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I like film...(open thread)

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Haha! And, on a sidenote, I hate it when my trousers slip down like that :D

12 hours ago, A miller said:

Tel Aviv 🕵️‍♂️

IIIg, 28 summaron, Portra 400

Nice colours in this one. There are what seems like Newton rings in the top half?

4 hours ago, Nowhereman said:

Morning market (Pak Nam Pran, Thailand) at sunrise. Leica M3 and DR Summicron on Portra 400.

Wonderful Rog, really excellent. I thought about Adam's question re paper. I am wondering if, because of the texturised look of many of the constructs, a smooth paper wouldn't make them look great, like a satin paper or something like that. That said, a photo rag or even etching paper may perhaps be the first choice to strengthen the texturised look even more, if you want that. I'm since a while back trying out various Hahnemühle papers which I find very nice but there are lots and lots of others of course. Ironically a photo rag satin I tried resulted in a very dull print. I printed one of my lion shots on it and it just fell flat whereas it looks very vivid and alive on either the pure satin or pure photo rag. Another paper that really stood out for me was the photo rag metallic. Below is an iPhone shot of a print I made that has a pretty awesome sheen. 

9 hours ago, Ernest said:

Rolodex Trans
M-A APO 50 E100
Just stucco and glass.

Very nice reportage style portrait. Which camera, film and developer?

18 hours ago, atournas said:

The calligrapher.

Haha very funny Joachim :)

14 hours ago, mdachs said:

I was to far away with my fifty, to slow and couldn't clarify, what it was. Ravens crime or suicide

 

m4-2 2/50IV kodak 200

 

Joachim

 

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20 minutes ago, philipus said:

Very nice reportage style portrait. Which camera, film and developer?

Thank you, Philipus. It's TMY on R7 and Summicron-R 50mm but, sorry, no memory of developer---that's mid 90's stuff!

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1 hour ago, philipus said:

...Nice colours in this one. There are what seems like Newton rings in the top half?...

Yes, I exported the wrong version from LR by mistake, the one to which I hadn't applied a combination of demoiré adjustments. Here is a photo taken further up the same street, about 15 minutes later, with completely different light now much brighter since the sunrise. (Morning market, Pak Nam Pran, Thailand.) Leica M3 and DR Summicron on Portra 400.

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Am 20.9.2019 um 00:20 schrieb A miller:

What handsome devils.  Who needs hair when you have those faces and pizzaz :)

 

wow really great photos from Niagara.  Hope your camera didn't get soaked!

Ha ha!!! "handsome evil" is for sure my new pet name from my wife

yes my M6 became really wet, but it worked without any problems!!

Am 20.9.2019 um 03:01 schrieb stray cat:

This is hilarious Marc! Talk about safe group sex! Were you wearing one of those condom thingys too?

Yes for sure I did! It was a lot of fun to see all the people in their "condom" costumes

Am 20.9.2019 um 11:36 schrieb A miller:

Tel Aviv 🕵️‍♂️

IIIg, 28mm Summaron, Portra 400

 

 

Really a great one Adam! Lets hope that it is not a bus station!😉

Am 20.9.2019 um 13:48 schrieb philipus:

Really good Marc.

Haha, I wonder who's behind actually :D

 

 

I was in front of her!!!

vor 6 Stunden schrieb philipus:



Flickr
Nikkor 85/1.8 pre-AI Portra 160 X1

Very good Philipus! So much to discover

vor 6 Stunden schrieb Mark II:

A few more from the Barcelona Dark series:

All M7 with either 28mm Summicron (first) or 35mm Summilux (second two) andl shot on 400TX at EI1600. This was my first time push-processing with XTOL (stock), and I am quite happy with the results compared to what I was getting with ID-11.

Shooting the Summicron at night is a major challenge, as the typical exposure wide-open is only 1/15th. I will probably stick with 35/50 going forward.

Great shots MarkII!! Number one is my fav but the two others are also very good! I have no experience with the 400 TX, but the Tmax 400 is also very pushable up to 3200. Show us more!

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7 hours ago, philipus said:

Wonderful Rog, really excellent. I thought about Adam's question re paper. I am wondering if, because of the texturised look of many of the constructs, a smooth paper wouldn't make them look great, like a satin paper or something like that. That said, a photo rag or even etching paper may perhaps be the first choice to strengthen the texturised look even more, if you want that. I'm since a while back trying out various Hahnemühle papers which I find very nice but there are lots and lots of others of course. Ironically a photo rag satin I tried resulted in a very dull print. I printed one of my lion shots on it and it just fell flat whereas it looks very vivid and alive on either the pure satin or pure photo rag. Another paper that really stood out for me was the photo rag metallic. Below is an iPhone shot of a print I made that has a pretty awesome sheen. 

