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I like film...(open thread)


Doc Henry

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And another photokina abstract

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FM3A 85/1.8 pre-AI Portra 400 X1
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That is a very interesting-looking building, John. I wonder what architectural influences created it. 

On 8/11/2019 at 11:59 AM, jcraf said:

Artists. Thaxted, Essex.

M7, 35 Summicron Asph, XP2.

Yu-mmy, lovely halos and colours!

21 hours ago, AntonioF said:

Ciao Gary! Back to Martina Franca!

M6, Summicron 35 asph, Cinestill 800T

20190811-DSC03329 by antoniofedele, on Flickr

Such a lovely portrait, Jean-Marc. When did you go to Yemen (not very recently I guess, or)?

20 hours ago, JMF said:

Jabal Sabir , Taiz by JM__, on Flickr

Kodak E200 - Hexar AF

:D This really made me smile. 

18 hours ago, 3oob said:

 

Terrific Stefan, I really like the depth in this photo and how the different layers of action recede into the distance.

17 hours ago, S/W said:

NYC

Leica M7 * Voigtländer Nokton 1.4/35 S.C. * Kodak TriX * Kodak HC 110 * Nikon Coolscan V ED

This is such a life-like floral shot, very nice Matisse. br Philip

13 hours ago, Matisse said:

Leicaflex SL, Summicron 50, Ektar 100

I really enjoy these contrasty black and whites and the truly luscious tones that they have straight out of the blocks of the left of the histogram.

12 minutes ago, Xícara de Café said:

Leica IIIf, Summicron 5cm 1:2 collapsible, Ilford Delta 100, Kodak D-76 1:1.

 

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3 minutes ago, philipus said:

That is a very interesting-looking building, John. I wonder what architectural influences created it. 

Yu-mmy, lovely halos and colours!

Such a lovely portrait, Jean-Marc. When did you go to Yemen (not very recently I guess, or)?

:D This really made me smile. 

Terrific Stefan, I really like the depth in this photo and how the different layers of action recede into the distance.

This is such a life-like floral shot, very nice Matisse. br Philip

I really enjoy these contrasty black and whites and the truly luscious tones that they have straight out of the blocks of the left of the histogram.

 

Thank you Philip,

I worked in Yemen for a few weeks in 2003. 

Shot in Moka - Yemen, SLR Canon + wide zoom and Tri-X 

Shark market by JM__, on Flickr

 

Best, JM.

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6 hours ago, JMF said:

Thank you Philip,

I worked in Yemen for a few weeks in 2003. 

Shot in Moka - Yemen, SLR Canon + wide zoom and Tri-X 

Shark market by JM__, on Flickr

 

Best, JM.

Love it, well seen!

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NYC

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Leica M7 * Voigtländer Nokton 1.4/35 S.C. * Kodak TriX * Kodak HC 110 * Nikon Coolscan V ED

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4th Street, Louisville
Leica Standard (Model E), 50/3.5 Elmar, Kodak TMY-2, HC-110B

 

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NYC

Welcome, dear visitor! As registered member you'd see an image here…

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Leica M7 * Voigtländer Nokton 1.4/35 S.C. * Kodak TriX * Kodak HC 110 * Nikon Coolscan V ED

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The unfinished Lyvedon New Bield, 1605. It was one of Sir Thomas Tresham's buildings dedicated to the catholic faith, which he wouldn't denounce and led to involvement in the gun powder plot...

M2 Summicron 35/2 Asph Delta 100

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🦅 experience cont..MP + 28. going for cinematic look. Wife and her sister and walking into game. 

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On 8/6/2019 at 5:44 PM, philipus said:

Buying an M4 sounds familiar (great camera) but the comparison stops there for me, I'm afraid.

Having seen your site it seems you're a pretty principled individual so I can understand the reason for your position that film requires a fully analogue workflow. 

I'm sure there are master printers out there who are able to "edit" an image in the darkroom in the same way possible with a few clicks of a mouse button on a scanned frame. I certainly don't doubt the pleasure and satisfaction of being able to arrive at the same result using only light and patience (and perhaps you are able to do that) but in my view that is an unnecessarily time-consuming process. And if printing with light will degrade the quality of the image when compared to what could easily be achieved on a scan, then why do it, based on a principle? Surround yourself with human beings, my dear James. They are easier to fight for than principles, said Ian Flemming.

I'm not seeking to convince you so, fwiw, for me a hybrid workflow is about being able to enjoy film, and support the film community, while having today's cutting edge tools at my disposal to create the images I want. In my view, to say that film demands a fully analogue workflow is like saying that an image shot digitally shouldn't be printed. Today, there is not, I submit, any link between the way an image was shot and the way it is printed, particularly when modern printing technology can result in virtually the same quality.

All of which means that if one loves film and has the time and the resources to do so, then there's no reason not to do so.
br

Philip

 

Thank you for a thoroughly enjoyable response! As a principled individual, I can only admit that you're making some good points here. I will have to look into film plus scanner workflows again. Having said that, a 100 percent analogue workflow leaves room for a wabi sabi quality that digital or partly digital workflows often lack — by which I mean that, not being an expert printer by any stretch of the imagination, what would be, for me, a perfect final result is to some extent a technical failure, but it's the imperfections that render it perfecter, so to speak, than it would have been without same. In digital development, perfection is of a different kind, and not only because of presets and 'filters', but even just because of the endless patience of Undo. Anyway, thanks. 

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à Lesges by JM__, on Flickr

Rolleiwide - Acros 100

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