I like film...(open thread)

[Guest JMF]

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The Shores by JM__, on Flickr

 

TriX 400 - Konica HG28

Edited October 14, 2018 by JMF

[Suede]

Settlements in the western Himalayan hills. In truth, it's quite unsettling to see such "development" projects mushrooming all over. Colourful nonetheless... Agfa Vista 400.

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[A miller]

48 minutes ago, Suede said:

Roadside tea maker in India on Agfa Vista 400.

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wow, love these colors.  the palette is so unique.  

[Ernest]

11 hours ago, stray cat said:

Adam (or is it "Indy" now?) - this is stunning. Especially so given that you had limited time and resource at your disposal. Those stones seem like they would like to tell their story. 

"Those stones seem like they would like to tell their story." Yes, excellent example of "palimpsest." The hands that built that tunnel, the hands that placed those stones, the workers who breathed ancient air, the layers of lives the tunnel has witnessed. And, now, add Adam to the archeology with his "photographic stone" that has broadcast rings in the world pool of LUF.

[Ernest]

1 hour ago, A miller said:

Here is a lot of nothing...but I keep it around (don't ask me why).

From the same morning with Stu.

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Delicious 1950's palette, and she's so "Electric"; cue the theme song. Sometimes "a lot of nothing" is really something that doesn't use words.

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M2 - Summicron 2/35 - TriX400 @320ASA - Spur HRX

[Ernest]

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Erasure Polyptych

M-A Thambar-M CS
ADOX Color Implosion

Color field study (6 images) to define "erasure" as a metaphor using a limited, industrial palette. The bars have the connotation that permanence can be a prison, and that erasure seeks to eliminate dark  to privilege light. Of course, erasure echoes in memory and remains with what Ralph Gibson calls "overtones," the tonal variations of a musical note as it fades. I used a vertical totem-like statement with the erasure metaphor images as a rupture to the integrity of the iconic and, behind, an erasure overtone that restates that rupture with its horizontal assault on totems. The totems themselves bear evidence of what could be seen as erasure smudges.

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[Ernest]

Side Entry

M-A Thambar-M CS
ADOX Color Implosion

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[benqui]

vor 3 Stunden schrieb A miller:

 I was testing the limits of my Portra 400, pushing it 3 stops.

To me it looks as you have reached the limit with this woman. One stop more and you are dead...😎😎

[Ernest]

Not Shakespeare's Window

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

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[Ernest]

Erasure Elements Polyptych

M-A Thambar-M CS
ADOX Color Implosion 100

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[mikemgb]

5 hours ago, A miller said:

Here is a lot of nothing...but I keep it around (don't ask me why).

From the same morning with Stu.

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This isn't nothing, in 20 or 30 years you will look at these and love them. The first time I visited the US in 1995 I stayed in a small western Missouri town for 3 months, I spent a lot of time just photographing that town, I love looking at those images today.

I need to dig them out and post them sometime.

[A miller]

4 hours ago, Ernest said:

"Those stones seem like they would like to tell their story." Yes, excellent example of "palimpsest." The hands that built that tunnel, the hands that placed those stones, the workers who breathed ancient air, the layers of lives the tunnel has witnessed. And, now, add Adam to the archeology with his "photographic stone" that has broadcast rings in the world pool of LUF.

Spot on, Rog.  There's a lot of palimpsest in Jerusalem.  The city is like an onion, with layers and layers of history going back thousands of years.  I am sure that I don't fully appreciate all of its depth.  

 

Right on again, Rog.  She definitely doesn't look to be from this decade with those antiquated wired earbuds

4 hours ago, Ernest said:

Delicious 1950's palette, and she's so "Electric"; cue the theme song. Sometimes "a lot of nothing" is really something that doesn't use words.

 

This one is really cool, Rog.  I can see this one printed really large on metal

4 hours ago, Ernest said:

Erasure Polyptych

M-A Thambar-M CS
ADOX Color Implosion

Color field study (6 images) to define "erasure" as a metaphor using a limited, industrial palette. The bars have the connotation that permanence can be a prison, and that erasure seeks to eliminate dark  to privilege light. Of course, erasure echoes in memory and remains with what Ralph Gibson calls "overtones," the tonal variations of a musical note as it fades. I used a vertical totem-like statement with the erasure metaphor images as a rupture to the integrity of the iconic and, behind, an erasure overtone that restates that rupture with its horizontal assault on totems. The totems themselves bear evidence of what could be seen as erasure smudges.

