I like film...(open thread)

[Steve Ricoh]

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For many years, I have been looking for precisely this. What is your secret? Please provide some Google coordinates. As always, your photographs are “illuminating.“

Thank you Rog!

The area is where Martin Parr photographed 'The Last Resort', 53.4355° N, 3.0508°W. You'll need to catch an aeroplane, I suspect, but after that it's a relatively short drive from Manchester airport (about 2hrs)

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agfa scala

 

 

 

 

 

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[sblitz]

 

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loen, norway, agfa scala

 

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Stunning!!!!!!!

[Ernest]

Thank you Rog!

The area is where Martin Parr photographed 'The Last Resort', 53.4355° N, 3.0508°W. You'll need to catch an aeroplane, I suspect, but after that it's a relatively short drive from Manchester airport (about 2hrs)

Thanks, Steve, for such a precise and practical answer to my question, but I am also interested in the metaphorical answer, since your photograph is so mythical. “The light at the end of the tunnel!“ The aha! moment. And you have answered it with your photograph! This is what photographic Art does: Answers questions when language fails.

[sblitz]

Shots of Peter Bernstein excellent jazz guitarist, at my favorite jazz spot (because the give me a good seat and let me take pics) SMOKE --

 

 

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[sblitz]

here is one more .... forgot to mention these were taken with Tmax 3200 //// a really excellent film . . . . 

 

 

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[sblitz]

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Some more photos from the same night .... apologize for not knowing their names .... the original crew couldn't make it but it was still wonderful ... shots are from my MA (50m summilux and 90m summicron) and my R6.2 (60mm R elmarit Macro)

 

 

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[Mute-on]

These last two sets are really excellent, Steve. Tmax did an amazing job with beautiful tones, too!

 

Cheers

 

J

[Mute-on]

 

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Texel5.JPG

 

vuutoren texel, netherlands, rollei superpan

 

 

 

 

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dto.

 

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Brilliant perspective and composition. 21mm?

[Ernest]

Thank you so much Philip and Rog - and to all who gave it a "thank you". The support and encouragement here is phenomenal.

 

As to the picture - you mention wasteland Rog - it has always reminded me of The Who's brilliant and perceptive Baba O'Reilly:

 

Sally take my handWe'll travel south cross landPut out the fireAnd don't look past my shoulderThe exodus is hereThe happy ones are nearLet's get together, before we get much older

 

Teenage wastelandIt's only teenage wasteland

They're all wasted!

 

Ah the nexus between music and photography. Pretty hard to find something more enjoyable!

 

And, yeah, don't take too much of that hair donation Rog - I could use some myself!

Thanks, Phil, for the heads up on a 23-year-old Michael Palin in Antonioni’s Blow Up scene with the Yardbirds. More than just a little bit of rock and roll cool. I had to watch the YouTube clip three times, and I had my suspicions, but resorted to Google. Bad boy, bad boy.

 

To piggyback on your notion of the marriage of music and still photography, or at least how one augments the other, I remember something of the sort with one of my favorite painters, Gerhard Richter, who did a series of paintings inspired by John Cage. Richter also linked in his publication of Richter 858 a suite of eight paintings with a CD slideshow accompanied by the music of guitarist Bill Frisell, as well as poetry and critical commentary. I realize that this is not the same thing you were discussing, how perhaps a deeper meaning concealed in the photograph gives rise to the language of a particular song or the reverse. Playing the song replays in the mind a memory of the photograph, or similarly, looking at the photograph, calls to mind the song. The photograph does not necessarily illustrate the song, in the song does not need to know right the photograph. They can be separate and distinct, yet they are linked by interpretive dialogue.

 

Ralph Gibson, similarly, has ventured into this union of arts, since he published diptych photographs in his Overtones combined with writers’ poetry and critical commentary. The only thing missing is the music, but had he produced an accompanying CD of his diptychs, music no doubt would’ve come into play.

