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I like film...(open thread)

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3 hours ago, Sailronin said:

 

Hasselblad SWC on Kodak Portra 160

Yosemite National Park

 

3 hours ago, Sailronin said:

 

Oahu, Hawaii

Hasselblad SWC on Kodak Ektar 100

 These are fantastic, Dave.  Whether it is Portra or Ektar, you make that Hassy sing - bravo.

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Posted (edited)
21 hours ago, stray cat said:

Did it ever strike you, that Antonio's name only lacks an ~ni at the end, and we have the cinematic master himself - not gone, but alive and well in Southern Italy. I desperately hope Antonio is able sometime to fulfill his destiny and explore those glorious islands such as Lisca Bianca because his eye, as evidenced by Taranto (above), would do the scenery proud.

As for Boris, all I can say is that the hotel room on the fourth floor in the corner, where his documents are secured, might hold other surprises... It is rumoured that not only Sandro and Claudia, but a certain Anna might have been ensconced there...

I confess without the promise of waterboarding, Antonio(ni), stepchild of the 60s and his namesake, did not register the slumber of a blip on my rotating beam ceilometer (RBC). I am thinking of L'Eclisse, and the one time I was betting on experiencing the '91 solar eclipse on the Big Island, I got "clouded out." Still, it was mystical and inspiring--totally Antonioniesque in a quiet alienation sense. Vittoria--Monica Vitti. The camera so loves this face, the mystery, vulnerability, yet strength. Shades of the umbra Benqui explores with portraits. Now I have to re-watch L'Eclisse! Antonio's photographs are so--yes! The end of L'Eclisse, no dialogue, just images, and on. Photography is cinema edited; cinema edited is photography.  That Antonioni would draw inspiration from the notion of the transit of a solar umbra, a lunar shadow racing across the earth's surface, and the tide of an emotional current suggested by an allegory of images that defines without defining, the meaning of shadows surrendering to the light. 

Thanks, Phil, Antonio, Benqui, and all the others here for this jumpstart without waterboarding.


Cheers,
Rog

Now, back to decoding Trent Parke, thanks to Phil's heads up.

Edited by Ernest
tense

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20 minutes ago, Wayne said:

Kardon RF, Kodak Ektar 47/2 LTM lens, Astrum 400

Still Life

 

Still Life? Yes, it is, and more. The intimation of activity, the girl's ten-speed, and the lounge chair, thank you, Bauhaus, after Marcel Breuer's cantilevered design. His Wassily Kandinsky chair (1926) was inspired by, guess what? The bicycle. Admire your instinct for the play of oval and round shapes against the box and straight lines of the bike frame. Now, let's clean this mess up that Robert Rauschenberg would call art and pay just a little more than a pretty penny to cart it off for another masterpiece.

Cheers,
Rog

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1 hour ago, Ernest said:

I confess without the promise of waterboarding, Antonio(ni), stepchild of the 60s and his namesake, did not register the slumber of a blip on my rotating beam ceilometer (RBC). I am thinking of L'Eclisse, and the one time I was betting on experiencing the '91 solar eclipse on the Big Island, I got "clouded out." Still, it was mystical and inspiring--totally Antonioniesque in a quiet alienation sense. Vittoria--Monica Vitti. The camera so loves this face, the mystery, vulnerability, yet strength. Shades of the umbra Benqui explores with portraits. Now I have to re-watch L'Eclisse! Antonio's photographs are so--yes! The end of L'Eclisse, no dialogue, just images, and on. Photography is cinema edited; cinema edited is photography.  That Antonioni would draw inspiration from the notion of the transit of a solar umbra, a lunar shadow racing across the earth's surface, and the tide of an emotional current suggested by an allegory of images that defines without defining, the meaning of shadows surrendering to the light. 

Thanks, Phil, Antonio, Benqui, and all the others here for this jumpstart without waterboarding.


Cheers,
Rog

Now, back to decoding Trent Parke, thanks to Phil's heads up.

Aaah Monica Vitti "the mystery, vulnerability, yet strength" ❤️. Spot on as usual. And of course L'Eclisse - such a masterful work. My company name as a photographer: photoeclipse. Coincidence? I think not.

I was unable to fully get the middle film of the "trilogy" La Notte but I think it's just about time I try again.

And yes, certain things in life do bring out the inner Antonioni, like your atmospheric eclipse experience in Hawaii. I remember standing once on the rim of Mt Vesuvius with misty clouds rolling all around and a local running past me shouting - "find cover, the rain she's a-gonna pour". And she did.

I am interested to hear your thoughts on Trent Parke when you have assembled them. His is a very unique style and sensibility - I realize that the more I look at his work.

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Kafka Metadata
Nikon F2 Micro-Nikkor 55mm
E100

Possible early metadata prototype letterpress attributed to Kafka in 1913 office writings at the Workmen's Accident Insurance Institute for the Kingdom of Bohemia in Prague. Kafka complained about office life, quoted in Stanley Corngold's Franz Kafka: The Office Writings saying that "writing and office cannot be reconciled, since writing has its center of gravity in depth, whereas the office is on the surface of life. So it goes up and down, and one is bound to be torn asunder in the process" (x). For some, the attribution may be a joke, but the humor in Kafka, particularly Die Verwandlung, cannot be marginalized.

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vor 2 Stunden schrieb Sailronin:

The MOPOP (Museum of Popular Culture) a Frank Gehry building in Seattle.

Wow! Really an eyecatcher! Looks so good in b/w!

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vor 2 Stunden schrieb AntonioF:

Leica IIIc, Elmar 50/3.5 and Astrum Foto 400

I like this portrait! Looks so relaxed!

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