I like film...(open thread)

[chrism]

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Please don't stop uploading these pictures. They are wonderful to see as photographs and fascinating from a sociological/religious perspective. If I were to turn up in that part of Brooklyn with my camera I feel sure I would misunderstand people's sensitivities and get it all wrong. For instance, the children are just being children and enjoying the celebration; the men in their beautiful hats are proud of their community. Perhaps it should be one of your 'threads'!

 

I'm happy to learn more. When I married in 1980 I required two best men, one on each side to hold me up, and both belonged to the reform synagogue. They coped very well with a civil ceremony in a Register Office. Some of our fellow students at The Godless Institution In Gower Street were more orthodox, but they failed to teach me much of their ways.

[stray cat]

Just for a bit of fun and because I've been comparing them, here are two images of the same subject taken on 35mm and 6x6 from my "end of woollen trade" project.

 

The first is Leica 111F Elmar 50mm and Foma 200 and the second is a Rolleiflex 2.8F (Zeiss 80mm Planar)  on Foma 100  both in D76 stock.

 

Both German classic cameras from the 1950's and equally superb in their own right, I thought it might be interesting to post and see what you all think of the two formats and cameras. 

 

Not really a fair comparison I know but a bit of interest!

Paul, I always relish the opportunity to see your pictures from Bradford - they are direct, honest and compelling. They show not only the reality, but how you, Paul, react to that reality, and in this way they balance universality and a personal perspective. Your choice of materials is well thought-out and entirely appropriate - the Fomapan not only gives those qualities you later mention, it also has that beautiful "softness" to its edges where, allied with the older Leica lenses, the grain just trails into the rebate area of the negative that films like the old FP4 and Agfapan 100 (and Tri-X/Plus-X) used to do. There is just such a beautiful, sumptuous and rich character to it - again, entirely appropriate to the subject.

 

Having said that I'm ever so slightly more drawn to the Rolleiflex shot in this particular pair - simply because it's a shot that reveals its motif through detail, and the MF obviously carries more nuance in that. But of course how it sits in the overall picture story would be a far higher determinant in the end.

 

Overall, an outstanding project, and one in which your passion for the subject shines through like a spectral beam.

[stray cat]

Thanks, Phil.  I don't want to waste good photo sharing thread time with background info regarding this particular culture of ultra-orthodoxy and erroneously assume that folks are interested.   However, I do give really good photo tours of this neighborhood if you are ever in town

 

Thanks Adam, and I can only echo what Beresford and Chris have said - any and more details would be absolutely welcome as far as I'm concerned. I think Beresford's suggestion of having these pictures in their own thread is an excellent one.

 

What are we, as photographers, if not curious? We take our cameras out in the world and try to make a certain visual sense of it, sure - but isn't there something lurking in the back of our minds - some curiosity about what it is that we're actually choosing to put a frame around and then preserve its image? I look at Steve (Honcho's) outstanding work at Callanish a few posts back and it raises so may questions - not only about standing stones, but about the weather there, and the remoteness and so on - that compel me to want to know more.

 

Equally these orthodox portraits, Adam. I have little-to-no understanding of the cultural milieu. They are incredibly exotic. There is of course a large Jewish population here in Melbourne, too, as there are examples of myriad ethnic groups, but in general access is - or maybe it just seems to be - or maybe it's just lack of real commitment on this photographer's part - but in general access seems to be somewhat restricted to "outsiders". Probably just an erroneous perception on my part.

 

So, if I ever get to New York again, I'd absolutely be delighted to take you up on your generous offer!

[A miller]

Paul - Fantastic work and another excellent series.  You've captured some very interesting perspectives and the high contrast rendition executes on your vision quite well.   Congrats!

From my project on the "The end of the Woollen Trade", Bradford, West Yorkshire UK.

 

Leica 111F with 50mm Elmar Foma 200 in D76 stock.

 

Mike - These photos are fantastic.  I love the soft tonality and texture.  And the development is very well done, too.

The Badlands, South Dakota

Leica M2, DR Summicron 50, Kodak 400TX, HC-110B

 

Sheet058_014.jpg

 

Very unique, Jean-Marc.  Thanks for sharing your experience and result!

First Beoon scan, first Minilux roll and first time using a TriX developped by a friend as a positive film :

 

Au Gaou by JM__, on Flickr

 

Cheers, JM.

