I like film...(open thread)

[Guest JMF]

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Au Cap Sicié by JM__, on Flickr

Acros 100 - Plaubel W67

[Kl@usW.]

Am 21.4.2019 um 11:13 schrieb stray cat:

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the fourth wall, port phillip bay 2019

M2, 35mm summaron, ilford xp2 super

structures, tonality and a little story told--very nice bw-picture

Am 21.4.2019 um 18:28 schrieb A miller:

Fedora Man sighting 🙂

portra 400

M-A, 28mm elmarit pre-asph

Adam, you seem to sit on a treasure trove of amazing street photography. Great ! 

Am 21.4.2019 um 19:53 schrieb joergel:

 

Leica R6 - Sumicron-R 2/50 - expired Fuji slidefilm

very quiet, very nice.`the expired´colors of the fuji help. 

Am 21.4.2019 um 20:03 schrieb AntonioF:

The Crypt of the cathedral of Otranto

Leica M6, Summicron 35 asph and Tri-X

20190413-DSC02595 by antoniofedele, on Flickr

perfect exposure, great tonality, classic. 

vor 12 Stunden schrieb philipus:

One of the birch trees in our garden on Gotland.

Flickr
40/4 CFE Ektar X1

Philipus, I love the green leaves-blue sky contrast ! And with the HB you don't have to wreck your neck with this kind of perspective... ;-))

vor 9 Stunden schrieb JMF:

 

Untitled by JM__, on Flickr

Ektachrome 100 pushed one and a half stop - M2 - 35 Hexanon f2 LTM

I was testing a 1958 M2 and  after I had shot the roll, I found out its curtains were underexposing . Still had to crop the photo a bit.

From the perspective I would have guessed a shorter lens-28 or even 21... great picture, I can relate to the fascination with old trees... As to the curtains in the M2: same experience, decided on CS .... and now everything is fine. 

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[Ernest]

Oz
M-A APO 50 E100

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[Guest]

Shot yesterday using my Chamonix 8x10 Kowa Graphic 360mm with a 10 stop ND. HP5+ Shot at f25 88 seconds. Developed in D76 for 7 minutes

Neil

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[Ernest]

On ‎4‎/‎20‎/‎2019 at 6:21 PM, stray cat said:

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sunbather, st. kilda 1975

canon TLb, FDn 50mm f1.8, Kodachrome 64

Not a wholly unimportant question to ask is what kind of photograph is this? Is this cinema verite or calculated theatre? Fortuitous happenstance or conspired composition? Rather simply inspired composition? The nanosecond adrenaline rush of instinctively, yes!--this works, as the shutter fires. What is it, though? The play of diagonals, a statement of perspective, the boxed space, the encroaching umbra about to assault the subject's cubicle domain, momentary sanctuary, the isolation by volition, and, of course, the notational red shorts and the Peugeot, comings and goings. Again, what kind of photograph is this? What is the conflict needed to really create interest? There is the imaginary fourth wall, almost, erected at the margin of the shadow line, so there is every right to assume this is a moment of eavesdropping in passing. We take the theatre as reality. The fourth wall is not violated by Brechtian Verfremdungseffekt, alienation effect, that reminds us of the artifice of theatre to underscore a political statement. "Merv and Julie," etched into the back wall, doesn't count. The shadows, though, play an interesting role in this doppelganger drama as Peugeot man reads a book, his mirror shadow seemingly reading it with him.

What kind of photograph is this, then. Yes, it's a portrait. But, wait, we don't see a face? No. It's circumstantial. Think of Gerhard Richter's Betty, among many others. The comparison to Vermeer's Girl With a Pearl Earring. Think about fragmentation. Completing the incomplete. The allure of the discontinuous and the indeterminate. That this portrait was taken in 1975 and still speaks to us is evidence of its metaphoric endurance.

Edited April 23, 2019 by Ernest
editing

[stray cat]

1 hour ago, Ernest said:

Not a wholly unimportant question to ask is what kind of photograph is this? Is this cinema verite or calculated theatre? Fortuitous happenstance or conspired composition? Rather simply inspired composition? The nanosecond adrenaline rush of instinctively, yes!--this works, as the shutter fires. What is it, though? The play of diagonals, a statement of perspective, the boxed space, the encroaching umbra about to assault the subject's cubicle domain, momentary sanctuary, the isolation by volition, and, of course, the notational red shorts and the Peugeot, comings and goings. Again, what kind of photograph is this? What is the conflict needed to really create interest? There is the imaginary fourth wall, almost, erected at the margin of the shadow line, so there is every right to assume this is a moment of eavesdropping in passing. We take the theatre as reality. The fourth wall is not violated by Brechtian Verfremdungseffekt, alienation effect, that reminds us of the artifice of theatre to underscore a political statement. "Merv and Julie," etched into the back wall, doesn't count. The shadows, though, play an interesting role in this doppelganger drama as Peugeot man reads a book, his mirror shadow seemingly reading it with him.

What kind of photograph is this, then. Yes, it's a portrait. But, wait, we don't see a face? No. It's circumstantial. Think of Gerhard Richter's Betty, among many others. The comparison to Vermeer's Girl With a Pearl Earring. Think about fragmentation. Completing the incomplete. The allure of the discontinuous and the indeterminate. That this portrait was taken in 1975 and still speaks to us is evidence of its metaphoric endurance.

Rog, I can't thank you enough for seeing so much that I haven't in the 44 years-and-counting of this photograph's life, and for taking the initiative and trouble to expound upon it with your, as usual, coherent and wide-ranging, instructive thoughts. Again there is lots of research to pursue, too.

