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I like film...(open thread)

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vor 10 Minuten schrieb Kl@usW.:

If you travel in Patagonia, you´ll see a lot of ice. This iceberg floats on Lago Grey, two days  walking from the Torres del Paine. On the day we arrived there, it was drizzling, windy and--near a huge glacier, cold. We were glad when the boat arrived.

HB, 2/110, Portra 800 @400 

 

The color of the ice is really incredible!

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2 hours ago, Kl@usW. said:

Thank you, I didn´t know that. 

This discussion has me wondering how B&W film would behave if exposed through the antihalation layer. Something I'll try in due course, no doubt, since I like experimenting with film. (Options: using ISO 400 film expose at 100 and develop at 400, or expose at 400 and push 2 stops.)

Anyone tried reverse exposure as described?

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Posted (edited)
8 hours ago, Kl@usW. said:

Now that I understand the "caution zone stripes" better,  the picture is even more intriguing- particularly the torn bucket handle. It seems undicided wether it belongs to the right or to the left. Caution zone ! Deception !

Notice here what happens with editing out the readily recognizable elements--the bucket handle, the electrical outlet--and moving the composition from a 3D perspective view to 2D flat color field abstraction. Still, the caution zone stripes intrude and create a dimensional 3D aspect, but it's artificial--or is it?--and catches the sensibility off guard, calling attention to the fact that this is manipulated space, albeit with pronounced textures that evidence photo-realism. In the color field abstractions I've been studying, I have tried to underplay textures to privilege colors themselves. I am intrigued by the notion of "transparency" and its implications and how this notion might be metaphorically visualized in art and photography. This is not something that Albers entertained beyond his teachings in color interaction. In critical circles, today, transparency envelops concerns that have to do with individuals' transparency in public and the rights to privacy eroded by data mining. Granted, it's an abstract arena, but there are very real issues being staked out with concerns over transparency protocols, Googlization, merchandising of personal data, preferences, and history.

Yes, blue is an alluring linchpin in our palette; Prussian blue, Cerulean blue, cobalt blue, manganese blue, French ultramarine, and then there's Prussian green, thank you Winsor and Newton.

No Go Back Way Editing
Maui
M-A Portra 400 & E100

 

Edited by Ernest
concision

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I really like this new direction of your artistry, Rog. Your choice of Redbird for this frame is perfect.

3 hours ago, Ernest said:

Book It Zone
M-A Summilux-M 50 & APO 50  Rollei Redbird & E100

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On 6/6/2019 at 1:33 AM, benqui said:

Both are fantastic Adam!

Love the dynamic of this scene. One can hear the sea...

 

Thanks, Marc.  I was thinking about another trip with a long lens and infrared film - we shall see whether that will work out!

On 6/6/2019 at 7:06 AM, AntonioF said:

Thanks, Adam. Astrum is basically Svema. I think Svema old equipment was bought by Astrum to produce fresh film. I had some quality problems with the last rolls but I like the look. 

I learned about this film from Wayne!

Very interesting, thanks for the explanation.

17 hours ago, Kl@usW. said:

If you travel in Patagonia, you´ll see a lot of ice. This iceberg floats on Lago Grey, two days  walking from the Torres del Paine. On the day we arrived there, it was drizzling, windy and--near a huge glacier, cold. We were glad when the boat arrived.

HB, 2/110, Portra 800 @400 

 

Wow, that blue is stunning.  Really excellent photo, Klaus.  Inspiring as well!

16 hours ago, benqui said:

Phil this one is for you: I think our friend Philip Marlowe would be happy to work for such a client..........

M6, Ilford Delta 400, Apo 50

 

Beyond stunning, Marc.  This shows how well you direct your subjects.

13 hours ago, Ernest said:

Notice here what happens with editing out the readily recognizable elements--the bucket handle, the electrical outlet--and moving the composition from a 3D perspective view to 2D flat color field abstraction. Still, the caution zone stripes intrude and create a dimensional 3D aspect, but it's artificial--or is it?--and catches the sensibility off guard, calling attention to the fact that this is manipulated space, albeit with pronounced textures that evidence photo-realism. In the color field abstractions I've been studying, I have tried to underplay textures to privilege colors themselves. I am intrigued by the notion of "transparency" and its implications and how this notion might be metaphorically visualized in art and photography. This is not something that Albers entertained beyond his teachings in color interaction. In critical circles, today, transparency envelops concerns that have to do with individuals' transparency in public and the rights to privacy eroded by data mining. Granted, it's an abstract arena, but there are very real issues being staked out with concerns over transparency protocols, Googlization, merchandising of personal data, preferences, and history.

Yes, blue is an alluring linchpin in our palette; Prussian blue, Cerulean blue, cobalt blue, manganese blue, French ultramarine, and then there's Prussian green, thank you Winsor and Newton.

No Go Back Way Editing
Maui
M-A Portra 400 & E100

 

 

Love it, Rog.  On the very top of your best IMHO

3 hours ago, Steve Ricoh said:

Kodak Ultramax 400, Pentax MX 50mm f/1.4

 

Really excellent, Steve.    Love that contrast and color scheme.

On 6/6/2019 at 3:51 AM, Steve Ricoh said:

No, Adam, no tweaking apart from a shallow S applied. The false colours are attributed to the redscalling of the film (in a dark bag I reversed the film in the cassette), so the reverse side of the film faces the lens and the red layer gets exposed first.

Gotcha, and very impressive, indeed!

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34 minutes ago, christoph_d said:

Impressive metallic sheen. Ridley Scott may like it as setting for his next Alien movie.

thanks, Christoph.  And very funny :)

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vor 18 Stunden schrieb Ernest:

Notice here what happens with editing out the readily recognizable elements--the bucket handle, the electrical outlet--and moving the composition from a 3D perspective view to 2D flat color field abstraction. Still, the caution zone stripes intrude and create a dimensional 3D aspect, but it's artificial--or is it?--and catches the sensibility off guard, calling attention to the fact that this is manipulated space, albeit with pronounced textures that evidence photo-realism. In the color field abstractions I've been studying, I have tried to underplay textures to privilege colors themselves. I am intrigued by the notion of "transparency" and its implications and how this notion might be metaphorically visualized in art and photography. This is not something that Albers entertained beyond his teachings in color interaction. In critical circles, today, transparency envelops concerns that have to do with individuals' transparency in public and the rights to privacy eroded by data mining. Granted, it's an abstract arena, but there are very real issues being staked out with concerns over transparency protocols, Googlization, merchandising of personal data, preferences, and history.

Yes, blue is an alluring linchpin in our palette; Prussian blue, Cerulean blue, cobalt blue, manganese blue, French ultramarine, and then there's Prussian green, thank you Winsor and Newton.

No Go Back Way Editing
Maui
M-A Portra 400 & E100

 

Oh Rog, you send me to the dictionary  more often than anyone else in this forum--thank you, food for thought and opening horizons.   

K. 

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