I like film...(open thread)

[Michael Hiles]

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Old man, old car. Baalbeck, Lebanon.

 

M7 ZM 50/2 Ektar 100 by edward karaa, on Flickr

And another W123.

[edwardkaraa]

And another W123.

Indestructible

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[Doc Henry]

Shades of Grey

 

Pen F Tri-X Plustek

 

Shades of Grey by -Steve Ricoh-

 

Steve wonderful black , shades of grey and beautiful grain , true silver grain

 

Laos countryside, farm girl. The country is so littered with unexploded ordnance you are advised to tread carefully.

Sometimes you find a nugget.

Farmgirl.jpg

Kodak Color Plus 200

 

Pritam color is magnifique

 

Bacchus temple, Baalbeck, Lebanon.

 

M7 ZM 35/2.8 Ektar 100 by edward karaa, on Flickr

 

 

Old man, old car. Baalbeck, Lebanon.

 

M7 ZM 50/2 Ektar 100 by edward karaa, on Flickr

 

Edward bravo for the color .... it's Ektar one of  the favorite films of Adam

 

This photograph was taken with a Leica M2 on TriX400 film and with a 35mm Summilux pre-asph lens wide open at f1.4 and 1/30 of a second hand held.

I went to the Michelangelo exhibit at the Metropolitan Museum of Art in NYC.

Lighting was a challenge, the gallery was quite dark with lights only on the objects on display. The biggest frustration is to focus the lens on the viewers face quickly and accurately enough before they move away. Most hold their attention only for a few seconds before they move on.

 

 

This photograph was taken with a Leica M2 on TriX400 film and with a 35mm Summilux pre-asph lens wide open at f1.4 and 1/30 of a second hand held.frame#22.JPG

 

 

This photograph was taken with a Leica M2 on TriX400 film and with a 35mm Summilux pre-asph lens wide open at f1.4 and 1/30 of a second hand held.

 

 

This photograph was taken with a Leica M2 on TriX400 film and with a 35mm Summilux pre-asph lens wide open at f1.4 and 1/30 of a second hand held.

 

Jo wonderful pictures , they are all nice .... the eyes of the master

Best

Henry

Edited January 16, 2018 by Doc Henry

[jochem]

"Digital photography seems to excel in all those areas that Im not interested in. Im interested in the alchemy of light on film and chemistry and silver." - Ralph Gibson

I found this interesting interview with the photographer Ralph Gibson about scanning from prints rather than from negatives:

 

http://bermangraphics.com/press/ralphgibson.htm

Ralph: ...Quite often, as recently as yesterday and probably again this afternoon, I will scan something in wet on my Epson 1640 XL because I’m excited to see it. I’ll make the print in the darkroom and then I’ll squeegee it the best I can, sometimes I put it between two pieces of Mylar but that gives me Newton rings. So what I try to do is get it down on the glass as quickly as possible, and then I’ll take it back out and wash it and dry it and clean the glass (laughs).

Chris/Larry: That’s great. So you’re actually in some ways capturing tonalities on a wet print that may not even be there when it’s dry. Do you ever scan your negatives to work from?

Ralph: I am one of those people who happens to believe that you get better results scanning from flat art, rather than negatives. You know the world is divided. There are those who think you can scan from black and white negatives and get good results. I don’t happen to share that view. I have owned a Nikon CoolScan and I still have one, but the truth is, I don’t get the results that I want. And I have spoken to other photographers who corroborate my views. I think that scanning film works better for news agencies.

[Sparkassenkunde]

"Digital photography seems to excel in all those areas that Im not interested in. Im interested in the alchemy of light on film and chemistry and silver." - Ralph Gibson

 

I found this interesting interview with the photographer Ralph Gibson about scanning from prints rather than from negatives:

 

http://bermangraphics.com/press/ralphgibson.htm

Ralph: ...Quite often, as recently as yesterday and probably again this afternoon, I will scan something in wet on my Epson 1640 XL because I’m excited to see it. I’ll make the print in the darkroom and then I’ll squeegee it the best I can, sometimes I put it between two pieces of Mylar but that gives me Newton rings. So what I try to do is get it down on the glass as quickly as possible, and then I’ll take it back out and wash it and dry it and clean the glass (laughs).

Chris/Larry: That’s great. So you’re actually in some ways capturing tonalities on a wet print that may not even be there when it’s dry. Do you ever scan your negatives to work from?

Ralph: I am one of those people who happens to believe that you get better results scanning from flat art, rather than negatives. You know the world is divided. There are those who think you can scan from black and white negatives and get good results. I don’t happen to share that view. I have owned a Nikon CoolScan and I still have one, but the truth is, I don’t get the results that I want. And I have spoken to other photographers who corroborate my views. I think that scanning film works better for news agencies.

