I like film...(open thread)

[wattsy]

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Did you know at the time that it was the same building that Adams had taken a photo of, even if you didn't consciously attempt to take an equivalent photo? It is incredible that you ended up framing it so very precisely.

 

It's also very interesting to see what has happened to the building in the intervening 50 odd years.

 

In the tripod holes of the masters... (please excuse the dreaded digital iPhone picture).

 

I've had the book - "The Print" by Ansel Adams - since the 1980s and have been through it plenty of times (along with its companion volumes "The Camera" and "The Negative") over the years. But this took me completely by surprise. I honestly didn't consciously think of Ansel's photograph, taken in 1940, when I made my photograph in 1996 - or even (again, at least consciously) remember it. It was only a few years afterward when I realized the (ahem) "similarity" between my picture and his. I must have almost literally been standing where he stood to take his exposure, and I find the details - both in the things that haven't changed and the things that have, quite fascinating - especially given the 56-year passage of time. My darkroom print here was probably made shortly after I returned home from that particular trip to the USA. Looking at it now, I probably should have read Ansel's book a bit more closely.

[Wayne]

In the tripod holes of the masters... (please excuse the dreaded digital iPhone picture).

 

I've had the book - "The Print" by Ansel Adams - since the 1980s and have been through it plenty of times (along with its companion volumes "The Camera" and "The Negative") over the years. But this took me completely by surprise. I honestly didn't consciously think of Ansel's photograph, taken in 1940, when I made my photograph in 1996 - or even (again, at least consciously) remember it. It was only a few years afterward when I realized the (ahem) "similarity" between my picture and his. I must have almost literally been standing where he stood to take his exposure, and I find the details - both in the things that haven't changed and the things that have, quite fascinating - especially given the 56-year passage of time. My darkroom print here was probably made shortly after I returned home from that particular trip to the USA. Looking at it now, I probably should have read Ansel's book a bit more closely.

 

 

Bodie, California 1996

Hasselblad 501C, 80mm Planar, Agfapan 25, Yellow (I think - maybe with a polarizer as well) filter

It does not surprise me that you took this photo.

 

I have the same set of books. For years, even decades, I have had trouble focusing on much of what Adams tries to impart. I think it has much to do with the fact, above and beyond everthing else "Adams," I am engrossed, to the point of distraction, in the perspective of his photographs. It is the thing that, to my mind, separates him from others. It can put me in a trance. Many of Eggleston's photos have the same effect. Maybe it is because I am not conversant in so many of the other aspects of what makes for a "great" photograph, but for some reason I cleave to perspective as I view the photos of others. The consistent impact, in my life, of photography is this response, in my head, that I have seen a great photographic opportunity just about every time I look at something. The trouble is, the response is fleeting and I am usually not able to figure out exactly where it came from. When I see an Adams, or Eggleston, photograph I am stopped in my tracks by the realization that they are able to isolate and act upon that fleeting response. The fact that I recognize the greatness of the perspective makes me feel in common with these great photographers; connects me to their art(Art).....even though I cannot replicate it.

 

I frequently see the same in your photographs.

 

Best,

 

Wayne

Edited October 25, 2017 by Wayne

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[chrism]

Cabot Trail 17 by chrism229, on Flickr

 

Duelling photographers by chrism229, on Flickr

 

C.

[Suede]

It's time, my King...

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[Guest NEIL-D-WILLIAMS]

A couple from the processing faulty roll, I'm annoyed but have moved on. Not a squeak from the processing company, nothing, zip. This tells me plenty though.

 

Anyway, I have "trimmed" them to try to salvage the mess. Trouble is, with the R6 I tend to crop completely within the frame, and once you have to do it after the event it never looks as good. Put it down to experience.

 

R6

50 Summicron R

Portra 400

Plustek 8100.

Gary

Shame about the light leak on the second picture Gary...

 

Neil

[Guest NEIL-D-WILLIAMS]

A couple from the processing faulty roll, I'm annoyed but have moved on. Not a squeak from the processing company, nothing, zip. This tells me plenty though.

 

Anyway, I have "trimmed" them to try to salvage the mess. Trouble is, with the R6 I tend to crop completely within the frame, and once you have to do it after the event it never looks as good. Put it down to experience.

 

R6

50 Summicron R

Portra 400

Plustek 8100.

Gary

Shame about the light leak on the second picture Gary...

 

Neil

[edwardkaraa]

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Hello All. I need your help and your keen photographer's eye to solve a bit of a dilemma that I have choosing between Nikon Scan and Silverfast as my main scanning software. These two give very different results, so much that the files look like shot on different film. I don't like to scan my film twice so I will have to make a decision. What do you guys think?

