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I like film...(open thread)

Doc Henry

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Ernest

Ernest

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1 hour ago, A miller said:

Guess where?  😉

Velvia 50 😍 😍

Hassy SWC 💙💚

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This means that you are branching out?

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Michael Hiles
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Bonjour Henri,   I still prefer black and white film (I use almost no colour). The advantages of digital don’t mean much to me. Seeing instant results is not so useful, since what comes out of a cam

Cyril Jayant
Cyril Jayant

This photo is from a series from some of my crazy, extreme photo adventures I  had photographing Mountains "Alpinists " and rock climbers. This is Alpes mountain range which is called   "Le Massive du

helged
helged

On a week-long stay at the Faroe Islands, I took the ferry from Torshavn (the 'capital') to the southernmost island, Suduroy, and looked up potential shooting locations on the island. This image was t

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Ernest

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Prospecting
M-A APO 50 ADOX Color Implosion & E100

 

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Kl@usW.

Kl@usW.

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vor 5 Stunden schrieb Ernest:

Prospecting
M-A APO 50 ADOX Color Implosion & E100

 

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Rog, new colors! Great. I'm eventually understanding the concept of transparency-amazing what the transparent blue does to the pink..and to the greens on the left. 

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Kl@usW.

Kl@usW.

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vor 6 Stunden schrieb A miller:

Guess where?  😉

Velvia 50 😍 😍

Hassy SWC 💙💚

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Wow, this is really amazing--the blue sky contrasting  the green water and the brownish salt-the soft shaped clouds versus the prickly branches; and the foreground triangle versus the shapes of the middle- and background. Just perfect. 

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philipus

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Flickr
T-Max 400 HC110(B) X1
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Xícara de Café

Xícara de Café

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IIIf, Summicron 5cm 1:2, yellow filter, Ilford Delta 100, Kodak D-76 1+1.

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Steve Ricoh

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2 hours ago, Xícara de Café said:

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IIIf, Summicron 5cm 1:2, yellow filter, Ilford Delta 100, Kodak D-76 1+1.

I like this 👍 it shows there’s a photograph waiting to be created almost everywhere we look. I think it was Erwitt who said something along the lines ‘it’s not what you see but the way you see things’.

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jcraf

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Legendary motorcycle racer Giacomo Agostini signing autographs.  Goodwood, 2004.

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MP, 35 Summicron Asph, Tri-X.

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Guest

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Leica R6 - Elmarit-R 2,8/28 - PanF - Microphen

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Sparkassenkunde

Sparkassenkunde

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More from NYC:

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Minilux - Tri-X (dev. in Rodinal 1+50)

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Sparkassenkunde

Sparkassenkunde

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Many windows to clean...

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Same roll of film

Edited by Sparkassenkunde
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Ernest

Ernest

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10 hours ago, Xícara de Café said:

Ernest, Ive been enjoying your images. I'm curious as to how they're made. Are they physical photomontages?

Thanks for your questions and interest. This color field construction is nine shots of walls, windows, and sidewalks. The illusion of transparency is constructed from opaque colors, so there is no photomontage here--no colors are overlaid on each other. Josef Albers's Interaction of Color and Johannes Itten's The Art of Color are good references on the interplay of color, as I have mentioned before. Both are Bauhaus boys. Color field painting started with Malevich and his "Black Square" in 1913, for the most part, and this lauched abstract expressionism that innovated the art of "objectlessness," as Malevich called it, which became the hub of painting by Pollock, De Kooning, Newman, Still, McLaughlin, Rothko, and others. For my color studies with color being the object of the photograph, I start with shooting color and texture as the main focus. I don't start necessarily with a "point of departure" that Ralph Gibson learned from Dorothea Lange; I am more concerned with a "point of arrival." This is to say, I have my colors--sort of like colors on a painter's palette--colors that are like sensory triggers that in "Albers's interaction" with one another, I arrange having a metaphoric idea in mind, something abstract like the notion of "erasure," which I have used in the past. The study then improvises colors as a visual language, usually keeping textual language out of the game. For a series I did on "barriers," I was interested in trying to construct colors, like that of corten steel, rusting, immoveable, into some visual vernacular that suggested associations of the feeling and concept of "barrier." Of course, I keep coming back to the words and the context of words in their abstract--for barrier, associations with obstacle, protection, preservation, paranoia, threat, safety, insulation, and so forth--so there's the challenge of "not thinking about the polar bear, and yet the only thing you think about is the cursed thing that comes to mind every minute," so aptly recorded by Dostoyevsky.

Once I have my color field photographs, it's a simple Lightroom 6 process of cutting and pasting. Sometimes, it's simply arranging disconnected images into a two-dimensional geography on the page where they speak to one another. Our need for narrative fills the gaps between the images so that seemingly random order becomes meaningful.

Posted here are some edited examples of transparency color field studies.

Prospecting VI
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Ernest

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R Stack XIII
M-A APO 50 ADOX Color Implosion & E100

This started as an abstract interpretation of Adam Miller's Dead Sea (Branches) through the lens of color field play.

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Ernest

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R Stack Watermelon III
M-A APO 50 ADOX Color Implosion & E100

Further editing, back to transparency, and rotating vertical. Seven photographs.

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Edited by Ernest
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Sharif

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Brautjungfern by Herr Sharif, auf Flickr

Leica M2, Zeiss C-Biogon 2.8/35, Agfa APX 100 New in Rodinal

Sharif

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SunnySixteen

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I'm back in NY and have been doing my best to balance vacation and photography, tricky business. I'll have some new material as soon as I'm home and get caught up on developing and scanning, but for now, here's one from 2017.

Tri-X - Summicron 50 - M6

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A miller

A miller

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21 hours ago, Ernest said:

This means that you are branching out?

LOL, hilarious, Rog.  I love that. 😂

16 hours ago, Kl@usW. said:

Wow, this is really amazing--the blue sky contrasting  the green water and the brownish salt-the soft shaped clouds versus the prickly branches; and the foreground triangle versus the shapes of the middle- and background. Just perfect. 

I appreciate that, Klaus.  There was just so much going on and I am not sure it all makes sense; but the I feel the execution alone makes it worth sharing :)

16 hours ago, Xícara de Café said:

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Simply register for free here – We are always happy to welcome new members!

IIIf, Summicron 5cm 1:2, yellow filter, Ilford Delta 100, Kodak D-76 1+1.

a very brilliant shot of "nothing" - love it

7 hours ago, joergel said:

 

 

Leica R6 - Elmarit-R 2,8/28 - PanF - Microphen

Love those shapes, Joerg 👌

4 hours ago, Sparkassenkunde said:

Many windows to clean...

 

Same roll of film

you got that right, James.  Unfortunately, they really rarely if even washed, except by the hand of Mother Nature.   😂

4 hours ago, Ernest said:

R Stack XIII
M-A APO 50 ADOX Color Implosion & E100

This started as an abstract interpretation of Adam Miller's Dead Sea (Branches) through the lens of color field play.

 

Wow, this is really SPECTACULAR,  Rog.  One of my all time favorites!!  Bravo!

3 hours ago, Sharif said:


Brautjungfern by Herr Sharif, auf Flickr

Leica M2, Zeiss C-Biogon 2.8/35, Agfa APX 100 New in Rodinal

Sharif

I agree with Steve, Sharif.  It works!

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