Thanks for the tips, Philip. When I do print something, your point about the smooth paper versus texture is well taken. It would be redundant to add paper texture to an image that is already all about texture and color. Papers, framing, exhibition--what a universe. Color as the catalyst and construction of images in context. I am reminded of Rauschenberg layered constructions, Mike and Doug Starn, where even the "ruined" photograph becomes a statement that challenges the concept of what's archival, and Sara VanDerBeek abstract sculptural forms. There is such a carnival of ideas on this merry-go-round.

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Rolodex Tuxedo
M-A APO 50 E100
A Bauhaus portrait.

Edited by Ernest
clarification

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14 minutes ago, benqui said:

If there is a special light, I try sometimes color film

Plaubel Makina 67, Portra 400

 

So cinematic, so Kodachrome 25. So sinful!

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17 hours ago, Ernest said:

Hadn't seriously thought about it, but I would really appreciate your recommendations. Size? I am thinking something this side of Jenny Saville. (Just kidding.)

Ha ha, I would echo Philip's suggestion to try some of the Hahnemühle papers, particularly those with texture.  Whitewall has a full selection of them and is a very cost efficient lab despite being in Germany.  It usually only take a couple of days to get an order delivered and shipped is (usually much less) than $10.

Having said all of this, my first instinct would be to work with a pro lab out by you that prints metal using Chromalux, which is a proprietary brand of metal that is the top of the line, via dye sublimation.  The surface has an industrial feel and I am thinking that you could have sectionals made in a combo of matte, same gloss and high gloss to reflect the different textures within the various sections of your images.  It somewhat outside of the box but I think that it could be done and would really compliment your series nicely.  

Of course, it can also be a money pit and I am not suggesting that you jump off of the deep end with that.  I just think it might be time to take your beautiful work to the next level and get into the end zone with some tangible work product. 

8 hours ago, philipus said:

Haha! And, on a sidenote, I hate it when my trousers slip down like that :D

 

thanks, Philip, and yes he didn't seem too concerned about mooning all the pedestrians who were walk past :)

8 hours ago, philipus said:



Flickr
Nikkor 85/1.8 pre-AI Portra 160 X1

Very lovely and I really like seeing the painters on the beach.  I really have never quite seen that before.  

7 hours ago, Mark II said:

A few more from the Barcelona Dark series:

 

 

 

All M7 with either 28mm Summicron (first) or 35mm Summilux (second two) andl shot on 400TX at EI1600. This was my first time push-processing with XTOL (stock), and I am quite happy with the results compared to what I was getting with ID-11.

Shooting the Summicron at night is a major challenge, as the typical exposure wide-open is only 1/15th. I will probably stick with 35/50 going forward.

excellent series, Mark.  

1 hour ago, benqui said:

Ha ha!!! "handsome evil" is for sure my new pet name from my wife

yes my M6 became really wet, but it worked without any problems!!

Yes for sure I did! It was a lot of fun to see all the people in their "condom" costumes

Really a great one Adam! Lets hope that it is not a bus station!😉

I was in front of her!!!

Very good Philipus! So much to discover

Great shots MarkII!! Number one is my fav but the two others are also very good! I have no experience with the 400 TX, but the Tmax 400 is also very pushable up to 3200. Show us more!

 

45 minutes ago, benqui said:

If there is a special light, I try sometimes color film

Plaubel Makina 67, Portra 400

 

 

Wow, equally has stunning, Marc!!  Does this particular model have a preference?

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27 minutes ago, A miller said:

Ha ha, I would echo Philip's suggestion to try some of the Hahnemühle papers, particularly those with texture.  Whitewall has a full selection of them and is a very cost efficient lab despite being in Germany.  It usually only take a couple of days to get an order delivered and shipped is (usually much less) than $10.

Having said all of this, my first instinct would be to work with a pro lab out by you that prints metal using Chromalux, which is a proprietary brand of metal that is the top of the line, via dye sublimation.  The surface has an industrial feel and I am thinking that you could have sectionals made in a combo of matte, same gloss and high gloss to reflect the different textures within the various sections of your images.  It somewhat outside of the box but I think that it could be done and would really compliment your series nicely.  

Thanks, Adam (or is it simply FM to the cognoscenti?), for the "next level" tips, particularly metal printing and even sculptural constructions, very Bauhaus. And, your suggestion to marry "a combo of matte (with) the same gloss and high gloss to reflect the different textures within the various sections of your images" is truly inspired. Gerhard Richter has even used large panes of clear glass to reflect and refract his paintings, as a sort of sculptural stand-alone. Interestingly, viewers see themselves reflected in the glass, while looking at the very large paintings. Thanks, again, for your inspirational concepts.

Cheers,
Rog

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Lingua Franca II
M-A APO 50 E100
Five stucco walls, eighty images--manifestation of extreme vertigo. One hundred years of Bauhaus!

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4 minutes ago, Ernest said:

Lingua Franca II
M-A APO 50 E100
Five stucco walls, eighty images--manifestation of extreme vertigo. One hundred years of Bauhaus!

