I like film...(open thread)

[A miller]

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One from my favorite Park Avenue Mall art exhibit

Still in Israel but have NYC on my mind (sometimes )

Hope everyone is having a great summer!

Tri-X (6x9)

Linhof Technika Press 23

Zeiss Biogon 53mm

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Edited August 3, 2018 by A miller

[sblitz]

One from my favorite Park Avenue Mall art exhibit

Still in Israel but have NYC on my mind (sometimes )

Hope everyone is having a great summer!

Tri-X (6x9)

Linhof Technika Press 23

Zeiss Biogon 53mm

 

you developing there or do we have to wait until you get back to NYC?

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[A miller]

you developing there or do we have to wait until you get back to NYC?

Developing and lab-scanning my 35mm family stuff (for quick sharing in Whatapp) but only developing the 120 rolls. Have shot about 20 120 rolls so far, including about 10 from the Dead Sea.

 

Couple of interesting antectdotes:

 

1. Wednesday I headed to Tel Aviv at 4:30am for some long exposure shooting of the sunrise from a very cool pier-like protusion of giant rocks (see below photo).

Got alll the way there and set up and then realized that I lost my beautiful Minolta Spotmeter F somewhere between the car and the rocks. Couldn't find it and had to use the shitty iphone app (and my equally shitty intuition) instead. I was PISSED! This is the analog (pun intended) to the time last summer when I schlepped all the way to the Dead Sea at 3:30am for some sunrise shooting only to find out that i forgot my film!! (Idiot!!!!)

 

So then it so happened that an Israeli film photography enthusiast that i only know from Facebook reached out to me on FB that same day and to make a long story short he has a very nice spot meter and met me in Jerusalem that night to loan it to me (see photo below). He is my new best friend!

 

2. So this morning at 3:30am I STRUTTED down to the Dead Sea sporting ALL of my equipment and film, including my fancy spot meter. I got all the way down to the tip of the sea (about 45 minutes into the 90 minute drive) and my back right tire BLEW totally!! So I crawled about 15 minutes to the closest gas station and befriended a very capable young Arab man who knew neither English nor Hebrew - but he sure knew how to change a flat tire! After leaving him a generous tip I jetted to the Old City in Jerusalem (mostly the Arab Quarter, which is fortuitously closed on Friday) and spent the early morning shooting some interesting perspectives from the market with my SWC and 503cw/80mm planar (my 250mm Superachromat broke down on me last week - don’t even go there! until the Hertz car rental shop opened (where I now have a new car). (Below is an example from the market)

 

To be honest with you, all of these adversities have only emboldened me and now I am ready to burned through all of my film at warp speed!

 

Yalla!

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Edited August 3, 2018 by A miller

[artisan]

Just a great moment well captured. Good work, Artisan!

Thank you

[philipus]

Wonderful story Adam with a nice happy ending. I also remember that situation last year. My wife always tells me when I am forgetful (which is getting more and more frequent) to write lists. I rarely take her advice of course.

 

Developing and lab-scanning my 35mm family stuff (for quick sharing in Whatapp) but only developing the 120 rolls. Have shot about 20 120 rolls so far, including about 10 from the Dead Sea.

Couple of interesting antectdotes:

1. Wednesday I headed to Tel Aviv at 4:30am for some long exposure shooting of the sunrise from a very cool pier-like protusion of giant rocks (see below photo).
Got alll the way there and set up and then realized that I lost my beautiful Minolta Spotmeter F somewhere between the car and the rocks. Couldn't find it and had to use the shitty iphone app (and my equally shitty intuition) instead. I was PISSED! This is the analog (pun intended) to the time last summer when I schlepped all the way to the Dead Sea at 3:30am for some sunrise shooting only to find out that i forgot my film!! (Idiot!!!!)

So then it so happened that an Israeli film photography enthusiast that i only know from Facebook reached out to me on FB that same day and to make a long story short he has a very nice spot meter and met me in Jerusalem that night to loan it to me (see photo below). He is my new best friend!

2. So this morning at 3:30am I STRUTTED down to the Dead Sea sporting ALL of my equipment and film, including my fancy spot meter. I got all the way down to the tip of the sea (about 45 minutes into the 90 minute drive) and my back right tire BLEW totally!! So I crawled about 15 minutes to the closest gas station and befriended a very capable young Arab man who knew neither English nor Hebrew - but he sure knew how to change a flat tire! After leaving him a generous tip I jetted to the Old City in Jerusalem (mostly the Arab Quarter, which is fortuitously closed on Friday) and spent the early morning shooting some interesting perspectives from the market with my SWC and 503cw/80mm planar (my 250mm Superachromat broke down on me last week - don’t even go there! until the Hertz car rental shop opened (where I now have a new car). (Below is an example from the market)

To be honest with you, all of these adversities have only emboldened me and now I am ready to burned through all of my film at warp speed!

Yalla!