 

In his work, comprised of ten paintings, titled Course of Empire, photographer/painter Ed Ruscha interprets Thomas Cole’s The Course of Empire, five paintings that evidence the preoccupation during the early 19th century with the sublime and ruins. Thomas Cole is also notable for his paintings themed with Lord Byron’s poem “Childe Harold’s Pilgrimage.“ Joan Didion wrote a piece reminiscing about Los Angeles that is paired with Ruscha’s work, which has a subtle dystopia subtext.

 

Pairing photographs with poetry or commentary is nothing novel, but music or acoustics is another thing, as you have spotlighted.

 

Cheers,

Rog

[stray cat]

What seriously wonderful work from everyone! Thank you!

[stray cat]

Thanks, Phil, for the heads up on a 23-year-old Michael Palin in Antonioni’s Blow Up scene with the Yardbirds. More than just a little bit of rock and roll cool. I had to watch the YouTube clip three times, and I had my suspicions, but resorted to Google. Bad boy, bad boy.

 

To piggyback on your notion of the marriage of music and still photography, or at least how one augments the other, I remember something of the sort with one of my favorite painters, Gerhard Richter, who did a series of paintings inspired by John Cage. Richter also linked in his publication of Richter 858 a suite of eight paintings with a CD slideshow accompanied by the music of guitarist Bill Frisell, as well as poetry and critical commentary. I realize that this is not the same thing you were discussing, how perhaps a deeper meaning concealed in the photograph gives rise to the language of a particular song or the reverse. Playing the song replays in the mind a memory of the photograph, or similarly, looking at the photograph, calls to mind the song. The photograph does not necessarily illustrate the song, in the song does not need to know right the photograph. They can be separate and distinct, yet they are linked by interpretive dialogue.

 

Ralph Gibson, similarly, has ventured into this union of arts, since he published diptych photographs in his Overtones combined with writers’ poetry and critical commentary. The only thing missing is the music, but had he produced an accompanying CD of his diptychs, music no doubt would’ve come into play.

 

In his work, comprised of ten paintings, titled Course of Empire, photographer/painter Ed Ruscha interprets Thomas Cole’s The Course of Empire, five paintings that evidence the preoccupation during the early 19th century with the sublime and ruins. Thomas Cole is also notable for his paintings themed with Lord Byron’s poem “Childe Harold’s Pilgrimage.“ Joan Didion wrote a piece reminiscing about Los Angeles that is paired with Ruscha’s work, which has a subtle dystopia subtext.

 

Pairing photographs with poetry or commentary is nothing novel, but music or acoustics is another thing, as you have spotlighted.

 

Cheers,

Rog

 

Wow Rog, there are some inspired and inspiring thoughts there. Ed Ruscha's work, so deceptively simple, has always held great appeal to me. LordByron's poetry is as redoubtable as it is beautiful. I am reading Joan Didion's "Play It As It Lays" right now as per an earlier post you made, and am fascinated by the dystopian theme of this work and much of the photography we've been discussing (including as well some of the music - John Cage, Baba O'Reilly etc). And I agree that there is nothing quite so gratuitous as illustrating one with the other (music or poetry with photography etc) but that there is an intrinsic memory association that we (I think) all carry within us which transports us visually, in memory or otherwise given certain stimuli. It is fascinating and wouldn't it be great to be able, as photographers, as artists, to be able to tap into that at will? Additionally to your perceptive Ralph Gibson observation is of course the knowledge that he is a huge fan of jazz music, and this fact I think nudges our understanding of his incredible work some way in the right direction. Similarly with Lee Friedlander.

[Ouroboros]

Timeless shot. It could have been taken centuries ago

Thank you.

 

I think the 50mm elmar-m and Silvermax are at their best with flat light scenes. A Tessar lens has a certain recognisable character and if I could only have one Leica lens it would be the 50mm elmar-m f2.8.

[Rennrocky]

Malmö M2 Summicron C40 Agfa Precisa

 

 

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[Sparkassenkunde]

My time in Israel is coming to an end. I have about 50 rolls of film to bring home and will be sharing some highights over the coming months. I managed to get down to the Dead Sea another 6 times this summer. It is ever-changing and at this point not for the better. Hopefully, a solution to keep the water level from plummeting will be implemented soon. Looking forward to more regular engagement here in the coming weeks.