 

 

Ha ha, good one, Marc.  😂

3 hours ago, benqui said:

To me it looks as you have reached the limit with this woman. One stop more and you are dead...😎😎

 

Thanks, Mike.  It most likely will be kept around for another ten years as I has managed to stick around for all these years without any effort from me!

1 hour ago, mikemgb said:

This isn't nothing, in 20 or 30 years you will look at these and love them. The first time I visited the US in 1995 I stayed in a small western Missouri town for 3 months, I spent a lot of time just photographing that town, I love looking at those images today.

I need to dig them out and post them sometime.

 

[Ernest]

1 hour ago, A miller said:

Spot on, Rog.  There's a lot of palimpsest in Jerusalem.  The city is like an onion, with layers and layers of history going back thousands of years.  I am sure that I don't fully appreciate all of its depth.  

Right on again, Rog.  She definitely doesn't look to be from this decade with those antiquated wired earbuds

This one is really cool, Rog.  I can see this one printed really large on metal

Ha ha, good one, Marc.  😂

Thanks, Mike.  It most likely will be kept around for another ten years as I has managed to stick around for all these years without any effort from me!

 

Oh, yes, love the way you think, Adam. So, I figure construction of one totem with (2) 40"x60" aluminum panels, plus (1) 27"x40" middle panel, adds up to a 147" totem--about 12'! Double that and at 24', that'd be a statement. Ha, dream on, me says to me self. Would be fun.

 

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[Ernest]

Oops, I meant for the Erasure Totem (at 145 kb) to post as a "note," but I see on the iPhone it has gone into the real estate business. Apologies.

Cheers,
Rog

[stray cat]

Hi Rog,

Further to Adam's suggestion, and I agree that they need to be huge and on metal, but why not suspended independently or in groups such as the one above so that there is a third dimension to them, and the viewer could then discern differing dimensionality to them as he/she changed their angle of view around the resulting figure?

Edited October 15, 2018 by stray cat

[stray cat]

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Long Slow Dance 2018

M6TTL, 35mm Summaron, Ilford XP2 Super

 

Edited October 15, 2018 by stray cat

[Ernest]

1 hour ago, stray cat said:

Hi Rog,

Further to Adam's suggestion, and I agree that they need to be huge and on metal, but why not suspended independently or in groups such as the one above so that there is a third dimension to them, and the viewer could then discern differing dimensionality to them as he/she changed their angle of view around the resulting figure?

 Absolutely energetic, Phil! The land of  Alexander Calder, and now that you’ve got me thinking about it, Barnett Newman skirted sculpture, as well, with iconic zips.  I was thinking of what Gerhard Richter has done, also; use glass panels the height of the totem, between them, reflecting even though transparent, which adds that dimensionality you mention. Not only does this dismantle the tyranny of the rectangle, nudge-nudge, but it gets the photograph off-the-wall. It could even invite the schizophrenia of images, the flipside world of the unapparent. Polyptychs can become fragmented in space into a murder of crows taking flight.  And so, the circus begins.  As I have mentioned before, no elephants, though, no matter how useful they would be with all of this construction. 

Cheers, Rog, ever grateful 

[stray cat]

Yes! A Murder of crows! You not only reference Nick Cave and his Carney, but also, earlier à propos Adam's excellent 1950's Winogrand homage, She's Electric by Oasis.

And yes! Why not? Floor to ceiling transparent prints on Japanese silk, fluttering in whatever breeze is available in this wondrous gallery. Diaphanous prints so that not only the viewer experience dimensionality within the artwork, he/she can appreciate all the other viewers through the artwork! A schizophrenia of images indeed!

Still think you need the elephants though. Preferably with Dovima.

Edited October 15, 2018 by stray cat

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Hallo,

Look here: Interesting Leica gear

[Ernest]

1 hour ago, stray cat said:

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Long Slow Dance 2018

M6TTL, 35mm Summaron, Ilford XP2 Super

 

 Phil, here you go reinventing the concept of diptych with your vertical construction, and now images that make my brain hurt, and a very creative way.  The tributaries in the pavement, like some random code, an obstinant cypher that teases sanity and logic. Asphalt DNA. Borges Boulevard.  Diptych that reads top to bottom, bottom to top, ping-pongs back-and-forth.  This is taking up residence in some logic stall that refuses a first and last name—camouflage, incognito?  Nothing is what it appears to be.  Ancestral links to your other perplexing photograph: Yellow Thing.    It is such an enjoyable test, following your ping-pong match  of mind play, lightning serves, and the blur of a little white ball  that likes to disappear. 

 Cheers, Rog