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I like film...(open thread)

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5 hours ago, edwardkaraa said:

North of Phuket. Can’t remember the name of the location though. 

It’s Samet Nga Chee in Phang-nga I ride my bicycle there. 

Neil

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Am 15.5.2019 um 13:13 schrieb philipus:

A lovely story-telling portrait I think. Very well done.

Thanks a lot Philipus!

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Am 15.5.2019 um 01:36 schrieb A miller:

NYC 😉

Portra 400

M-A, 28mm

Great shot Adam! You made my day! This is one of the photos you can never plan, you need a perfect gut instinct!

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Am 15.5.2019 um 01:15 schrieb stray cat:

This is a wonderful, wonderful picture, Klaus. It perfectly conveys what strength can be derived from very simple matter, given a good eye and inspired technique. The colors are phenomenal.

Thank you for your generous comment, stray cat!   

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2 hours ago, benqui said:

Dr. Octopus is taking a selfie

Contax T2, Kodak Pro Image 100

 

And looking non too happy about it.

Best,

Wayne

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56 minutes ago, mikemgb said:

Sparring in Hyde Park, London

Leica M2, 7-Artisans 35mm, HP5

 

Nice shot. I am not so sure I like this shift in the mating ritual.

Best,

Wayne

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On 5/15/2019 at 12:35 PM, AntonioF said:

On the ferry along the Amalfi coast

M6, Summicron 35 asph, Portra 400

 

20190512-DSC02852 by antoniofedele, on Flickr

love that blue, Antonio!!

On 5/15/2019 at 2:00 PM, edwardkaraa said:

Beautiful, Edward!!

On 5/15/2019 at 8:10 PM, Ernest said:

Shutters V
M-A APO 50 ADOX Color Implosion & E100
Nikon F2 Micro-Nikkor 55mm RGB (Mobile, Alabama-1976)

 

COLORS!

17 hours ago, Sparkassenkunde said:

Finally I used my darkroom today again :) More prints will follow in the next days. 

 

 

Bravo, James!!

15 hours ago, stray cat said:

I actually remember taking this...

 

puddle 1975

canon TLb, FD 100mm f2.8 SC, Kodachrome 64

Very nice, Phil.  Love that lens flare

13 hours ago, oldwino said:

 

The High Country. 

Mamiya-Six (folder) / Portra 400

Stunning colors !! - wow

8 hours ago, AntonioF said:

Fedoras! Tourists love to buy them at the Amalfi Coast!

M6, Summicron 35 asph, Fujifilm C200

 

20190512-DSC02887 by antoniofedele, on Flickr

 

20190512-DSC02891 by antoniofedele, on Flickr

Too bad I wasn't there.  I am actually in the market for a summer fedora :)

6 hours ago, benqui said:

Chinese wall near Peking, Contax T2, Portra 400

 

 

Gorgeous, Marc - really love his

6 hours ago, benqui said:

Dr. Octopus is taking a selfie

Contax T2, Kodak Pro Image 100

 

 

Hilarious!!

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Posted (edited)
14 hours ago, philipus said:

Oh my, oh my, so well done, Rog. I, being as usual ignorant of most things, had never heard of Malevich. Now I am completely hooked so thank you for this take on his Black Cross and sending me in his direction. I read that Malevich felt that the cross symbolised decision, similar to standing at a crossroads deciding where to go. Black and white resonate with me and probably many of you as symbols of good and evil, the ups and downs in life, the Jin and Jang etc. So a black cross or intersection seems to me to speak of a difficult choice, one so complex and severe that one may wish that there were another way instead of only right-left and back-forward. Your Transparent Cross, to me, shows this other way because it implies a third dimension. It is as if we're viewing not a cross but a cubist pyramid from above. And if that is true, well then there actually is such another option. Think outside the box and rather than fall down a rabbit hole, climb up, up away from the harsh reality of the two-dimensional crossroads and see where you go :D

Your “thinking out loud” certainly prompts several lines of questioning—most provocative, indeed. Some of your basic questions and the arguments they warrant aren’t always simply connecting dots as the impressionist pointillists would have us do. We’re moving beyond dots into color fields with the motive of eliminating objects to privilege color alone. Hold on! Color alone without an object?  This becomes Malevich’s Suprematism perspective in his Bauhaus 1927 publication arguing for a non-obective world of non-representation in his book The World as Objectlessness that champions the “supremacy of pure feeling in the pictorial arts.” Malevich argues for a non-utilitarian art characterized by simple forms of lines, squares, and circles. His iconic Black Square (1915) is ground zero in launching abstract art. There is White on White (1918), a skewed white square inside another white square. Of course, we must round up the other usual suspects of the time: Albers, Kandinsky, El Lissistzky, and Rodchenko, just for starters. The second wave brings us Pollock, Rothko, Newman, Still, Frankenthaler, and more, but it starts with Malevich’s Black Square, principally.

