I like film...(open thread)

[gbealnz]

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Some more Ghent, from a wonderful day with a couple of rascals.

Leicaflex SL with either the 35, the 50, or the 90 Summicron.

Ilford XP2 Super.

Gary

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[gbealnz]

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The Leica Q3 is available for pre-order at B&H Photo Video and Adorama

[Keith (M)]

Church entrance. H500C, 60mm Distagon, Fomapan 100, Rodinal.

 

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[mikemgb]

5 hours ago, gbealnz said:

Excellent Mike. And no tourists visible?

Gary

There were plenty there but they don't stand still long enough to show up in a 6 minute exposure.😀

[Bobitybob]

Kestrel FGA.1 XS695.  On display at RAF Cosford ...

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M6, Fomapan 200

[Keith (M)]

Two from the archives - 2001 in Figeac in the Lot Department. Contax G2, 45mm f2, Kodak C41.

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[Guest]

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vor 19 Stunden schrieb A miller:

very beautiful, Joerg.

Thank You very much Adam,

here is another one from the same roll.

Regards Joerg

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[Guest]

vor 17 Stunden schrieb benqui:

M6, Apo 90mm, Ilford Delta 400

 

outstanding Marc

Regards Joerg

 

[Guest]

Island of Sylt/ Germany

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Leica M2 - Canon 1,4/0 LTM - TMAX100 - D76

Edited December 3, 2018 by Guest

[Guest]

vor 14 Stunden schrieb A miller:

NYC

M-A, 28 elmarit pre-asph, Portra 400

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For me a little bit like Garry Winogrand, Adam

(but I like this one more)

Regards

Joerg

[edwardkaraa]

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M7 ZM 50/2 Ultramax 400 by edward karaa, on Flickr

M7 ZM 50/2 Ultramax 400 by edward karaa, on Flickr

M7 ZM 50/2 Ultramax 400 by edward karaa, on Flickr

[Sparkassenkunde]

Had to check the selfie capabilities of my Ricoh GR1 🤣

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Old man on Portra

[Stealth3kpl]

50mm Summilux Asph, Neopan 400 @250, HC110 1+49 6 mins @20C , Plustek 8100, Vuescan.

Pete

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045ps by Pete, on Flickr

[A miller]

8 hours ago, joergel said:

Thank You very much Adam,

here is another one from the same roll.

Regards Joerg

 

Awesome.  

8 hours ago, joergel said:

For me a little bit like Garry Winogrand, Adam

(but I like this one more)

Regards

Joerg

Thanks, Joerg.  If I could spend a day shooting with anyone in NYC, it would be with Garry.  🙌

4 hours ago, Sparkassenkunde said:

Had to check the selfie capabilities of my Ricoh GR1 🤣

 

Old man on Portra

Better than any smartphone could ever do!!  

[A miller]

Who do you think wears the pants in this household....? 😉

Portra 400, M-A, 28mm

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[logan2z]

Leica M-A, Summarit 35mm/2.4 ASPH, Tri-X 400

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[logan2z]

Leica M-A, Summarit 35mm/2.4 ASPH, Tri-X 400

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Edited December 4, 2018 by logan2z

[Ernest]

On ‎11‎/‎30‎/‎2018 at 2:21 AM, stray cat said:

Rog, it is I who owe you a debt of immense gratitude. Following your acute and finely nuanced observations on Trent Parke's work - not just his photography, but his sequencing and the way he communicates using metaphor, painting narratives for the viewer to complete, I acquired a renewed interest in his work and revisited the books I have - Minutes To Midnight and The Black Rose. As I don't have the words, in order to continue I am going to have to quote from Apocalypse Now: "And then I realized... like I was shot... like I was shot with a diamond... a diamond bullet right through my forehead. And I thought, my God... the genius of that! The genius! The will to do that! Perfect, genuine, complete, crystalline, pure." Not, in Trent Parke's case, piles of severed, newly inoculated arms, but the sheer genius of being able to tell stories using pictures. Important, moving and very personal stories. I'd always admired his pictures, but when, with your guidance, I came to look at the space between the pictures - the universe of meaning that is carried in that void, suddenly the diamond bullet hit home. Wow indeed. I am confident that you will be even more in awe of his work once you receive The Black Rose. It is staggering work. 

All hail the analog freeway! Now I have some videos to watch...