[A miller]

Thanks very much, Gentlemen.  The Satmar sect of orthodox Judaism (who reside principally in Williamsburg) are a unique bunch.   They are straight out of eastern Europe from a hundred years ago.  A mere glance at a woman and she feels violated.   The kids are so innocent yet so guarded by their mothers (when they are around).  Step two feet into a bakery there and you are stared at like YOU are weird (go figure!).  But, ironically, some of the men are - deep down -  guys that you can go drinking with and talk dirty with.   I wish I had more free time to spend there.  And I will be happy to share more while hopefully not wearing out my welcome

Please don't stop uploading these pictures. They are wonderful to see as photographs and fascinating from a sociological/religious perspective. If I were to turn up in that part of Brooklyn with my camera I feel sure I would misunderstand people's sensitivities and get it all wrong. For instance, the children are just being children and enjoying the celebration; the men in their beautiful hats are proud of their community. Perhaps it should be one of your 'threads'!

 

 

I'm happy to learn more. When I married in 1980 I required two best men, one on each side to hold me up, and both belonged to the reform synagogue. They coped very well with a civil ceremony in a Register Office. Some of our fellow students at The Godless Institution In Gower Street were more orthodox, but they failed to teach me much of their ways.

 

 

Thanks Adam, and I can only echo what Beresford and Chris have said - any and more details would be absolutely welcome as far as I'm concerned. I think Beresford's suggestion of having these pictures in their own thread is an excellent one.

What are we, as photographers, if not curious? We take our cameras out in the world and try to make a certain visual sense of it, sure - but isn't there something lurking in the back of our minds - some curiosity about what it is that we're actually choosing to put a frame around and then preserve its image? I look at Steve (Honcho's) outstanding work at Callanish a few posts back and it raises so may questions - not only about standing stones, but about the weather there, and the remoteness and so on - that compel me to want to know more.

Equally these orthodox portraits, Adam. I have little-to-no understanding of the cultural milieu. They are incredibly exotic. There is of course a large Jewish population here in Melbourne, too, as there are examples of myriad ethnic groups, but in general access is - or maybe it just seems to be - or maybe it's just lack of real commitment on this photographer's part - but in general access seems to be somewhat restricted to "outsiders". Probably just an erroneous perception on my part.

So, if I ever get to New York again, I'd absolutely be delighted to take you up on your generous offer!

Edited October 3, 2017 by A miller

[A miller]

So I wanted to share a few lab prints of the Ferrania P30 80 ISO B&W film that I had ordered many months ago.  Given my slight back log of scanning, it will likely be a month so before I get a chance to scan the film.  

The lab that I use in NYC happens to make excellent lab prints both in B&W and color.  Although I do all of my own scanning, sometimes I will get this lab to make me prints and will try to emulate the contrast levels (for B&W) and color palette (for color).  I find that there is a huge amount of more detail in the highlights than the lab prints render (they are quite high contrast).  

Here are some straight iPhone photos of a few of the prints.  They aren't of a level of quality deserving of this thread, although they do - I think - represent the rendition of the film, which may be of interest to Paul (as per Christoph's message from earlier today).

 

I will post the actual scans in due course.

 

M3, 50 DR summicron - Yesterday in Williamsburg, Brooklyn

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M3, 50 DR cron - Also yesterday in Williamsburg, Brooklyn 

 

 

 

M3, 50 DR cron - Along the East River, NYC

 

 

 

M3, 75mm summilux - Wall Street, NYC

Edited October 3, 2017 by A miller

[A miller]

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I also shot a roll of the Adox Implosion ISO 100 color film over the past week.

As I indicated to Christoph, I was eager to see lab prints with this film, at least from my lab whose rendering I really like.   I was struck by how much grain there was and also, true to the description, how much the reds find a way to creep into the photo.

 

Here are a few samples...  full scans to come in due course...

 

M3, 50mm DR cron - Yesterday in Williamsburg

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Same

 

 

 

 

M3, 50mm DR cron, NYC

 

 

 

 

Same (to test whether the reds really do explode  )

[Guest JMF]

So I wanted to share a few lab prints of the Ferrania P30 80 ISO B&W film that I had ordered many months ago.  Given my slight back log of scanning, it will likely be a month so before I get a chance to scan the film.  

The lab that I use in NYC happens to make excellent lab prints both in B&W and color.  Although I do all of my own scanning, sometimes I will get this lab to make me prints and will try to emulate the contrast levels (for B&W) and color palette (for color).  I find that there is a huge amount of more detail in the highlights than the lab prints render (they are quite high contrast).  

Here are some straight iPhone photos of a few of the prints.  They aren't of a level of quality deserving of this thread, although they do - I think - represent the rendition of the film, which may be of interest to Paul (as per Christoph's message from earlier today).

 

I will post the actual scans in due course.