 

 

Interesting approach. I have to admit that I didn't try that myself, as I had the feeling my negative scanning abilities improved over time. I also don't use my darkroom that often and for my black and white prints only. The idea of a wetscan on my flatbed is rather irritating, as I would think it might do serious damage...

[Sparkassenkunde]

This interesting lamppost holder is to be found at the "New Palace" in Sanssouci park:

 

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Minilux - Agfa APX 100

[Sparkassenkunde]

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This form of time capsule is imho only possible by using film. I found this collection of different exposures on my latest roll of APX 100. As I now know, it is a roll of film I tried to expose in my faulty Ricoh GR1s. I obviously made different shots on the same part of the film. If you take the time to look closer, you can see the silhouette of a man (a good friend of mine), a cup of coffee from different angles, the blackboard with the offerings at Barcomi's in Berlin and a row of statues above a colonnade in Potsdam. It is surely nothing special but in a way interesting - at least for me. Please excuse if you see the crappy side of this picture only

 

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Ricoh GR1s + Minilux - Agfa APX 100

[Steve Ricoh]

I'm curious to understand how XP2 supper can be exposed at varying EI and then developed at standard box ISO - presumably producing negatives with acceptable density.

 

Here's an extract from Ilford: Another feature unique to XP2 SUPER is the ability to shoot different speeds between ISO 50 and 800 on the same roll and still process as standard..

 

That's quite an expose latitude, is it really as good as it states on the tin?

[wattsy]

Ralph Gibson has always been able to both take and talk a good photograph. Of late, he has apparently enthusiastically embraced both the Monochrom and (I think) the M10. Leaving aside the digital/film thing (which is boring), Gibson always has interesting things to say about photographs and the philosophy behind taking a photograph and you can do a lot worse than spend 3 minutes listening to what he has to say here.

 

"Digital photography seems to excel in all those areas that Im not interested in. Im interested in the alchemy of light on film and chemistry and silver." - Ralph Gibson

I found this interesting interview with the photographer Ralph Gibson about scanning from prints rather than from negatives:

 

http://bermangraphics.com/press/ralphgibson.htm

Ralph: ...Quite often, as recently as yesterday and probably again this afternoon, I will scan something in wet on my Epson 1640 XL because I’m excited to see it. I’ll make the print in the darkroom and then I’ll squeegee it the best I can, sometimes I put it between two pieces of Mylar but that gives me Newton rings. So what I try to do is get it down on the glass as quickly as possible, and then I’ll take it back out and wash it and dry it and clean the glass (laughs).

Chris/Larry: That’s great. So you’re actually in some ways capturing tonalities on a wet print that may not even be there when it’s dry. Do you ever scan your negatives to work from?

Ralph: I am one of those people who happens to believe that you get better results scanning from flat art, rather than negatives. You know the world is divided. There are those who think you can scan from black and white negatives and get good results. I don’t happen to share that view. I have owned a Nikon CoolScan and I still have one, but the truth is, I don’t get the results that I want. And I have spoken to other photographers who corroborate my views. I think that scanning film works better for news agencies.

[wattsy]

I'm not the greatest fan of Ektar but this is a great example of the kind of light and subject where it's colour and transparency like qualities really sing. Nice to see that you include the film manufacturer's logo in the photograph.

 

Old man, old car. Baalbeck, Lebanon.

 

M7 ZM 50/2 Ektar 100 by edward karaa, on Flickr

[edwardkaraa]

I'm not the greatest fan of Ektar but this is a great example of the kind of light and subject where it's colour and transparency like qualities really sing. Nice to see that you include the film manufacturer's logo in the photograph.

Thank you Ian! Credit has to be given where it's due

[edwardkaraa]

Wadi Rum Jordan.

 

M7 ZM 25/2.8 Provia 100F by edward karaa, on Flickr

[S/W]

Sicily

 

Plaubel Makina 67 * Ilford FP4 Plus * Adox FX 39 * 1+14 * Reflecta MF 5000

[Michael Hiles]

That's quite an expose latitude, is it really as good as it states on the tin?

 

Yes, with some caveats.

 

The film's ability to retain both shadow and highlight detail with severe under or over exposure is exceptional.

 

Ilford's literature, however, states that it is at its best exposing for 200 ASA. My long experience with these films bears this out. 200 ASA produces shadows with loads of detail without over exposing highlights. The negatives are hugely scanable and printable. All films have an inherent ASA due to the manufacturing chemistry. So called "pushing and pulling" are simply under and over exposure, and there is a cost. Necessary on occasion, and in the case of XP2 Super the cost in technical image quality is less than with many other films.