 

In the meantime, here’s a simple lab scan from last week: wife (middle), her older sister and her older sister’s grand-daughter

Gosh I love film

 

What a lovely portrait - you are one lucky guy to have such beautiful women around you

 

Light at the end of the tunnel by -Steve Ricoh-

Tri-X EI 1600 - Leica M6 35 f/2 - Plustek Scan

 

This one is awesome - perfect composition and such outstanding, expressive tones and nice contrasts.

 

 

 

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Texel5.JPG

 

vuutoren texel, netherlands, rollei superpan

 

 

 

 

Texel8.JPG

 

dto.

 

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Your contributions to this thread are a wonderful enrichment, please keep them coming!

 

Shots of Peter Bernstein excellent jazz guitarist, at my favorite jazz spot (because the give me a good seat and let me take pics) SMOKE --

 

Okay, I have to do my outing: I am no fan of jazz music at all. In contrary to this fact I am again and again excited about your pictures of jazz musicians. Maybe I could find access to this kind of music by joining you on one of your photographic excursions

 

 

 

From me comes a picture from a roll of Cinestill 800, which I exposed over a time span of almost one year now. The picture was done on our annual autumn visit to the Baltic Sea last year, and if I remember correctly, I used my Cron 50 DR @ f8 and exposed for about a half minute:

 

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M4-P - Cron 50 DR - Cinestill 800T

Edited August 18, 2018 by Sparkassenkunde

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sblitz, Mute-on, stray cat, Sparkassenkunde: Many thanks for your comments!

 

Brilliant perspective and composition. 21mm?

 

The first one (ZM Biogon 2.8/21), the second one is at 35mm (Summiron-M Asph.), both taken with M7.

[philipus]

Thank you very much Rog, very thought-provoking indeed. I'm wondering if boredom, a bit like suffering supposedly, is a motivation to create?

 

Thank you, Philip, for bringing up a pivotal idea, so I have been thinking that “one man’s boredom leads to another man’s art,” but then I shortened the idea to “boredom leads to art.“ Short, but a little too dry, which led me to use metaphor: “The voice of art silences the drone of boredom.” You see, this is what my mind does to keep away from boredom— all due to your prompt!

From experience, I know an effective teacher will impress on students that they cannot afford to be boring. Employers are not interested in hiring the most boring applicants. College professors are unimpressed with boring compositions. Ad agencies are not looking for boring commercials. Architects are not looking for boring buildings. Publishers are not excited about boring books. Audiences will not go to boring movies, and museums are not interested in boring work.

For another day, we will have to ride herd on the semantics to corral just exactly what is “boring.” Your photographs, here, are most decidedly not boring!

Cheers,
Rog

 

Truly lovely photos, T. Speaking of course for myself only, I would prefer them larger without the frame.

 

 

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Texel5.JPG

 

vuutoren texel, netherlands, rollei superpan

 

 

 

 

Texel8.JPG

 

dto.

 

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[philipus]

Boarding at CDG

 

Flickr

Nikkor 50/1.8AI-S Ektar X1

[Ernest]

Treads Red No. 2 Diptych

M-A APO-Summicron-M 50mm LHSA Portra 400

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Hallo,

Look here: Interesting Leica gear

[sblitz]

What a lovely portrait - you are one lucky guy to have such beautiful women around you

 

 

This one is awesome - perfect composition and such outstanding, expressive tones and nice contrasts.

 

 

 

Your contributions to this thread are a wonderful enrichment, please keep them coming!

 

 

Okay, I have to do my outing: I am no fan of jazz music at all. In contrary to this fact I am again and again excited about your pictures of jazz musicians. Maybe I could find access to this kind of music by joining you on one of your photographic excursions

 

 

 

From me comes a picture from a roll of Cinestill 800, which I exposed over a time span of almost one year now. The picture was done on our annual autumn visit to the Baltic Sea last year, and if I remember correctly, I used my Cron 50 DR @ f8 and exposed for about a half minute:

 

Bild-1-238.jpg

 

M4-P - Cron 50 DR - Cinestill 800T

 

If we are ever the same city at the same time, absolutely!!!!!