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I like film...(open thread)


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On 8/8/2019 at 9:48 AM, philipus said:

Inspired by Marc's Oculus shot earlier, here's Tbilisi's Bridge of Peace again.


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40 Distagon Ektar X1

The touch of red makes the image leap off the page, I love it.

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Progress with Minox. I am pretty impressed with what the tiny camera/negative produced here.

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Minox B, Acros 100, Rodinal 1/150 for 45 minutes (one inversion at mid point)

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On 8/8/2019 at 4:21 AM, benqui said:

M6, Elmar 2.8/50, Tmax 400

Thank you Charles for reminding me of this exquisite picture by Marc. To me, it begins and ends any discussion on the topic of "bokeh", and also on the importance of choosing the right tools for the job. Marc has a highly attuned sense of the importance of "field" in his portraits, and this is a prime example. The lens he has used, the 1950s - 1960s Elmar 50 - produces a wonderful softness in its out-of-focus areas which superbly play off the sharpness of the subject. The film chosen - and I agree with Adam that it is surprising to find that it is Tmax - has just the right balance of tonality and sharp/softness that complements the hardware choice. Marc has sympathetically chosen light - as in light-colored and light-drenched - background elements which further enhance the figure-ground relationship. That relationship in this exquisite example is a totally symbiotic one - each element plays off against the other and each is accordingly strengthened. This is a picture our eyes find difficult not to dwell on (even over and above the beauty of Marc's model!). The model's expression and gesture is inscrutable, as is the mystery of her milieu. The bokeh, to my mind at least, perfectly illustrates what the aesthetic quality of the blur produced in the out-of-focus parts of an image is capable of adding to what would already be an incredibly strong picture, pushing it to the stratosphere. Brilliant.

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View from Rockingham Castle

MP Ultron 35/2 Asph Ektar 100 in Tetenal

 

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Here it is, a bit larger.

Leica M6

Summicron 50mm

Tmax P3200

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On 8/15/2019 at 12:12 AM, SunnySixteen said:

My favorite sign in Denver

Ektar 100 (expired 2018)

Hasselblad 500cm - Zeiss 80

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I'm going back to this picture ever again, as I love the colors so much. It think it deserves a nice place on a wall!

11 hours ago, Bateleur said:

Shamelessly I'm pushing this one to the top of the queue, the lighting is lovely, the overall exposure just right and the composition pleasing.

Thank you for this kind feedback! I am happy that it came out this way. I took my chances as this unknown girl posed for her girlfriend and fired a quick shot. 

3 hours ago, bags27 said:

"Second Thoughts" . Nikon FE 50 f/1.8. IIRC, it was Ilford 400; commercially scanned; some work in post

 

Am I the only one missing some grain in here? I think there could be much more detail, esp. in the sand, but also in the water. Interesting location, by the way. I don't think that I would be brave enough to go for a swim there...

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11 minutes ago, Sparkassenkunde said:

Am I the only one missing some grain in here? I think there could be much more detail, esp. in the sand, but also in the water. Interesting location, by the way. I don't think that I would be brave enough to go for a swim there...

thanks for this. Yes, I denoised this, because I was deeply unhappy with the commercial processing, converting the film into a tiff file. I'm going to try them again, but settle for a jpeg.

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Leica MP & Summilux-M 75mm w/ orange filter, Ilford XP2 Super exposed for ASA 400, developed to ASA 800

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vor 14 Stunden schrieb stray cat:

Thank you Charles for reminding me of this exquisite picture by Marc. To me, it begins and ends any discussion on the topic of "bokeh", and also on the importance of choosing the right tools for the job. Marc has a highly attuned sense of the importance of "field" in his portraits, and this is a prime example. The lens he has used, the 1950s - 1960s Elmar 50 - produces a wonderful softness in its out-of-focus areas which superbly play off the sharpness of the subject. The film chosen - and I agree with Adam that it is surprising to find that it is Tmax - has just the right balance of tonality and sharp/softness that complements the hardware choice. Marc has sympathetically chosen light - as in light-colored and light-drenched - background elements which further enhance the figure-ground relationship. That relationship in this exquisite example is a totally symbiotic one - each element plays off against the other and each is accordingly strengthened. This is a picture our eyes find difficult not to dwell on (even over and above the beauty of Marc's model!). The model's expression and gesture is inscrutable, as is the mystery of her milieu. The bokeh, to my mind at least, perfectly illustrates what the aesthetic quality of the blur produced in the out-of-focus parts of an image is capable of adding to what would already be an incredibly strong picture, pushing it to the stratosphere. Brilliant.

Thanks a lot Phil for your kind words and for taking the time to discuss the photo. This photo is also one of my „all time“ favorites. The tmax works here really good in combination with the lens but I think the most important part is the light on her face. And like in most cases I get the best shots almost at the end of a shooting where you are relaxed and where both feel more comfortable. But to be honest you also need some luck if you use film. You never know the result  after pressing the shutter and sometimes you win but of course sometimes you loose and the photo is bad. But one good shot really compensates the others.

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16 hours ago, cobbu2 said:

Barr Lake State Park, Colorado

5x7 Eastman View No. 2 Field Camera, Calumet Caltar S-II 8 1/4-inch (210mm), f/5.6, Arista.EDU-Ultra 100,
HC-110B at 5 minutes in a motorized Cibachrome Drum, 68 degrees F., Epson 4990 Scanner

47947236636_01ebb27055_b.jpg

Love the tones and subtle tonal gradation in this!

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Chimney pots at Rockingham Castle

MP Ultron 35/2 Asph Ektar 100

 

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2 hours ago, Keith (M) said:

Love the tones and subtle tonal gradation in this!

Thanks Keith! One of the advantages of large format are the smooth tonal transitions and apparent grainlessness; it's something I don't do too often, but I always like the results.

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