two of my other recent color studies, "Echo Regressions" (five full frame images) and "Repetition in Monologue" (six images), I constructed the components, for the most part, so they would deconstruct themselves. They don't purport to be anything other than what they are and call attention to fact they are simply a plane of color. Unlike, "Kafka's Door," though, they do have blurred images because I focused on the surface of the panel and used a shallow DOF to throw the reflection out of focus. It's interesting that the color fields in "Echo Regressions" instigate a narrative, from left to right, and that is what brought up the echo idea. This motif is more apparent in "Repetition in Monologue" (six images), again allowing deconstruction, with the repetition of a blurred reflection, though the surface of the panel is in focus. Even though the blurred reflection is repeated, there is a variation between the two and not because one is a full frame horizontal and the other a full frame vertical. I am thinking of Samuel Beckett's use of repetition in his plays where a passage or action may be repeated but is changed by the perception of the repetition.

 

I used the idea of repetition in my other study, "Beckett's What Where Polyptych" (four images) constructing a dark labyrinth of repeating concrete pillars, punctuated with a single red line that seems to come forward in the space, perhaps as a warning or a code. Using the ominous repetition of interrogation, Beckett dramatizes the weight of oppression and the penalty of paranoia. Of course, none of this would surface in looking at my photo, so I think I'll just opt for a soundtrack, perhaps something from Tangerine Dream.

 

Cheers,

Rog

 

That's crazy cool, Rog.  Thanks for sharing those insights!

[Guest JMF]

Les Embiez by JM__, on Flickr

 

Untitled by JM__, on Flickr

 

Untitled by JM__, on Flickr

 

Velvia 50 and 2 BW conversions - Konica HG28

[Steve Ricoh]

Portra 400, Summilux 1.4/35 pre asph, M6

 

best regards

 

Marc

 

 

liv (1 von 1).jpg

Your model is extremely photogenic, and your photography brings the best out in her. Bravo!

[Ernest]

Not Red Polyptych

M-A APO-Summicron-M 50mm LHSA ADOX Color Implosion & Portra 400

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[Ernest]

Repetition in Monologue II Polyptych

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

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[stray cat]

A hearty thanks, Adam, for your feedback. You wondered about the shots in "Kafka's Door Polyptych"--there are actually four: the red is a full frame horizontal shot, and the green a full frame vertical. For the yellow accent lines, I used two horizontal shots, cropped. The green vertical shot has that little black swatch at the bottom, which made that part of the panel look recessed, like the partial opening of a doorway. Kafka was adamantly opposed to his publisher showing the "monstrous vermin" of "The Metamorphosis," which is metaphoric and not literal, so when the story was first published, the cover illustration showed only a double door cracked open to darkness and a man covering his face with both hands, shrinking from the door. So, this is the inspiration behind "Kafka's Door," which has a very clinical-looking palette, the red/green complementary, and the values reading from dark on the left to the kind of spotlighted green door. I added a taste of yellow because Kafka is at times very humorous.

 

In two of my other recent color studies, "Echo Regressions" (five full frame images) and "Repetition in Monologue" (six images), I constructed the components, for the most part, so they would deconstruct themselves. They don't purport to be anything other than what they are and call attention to fact they are simply a plane of color. Unlike, "Kafka's Door," though, they do have blurred images because I focused on the surface of the panel and used a shallow DOF to throw the reflection out of focus. It's interesting that the color fields in "Echo Regressions" instigate a narrative, from left to right, and that is what brought up the echo idea. This motif is more apparent in "Repetition in Monologue" (six images), again allowing deconstruction, with the repetition of a blurred reflection, though the surface of the panel is in focus. Even though the blurred reflection is repeated, there is a variation between the two and not because one is a full frame horizontal and the other a full frame vertical. I am thinking of Samuel Beckett's use of repetition in his plays where a passage or action may be repeated but is changed by the perception of the repetition.

 

I used the idea of repetition in my other study, "Beckett's What Where Polyptych" (four images) constructing a dark labyrinth of repeating concrete pillars, punctuated with a single red line that seems to come forward in the space, perhaps as a warning or a code. Using the ominous repetition of interrogation, Beckett dramatizes the weight of oppression and the penalty of paranoia. Of course, none of this would surface in looking at my photo, so I think I'll just opt for a soundtrack, perhaps something from Tangerine Dream.

 

Cheers,

Rog

 

This is fascinating Rog. Your explanation of your use of artistic, cinematic, dramatic and literary allusions in your own art - your constructions - irreducibly imbues them with a purpose well beyond the surface beauty with which they are so generously gifted. These constructions continue to best themselves as you continue to throw caution to the wind and allow them to break out of any preconceived pattern/shape. Having left the rectangle behind you've embarked on an altogether more intriguing path, being unafraid to mix film stocks, colors, shapes and textures. It is fascinating to watch the progression and I think we all feel privileged. Plus these are really fun works.

 

I have one item on my wish list: somewhere (website, photo hosting site) where we could be allowed to look at them as a group. I think the progression then would become even clearer.

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[Ernest]

This is fascinating Rog. Your explanation of your use of artistic, cinematic, dramatic and literary allusions in your own art - your constructions - irreducibly imbues them with a purpose well beyond the surface beauty with which they are so generously gifted. These constructions continue to best themselves as you continue to throw caution to the wind and allow them to break out of any preconceived pattern/shape. Having left the rectangle behind you've embarked on an altogether more intriguing path, being unafraid to mix film stocks, colors, shapes and textures. It is fascinating to watch the progression and I think we all feel privileged. Plus these are really fun works.

 

I have one item on my wish list: somewhere (website, photo hosting site) where we could be allowed to look at them as a group. I think the progression then would become even clearer.

Thanks, Phil, and a resounding shout out for broadcasting the creativity you encourage on this thread with your WWW guerrilla Internet radio station. Well, maybe it’s not a radio station, but your voice is loud, clear, and witty.

 

Thanks for the nudge nudge in the direction of cobbling a website together with my work, though it is all a sketchy circus. I am missing the elephants, though that is just as well for their benefit.

 

Cheers,

Rog