[philipus]

Terrific, Wyck. Very enjoyable.

br

Philip

 

Another one from the same location, different day. Portra 160 @ 100.

[Emref]

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Flower Stand

Father and son

Buenos Aires Argentina

Leica IIIf, Summitar 50 F1:2  Ilford HP 400 ASA

 

[

Regards

Alberto

Edited August 3, 2018 by Emref

[philipus]

There is also a little bar area in the small Kino ABC. Here are a few shots and, at the end, a shot from the outside to give you an idea of the cinema's surroundings. All 40 CFE and all Portra 400VC (EI100), except no. 3 which is Provia 400X. Btw I didn's use a tripod for any of these shots. Instead I shuffled around one of the tall bar tables. The projectionist was very understanding which helped a lot.

 

br

Philip

 

 

Flickr

 

Flickr

 

Flickr

 

Flickr

[Ernest]

A couple of years ago there was an excellent exhibition of the work of Claude Monet here in Melbourne. One work in particular, one from his "Water Lillies" series, was of a predominantly blue-green palette, but there was a small highlight in red. That tiny bit of red in the immense sea of blues and greens stayed with me more than anything else in the exhibition, because its placement was perfect. Red is a statement, and these pictures are statements. Bravo!

Thanks, Phil. There's Monet, and then there's Monet. Seeing his triptych on exhibit is an event, stretching roughly 7'x42' on a curved wall that he prescribed; he was using Cinemascope before anyone really knew what it was, even though immense panoramas were unfolding in the 19th century, but they rendered historical events, not impressionistic statements about the play of light. Red as an accent has always been an artistic glint in the eye. In fact, I remember that stage make-up for actors used a small dot of red at the inner corner of the eye to supposedly add of touch of liveliness to the face. And in oil painting, I generally used a bright cadmium scarlet for underpainting as suggested by Edgar Payne and other California Impressionists, allowing it to add a warmth to the overpainting, even making accent statements. When I think of red, there's Barnett Newman! His Vir Heroicus Sublimis, which I had only seen in books, not paying attention to the dimensions of the work (roughly 8'x18'!), is an astounding "statement," as you say. It was the same for me when I encountered Rothko--a mesmerizing, all-engulfing experience to appreciate in its monumental scale.

 

Here's a Red Black statement I've been working on in the circus. Limited "palette." The thing with photography, we deal with the object/palette as a given and create from there, whereas in painting, it's the reverse; we select the colors of the palette to suit the creation of the work. It occurs to me that photography is kind of like writing; there's Joan Didion's notion (as well as many other writers) that "I don't  what I think until I write it." With photography, "I don't know what I see until I shoot it." Of course, there's the conceptual photographer who goes out with an analog camera and shoots no less than four hundred shots a day, but never loads the camera with film.

 

Red Black Polyptych

M-A Thambar-M CS ND3 Portra 400

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[Ernest]

M-A APO-Summicron-M 50mm LHSA ADOX Color Implosion

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[Ernest]

Correction to omission above:

 

Joan Didion said, “I don’t know what I think until I write it.”

[frame-it]

Leica M5 + 50mm Summilux f1.4 ASPH + Ilford FP4

 

"Grow Old in Style"

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[frame-it]

Leica M5 + 90mm APO Summicron ASPH + Agfa Vista 200

 

Afternoon Light

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[CharlesL]

(reply to #52128) Maybe just have fun with it? Raw Therapee:

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Edited August 4, 2018 by CharlesL

[philipus]

Some Pristina graffiti. The text in the middle says that Chuck Norris is an agent of the SHIK, which was an unsavoury underground "intelligence" organisation spawned from the ranks of the Kosovo Liberation Army and later part of the Democratic Party of Kosovo, which today is one of the largest parties in Kosovo. SHIK is thought to have carried out many politically motivated killings.

 

Flickr

80/2.8 Provia 400X X1

[RayD28]

FP4 box speed DD-X.  Had been using HP5.  Really like the fine grain.  

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[edwardkaraa]

A few shots from Sukhothai, Thailand on Provia 100F. Gloomy weather on that day, but the slide film helped a bit.

 

M7 ZM 35/1.4 Provia 100F by edward karaa, on Flickr

 

M7 ZM 35/1.4 Provia 100F by edward karaa, on Flickr

 

M7 ZM 35/1.4 Provia 100F by edward karaa, on Flickr

[Sharif]

In the train.

 

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Leica Standard, 3.5/50 Elmar (1939), Fuji Neopan Acros 100@100

 

Sharif

Edited August 4, 2018 by Sharif

[frame-it]

Leica M5 + 50mm Summilux ASPH + Kodak Tmax 100

 

"Bored on the Bollard"

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Edited August 4, 2018 by frame-it

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Hallo,

Look here: Interesting Leica gear

[Ernest]

Cad Scarlet Horizon Diptych

M-A APO-Summicron-M 50mm LHSA ADOX Color Implosion + Rollei Redbird

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