This is exceptional, Rog. You've had the scissors and glue working overtime here! Am I also seeing a slight tip of the hat to Ralph Gibson's "Black" series here - perhaps you have both been playing around with the Bauhaus ethic and have come upon it independently?

BTW regarding printing. You mentioned that you thought that printing on a textured surface, given the texture in the pictures themselves, might to your mind be redundant. I would think that the texture of a really good matt paper, such as Canson Aquarelle Rag, would really enhance that texture. You might also find a paper like Canson's BFK Rives, which is matt but with a smooth surface, works particularly well. In any case, I think that printing either quite small and intimate - say to an A4 sheet, or really large - A2 - might look spectacular, depending on where you'd want to view it.

Edited by stray cat

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2 hours ago, stray cat said:

This is exceptional, Rog. You've had the scissors and glue working overtime here! Am I also seeing a slight tip of the hat to Ralph Gibson's "Black" series here - perhaps you have both been playing around with the Bauhaus ethic and have come upon it independently?

BTW regarding printing. You mentioned that you thought that printing on a textured surface, given the texture in the pictures themselves, might to your mind be redundant. I would think that the texture of a really good matt paper, such as Canson Aquarelle Rag, would really enhance that texture. You might also find a paper like Canson's BFK Rives, which is matt but with a smooth surface, works particularly well. In any case, I think that printing either quite small and intimate - say to an A4 sheet, or really large - A2 - might look spectacular, depending on where you'd want to view it.

Thanks, Phil, for your expertise and suggestions for printing and presentation. So much of this is not really in my wheelhouse, so it is all very exciting.  You sent me back to Ralph Gibson‘s Black Trilogy to see what you were talking about in terms of Bauhaus influence.  There is one photograph in Déjà Vu that may be what you are talking about: the detail of a zigzag cornIce. I remember his Quadrants series, published in part in Camera magazine in the 70s, shot with a dual-range Summicron 50mm (M3, I think);  some of the shots were architectural details, walls, and the others were close details, like the priest and the ducktail hairdo shot. Everything was shot close (24 inches), so that when he printed a 16x20, it was practically life-size on the wall. 

 Bridget Riley, as you have brought up in the past, comes more to mind with this latest study, “Lingua Franca.”  Also, Frank Stella, his early work in the 60s, Jasper Johns, and Gerhard Richter’s Patterns. Rauschenberg always manages to wiggle his way in there, in any case.

And talk about wiggling, you managed to wiggle yourself an awesome homage to 18th century ruinism. Lummi Island.  The colors, textures, the history! The epitome of fragmentation at its zenith, from the ruins we are left to imagine the narrative.  I want to turn on the car radio if it had one. This must have been a rather sporty coupe.  Transparent Things

Cheers, Rog 🎬

Edited by Ernest

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2 hours ago, Ernest said:

Thanks, Phil, for your expertise and suggestions for printing and presentation. So much of this is not really in my wheelhouse, so it is all very exciting.  You sent me back to Ralph Gibson‘s Black Trilogy to see what you were talking about in terms of Bauhaus influence.  There is one photograph in Déjà Vu that may be what you are talking about: the detail of a zigzag cornIce. I remember his Quadrants series, published in part in Camera magazine in the 70s, shot with a dual-range Summicron 50mm (M3, I think);  some of the shots were architectural details, walls, and the others were close details, like the priest and the ducktail hairdo shot. Everything was shot close (24 inches), so that when he printed a 16x20, it was practically life-size on the wall. 

 Bridget Riley, as you have brought up in the past, comes more to mind with this latest study, “Lingua Franca.”  Also, Frank Stella, his early work in the 60s, Jasper Johns, and Gerhard Richter’s Patterns. Rauschenberg always manages to wiggle his way in there, in any case.

And talk about wiggling, you managed to wiggle yourself an awesome homage to 18th century ruinism. Lummi Island.  The colors, textures, the history! The epitome of fragmentation at its zenith, from the ruins we are left to imagine the narrative.  I want to turn on the car radio if it had one. This must have been a rather sporty coupe.  Transparent Things

Cheers, Rog 🎬

Thank you Rog so much. Yes, I think I was thinking of Quadrants - it was that that I viewed in London in 1980, not the Black Series, and there were some architectural shots in that series that your Lingua Franca brought to mind. It has always stayed with me, that exhibition (well, not the name, obviously 🤪) and the images, or the memory of them, still reverberate through the cranial passages from time to time. And it is VERY Bridget Riley, now that you mention it. But it is the textural quality in your work that swayed me to think towards Gibson's series.

Lingua Franca - isn't that what photography is after all?

Yes, Lummi Island is an interesting place. Go there to see bald eagles at work and the most spectacular sunsets. And Canada - that's it over there in the distance. There may have been a radio, or maybe the music was in my head. The numberplate said '63 - so early Beatles and Beach Boys on the soundtrack, and I was tempted to "acquire" that numberplate for the collection but I figured that it had happily sat there for all those years and it would be a pity not to leave it there. Not a sporty coupe, but a pretty cool motor anyway:

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