This brings us back to Albers and his rather novel dichotomy of ethics and aesthetics.  As you astutely underscored his quote “as a man should behave,” your suspicion that this could well be owing “to his own background,” particularly in regard to the conflict between the ascending Nazi politics and the Bauhaus, not to mention abstract and German expressionist art. Rolling “ethics and aesthetics” into one manifesto mix looks more like simple teaching mode, which is what he did when he emigrated in 1933 to the United States. I have yet to find evidence that Albers’s consideration of the transparency illusion of opaque colors has any metaphoric implication beyond the simple interaction of color. Much too subtle. We’ve got the full-on, unflinching art of “degenerates” like Grosz, Dix, Meidner, and August Sander, so I surmise Albers’s issue with ethics has more to do with historical context.

What is the province of color constructs? Kandinsky said it simply; “Color cannot stand alone.” Color can hardly be considered in and of itself without being associated with a medium, the noun in search of an adjective, the object reflecting or refracting color. As Ferdinand De Saussure postulated at the turn of the last century, we know what a color is by what it is not. We learn what is blue by its difference from other colors; blue is blue because it is not yellow, yellow is yellow because it is not red, and red is not black, and on it goes. The sign of what is red is constantly deferred by its referent; in other words, the red color of an object, the sense of red, is without definitive meaning because it must always be qualified by a referent. I remember, for example, the robe of the Whore of Babylon in the Book of Revelation is scarlet. Additionally, scarlet is synonymous with the noun robe.

Here are some notes on the color red: Samuel Johnson’s dictionary defines rouge as red paint and Red is “Of the colour of blood, of one of the primitive colours, which is subdivided into many; as scarlet, vermilion, crimson."

Sir Isaac Newton in Opticks:
“If red lead and white paper be placed in the red light of the coloured spectrum, made in a dark chamber by the refraction of a prism, the paper will appear more lucid than the red lead, and therefore reflects the red making rays more copiously than red lead doth. The sixth red was at first of a very fair and lively scarlet, and soon after of a brighter colour, being very pure and brisk, and the best of all the reds.

Why heavenly truth,
And moderation fair,
were the red marks
Of superstition’s scourge.
Thomson’s Winter.

Thanks so much for your generous reading of my color fields, and especially for the commentary on Malevich's Black Cross. Since I used Albers's transparency in re-visioning Malevich, it was an interesting way to bring these two theorist/artists together in one work.

Cheers,
Rog

Edited by Ernest
added

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On ‎5‎/‎14‎/‎2019 at 1:55 PM, Kl@usW. said:

Josef Albers: Interaction edited by Heinz Liesbrock --German edition. Looks very promising.  Also Formulation:Articulation, the french edition , also Malerei auf Papier-Josef Albers in Amerika, by Heinz Liesbrock and Michael Semff, Preface by Nicholas Fox Weber,  Hatje und Cantz, Catalogue of an exhibition at the Josef Albers Museum Bottrop, 2011..... So you see, hardly any time left for the LeicaForum.... just kidding. I´ll search for the other books you mentioned, it seems some of them are out of stock-but usually you find a good copy after a while. 

Your output and creative bursts are a real challenge to follow, I like all of them, but  find the combinations  with black particularly impressive, strong and elegant, for instance Tab Transfer VII and Tab Transfer  Corner II.   

Klaus

Thanks for the heads-up on the Liesbrock Painting on Paper: Josef Albers in America.  My copy should be arriving tomorrow. It will be interesting to see any references to Albers's preference for blotting paper, probably for its absorption characteristics, instead of Arches or other artist watercolor papers. I could see him going hot press to minimize surface texture.

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8 hours ago, AntonioF said:

Fedoras! Tourists love to buy them at the Amalfi Coast!

M6, Summicron 35 asph, Fujifilm C200

20190512-DSC02887 by antoniofedele, on Flickr

20190512-DSC02891 by antoniofedele, on Flickr

This palette is so Kodachrome Ghirri, and the "reverse portraits" so provocative--how you capture warm light and positive, upbeat moments, I love, love, love.

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It is just a sign of things to come :)

7 hours ago, Wayne said:

Nice shot. I am not so sure I like this shift in the mating ritual.

Best,

Wayne

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