Merv 4 Julie. Those names alone date it - are any babies given those names now? Julie maybe, but has anyone named a boy Merv in the past 40-50-60 years? Today it would likely be Jakxsen + Alize (pronounced Ah-lee-zay) - and no doubt that bright and gleaming Peugeot would have been the last word in excellence in its day but I'm sure Neil's stealth-like little pedal-pusher from a few pages back would give it vastly more than a run for its money.

This picture did, though, remind me of something quite theatrical (I forgot to name it The Fourth Wall so I gave that name to the next picture I posted). It is something I'd never tire of in photography - that restitution of the past, that feeling with certain pictures that they have been caught in media res (another phrase/concept that I need to thank Rog for) - in the middle of some unfolding drama or comedy, leaving it to us, the viewer, to construct, reconstruct or invent any surrounding narrative. Film is perfect for this as it endures; the colors of Kodachrome especially.

What kind of a photograph is this, then? We may well ask ourselves the same question each time our finger hovers just above the shutter release. We don't, of course. We usually just suck it and see - take the shot and worry later about whether or not it was worth taking. Or at least I do. I think. But it is just as well to think about that relatively small number of pictures that we consider "keepers" in those terms. What is it about this photograph, in the milieu of so many others, that causes me to put it aside and hang in my imagined gallery of works worth retaining? Forty four years ago I probably thought this picture was OK, maybe "pretty good" and my young self maybe even went so far as to think it was a fairly gutsy effort to take a picture of a guy laying on a towel, soaking in some rays, a novel and his own space, given the fact I was using a loud, clunky SLR. It now takes on a somewhat different meaning because nearly half a century has passed and, to be honest, Rog has pointed out that it is a better picture than I thought it was, and why. And this happens time and time again on this I Like Film thread - people generously share with others what is good or worthwhile about the work presented.

We all have these pictures, and we all have many more inside us, because (I believe) the pictures that endure come from within us moreso than they are of something that we pointed a camera at. Yes they are there alright, waiting to be freed with the press of that button.

Isn't that the best?

[Wayne]

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Rural Route

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IID (four digit converted 1A 1927) Collapsible 50/2 Summicron, Svema Color 125

[sblitz]

Easter Parade NYC 2019 -- 35mm summicron or 85mm R summicron -- all Ektachrome --

 

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[sblitz]

another ...

 

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[stray cat]

Steve - these are fantastic! I mean the pictures, not just the crazy hats.

[Wayne]

So you accumulate and shoot every damned old camera you can, but when it comes to your first trip to zoo with grandson and daughters, it is the M4 and 35 Summilux.

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Fuji Pro 400H

Edited April 23, 2019 by Wayne

[philipus]

Just to say thanks very much Rog for the reference to Betty. I had never seen this portrait, if that is what it is of course, but absolutely love it. 

6 hours ago, Ernest said:

Not a wholly unimportant question to ask is what kind of photograph is this? Is this cinema verite or calculated theatre? Fortuitous happenstance or conspired composition? Rather simply inspired composition? The nanosecond adrenaline rush of instinctively, yes!--this works, as the shutter fires. What is it, though? The play of diagonals, a statement of perspective, the boxed space, the encroaching umbra about to assault the subject's cubicle domain, momentary sanctuary, the isolation by volition, and, of course, the notational red shorts and the Peugeot, comings and goings. Again, what kind of photograph is this? What is the conflict needed to really create interest? There is the imaginary fourth wall, almost, erected at the margin of the shadow line, so there is every right to assume this is a moment of eavesdropping in passing. We take the theatre as reality. The fourth wall is not violated by Brechtian Verfremdungseffekt, alienation effect, that reminds us of the artifice of theatre to underscore a political statement. "Merv and Julie," etched into the back wall, doesn't count. The shadows, though, play an interesting role in this doppelganger drama as Peugeot man reads a book, his mirror shadow seemingly reading it with him.

What kind of photograph is this, then. Yes, it's a portrait. But, wait, we don't see a face? No. It's circumstantial. Think of Gerhard Richter's Betty, among many others. The comparison to Vermeer's Girl With a Pearl Earring. Think about fragmentation. Completing the incomplete. The allure of the discontinuous and the indeterminate. That this portrait was taken in 1975 and still speaks to us is evidence of its metaphoric endurance.

[philipus]

 

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80/2.8 Provia 100 X1
 

[Martin B]

M7 and CV 28/2, FP4+ 125 film at ISO 200, developed in Xtol (1:2)

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[Guest JMF]

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Au Brusc by JM__, on Flickr

Au Brusc by JM__, on Flickr

Velvia 50 - R9 - 35 R Summilux

[SunnySixteen]

I'm not sure of the exact age of the car and house, but I assume around the same age of the camera and lens used for the photo...

Boulder CO April 2019

Tri-X - Summilux 50mm - M2

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[Kl@usW.]

vor 9 Stunden schrieb philipus:

 

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80/2.8 Provia 100 X1
 

Wow ! Beauty lies at our feet-if you see it !  If you look for a while, it starts to switch or jump or flip... One way the dark corner is dominant, then the bright part. 

[Kl@usW.]

 

there is a turtle in the pool...

HB, 2.0/110, Ektar 

 

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[AntonioF]

Just go

Nikon FM2, Nikkor 50/1.8, Kodak Colorplus 200

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20190414-DSC02661 by antoniofedele, on Flickr

20190414-DSC02655 by antoniofedele, on Flickr

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Hallo,

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[Steve Ricoh]

4 hours ago, SunnySixteen said:

I'm not sure of the exact age of the car and house, but I assume around the same age of the camera and lens used for the photo...

Boulder CO April 2019

Tri-X - Summilux 50mm - M2

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Looks the size of a hearse, dressed inappropriately for mournful moments! On the other hand Elvis might have disagreed.