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Here's one from the archives while I see if my scanner can be brought back to life (I've followed up the kind suggestions here, rung Nikon Ginza, talked to Orlando at the Camera Clinic - my last hope is to get a flap/door 3D printed if that is even possible).

 

My goal with this negative was to explore how far I could lighten (from a slightly underexposed negative) the foggy, opalescent light and yet still retain the mood of that evening:

 

p1837810398-5.jpg

 

Lake Trasimeno, Italy, 1988

Canon A1, FDn 70-210, FP4

The kind of pics I love so much. Almost nothing - yet all is there :-)

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Ok this is just sublime. A fantastic photograph.

 

The kind of pics I love so much. Almost nothing - yet all is there :-)

 

 

Thank you Sincerely, Philip and blackandwhite. It was an irresistible moment, the kind where you dream you'll be standing there with a camera (loaded with film, of course) in hand. It doesn't happen often enough!

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The French cemetery in Berlin

 

attachicon.gifGER_Chiemsee-Berlin_R4_TRIX400_01_listo.jpg

 

Hasselblad 500cm, TRIX400, Epson V700

 

I absolutely love the atmosphere of this picture. All elements combine in an interdependent way. It has to be on film, in square format and through a tonally rich lens like the Zeiss. You'll have to go back without your wife sometime!

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Continuing my trawling of the archives... I like the tension in this shot, which was taken a loooong time ago. With this picture I won the first prize in a photo competition. The prize ($200 if I remember correctly) didn't matter nearly as much to me as the nod by the esteemed judges - who were the highly respected Australian photographers Athol Shmith and John Cato.

 

Walhalla, Victoria 1978

Canon Ae1, FD 24mm f2.8 SSC, FP4

Excellent, Phil!

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Well done Phil!

Years ago, I remember doing a workshop with John Cato at the Melbourne Camera Club. My imagination has it that a technique I employed in that session impressed him such that I noticed he used it in subsequent advertising shoots he did.

I have an original Cato portrait of my father, in his army officer's uniform, still in the original supplied frame.

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Well done Phil!

Years ago, I remember doing a workshop with John Cato at the Melbourne Camera Club. My imagination has it that a technique I employed in that session impressed him such that I noticed he used it in subsequent advertising shoots he did.

I have an original Cato portrait of my father, in his army officer's uniform, still in the original supplied frame.

 

John - what a brilliant memory that must be - undoubtedly it will always stay with you. To have influenced John Cato! Not bad, not bad at all. And that print must be a very treasured object indeed. I feel honoured to have met him through this photo competition (and Athol, who had photographed my wife Sue's aunt during her modelling career). I was fortunate enough to photograph both Athol and David Moore, whom I had a long chat with, towards the ends of their illustrious lives.

 

Excellent, Phil!

 

Thank you so much, Eoin. Weird to think the young girls in this picture are now in their 60s! As am I! It doesn't actually seem that long ago.

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And a few portraits of the missus :)

 

Leica M7-Zeiss 50/2-Delta 400 by edward karaa, on Flickr

34609061842_3496a66eca_o.jpgLeica M7-Zeiss 35/1.4-Delta 400 by edward karaa, on Flickr

34609061852_58f64d5c72_o.jpgLeica M7-Zeiss 35/1.4-Delta 400 by edward karaa, on Flickr

Soft lines of the face and arm , skin with beautiful grain , perfect for portrait

Lovely pictures with nice expression better than in digital

Thanks Edward

Henry

Edited by Doc Henry
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A rare giraffe in Grand Central Terminal, NYC

M3, 35 lux fle, Delta 400

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Soft lines of the face and arm , skin with beautiful grain , perfect for portrait

Lovely pictures with nice expression better than in digital

Thanks Edward

Henry

Thank you very much for the nice comments Henry!

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