 

Portra 400:

 

M7-033-05-SF by edward karaa, on Flickr

 

M7-033-05-NS by edward karaa, on Flickr

 

Pro 400H:

 

M7-032-27-SF by edward karaa, on Flickr

 

M7-032-27-NS by edward karaa, on Flickr

 

M7-032-26-SF by edward karaa, on Flickr

 

M7-032-26-NS by edward karaa, on Flickr

 

Ektar 100:

 

M7-024-00-SF by edward karaa, on Flickr

 

M7-024-00-NS by edward karaa, on Flickr

[SunnySixteen]

Portra 400

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[christoph_d]

I believe this Fujichrome from 1976 was taken on the other side of that bridge. Pentax K1000 and my usual muse.

1976 #2 by chrism229, on Flickr

 

The silhouette of the watcher on the bridge fascinates me.

 

C.

 

 

I can feel with your fascination of the "watcher", but I also note that, through the local presence and absence of colour, and perhaps also through natural ageing or even through the choice of a particular film, and most likely through a combination of all three, the picture looks quite a bit like a hand-coloured B&W specimen - and I like that.

 

Rgds

 

C.

[mikemgb]

Hello All. I need your help and your keen photographer's eye to solve a bit of a dilemma that I have choosing between Nikon Scan and Silverfast as my main scanning software. These two give very different results, so much that the files look like shot on different film. I don't like to scan my film twice so I will have to make a decision. What do you guys think?

 

Portra 400:

 

M7-033-05-SF by edward karaa, on Flickr

 

M7-033-05-NS by edward karaa, on Flickr

 

Pro 400H:

 

M7-032-27-SF by edward karaa, on Flickr

 

M7-032-27-NS by edward karaa, on Flickr

 

M7-032-26-SF by edward karaa, on Flickr

 

M7-032-26-NS by edward karaa, on Flickr

 

Ektar 100:

 

M7-024-00-SF by edward karaa, on Flickr

 

M7-024-00-NS by edward karaa, on Flickr

 

I prefer the bottom image in each case, there is too much red in the top one, especially in the skin tones.

[christoph_d]

Luz ! by JM__, on Flickr

 

Fujichrome Sensia 100 - Nikon FM2T - 28 Nikkor f2

 

 

I am sure that, with the "right" Leica gear you wouldn't have those reflections ...   

 

 

 

Just kidding. Lovely picture, and all the "faults" combine to a perfect picture of a carefree children's moment on the beach. Well done!

 

Rgds,

 

C.

[edwardkaraa]

I prefer the bottom image in each case, there is too much red in the top one, especially in the skin tones.

Thank you very much for your feedback, Mike. The bottom ones are with Nikon Scan. I agree with you that colors look more natural, while the silverfast ones have high saturation in the reds.

[Guest JMF]

I prefer the bottom image in each case, there is too much red in the top one, especially in the skin tones.

 

 

+1 , each second photo seems more natural if that is what you're after .

[Guest JMF]

This on is wonderful, with its deep contrasts and the depth you captured this way.

 

 

I guess this could hang in a museum, but you should think about another title and a thoughtful explanation for using the double exposure 

 

I looked back in my archives and bring you two medium format pictures from a stroll through our nearby zoo. The first one was shot through a closed-meshed fence:

 

Bild-1-116.jpg

 

Mamiya 645 1000S - Sekor-C 80 - Cinestill 800

 

 

Thanks a lot James !

[Guest JMF]

 

 

 

Serendipitously awesome JM, cool.

 

 

Very nice JM. I'm sure the horses were grateful for the untroubling snick of the Rollei shutter.

 

Super composition, love it.

 

I can feel my eyes narrow looking at this, feeling the full glare of the sun.

 

 

 

 

Thanks a lot Richard !

[Guest JMF]

Beautiful animal and lovely photos!

 

 

Thanks Edward !

[Guest JMF]

Really terrific Jean-Marc. Lovely colours, great use of the strong sun and an excellent composition. And it shows the benefits of using an SLR.

 

 

Very good indeed, Steve. Such a lovely expression on the boy's face. He's so completely in the moment the way only children can be. You could consider cropping out the person in the background and make it a perfectly square photograph. I'm personally allergic to people on playgrounds with phones in their hands.

 

 

I am sure that, with the "right" Leica gear you wouldn't have those reflections ...   

 

 

 

Just kidding. Lovely picture, and all the "faults" combine to a perfect picture of a carefree children's moment on the beach. Well done!

 

Rgds,

 

C.

 

 

 

Thanks indeed Philip, Christoph and James :-)

[edwardkaraa]

+1 , each second photo seems more natural if that is what you're after .

 

Thank you JMF! So two votes for Nikon Scan so far

[Guest JMF]

Some home brew...

 

Au Palyvestre by JM__, on Flickr

 

Au Palyvestre by JM__, on Flickr

 

Minilux - TriX-  plus some  experimental processing and scanning !

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Hallo,

Look here: Interesting Leica gear

[DirkR440]

another Mercedes on the IAA

(Rolleiflex 3.5F and Cinestill 800)

 

IAA by Dirk Raffel, auf Flickr