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I like film...(open thread)


Doc Henry

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au Gaou by JM__, on Flickr

Provia 100 - Canon Prima AS-1

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13 hours ago, JMF said:

 

Atacama by JM__, on Flickr

Velvia 50 - Ricoh GR21

wow stunning, Jean Marc!

7 hours ago, benqui said:

Ha ha, the new hat looks good on you Adam!😉

Thanks - it was a good bargain :)

It was really fun hanging out yesterday, by the way.  I am very excited for you to share the photos that I took with "you" 😉

4 hours ago, Sparkassenkunde said:

The river Elbe in evening light:

 

Mamiya 645 1000S - Sekor-C 80 - Kodak Ektachrome (old stock)

Really lovely, James 

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Concentric Cascade
M-A APO 50 E100

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vor 4 Stunden schrieb A miller:

Tel Aviv

Portra 400, IIIg 28mm summaron

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Yes! Looking forward to see more of you beach photos, this one is the perfect start. Yesterday I have sent our photos to the lab, I am sure there will be some funny shots.....😉😉😉

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Shadows and shapes

M2 Summicron 50/2 PanF in DDX

 

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Wrong lens!
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IIIf, Summaron 3.5cm 1:3.5, Ilford Delta 100, Kodak D-76 1:1.

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14 hours ago, Sparkassenkunde said:

The river Elbe in evening light:

Mamiya 645 1000S - Sekor-C 80 - Kodak Ektachrome (old stock)

Beautiful landscape, light and colour!

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Guest Nowhereman
On 8/27/2019 at 10:57 AM, A miller said:

I think one has to really think hard to bring out a storyline in this photo, which, for me, is one in which the panels of photos represent a giant myriadic mirror reflecting the faces of the girls whose backs are facing you.  Perhaps a title can help draw the viewer's mind to this storyline (as much as a title really shouldn't be necessary)...?  I also think the blown highlights inside the booth should be brought under control better b/c this is where my eyes want to immediately go, which interferes with the contemplation of the photo's story.  I would struggle as mightily as you can to restore the detail in the photos inside of the booth b/c they connect to the eyes of the girl in the front.  I am sure it is there in the negative.

Actually, the "storyline" in this image is obvious to most people — or at least evident from comments I've had from friends. Also, my book, as discussed in the Photobooks and its Discontents thread, has no captions or explanatory essays, the only text being five haiku. The point of departure for the book was that photographs speak directly, the way a haiku speaks: a haiku presents an image that expresses an emotion or feeling, directly rather than through description. 

I'm happy with the highlights, although final adjustments to the book's images will be made by the highly-gifted lithographer, from the Hollander Dream Team that I mentioned, who will prepare the files for the offset plates, targeting output for the type of paper on which the book will be printed. It will be printed in quad tones, which will give deeper blacks than four-color printing. Forgive me for stating again that this book will be presented at Offprint Paris 2019, held at the École des Beaux-Arts, concurrently with Paris Photo, on 7-10 November.

The highlights made me think about the photo below, whose highlights I like as well. It's a Portra 400 color shot converted to B&W. Incidentally, Moriyama Daido has an imagetaken with color negative film, which he has published and exhibited both in color and B&W. These days Moriyama shoots only digital: he has said that one of the things he likes about digital is that he can decide subsequently whether he wants color or B&W.

M3 | DR Summicron 50 | Portra 400 

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Paris
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57 minutes ago, Nowhereman said:

Actually, the "storyline" in this image is obvious to most people — or at least evident from comments I've had from friends. Also, my book, as discussed in the Photobooks and its Discontents thread, has no captions or explanatory essays, the only text being five haiku. The point of departure for the book was that photographs speak directly, the way a haiku speaks: a haiku presents an image that expresses an emotion or feeling, directly rather than through description. 

I'm happy with the highlights, although final adjustments to the book's images will be made by the highly-gifted lithographer, from the Hollander Dream Team that I mentioned, who will prepare the files for the offset plates, targeting output for the type of paper on which the book will be printed. It will be printed in quad tones, which will give deeper blacks than four-color printing. Forgive me for stating again that this book will be presented at Offprint Paris 2019, held at the École des Beaux-Arts, concurrently with Paris Photo, on 7-10 November.

The highlights made me think about the photo below, whose highlights I like as well. It's a Portra 400 color shot converted to B&W. Incidentally, Moriyama Daido has an imagetaken with color negative film, which he has published and exhibited both in color and B&W. These days Moriyama shoots only digital: he has said that one of the things he likes about digital is that he can decide subsequently whether he wants color or B&W.

M3 | DR Summicron 50 | Portra 400 Paris
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Can a photograph not have more than one interpretation, or, I dare say, even infinite interpretations?  What am I missing?  Some stubbornness on your part, perhaps???

 

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Tourists. Cambridge.

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Nikon F2AS, Nikkor 24mm f2.8 Ais, Tri-X.

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Guest Nowhereman
56 minutes ago, A miller said:

Can a photograph not have more than one interpretation, or, I dare say, even infinite interpretations?  What am I missing?  Some stubbornness on your part, perhaps???

Indeed. You're missing completely what I'm saying, which is that a photograph doesn't need any captions. To be more specific, unless one is documenting or wanting to lead the viewer to one interpretation, my preference, in general, is to have no captions, in order to allow the viewer to form his or her own interpretation. This is one of the things I say in the  Photobooks and its Discontents thread. I am all for ambiguity, which is a characteristic of art.

On the image we're discussing: all I said was that your interpretation is the obvious one, simply going by what other people have said about it; but I have not said, or implied, that it is the only one. Interpretation is also a function of the context: the design of my book has a layered structure, so that this image is shown with a portion of another image showing underneath it (shown in this post), which can evoke other meanings.

In the linked thread, I wrote: I’m interested in images that are about something the way Ralph Gibson’s or Paulo Nozolino’s are, somewhat indirect or elliptical and something the reader has to formulate for himself or herself. The same goes for the sequencing: I'm not trying to "tell a story"; rather, I'm trying to form a sequence "poetically", which is the manner of Ralph Gibson's early books. Also, in the linked thread I compare this type of sequencing in contemporary photobooks to some types of modern poetry and the contrapuntal technique of a Portuguese novelist, who is somewhat similar to Faulkner. 

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In Alsace but not Alsatian. 

The film is of unknown pedigree too!

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

 

Leica M6 - Summicron 2/35 - yellow filter - TriX - D76

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Optik Recall
M-A Thambar-M CS f/2.8 ND3 ADOX Color Implosion

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Two more of the river Elbe :)

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Mamiya 645 - Sekor-C 80 - Kodak Ektachrome (old stock)

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