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I like film...(open thread)


Doc Henry

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Barnyard still life

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Welta Weltur, SK 75/2.8 Xenar, FP4

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3 hours ago, Steve Ricoh said:

Shades of HP5+, Pentax MX 85mm f/2

 

Beautiful, Steve.  

2 hours ago, RayD28 said:

HP5+

 

 

Very nice, Ray.  No too often that you see a white horse.  Lovely!

1 hour ago, Cyril Jayant said:

Tri-x m6/summicron

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Wow, this is stunning, Cyril.  Masterful contrast!

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Am 19.3.2019 um 10:43 schrieb stray cat:

rosebud kite festival 2019

Canon F1N, FD 28mm f2 SSC, Agfa Vista 400

What a perfectly timed scene!

Am 19.3.2019 um 11:02 schrieb A miller:

On the subject of schmootz, another from Schmootz Street, NYC :)

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

This is the better form of schmootz :)

Am 19.3.2019 um 16:07 schrieb Tmx:

500c/m, 120mm Planar, HP5+, Moersch Eco

This zig-zag of different lines and forms is truly captivating.

Am 20.3.2019 um 10:27 schrieb stray cat:

Flag Girl, 1990s

Nikon N8008s, AF-Nikkor 80-200mm f2.8 IF-ED, Ektachrome

This is such an iconic picture!

Am 21.3.2019 um 23:06 schrieb benqui:

Tmax 400, M6, Apo 50

Another stunning portrait from you - thanks for sharing these wonderful pictures here.

Am 22.3.2019 um 03:31 schrieb Ernest:

Stripe Up the Band
M-A APO-Summicron-M
E100

When I first saw this, I thought this should be the cover of a music album on vinyl. I just couldn't decide for what kind of music it would suit best.

Am 22.3.2019 um 07:58 schrieb Tmx:

500c/,m, 80mm, XP2 @100 ASA, HC-110

In its simplicity lies the pure energy of this masterfully done picture.

Am 22.3.2019 um 12:44 schrieb EoinC:

I suspect I may have posted this before, but came across it whilst I was looking for something else.

My Old Man, not long before he hopped on the boat to Valhalla...

A002 by Eoin Christie, on Flickr

A fascinating picture and the most wonderful way to keep your dad present. May he have found true peace in the realms he has now entered.

 

Am 22.3.2019 um 20:24 schrieb Ernest:

Raspberry Night No. 8 Polyptych
M-A APO-Summilux-M 50mm
E100

 

Here you have again found a nice way to play with depth and dimensions. I like a lot!

Am 23.3.2019 um 03:10 schrieb NW67:

Thai Lilly

Chamonix 8x10 HP5+ developed in LC29 and shot at f7 1/60 sec

Welcome back - as it seems you have used your time to further enhance your skills and I am eager to see more from you in this thread.

Am 23.3.2019 um 09:32 schrieb atournas:

Silhouettes.

 

Stunning use of light - or the lack of light.

Am 23.3.2019 um 16:37 schrieb Cyril Jayant:

One of my experimental photo from my older Archives.

Silver gelating emulsion  Photo/ Selenium toned/ printed on Berger, Bariata- fiber base Paper.

Camera M6/50mm/Tri-X 400

It is good to see such fine darkroom work here. I still haven't found the time to use my darkroom again - but will do so, if the outcome on black&white film from my next vacation brings something worth printing.

vor 2 Stunden schrieb Cyril Jayant:

Tri-x m6/summicron

 

I am stunned by the perfection in this exposure. I doubt to ever get something like this done in my life. Awesome!

Edited by Sparkassenkunde
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Am 23.3.2019 um 00:52 schrieb Cyril Jayant:

Lovely landscape and I am sure this is not handheld. If it were handheld what quality will it lose, I wonder? Beautiful monochromic that deserves to be seen on a big blow up. 

Great photo and playing with a negative loaded manual camera to master this effect is not everyone skill. And  against the light and zero tolerance with the daylight and Non-bracketing is a mission impossible for me. Bravo! and you merit it.

Thank you Cyril for your kindly comments! In fact the first capture was handheld. There were no space for a tripod, terrible hot and the ground very soft. Enclosed another capture of the  location/ ground: dried-out however soft. Handheld es well.. Mamiya 6, 75mm, FP4+, DD-X

Best regards

Jakob

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Edited by Tmx
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1 hour ago, Wayne said:

Terminal moraine, Illinois

Agfa Record, 6x9, Portra 160

Great shot! I like solitary trees!

