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I like film...(open thread)


Doc Henry

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Zeiss Tenax II, 40/2 Sonnar, Expired Svema (1989) 64, shot at 32

 

The ghost soul of an orphan flower, soft voice in the woods. The chant of enchanting. A palimpsest of the past, and staring at it, it starts to unravel its own story.

 

This image has a haunting timelessness about it. Great cover photo for a novel or collected poems.

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The ghost soul of an orphan flower, soft voice in the woods. The chant of enchanting. A palimpsest of the past, and staring at it, it starts to unravel its own story.

 

This image has a haunting timelessness about it. Great cover photo for a novel or collected poems.

Thank you so much for the kind words. Your recent series has caused me to consider exploration of an aspect of photography I have never before considered. I cannot think of a greater gift this forum could render. I went out tonight with Tenax and an old Russian m39 SLR with the idea of poking around one of the local towns. I did not get past the first building, seeing things I had never before considered. I think I could have burned up two or three additional rolls had daylight not abandoned me.

 

Best,

 

Wayne

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Bo, The Humble.

 

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Zeiss Tenax II, Sonnar 40/2, Svema 64 (expired) & shot at 32.

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Zeiss Tenax II, Sonnar 40/2, Fuji Superia 200

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Thank you so much for the kind words. Your recent series has caused me to consider exploration of an aspect of photography I have never before considered. I cannot think of a greater gift this forum could render. I went out tonight with Tenax and an old Russian m39 SLR with the idea of poking around one of the local towns. I did not get past the first building, seeing things I had never before considered. I think I could have burned up two or three additional rolls had daylight not abandoned me.

 

Best,

 

Wayne

 

And thank you for the generous thoughts! I could not agree with you more: this Forum is a never-ending encyclopedia of invention that keeps jogging me into new arenas. At times, I feel like I'm on a mental trampoline, bouncing from one insight to another shared generously by members. I always appreciate it when members like Ian "Wattsy" and Phil "Stray Cat" give me a heads up on reading material (like Nabokov's butterfly notes or Sultan and Mandel's photography rethinking), and then there's Adam's fearless shooting taking on the urban construct, whether it's in motion or out of focus. I am with you on "not getting past the first building" syndrome. It's like a Mandelbrot fractal and trying to wrap your brain around figuring out the length of the coastline of Ireland; it just never ends! Hope to see some of your "poking around the local town" shots.

 

Cheers,

Rog

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Just a Note Diptych

M-A APO-Summiron-M LHSA ADOX Color Implosion

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The "distressed look" Wayne, it is the old film, or something else?

Gary

It is the old film. Sort of an adventure every time I load a roll of it. This was my latest, and best, result with this particular film. I stand developed for two hours with 1/100 rodinal. One inversion at the hour.

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It is the old film. Sort of an adventure every time I load a roll of it. This was my latest, and best, result with this particular film. I stand developed for two hours with 1/100 rodinal. One inversion at the hour.

Thanks Wayne, wondered/guessed that.

Two Hours??? Goodness. I push my R09 out to 14 minutes due to my 1:50 frugality, but two hours?? The temp would change that much this time of year I'd be all over the place.

Gary

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SWC

Tri-X 400 in R09 @ 1:50

Epson 4870

Gary

 

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SWC

Tri-X 400 in R09 @ 1:50

Epson 4870

Gary

 

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Just a Note Diptych

M-A APO-Summiron-M LHSA ADOX Color Implosion

 

Thank you Rog for introducing these intriguing observed pairs. I think also of Steve Ricoh's pairings made with his nifty little Olympus Pen, and there have been other contributors to this forum who have paired images and expanded the breadth of our understanding of the medium. The conversation between Rog and Wayne above is particularly interesting - the potential for visual exploration afforded by the "first building" syndrome. Thinking back on Strand's wonderful career, and even how at the end, photographing in just his backyard (or Kertesz from his window) what wonderful pictures were made - Monet in his garden is perhaps the supreme example. Rog's examples of paired Color Implosion pictures are deceptively simple, but looking at them in terms of balance, color and structure we are reminded of works by bridget riley, perhaps even mondrian - echoes of the work of the abstract expressionists and color field painters of t1940s and 1950s are invoked. These precise pairings are available to us all, and it is liberating to think that we can explore a host of possibilities in the next building, or even in our own home or backyard. Or, like Wayne, we can see classicism - again in or nearby our back yards - and explore it with an open mind as to materials and processes. Gary, too, has looked at architecture and design in formal terms by using great light and interesting perspective - importantly, within the square, to great effect. This thread - consistently the most interesting in the forum - just keeps upping the ante.

Edited by stray cat
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Thanks Wayne, wondered/guessed that.

Two Hours??? Goodness. I push my R09 out to 14 minutes due to my 1:50 frugality, but two hours?? The temp would change that much this time of year I'd be all over the place.

Gary

I figure the emulsion is very, VERY hard. Petrified? I suppose the first hour serves well to soften things up. I went, initially, with my standard Soviet recipe of HC-110, 69/1, for about 10 minutes and finished with some pretty horrible results......Even by my standards :). Considered throwing the stuff out. I had nothing to lose.

 

Wayne

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It has been one hell of a miserable winter, spring and now summer so far this year...  When will it end?

Wall Street, NYC

Nikon Action Touch 

Portra 800

 

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More misery... :(

Nikon Action Touch

Provia 100F

 

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I bought an old Elmar 90/4 (M-mount), cheap lens in very good conditions (at least it seems to me).
I have used it only for a few pics in the shadow at F4 (although I probably needed 1/2-1 stop more open).
Anyway, besides of the expected shallow DOF, I found a very strange rendering after scanning. The pictures came out really grainy, more grainy than other similar pics shot with the same settings with a Summicron 50. It's very strange. I'm curious to shoot some more, maybe at F8-11.

M6, Elmar-M 90/4, Tri-X

40694385900_40b0cd9c56_b.jpg

20180523-DSCF2532-2 by antoniofedele, on Flickr

 

40694386910_bb8a77beae_b.jpg

20180523-DSCF2534 by antoniofedele, on Flickr

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