 

M3, 50 DR summicron - Yesterday in Williamsburg, Brooklyn

22199351_285223968630390_649774264_o.jpg

 

 

 

M3, 50 DR cron - Also yesterday in Williamsburg, Brooklyn 

22243867_285223978630389_1245595990_o.jpg

 

 

 

M3, 50 DR cron - Along the East River, NYC

22251255_285223971963723_708282068_o.jpg

 

 

 

M3, 75mm summilux - Wall Street, NYC

22217835_285223958630391_734115990_o.jpg

 

 

I also shot a roll of the Adox Implosion ISO 100 color film over the past week.

As I indicated to Christoph, I was eager to see lab prints with this film, at least from my lab whose rendering I really like.   I was struck by how much grain there was and also, true to the description, how much the reds find a way to creep into the photo.

 

Here are a few samples...  full scans to come in due course...

 

M3, 50mm DR cron - Yesterday in Williamsburg

22217921_285223981963722_2092812985_o.jpg

 

 

 

 

Same

22219558_285223991963721_1744287275_o.jpg

 

 

 

 

M3, 50mm DR cron, NYC

22199173_285223995297054_2028925461_o.jpg

 

 

 

 

Same (to test whether the reds really do explode  )

22199235_285224008630386_615028105_o.jpg

 

 

Adam, congrats on these great sets , we'll be awaiting the next posts :-)

[christoph_d]

Adam,

 

Nice to see how you "creep" into the skin of each respective film, and you know how to raise the expectation level by way of presentation. Looking forward to the " real " scans, from the nooks and crannies of your city.

 

Rgds

 

C.

[A miller]

Thanks, Gentlemen.  And thanks, Christoph, for drawing me into the Adox and for being my first preview of the P30.

Adam, congrats on these great sets , we'll be awaiting the next posts :-)

 

 

Adam,

Nice to see how you "creep" into the skin of each respective film, and you know how to raise the expectation level by way of presentation. Looking forward to the " real " scans, from the nooks and crannies of your city.

Rgds

C.

[gnuyork]

Skater, Lyon

 

170522_1_MP_0006.jpg

MP, 35, APX100, ns

 

Rgds

 

Christoph

Nice tonality in this. It's like his shirt glows.

Edited October 3, 2017 by gnuyork

[gnuyork]

First Beoon scan, first Minilux roll and first time using a TriX developped by a friend as a positive film :

 

Au Gaou by JM__, on Flickr

 

Cheers, JM.

TriX developed as a positive...say wha? 

 

How's that done?

[Guest JMF]

TriX developed as a positive...say wha? 

 

How's that done?

 

 

There you go !

 

https://www.yumpu.com/en/document/view/58056116/user-manual-rollei-bw-reversal-kit

 

Cheers, JM

[stray cat]

First Beoon scan, first Minilux roll and first time using a TriX developped by a friend as a positive film :

 

Au Gaou by JM__, on Flickr

 

Cheers, JM.

Whatever the process - and process is of course critical - this has striking tonality. Great shot JM.

[stray cat]

Here's a picture from a 2002 trip my family and I made around Australia:

 

 

Australian Pelicans, Yamba NSW

Nikon F90X, AF-Nikkor 20-35mm f2.8, Agfa RSX 100

[AntonioF]

Again from Noci: Chiesa di Santa Maria di Barsento. It’s an old country romanesque church from XI century. It’s basically built using the local technique of dry stone walls.

I shot the same photo in landscape and portrait mode, but the former has the guardian’s car in it ...

 

Mamiya 645 & FP4

 

 

Sent from my iPhone using Tapatalk Pro

[greg_may_]

Mono (29).jpg by Greg.May, on Flickr

[Suede]

Adox Silvermax 100. FE2 55/2.8

 

High-end

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[Tmx]

Mamiya 6, 75mm, Ilford XP2@400, HC-110, dil. 1:49@12Min., Epson V800

 

Inspired by Chris and his experiments with the XP2

 

 

Best regards

Jakob

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Hallo,

Look here: Interesting Leica gear

[A miller]

Phil - I can' tell you that I wish I were a pelican.  An eagle maybe, but not a pelican  Nice photo

Here's a picture from a 2002 trip my family and I made around Australia:

 

 

Australian Pelicans, Yamba NSW

Nikon F90X, AF-Nikkor 20-35mm f2.8, Agfa RSX 100

 

Very beautiful bokeh and tones in this one.

Adox Silvermax 100. FE2 55/2.8

 

High-end

High-end.jpg

 

Nice street art!  Very crisp and sharp!

Mamiya 6, 75mm, Ilford XP2@400, HC-110, dil. 1:49@12Min., Epson V800

Inspired by Chris and his experiments with the XP2



Best regards
Jakob