Such a lightning rod, you are, for oblique perspectives. The smash cut to Apocalypse Now! There's a floodgate that opens so many tributaries. Storaro. I remember seeing The Spider's Strategem at UCLA, and now, my VHS tape is one of the few I've saved because it's so hard to find. His cinematography, the lighting, the palette, so instructive. And then, there's Eleanor Coppola's Notes that I bought at Larry Edmunds Cinema Bookshop in Hollywood, the book that keeps reminding me of my promise to finish the reading.

Apocalypse Now. That quotation starts the mind's projector rolling.

Decapitated heads that litter the steps to Colonel Kurtz‘s temple, like horrific punctuation marks in this incoherent sentence of war in the jungle. And then, there is Dennis Hopper at his frenetic best as the war photo journalist at his, lacing his machine gun crazed monologues with the occasional shutter clack of one of the four Nikons dangling from his neck. Of course, he must have long-ago run out of film, just as he has run out of reason, reduced to a caricature incessantly shooting 35mm blanks as a way to objectify through the viewfinder the horror theatre. Think of the metaphor of shooting without film in a futile war.

It reminds me. Yesterday, I was shooting a sidewalk abstract outside Starbucks, the well of liberating libation of the espresso kind. A fellow, who was six years older than I, stopped and asked what I was shooting, remarking that my M-A looked like an old camera. I told him it was. He said that he used to shoot a lot of pictures with his Minolta, Kodachromes, but he doesn’t anymore. I suggested that he get out and shoot his Minolta, even without film, just as a way of looking at things. He confided that his wife had suffered a stroke, then four years later, with a gun, she committed suicide. Married forty years. He said he still can’t get over it. Every morning. Stroke can do that, I told him. It short circuits things. When I see him again at Starbucks, I am going to ask if he is shooting his Minolta, yet.

This brings me back to the idea of photography at times being an accretion of indecisive moments, a layering of images that may seem unrelated at the time, having no apparent coalescing narrative. But then later, considering the images in context to each other, a narrative finds its way, Alexander Pope‘s aha!, the epiphany as the mind unravels ambiguity and decisively connects the images, creatively filling the gaps in the visual fragments. The opening sequence of shots in Henri Cartier-Bresson’s film Victory of Life (1937) demonstrates how a still image from each one of the cuts creates a narrative, whereas each shot taken individually, divorced from context, is indecisive.

Listening to Trent Parke discuss his method of shooting, albeit motivated by that creative connectivity that is the intersection of psyche and coming to terms with the nature of things, that knee-jerk reaction to grabbing a shot in the moment, a shot that evaporates a nanosecond later, the echo of HCB’s passion for instinctively acting in the moment when “the geometry” is perfect. But then, Parke enters another zone, editing his photographs in a sequence, a narrative develops, speaking to his psyche. It’s almost as though it’s a mime of self-discovery, the visuals creating their own crosstalk as he traces the arc of connections.

I am anxiously awaiting delivery of The Black Rose. Thanks so much for generously sharing your insight, a constant surprise of fresh perspectives.

[Ernest]

On ‎11‎/‎30‎/‎2018 at 8:51 PM, Wayne said:

Sometimes, I think it is just the fact that something screams at you, and has been screaming, but has become background noise.............Until. 

Catalpa and pick-nick table.

 

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I thoroughly enjoy your writing and photography, Roger. How long have these two been screaming to be photographed? I think I could shoot three or four rolls just on this scene. But then.........Somebody might think I am nuts.

Canon EF. FD 35/2, Foma 200

Long live film

 

Best,

Wayne

Don't worry, Wayne. The jury has finished deliberation, reaching a verdict in less that fifteen minutes, owing to closing time of Starbucks, and you have been found by your peers, after a perusal of your voluminous artistic footprint, which arduous task was interrupted time and again by outright applause by the jury members, you have been found to be completely, to use the clinical term, NUTS. So, don't worry. Not only are many already in the club, but many are bumping elbows to line up to get pass the bouncer. Screaming an issue. Leica earbuds by Master & Dynamic ME05BR or Leica Edition 0.95 Over-Ear Headphones Master & Dynamic MH40. You say, three or four rolls? Do you need to be reminded how many takes Marlon Brando requires for a single utterance, which may not even be a line? Capitalize on background noise--that's just your sanity skipping grooves on your well-worn vinyl LP brain. It's a familiar tune that loves the replay.

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Hallo,

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[Wayne]

I am not sure what it is, but whenever I walk by it I stop and smile. Architecture changes through the ages, I imagine if one were there to see it, It might have appeared, in pretty much the same way, in ancient Athens or Rome.

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Foca Universal, Oplar 28/6.3, Kodak 400 Ultra