[S/W]

Oneway

(Sicily, Castellammare del Golfo)

 

Plaubel Makina 67 * Ilford FP4 Plus * Adox FX 39 * 1+14 * Reflecta MF 5000

 

[edwardkaraa]

Bedouin transportation

 

M7 ZM 50/2 Provia 100F by edward karaa, on Flickr

[edwardkaraa]

Bedouin transportation v. 2

 

M7 ZM 35/2.8 Provia 100F by edward karaa, on Flickr

[philipus]

Excellent Pritam, and the drinking lady to the left adds a surreal touch. Where was this shot?

 

Arches

Arch lights.jpg

t-max 400

 

I prefer this analogy. That said, I wonder if the Anderson photo wasn't shot on film

 

Incidentally, I watched the new Baywatch movie yesterday and it was actually far better than the 17% ranking on the iTunes tomatometer.

 

Those are some apt analogies.  My favorite is the comparison of natural breasts vs augmented breasts - e.g., Sophia Loren vs Pamela Anderson - which do you prefer.  And yes, many say yes and those are most likely to shoot both film and digital   I shoot only film.... 

Sophia_Loren_-_1955.JPG

 

 

 

 

pamela-anderson-before-after-1.jpg

 

This is terrific and begs the question if the posing lady is the model in the photo. Remarkable similarity.

 

Leica III, Summitar 2.0/50, Delta 3200 @6400

post-54779-0-51273000-1494172700.jpg

.

 

Excellent creative thinking

 

 

First Assignment by Narsuitus, on Flickr

 

 

My first assignment as a newspaper photographer was to shoot the grand opening of an Ethan Allen furniture store. I could not capture the image I wanted because at the time, I only had a 200mm telephoto lens and a 50mm normal lens. A chaperone mirror helped me get the wide-angle subject coverage I needed.

 

I was pleased that my city editor was pleased with my image.

 

I immediately invested in a wide-angle lens.

 

This image was shot on Kodak Tri-X with a 50mm lens on a Miranda Sensorex 35mm SLR in the summer of 1968.

 

 

Very nice, I hope you will post more photos regularly here. 

 

From yesterday's shoot.

Hasselblad 203FE + 110mm Sonnar. Ilford HP5+ in Xtol.

 

It's a very interesting photo Phil. Almost looks like a statue. It's amazing what people believe sometimes.

 

I wasn't sure myself what I was photographing one day during Mary Ellen Mark's workshop in Oaxaca in 2011, so I looked up National Geographic who described it as:

 

"a pre-Lent festival in San Martin Tilcajete near Oaxaca city, Mexico. Dozens of young men and boys run through the town covered in silver or red paint, and motor oil, chasing the townsfolk in this annual tradition before the coming Easter holiday. Many of the greasy devils wear heavy cowbells around their waists which ring loudly as they run, in penance for the sins they have committed as devils. The more bells they wear, the greater number of sins. The bells also act to warn the townsfolk. But the chase of the devils is a merry one. And children especially love being chased."

 

Brave children if you ask me - some of these guys were plenty scary! Anyway it was a lot of fun and an absolute dream for a photographer lucky enough to be there:

 

 

Greasy Devil, St Martin Tilcajete, Mexico 2011

M6TTL, 28mm Elmarit, Ilford XP2 Super

 

Reminded me of that well-known invitation from Frederick the Great:

 

    p                 ci

              à 

venez            sans

 

to which Voltaire supposedly replied:

 

G     a

 

This interesting lamppost holder is to be found at the "New Palace" in Sanssouci park:

 

Bild-1-106.jpg

 

Minilux - Agfa APX 100

 

 

[Doc Henry]

Bedouin transportation

 

M7 ZM 50/2 Provia 100F by edward karaa, on Flickr

 

Bedouin transportation v. 2

 

M7 ZM 35/2.8 Provia 100F by edward karaa, on Flickr

 

Edward color is superb as definition , contrast and resolution

Impressive color

 

 

Oneway

(Sicily, Castellammare del Golfo)

 

 

Plaubel Makina 67 * Ilford FP4 Plus * Adox FX 39 * 1+14 * Reflecta MF 5000

 

 

 

 

Sicily

 

 

Plaubel Makina 67 * Ilford FP4 Plus * Adox FX 39 * 1+14 * Reflecta MF 5000

 

 

Stefan , great pictures in definition , clarity , tone and details

Amazing picture

Best

Henry

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[Doc Henry]

Ralph Gibson has always been able to both take and talk a good photograph. Of late, he has apparently enthusiastically embraced both the Monochrom and (I think) the M10. Leaving aside the digital/film thing (which is boring), Gibson always has interesting things to say about photographs and the philosophy behind taking a photograph and you can do a lot worse than spend 3 minutes listening to what he has to say here.

 

Ian, in the life we must believe what we do , and if digital is better than film shoot in digital

so no time and money to lose with film

Best

Henry