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I like film...(open thread)


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Fully agreed, James. Lovely colors and the blossoms are rendered beautifully by the cron.

 

 

Wow, lovely colours James. Well done. I've shot Precisa too and find it a fantastic film that is also great value for the money.

 

This is truly fantastic James. We had frozen canals here in town too which meant the Dutch, who have also been deprived of frozen canals a great many years, flooded to any frozen piece of water they could find. My family and I just went and had snowball fights on the ice on the canals in our neighbourhood. Luckily there were no ice breakers to be seen. That's really a crime given how rare these things are.

 

 

 

Wow, really great colors in this one, James. 

 

 

Thank you all for your feedback. My experiences with the Precisa are always satisfying. I guess my stock (that cost me 2,50 € per roll) comes from Fuji, though I don't exactly know, which film it might be exactly. The imprints on the film edges say : R100-059. 

 

 

New friend...from another planet...

 

A bit eccentric for my taste, but nice outfit and colors

Another stellar picture for your upcoming exhibitions...

 

Here another shot from the Precisa roll:

 

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This photo is from a series from some of my crazy, extreme photo adventures I  had photographing Mountains "Alpinists " and rock climbers. This is Alpes mountain range which is called   "Le Massive du Mont Blanc", Haût Savoir region  In France.  And this place is a White valley ( La Vallee Blanche - Chamonix ) the most beautiful region You must visit. I was very brave enough to carry my Medium format two lenses/ meters/ and a Canon EOS and a 50mm, a lot of films No tripod/ It is crazy when I thi

Bonjour Henri,   I still prefer black and white film (I use almost no colour). The advantages of digital don’t mean much to me. Seeing instant results is not so useful, since what comes out of a camera is always far from a final result, and the final result requires time and thought.   Film also continues to improve. The quality of available film and developers is as good as it has ever been, and it is still as competent as digital sensors of equivalent size.   I also much prefer silver g

On a week-long stay at the Faroe Islands, I took the ferry from Torshavn (the 'capital') to the southernmost island, Suduroy, and looked up potential shooting locations on the island. This image was taken a little before the sun was setting in the ocean, with wind from the west (left). With the uplift of the humid air at the cliffs, fog and clouds drifted over the island. A quite typical situation for the islands; the ocean can be more or less cloud free, but the islands are generally covered in

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Another big gap between visits, but I thought I'd slip in some more velocipedes...

(EOS 1V HS w/ Otus 55 - Tri-X)

A001 by Eoin Christie, on Flickr

 

A002 by Eoin Christie, on Flickr

 

A003 by Eoin Christie, on Flickr
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On a week-long stay at the Faroe Islands, I took the ferry from Torshavn (the 'capital') to the southernmost island, Suduroy, and looked up potential shooting locations on the island. This image was taken a little before the sun was setting in the ocean, with wind from the west (left). With the uplift of the humid air at the cliffs, fog and clouds drifted over the island. A quite typical situation for the islands; the ocean can be more or less cloud free, but the islands are generally covered in clouds. I think the locals talk about less than a handful days without clouds in a typical year.

 

I finished the shooting around mid night, without any bed for the night (I can be quite unorganised, particularly when drifting around with a camera...). But I stopped at a small 'hotel' in a village not far from the scene, hoping for a roof for the night. The doors were locked, so I was standing outside, knocking on the doors I could see. After quite some time, the owner showed up. It's safe to say he was more than skeptical to welcome guests after midnight. After some conversation - and with the room paid upfront - he agreed to let me in. After 16+ hours shooting, it felt wonderful to recover from fatigue...

 

Mamiya 7, 80mm, Fuji Provia 100F.

Absolutely magnificent. And like others have remarked, the narrative really grips too. 

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nAkt

canon f1 f1.2/55mm asph. - trix d76

 

 

 

Bain de lumière by JM__, on Flickr

 

Velvia 50 - M3 - 50 Summicron

 

 

Another thing - a glorious thing - about film is the chance of "happy accidents". These are perfect examples. They would be excellent pictures without the accidents, and I'm sure the initial reaction of both lookbook and Jean-Marc was less than enthusiastic when they first saw the incursion of light onto these pictures. Yet the random end-(or is it beginning?)-of-roll light and Jean-Marc's light leak happen to have come at aesthetically pleasing spots. They both become pictures where the incursion of light adds a touch of frailty which reminds us that film photography is an imperfect thing, and that in its imperfection lies much of its allure. These are the antithesis of digital photography where everything is precise, clinical, binary. These are essentially imperfect - and in their imperfection lies something we can humanly relate to. Plus, in the example of these two excellent pictures, they are both beautiful.

 

 

On a week-long stay at the Faroe Islands, I took the ferry from Torshavn (the 'capital') to the southernmost island, Suduroy, and looked up potential shooting locations on the island. This image was taken a little before the sun was setting in the ocean, with wind from the west (left). With the uplift of the humid air at the cliffs, fog and clouds drifted over the island. A quite typical situation for the islands; the ocean can be more or less cloud free, but the islands are generally covered in clouds. I think the locals talk about less than a handful days without clouds in a typical year.

