Jump to content

Recommended Posts

Advertisement (gone after registration)

19 hours ago, benqui said:

First time that I used the Cinestill 800 for a daylight portrait shooting. I I have to say that I like it a lot! With M4 and Apo 50

 

 

Skin tone is great! Did you shoot in daylight with or without a warming filter?

  • Like 2
Link to post
Share on other sites

Duernstein on the Donau. Contax G2, Contax 35-70mm, Fujichrome.

 

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

  • Like 17
Link to post
Share on other sites

Staring at a portrait. From a scanned Velvia 50 ASA.

Paul

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

Edited by atournas
  • Like 18
Link to post
Share on other sites

On 31 januari 2019 at 7:24 PM, Cyril Jayant said:

A messy walk in a rainy day in  Chateaux de Versaille, Paris,  Camera Blad 203Fe / 120-60 Zoom on Kodak Ektachrome film. 

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

Sometimes colour film works better then b&w as it happened here; maybe I can say, moderate warm colours attract me easily..

Edited by saiche
  • Like 2
  • Thanks 1
Link to post
Share on other sites

7 hours ago, A miller said:

One from our 30 minute vortex blizzard this past Thursday 😁 vs 🤨

NYC

Portra 400 

M7, 28 elmarit pre-asph

 

This is wonderful, Adam - two figures, two quite different expressions giving the picture quite a tension as our eyes shift from one to the other. The colors are fabulous, too - of course. Both your pushed Ektachromes and Portras serve you very well out there in the cold city, giving a contrasting and welcome Kodak warmth to the humans portrayed.

Thank you also for your thoughtful comments on my "railway restorer" portraits. I somehow think his workmates thought the little gnome statue is the spitting image of him too!

1 hour ago, Suede said:

I'll take both, please.

Thanks so much, Pritam. I quite like them both, too, and have been fascinated to read people's thoughts about one or the other. This is such a generous community in terms of encouragement and support.

  • Like 2
Link to post
Share on other sites

3 hours ago, atournas said:

Staring at a portrait. From a scanned Velvia 50 ASA.

Paul

 

This is wonderful, Paul. This sort of intriguing interplay of planes of interest, and the mind-games associated with trying to work out how it all ties together. The children in reality aren't even looking at the portrait, yet in the picture they most certainly are. Meanwhile, the child in the portrait looks completely nonplussed by it all. Your choice here of black and white adds yet another level of complexity, abstraction and weirdness.

  • Like 1
Link to post
Share on other sites

15 hours ago, stray cat said:

Actually, now I'm undecided - which (if either) would you choose?

(details are the same)

I go for the second.....If for no other reason than the full presence of the gnome. My kind of guy. Both are excellent.

 

Best,

Wayne

  • Like 1
  • Thanks 1
Link to post
Share on other sites

IIIc / Hektor 2,8cm (uncoated, 1939) / Eastman Double-X / Rodinal 1:50 / 8x10 print

The Double-X/Rodinal combination will yield a bit of graininess but I'm ok with that.

James

 

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

  • Like 14
Link to post
Share on other sites

IIIc / Hektor 2,8cm / Eastman Double-X / Rodinal 1:50 / 8x10 print

One more with the Double-X/Rodinal combo...

James

Welcome, dear visitor! As registered member you'd see an image here…

Simply register for free here – We are always happy to welcome new members!

  • Like 11
Link to post
Share on other sites

1 hour ago, Wayne said:

I go for the second.....If for no other reason than the full presence of the gnome. My kind of guy. Both are excellent.

 

Best,

Wayne

Thank you sincerely, Wayne. Yes, I reckon you'd have a field day talking with and photographing these guys. I have a feeling you'd end up getting involved in the project! I do fully intend going back, taking a couple of prints and maybe taking some more snaps. They also told me I should visit another shed nearby there where some of their colleagues have a few locomotive projects on the go.

On reflection, I'm glad I had the Adox Silvermax loaded - despite having many doubts about any of the pictures being other than blurry smudges (it was pretty dark in there)! The tonal scale, which I think helps reportage-style pictures such as these, is incredible - and it is quite a straightforward job in Photoshop (as I'm sure it also would be with wet printing) to pull out tones or hold them back, depending on what you want from the picture. A very, very nice film. And as a bonus, it has exactly the same developing time in XTOL as Tri-X - so you can co-develop both films.

  • Thanks 1
Link to post
Share on other sites

19 hours ago, stray cat said:

Railway workshop, Queenscliff 2019

M6TTL, 28mm Elmarit, yellow filter, Adox Silvermax 100

Just a little late to the party, but the hors d'oeuvres look delicious. I am piling on with comments from Gary, Christoph, Adam, et al, because they catch the industry of man at his work, and there is that invitation to participate in the reality of the milieu, ping-ponging back and forth between his eyes and hands, discerning what he's doing. What intrigues even more, though, is the definition of the man in the flotsam and jetsam that surrounds him. It's not a photograph most would take, a cinematic medium shot even though it's a 28mm, but it illustrates perfectly the play of negative and positive space. An object can be defined by its surroundings, as writers often do by the choice of selective details to define a character or a narrative. Watercolor artists do the same when they use the white of the Arches paper for white passages in a painting, rather than use the gauche technique of using white paint. This makes watercolor challenging in the play of positive/negative space because there's no going back when the painting decisions have been made. What immediately flashed for me, though, was the sense of 17th century lighting, the window, the highlights on the profile, and the kind of psychological portrait that calls to mind Vermeer. In Vermeer, even a woman who is seemingly doing nothing, sitting with her eyes closed, perhaps dreaming, there's a kind of magnetic pull of the composition, the lighting, the palette, the objects as a mirror of psychological moment. In your "Railway Workshop," even the man's chair is a tool rack. There's no question this shot cannot be sentenced to the editing floor.

Cheers,
Rog

Link to post
Share on other sites

20 hours ago, stray cat said:

Railway workshop, Queenscliff 2019

M6TTL, 28mm Elmarit, yellow filter, Adox Silvermax 100

 I like this as it gets the eye to scan all around the environment where he is attached and find the whole story. The lighting you have selected is very interesting :) Stray Cat.

  • Like 2
Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
  • Recently Browsing   1 member

×
×
  • Create New...