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I like film...(open thread)

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4 minutes ago, christoph_d said:

Not quite a Unicorn, but definitely in disguise...

MP, 90 (?), Fooma400

very good, Christoph :)

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A VW "Brasilia" in Pirenópolis. Leica IIIf, Summicron 5cm 1:2 collapsible, Ilford Delta 100, Kodak D-76 1:1.

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Kodak Ektar 100 - Contax G1 + CZ Planar 45mm f/2

Huntington Beach, California by Bluesky Overaquatic, on Flickr

 

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Kodak Ektar 100 - Contax G1 + CZ Planar 45mm f/2

Huntington Beach, California by Bluesky Overaquatic, on Flickr

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Kodak Ektar 100 - Contax G1 + CZ Planar 45mm f/2

Huntington Beach, California by Bluesky Overaquatic, on Flickr

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Kodak Ektar 100 - Contax G1 + CZ Planar 45mm f/2

Huntington Beach, California by Bluesky Overaquatic, on Flickr

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On 16 August 2019 at 12:39 PM, stray cat said:

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.

It is all that Phil and what lingered in my mind too was the sense of harmony in the models face. For as Marc says the photo was made at the end of the session which also speak volumes of the relationship built up during the collaboration between model and photographer. 

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