 

I finished the shooting around mid night, without any bed for the night (I can be quite unorganised, particularly when drifting around with a camera...). But I stopped at a small 'hotel' in a village not far from the scene, hoping for a roof for the night. The doors were locked, so I was standing outside, knocking on the doors I could see. After quite some time, the owner showed up. It's safe to say he was more than skeptical to welcome guests after midnight. After some conversation - and with the room paid upfront - he agreed to let me in. After 16+ hours shooting, it felt wonderful to recover from fatigue...

 

Mamiya 7, 80mm, Fuji Provia 100F.

 

helged, I don't think I could ever tire of reading your wonderful descriptions of what it took to make these brilliant pictures. And the pictures, like this incredible one, more than adequately reward the spirit of adventure that has led to their creation. I hope that one day you will publish it all - pictures and stories - in book form. Such a book would be a treasure.

 

Thanks, Phil.  You have an imagination like mine

 

Adam, it is at the same time very flattering and quite scary that we may share a similar vivid imagination!

But your pictures do so often invite a closer look - there is more often than not something going on which lies deep beyond the surface appearance of the picture. Like the photograph of yours I have proudly hanging on my wall, that I am looking at right now - not a day goes by that I don't marvel at that incredible blizzard picture.

 

I hope I don't bore people when I talk about pictures here sometimes, or sound like a pompous git (I'm not). I use google a lot

and I find it helps me to understand more clearly about my visceral reaction to pictures.
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Some agriculture with the half-frame.

Pen FT

38mm

Delta 100

R09 @ 1:50

Plustek 8100

Gary

 

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What lovely grain! 

 

nAkt

 

canon f1 f1.2/55mm asph. - trix d76

 

 

Oooh, James.  That sucks!  It is such a magnificent photo, too!!  I really feel for you.  

To make Adam feel slightly better, here a Cinestill 800 sample with traces of schmootz:

 

Bild-1-196.jpg

 

Minilux

 

Absolutely stunning, H.  Your destinations are much to be desired!

On a week-long stay at the Faroe Islands, I took the ferry from Torshavn (the 'capital') to the southernmost island, Suduroy, and looked up potential shooting locations on the island. This image was taken a little before the sun was setting in the ocean, with wind from the west (left). With the uplift of the humid air at the cliffs, fog and clouds drifted over the island. A quite typical situation for the islands; the ocean can be more or less cloud free, but the islands are generally covered in clouds. I think the locals talk about less than a handful days without clouds in a typical year.

 

I finished the shooting around mid night, without any bed for the night (I can be quite unorganised, particularly when drifting around with a camera...). But I stopped at a small 'hotel' in a village not far from the scene, hoping for a roof for the night. The doors were locked, so I was standing outside, knocking on the doors I could see. After quite some time, the owner showed up. It's safe to say he was more than skeptical to welcome guests after midnight. After some conversation - and with the room paid upfront - he agreed to let me in. After 16+ hours shooting, it felt wonderful to recover from fatigue...

 

Mamiya 7, 80mm, Fuji Provia 100F.

 

Great stuff, Eoin! Love that Tri-X!!

Another big gap between visits, but I thought I'd slip in some more velocipedes...

(EOS 1V HS w/ Otus 55 - Tri-X)

 

 

Sincere thanks, Phil. Your contributions here form a key part of the heart and soul of this thread.  You are very thought-provoking and inspiring - and, of course, a true film ambassador.

Another thing - a glorious thing - about film is the chance of "happy accidents". These are perfect examples. They would be excellent pictures without the accidents, and I'm sure the initial reaction of both lookbook and Jean-Marc was less than enthusiastic when they first saw the incursion of light onto these pictures. Yet the random end-(or is it beginning?)-of-roll light and Jean-Marc's light leak happen to have come at aesthetically pleasing spots. They both become pictures where the incursion of light adds a touch of frailty which reminds us that film photography is an imperfect thing, and that in its imperfection lies much of its allure. These are the antithesis of digital photography where everything is precise, clinical, binary. These are essentially imperfect - and in their imperfection lies something we can humanly relate to. Plus, in the example of these two excellent pictures, they are both beautiful.

 

 

 

helged, I don't think I could ever tire of reading your wonderful descriptions of what it took to make these brilliant pictures. And the pictures, like this incredible one, more than adequately reward the spirit of adventure that has led to their creation. I hope that one day you will publish it all - pictures and stories - in book form. Such a book would be a treasure.

 

 

Adam, it is at the same time very flattering and quite scary that we may share a similar vivid imagination!

But your pictures do so often invite a closer look - there is more often than not something going on which lies deep beyond the surface appearance of the picture. Like the photograph of yours I have proudly hanging on my wall, that I am looking at right now - not a day goes by that I don't marvel at that incredible blizzard picture.

 

I hope I don't bore people when I talk about pictures here sometimes, or sound like a pompous git (I'm not). I use google a lot

and I find it helps me to understand more clearly about my visceral reaction to pictures.

 

This first one is actually quite funny.  A stand off that you don't want to get between

Some agriculture with the half-frame.

Pen FT

38mm

Delta 100

R09 @ 1:50

Plustek 8100

Gary

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