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I like film...(open thread)


Doc Henry

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Leica M6 - Summicron 2/35 - TMAX100 - D76

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Leica iif,  tri-X 400. Dino cropped.

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Am 21.5.2019 um 09:25 schrieb chris_z:

Yes, fascinating. Perfect technique, nice model, even lighting-flash? 

Am 21.5.2019 um 12:45 schrieb Suede:

JARS

My wife and I had visited two of three sites – simply known as Plain of Jars I, II and III – in north-east Laos in 2017. I have just learnt that similar jars have been found in Assam in India and Sulawesi in Indonesia. These monolithic jars continue to raise questions and drive studies to unlock their archaeologic mystery. More of them have been recently found in the mountains of Laos by an Australian archaeology PhD student from the ANU. 

As an aside, you are advised to tread carefully and stay on established tracks and paths because of the unexploded ordnance littered all over in Laos.

Kodak Color + 200. 

 

I love the color of the lichen. My guess: they used it to make booze... 

Am 21.5.2019 um 22:42 schrieb Suede:

The river overflows in Lubeck.   [Tri-X]

Aqua alta, we are just having  it too..

vor 21 Stunden schrieb A miller:

Adam, I can relate to the problem--I frequently run into overexposure when using my film-Leica and the nlx or the slx open. With b/w there are enough low speed films-but color is difficult. Portra 160 is fine @ 80--but at lower speeds the colors become too "creamy" for street-photography. My solution: A couple of ND-Filters. Unfortunately they are far from color neutral-even the Leica filters render greenish and having to screw them off if it gets dark is a nuisance.. So I'm waiting for a low speed color film too. My lab discouraged me from using the Cine Still--they say it´s inconsistent in its color and developmental behavior. But right now you seem to have a well behaved roll... 

vor 19 Stunden schrieb NW67:

Here are the images from yesterday

Well I had a nightmare with my Plustek scanner............first few runs it was okay both with Vuescan and also with Silver fox. Then it decided to shit itself, making this horrendous noise and basically not working, I tried downloading the latest drivers from Plustek, I rebooted at least 6 times I unplugged it and eventually I hit it........still the same grrrrrrrrrrrrrrrrrrrrrrrclank clank clank grrrrrrrrrrrrrrrrrrrrrrr.

Anyway just as well I have a back up plan. I used my Epson 850 with the silver fox software and it did a pretty good job............what do you think?

 

Neil

pictures are nice--the second one a bit dull, but perhaps that was the situation.  I hope, your scanner gets well, in Hard Drives they call the noise " Click of death".... sorry . 

vor 4 Stunden schrieb Sparkassenkunde:

Too blue?

M3 - Cron 50 DR - Agfa CT 100 Precisa

Yes, quite blue. But that's what the hour is called, isn't it ?  Your film just shows what is. 

vor einer Stunde schrieb leitna:

symbol for growing old ...

 

I would prefer to call it: ripe, mature, beautiful and never failing to fascinate us . Who can resist to blow the dandelion clock ?  If you don't feel at least tempted, than you are old... 

Edited by Kl@usW.
typo
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Here is another one from yesterday. This was shot at around 6am so still dark in Phuket. Meter gave me f4 2 seconds I shot it at f4 1/15 (amased that this film could be pushed that far).............I guess I need to get myself some 800 Portra for this kind of shot in the future.

Kodak Etkar 100 f4 1/15

 

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Here they are coming home

 

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1 hour ago, A miller said:

wow, love this one, Klaus.  That lens is a great performer wide open.  I just love the compression effect.  The background looks so surreal and the color are amazing

Sandal Nation!  Love it, Edward :)

Not at all, James.  Love it

Indeed - she looks at peace! 👌

Hilarious as ever, Sharif!

Yes, Klaus, I have been burned by this film too many times in the past.  I initially had amazing results, as illustrated by these two examples.  But then a dark period ensued.  I am wondering if Cinestill has finally emerged from this dark period provided no refrigeration.  I think I will go ahead and give it a try.  But along with the trusty Portra 160 as I am not ready to put all of my eggs in one basket! :)

 

Here's one example of the well behaved Cinestill 50 with my 50mm lux asph

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That is simply an amazing image. Incredible! Like being there.

Best

Wayne

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47 minutes ago, NW67 said:

Here they are coming home

 

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I Just got an email from Vuescan and his recommendation was to change USB port............I did that and low and behold the noise went away after 2 minutes and its back working again.........I scanned the above again using the Plustek and Vuescan and here is the scan.........I think I am preferring the Silver fast to the Vuescan........what do you guys think?

 

 

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17 hours ago, Kl@usW. said:

I´m not sure I understand this as it is meant: The old masters were well aware of the importance of the canvas. Because of this sometimes they applied  a foundation to the canvas e.g. titanium oxide or gold  to give the overlying color, to be applied later, more depth, shine, translucency--thus interfering with the light in a way. So imho the canvas of course is an important part of the outcome, not only as a physical carrier, but to define the appearance. (  Is this the "Schein" (appearance ?)  of which Albers said- that it is the only thing, that doesn't deceive us ? )   This procedure , extended to photography, could be compared to our choice of film-defining structure, color family, brilliance....  The film is our canvas.    Sorry Ernest for my clumsy attempt...

 

15 hours ago, stray cat said:

Thank you, Klaus. I was musing over Rog's Newman quote myself and not getting very far - until I saw your take on it. In which case it makes perfect sense. To use as a base for your art something that is unprepared or raw, rather than priming it for "depth, shine, translucency" as you say. It can also have its direct corollary with film if we remember how you can "pre-fog" a negative in order to bring out more shadow detail - something I'd quite forgotten about. This, Newman's, is an interesting concept for us to ponder.

