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I like film...(open thread)


Doc Henry

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Evening stroll. Picked up a couple new friends along the way. :)

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Zeiss Ikon Contessa, Expired ORWO NP22

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54 minutes ago, RayD28 said:

Wonderful photo.  Love the contrast and detail and expression of the buggy driver.  Being from Missouri, whose state animal is the mule, I must mention the animal in the shot is a donkey.  Here is a mule.  HP5+.

By the way, I hope I'm not a "jack ass" for pointing out the difference.  🤪

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RayD..., Thank you for pointing out the difference, my dear man. Always open to learning. 😄 

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Granite Lake, CA.

Leica IIIc / Konishiroku Hexanon 50/1.9 / Kodak UltraMax400

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Kensington Palace on a rainy day.

Leica M2, 7-Artisans 35mm, HP5

 

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Kensington Palace on a rainy day.

Leica M2, 7-Artisans 35mm, HP5

 

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A bit of experimenting with a flash trigger & two Godox flashes on the M4-P, & I'm amazed they worked...

Phil Hill Trophy, M4-P Summilux 50/1.4 FP4+...

 

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Am 17.5.2019 um 22:03 schrieb Kacper111:

Thank you :)

Another one from same trip

I love the documentary approach of the picture-just some forest soil with fern and dry leaves-rendered in nice and realistic colors. Brings back the emotions and impressions of my last walk in the woods... I think thats what amateur photography is all about-recording and documenting things you saw, felt, smelled... 

vor 20 Stunden schrieb Ernest:

Tab Eclectic Second Reader
M-A APO 50 & Macro-Elmar-M
ADOX Color Implosion, E100

I started with the idea of my 1865 Eclectic Second Reader in terms of reading the photograph as an object itself rather than a "window view" of an object, even though the Eclectic Second Reader book is certainly an object. It is, however, reduced to two-dimensional space and tabbed to the red color field, like a footnote about the "reading" of the photographic elements. I used Albers's technique for transparency of opaque colors, so the tab is rendered more as a flat field with transparency, initially. Since it's in the upper left corner, where we normally begin reading a page in western culture, it represents the key to reading the red color field, which doesn't immediately represent itself as an identifiable object, though it has a line running through it. A simple line, basic to the lexicon of composition and drawing, an element that Barnett Newman called a zip in his red color field painting Vir Heroicus Sublimis. Only after scrutinizing the red field in Tab Eclectic Second Reader do the nicks and blemishes of the surface texture become evident, but they don't say that this is the red painted girder of an elevator at LACMA. There is only the emotional red, as Malevich might allow with his Suprematist view that emphasizes the "pure feeling" of art without objects. Shot with E100, the fine grain of this film contrasts with the greenish color field below it, which is shot with the ADOX Color Implosion and is complementary to the red. Here, the line element in the green is distorted, not so much blurred as imploded with its grain. So now the photograph lexicon suggests the range from fine grain to imploding/exploding grain. Still, the subject of the green field doesn't reveal itself as a simple paper bag, and this underscores that in this photographic construction study, reading color is the subject.

A justified knee-jerk reaction may be certainly, "So what?" And one of the rules to follow in advertising design is that you cannot afford to be boring. In fact, that's one of the basic rules for effective writing. For me, these studies remind me not to take color for granted. Look at an Ernst Haas, Eggleston, or Leiter--and those notes of red (or other selective colors) sound such an artful counterpoint to the rest of their symphony, it's no accident.

Thank you Rog for letting us having a look into your process of developing an assemblage.  I completely agree with your suggestion that the provenience of  colors and structures  doesn't matter --finally the object has become a subject in its own right.  Of course the colors and structures sources are interesting--never would have guessed the paper bag- but in the end it doesn't matter-- as little as the origin or history of the constituents of your or my body--speaking of carbons, phosporus, sulfur, iron is of any importance as to your "self" or to your personality. 

 

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On 5/17/2019 at 8:24 PM, Ernest said:

Tab Eclectic Second Reader
M-A APO 50 & Macro-Elmar-M
ADOX Color Implosion, E100

I started with the idea of my 1865 Eclectic Second Reader in terms of reading the photograph as an object itself rather than a "window view" of an object, even though the Eclectic Second Reader book is certainly an object. It is, however, reduced to two-dimensional space and tabbed to the red color field, like a footnote about the "reading" of the photographic elements. I used Albers's technique for transparency of opaque colors, so the tab is rendered more as a flat field with transparency, initially. Since it's in the upper left corner, where we normally begin reading a page in western culture, it represents the key to reading the red color field, which doesn't immediately represent itself as an identifiable object, though it has a line running through it. A simple line, basic to the lexicon of composition and drawing, an element that Barnett Newman called a zip in his red color field painting Vir Heroicus Sublimis. Only after scrutinizing the red field in Tab Eclectic Second Reader do the nicks and blemishes of the surface texture become evident, but they don't say that this is the red painted girder of an elevator at LACMA. There is only the emotional red, as Malevich might allow with his Suprematist view that emphasizes the "pure feeling" of art without objects. Shot with E100, the fine grain of this film contrasts with the greenish color field below it, which is shot with the ADOX Color Implosion and is complementary to the red. Here, the line element in the green is distorted, not so much blurred as imploded with its grain. So now the photograph lexicon suggests the range from fine grain to imploding/exploding grain. Still, the subject of the green field doesn't reveal itself as a simple paper bag, and this underscores that in this photographic construction study, reading color is the subject.

A justified knee-jerk reaction may be certainly, "So what?" And one of the rules to follow in advertising design is that you cannot afford to be boring. In fact, that's one of the basic rules for effective writing. For me, these studies remind me not to take color for granted. Look at an Ernst Haas, Eggleston, or Leiter--and those notes of red (or other selective colors) sound such an artful counterpoint to the rest of their symphony, it's no accident.

 

extremely interesting and insightful, Rog.  Thanks for sharing that

21 hours ago, stray cat said:

I don't know, Adam. It appears to me as though this former stalwart of the Adam Miller Fan Club has started her own breakaway Homburg movement.

very funny, Phil.  But you should know that all board members are bound by very strict non-compete covenants!

12 hours ago, oldwino said:

 

Granite Lake, CA.

Leica IIIc / Konishiroku Hexanon 50/1.9 / Kodak UltraMax400

Wow, this is really cool. Masterful composition and fantastic colors - really deserves to be printed and enjoyed.  Bravo!!

6 hours ago, Suede said:

Gumboots.  [Tri-X]

 

I really like this one, Pritam.  Something about how the boots are standing that I am imagining the body that isn't there standing with them.  

4 hours ago, benqui said:

in the streets of Peking

Contax T2, Portra 400

 

 

I like it, Marc.  An eye into the Peking fashion couture 👌

4 hours ago, Kl@usW. said:

when you are  finally are up in the Andes, there are more lakes to see... here next to Ruta 40  in Argentina. 

HB, Distagon FE 50, Portra 400@200, tripod as it was very windy. 

 

Beautiful, Klaus.  Great colors.

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