4 hours ago, Sparkassenkunde said:

My wife capturing a new background picture for her mobile phone:

Same setup as above

 

4 hours ago, Sparkassenkunde said:

I slowly run out of winter pictures, but as there are no new rolls in the queue, you have to stand some more contributions from me :)

Ricoh GR1 - Cinestill 50D (with the obvious schmootz)

I really envy your snow series! Also this Kodak/Cinestill 50D looks fantastic, the colors are beautiful!

4 hours ago, A miller said:

After hearing the recent news of the elimination of the formal ISIS caliphate, which had brutal control over 8 million for souls for many years, I reflected back on this anti-ISIS prayer rally that I came across on Park Avenue on Sunday afternoon a few years ago.  

Although a lot of fire power was involved to get the immediate job done, I am sure that the soulful prayer of our Muslim friends played a key role.

IIIg, 28mm summaron, Portra 400 (pushed two stops)

 

 

 

 

Well-fitting, in every sense!

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Meeting spot.

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On ‎3‎/‎22‎/‎2019 at 9:43 PM, stray cat said:

Thinking further on Rog's "assemblages" such as Raspberry Night No. 8, there is so much that sneaks up into your consciousness the more you view various iterations. One such thing is the role played by texture. In one sense, it's a photograph ("no it's not" said little Nicola "it's a tableau or an artwork or an image or...") so the texture is illusory - only a two-dimensional representation of texture. Yet, because I think of the context in which we view it, its texture seems hyper-real - which, in a sense, it is, because the picture/tableau/whatever is an assembled work of motifs taken directly from the "real" world - walls and footpaths and what-have-you. The "texture" is, in effect, the only real thing about the "photograph" because the rest is the result of the artist assembling disparate elements into a coherent, and aesthetically pleasing, whole. Other elements - the composition, shading, the perception of depth and so on - the choices made by the artist - lead us to view this as a meritorious work that stands very much on its own - a monochromatic color field, a statement of classic art theory; this picture serves many intents, as does the rest of Rog's anthology of assemblages, ~tyches. I can only imagine that a well-compiled and curated exhibition, or a book, of these works would be remarkable. Perhaps, with a bit of encouraging nudging in Rog's direction, some day  we might see something like that.

"We are all aware (at least I hope we are) that the range of talented photographers here on the "I like film" thread embraces every single one of us who contributes - of that there is no question." Phil, you certainly have the rare skill of broadcasting with diamond hard precision what many of us sometimes assume as a given or grapple with in terms of the textual language that expresses the visual valence of photography. It's this valence, the emotional force or significance, of a photograph that can play on subtext and metaphor that rays out from the visual to the emotional. The apparent can become transparent, implying layers of interpretation and meaning. Layer on layer, a palimpsest. Which interpretation is prompted or posited? An interesting concept in literature that can be applied to photography is the allegory, a story or poem that has a parallel unstated story. In visual art, it's a picture or emblem, Alciatti's Book of Emblems, for example, with a symbolic meaning. Allegory is similar to the parable, and it's interesting to note that the 16th-century Geneva Bible with its marginal gloss that explained the meaning of parables continued in popularity some forty years after the 1611 King James Bible. Consider also Albrecht Durer's Apocalypse (1498), the first book of illustrations by an artist. Durer's fifteen woodcuts pictured verses from the Book of Revelation, interestingly, literal visualizations.

Your point about my assemblages, or color field constructs, and texture is so dead solid on target! Now, I have an image of Jasper Johns's Target paintings shuffling out of the archive. "The 'texture' is, in effect, the only real thing about the "photograph" because the rest is the result of the artist assembling disparate elements into a coherent, and aesthetically pleasing, whole." The marching orders for me is the expression of an image-construct that evolves through ideas instead of action. Here, the color field study undermines the status of the photograph as evidence of a moment, the documentary of an instant. While the construct is static, though, it can initiate a dialogue of action. This would be in allegorical terms, laying bare the parallel unstated "story." This assumes that the "work" is "working," which is not always box that gets checked off. So much editing, I look through my work and realize full well there are many times I should be pleading temporary insanity. Still, insanity can be fun, I whisper to myself.

I am so impressed by your dowser-like prospecting of my work in your comments, I hope if ever a slim volume of the few color field assemblages that merit a check marked box surfaces, I could talk you out of first galaxy publication rights for the paragraph.

Cheers,
Rog

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On ‎3‎/‎18‎/‎2019 at 11:09 AM, Sparkassenkunde said:

The way you created three dimensionality here is mesmerizing. Certainly one of my favorites from your studies. The more I see from your work, the more it grows to my heart. Keep them coming! 

Thanks, James, I keep working on it. I appreciate your comments and your inspired shots.

 

Cheers,
Rog

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