Well, I must confess that when I start considering color as an idea, in its never-ending hues, it's rather blinding. So, on with the Ray Bans and into the Galileo's sun. As I've mentioned, we take color for granted so often as the given attribute of an object. It's the black-and-white rendering in photography and art, though,  that is the anomaly, and paradoxically, we accept black-and-white war films as authentic reality. It's interesting that the majority of photographs taken during the Civil War (and the mid-nineteenth century) were 3D. Talk about reality, the illusion of three dimensions in photography is astounding. Not to discount motion pictures, but 3D stills, especially in medium format, are impressive. The last photograph taken of Lincoln on his death bed was in 3D, but only one of the two images survives.

I shared Barnett Newman's concern for color on raw canvas and his ability to create in his painting "the same sense of light," which speaks to the concern we have in photography for the rendition characteristics of film, as Phil astutely called it. You are right, Klaus, about the ground of the canvas, which can be bought as raw canvas or canvas that has been sized and primed with gesso. Lead white was regarded as an optimum white ground that would permit the greatest fidelity of light transmission with color painted on the canvas. Painters, however, sometimes use an overall ground, painting the entire canvas with an underlying tone, such as cadmium orange used by many California Impressionists and others. Edgar Payne, as I recall, was a practitioner of cadmium orange, as well as Granville Redmond and other impressionists. The technique called for daubs of paint, say cerulean blue and hues, for the sky, letting the undercoating of orange to show slightly between daubs. The two complements create a lively interplay of color. In a way, this reminds me of the imploding grain of ADOX. It's an almost pointillist rendition. Of course, the California Impressionists owe much to French Impressionism; Guy Rose, famous for his Point Lobos seascape studies, is one direct link. And talking about links, one cannot help but remark that Point Lobos is synonymous with Edward Weston and Ansel Adams, but that's in black and white.

Coming back to Newman, it's curious to hear of his concern, unless this has to do with earlier work because his later work is known for the luminosity of color as a result of building layers of color, even using egg tempera between layers of oil and acrylic, sometimes using both. He used brushes and rollers, like Albers, who used a palette knife early on, then switched to eliminate brush strokes in work. Albers was working with oil on Masonite, especially for the Homage to the Square series, and also works on blotting paper. Albers said that using a ground could only take away from rendering color accurately, so he's not building color in the sense like Newman who used multiple layers of paint to create color, what he called the “living quality of color“ with bare canvas. He uses oil and acrylic paint, as I mentioned, but not one or the other exclusively, combining both in a single painting. 

This brings up the issue of reflection in the color of paint as opposed to absorption. Projection of a film on the screen as opposed to transmission of the visual on a computer monitor. Latent eye defect was explored by Douglas Trumbull in the 70s and his theory of HFR (high frame rate) projection of 60 frames per second as opposed to the normal 24 frames per second.  He introduced Showscan, which used 70mm stock projected at 60 frames per second. Positive psychological testing in 1978 with electroencephalograms showed a higher pulse rate of test subjects watching film projected with a higher frame rate.

You are so right, Phil, to bring up the issue of flashing and pushing 35mm motion picture film to produce more detail in the shadows, but Vilmos was using the technique to take the edge off of 5247 stock and make it look a little more "real" when he shot Sugarland Express. I can't remember the ratio, something like flash 10% and push three stops, but it's been a while. Your point is well taken, though, because this is an analog thing. I seem to recall that Todd Haynes's Carol with Cate Blanchett and Rooney Mara was shot in Super 16 and there was some flashing and pushing. Anyway, the cinematography is ballistic good, sets the period, perfectly.

I think you have a marketing opportunity, Klaus: black T-shirt with yellow letters--FILM IS OUR CANVAS!

Next, we'll talk about color field vignette and the legacy of British romantic woodcut engraver Thomas Bewick.

 

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5 hours ago, A miller said:

 

Sandal Nation!  Love it, Edward :)

 

Thanks Adam! Most people wear sandals in many parts of Asia :) 

Love your cinestill 50 results btw!  The colors are so much nicer than Ektar. I should try a couple of rolls soon.

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Am ‎22‎.‎05‎.‎2019 um 02:11 schrieb A miller:

So I have been looking through some past vacation photos recently for some inspiration and visualization of our upcoming family trip and I came across a bunch of schmootz-less Cinestill 50 photos.  Man are they sublime!

 It got me thinking:

"Maybe the company has improved its quality control...?"

"Maybe my refrigeration was to blame..."

So I decided to purchase a roll, keep it at room temperature, and test it out before I make a decision.

So I went out last Sunday and shot a bunch of mindless stuff - just to get some sample images to test.  

I can report that the film do NOT exhibit any schmootz and rendered very nicely.

I am toying with the idea of buying 6-8 rolls for the beach and pool - the 50 ISO really makes for amazing shallow DOF shots - great for family photography.

Here are some of the examples, shot on 5th Avenue with my M7 and 35mm lux FLE (shot at between f2-4)

 

I really love the Colors, especially in number 60842. Timeless, reminds me on the 70ties. I was also very pleased with the results of the Cinestill 800 (with ISO 500) without any filter during daylight. I still have on Cinestill 50. Your results encourage me to test it too. I used one time the Cinestill xx b/w and I liked the results a lot. As far as your president allows the export  from the US to Germany, I will try to get more rolls of Cinestill films 😉

vor 22 Stunden schrieb Kl@usW.:

 

one of the touristic hotspots of Chili are the "torres del paine" here seen from the trail leading to Lago Grey. In the left upper corner the famous "picos". It was a stormy and cold morning, the mist had just dissolved. 

Hassy, 2,0/110, Portra 400@200. 

 

Breathtaking photo. Print it for the wall. it worth to do it!

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Exa, Ludwig Meritar 50/2.9, Fuji Superia 100

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