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I like film...(open thread)


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On ‎4‎/‎13‎/‎2019 at 3:51 AM, Kl@usW. said:

Ernest, great compositions again. I find it very difficult to comment on them because they seem to need long and deep pondering to value them adequately, - may I just look at them as "Eye Candy" ? 

That's one of the things about making color the main subject, since it's sensory and seems to be without a "subject"--a document of a "thing"--it makes it difficult to find the words to define what's visual. I think it's mainly just a feeling thing. Eye candy? Why not, I say. No question. I'm shooting for the three seconds museum visitors spend on viewing the art pieces in the collection.

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On ‎4‎/‎14‎/‎2019 at 7:16 AM, philipus said:

A wow from me, Rog. Does it depict stairs, descending, but towards camera right, to some unknown darkish place? And if down is to the right, then were are we, the viewers? Suspended, weightless? Or are we gazing at the cosmos through brutal concrete slabs which at any given moment may turn and close to shut us in? Just wow.

Thanks, Philip, for your creative reading. Now, I want to add some jazz drum, like from Inarritu's Birdman, to the poetry of your words: "unknown darkish place . . . suspended, weightless . . . brutal concrete slabs. . . ." I am always intrigued how colors and textures in context play the sensory piano keys of experience, how our mind takes a fragment and fills the gaps to make it whole.

Cheers,
Rog

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23 hours ago, Kl@usW. said:

Looking into a very deep and cold place--- isn't it amazing, how the variation of color, saturation and brightness results in the feeling of depth and distance ? The slight asymmetry of the  black sides brings further movement into the set.

Thanks, Kl@us, for your perspective, pointing out what I was trying to capture: "the feeling of depth and distance." I am always playing with the interaction of color, as Josef Albers says, trying to hit that sensory button. For me, this piece has a strong vertigo element to it, and, yes, it's a deep and cold place, as you say.

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Leica M2 - Summicron 2/35 - TMAX400 in Rodinal

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These are some of the amazing fountains (51) at the Villa D’Este in Tivoli, near Rome. This was all built in the 16th century by a Cardinal who wanted to be Pope (it didn’t happen). The many water features are all fed by gravity (no pumps whatsoever) from a lake in the mountains, which is fed by a diversion of a local river. The Villa is wonderful, the gardens and waterworks are amazing.

Close by, there is a garden built by Hadrian. Our Cardinal makes Hadrian look like a piker. XP2 FWIW.

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au Père Lachaise by JM__, on Flickr

Ektachrome 100 - M2 - 35 Boyer Topaz f3.5

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spring in Central Park, along side the reservoir ... Ektachrome .... R6.2 80mm summilux

 

 

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and one more for good luck ..... people are walking on the old bridle path .... last stable to rent horses in Manhattan shut down about 10 or 20 years ago ... still a nice path to walk on as you can see ....

 

 

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1 hour ago, man:men said:

Thank you very much Rog,

I will follow your suggestion - but a little bit later 😉

Today I've selected one picture out of my 6x6-photos. Maybe someone like this one as I do.

I think it looks a little bit melancholic. But in fact this was exactly the mood in this situation

Mother & Child

 

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 The tonality, the blacks, the slight overexposure in the white, the negative edges—it all seems so real.  Yes, it is melancholic in a very real sense.  Maybe it is that I was just reading  Michael Atkinson‘s essay from Criterion’s new release of Jan Nemec’s Diamonds in the Night, but your photograph as a sense of history, documentation. 

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Mamiya C220, Fomapan 200 @125 ASA, Moersch Eco

 

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au Père Lachaise by JM__, on Flickr

Grave of a Bataclan victim

 

Jim Morrison by JM__, on Flickr

Jim Morrison's grave

 

Ektachrome 100 - M2 - 35 Boyer Topaz f3.5 

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Letizia Battaglia - Palermo / IMS RJ by JM__, on Flickr

 

Letizia Battaglia - Palermo / IMS RJ by JM__, on Flickr

expired TMax 100 pushed 2 stops - M2 - 35 Canon 1.5 LTM 

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