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I like film...(open thread)

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Wow Andreas, this is a terrific photograph. Well done.

41 minutes ago, andreas_gräbner said:

Frankfurt/Main, Germany


M3 . Summicron 50 Rigid . Agfa APX 100 . Paterson Acu Lux

 

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I'm sorry I missed commenting on these great photos. They are evidently quite different from each other, but one thing that binds them together is blue. It's pretty amazing that they ended up on the same page, each one having its own rendition of this wonderful colour. Dirk's version of the Occulus is really intriguing with the muted blueish tint and technically perfect execution and it links wonderfully to Rog's beautiful squares-and-lines-galore observation in Past Perfect of the past being relegated to a construction zone, which in this context takes on a particular resonance (to me, I should add) given the horrific acts on 11 September 2001 (and which I realise is likely not at all what Rog's photo is about). Add to this Adam's view of New York as a thriving metropolis showing the city's roots and development from the Brooklyn bridge to the dazzling One WTC all surrounded by tranquil blue skies and waters and you automatically end up in James's tranquil reflection which is similarly ruled by this colour of stability, wisdom and hope. Just awesome photography all around.

15 hours ago, DirkR440 said:

New York, Leica MP with 24mm and Ektar:

New York by Dirk R., auf Flickr

 

14 hours ago, A miller said:

After hitting this spot with Dirk during his trip, we got some really lovely light just before dawn but the sky wasn't as interesting as it could be.  So since then I have gone back twice more to try my luck at capturing a little more excitement with the clouds coverage.  It's one of the benefits of living here 😉

Ektar, Technorama 617siii, 90mm Schnieder Super Angulon XL

 

13 hours ago, Ernest said:

Past Perfect  M-A APO 50 & Thambar-M CS E100
Working with the idea of the past relegated to obscured construction zone, translucent, anything but perfect, except perhaps in its imperfection. The trajectory from blank slate to blur.

 

7 hours ago, Sparkassenkunde said:

Minolta Autocord - Velvia

 

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9 hours ago, Sparkassenkunde said:

Another great shot from this vantage point! Do you happen to have a version from that day with less water and more sky? I think it might have a slight impact on the overall scene, as there is much more detail to explore in the clouds. On the other hand it might lose the calm that comes from the "frozen" water. It is indeed a benefit of living next to that spot - so we can easily make suggestions from far away and send you back to this place again and again 😎

Totally hear you, James.  This is the entire frame, totally uncropped.  In perfect hindsight, I think there could have been a tiny bit more sky and a tiny bit less water.  However, at the time I set the horizon point it was still dark and I did not anticipate the unfolding of this scene.  through a lot of trial and error, I have found that generally the best place to put the horizon is about midway up a normal size office building.  So many of these true panos suffer from a lack of headroom, which I don't think this does although the scene shares the action with the clouds with action of the layer of the scene involving the buildings and the layer of the beautiful water.  Think of it as a bit restrained for the sake of giving balanced justice to the other elements of the scene...?

6 hours ago, stray cat said:

...and now, just for a laugh, a comparison of three focal lengths:

 

28mm elmarit, velvia 50

 

50mm canon f1.4 ltm, velvia 50

 

135mm elmarit, velvia 50

 

all are really brilliant, Phil.  Those scenes are just breathtaking and the palette is sublime!

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1 hour ago, Mark II said:

Seems like ages since I posted in this thread... here are some more images from the State of Independence series, documenting the Catalan independence movement in Barcelona. These are from the last couple of weeks, where the region has fallen in to some fairly rough and violent times.

All with the M7 and some kind of 50mm lens (I kept switching between the 50LUX and a C-Sonnar, partly because using an expensive lens was making me nervous), and using Delta 400 exposed for EI1600 and developed in XTOL stock for EI3200.

The photographs are all from a much longer blog post which includes commentary and many more images. The national-populist tide that is sweeping Europe makes for some interesting pictures, but I keep thinking that I would rather spend a year with nothing more to photograph than colourful landscapes.

 

 

Wow, I've been looking through the whole project and there are some really strong images there and you've really set out the story well in words and pictures. It's like being there. It is brave doing it on film (although that was the norm 20 years ago 😂).  Well done.

Pete

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1 hour ago, Mark II said:

Seems like ages since I posted in this thread... here are some more images from the State of Independence series, documenting the Catalan independence movement in Barcelona. These are from the last couple of weeks, where the region has fallen in to some fairly rough and violent times.

All with the M7 and some kind of 50mm lens (I kept switching between the 50LUX and a C-Sonnar, partly because using an expensive lens was making me nervous), and using Delta 400 exposed for EI1600 and developed in XTOL stock for EI3200.

The photographs are all from a much longer blog post which includes commentary and many more images. The national-populist tide that is sweeping Europe makes for some interesting pictures, but I keep thinking that I would rather spend a year with nothing more to photograph than colourful landscapes.

 

 

Really strong shots!!!

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37 minutes ago, AntonioF said:

Some sprocket holes love - Pentax 6x7, 105/2.4, HP5 35mm

 

 

 

 

fantastic, Antonio. The sprockets look really cool

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vor 3 Stunden schrieb Mark II:

Seems like ages since I posted in this thread... here are some more images from the State of Independence series, documenting the Catalan independence movement in Barcelona. These are from the last couple of weeks, where the region has fallen in to some fairly rough and violent times.

All with the M7 and some kind of 50mm lens (I kept switching between the 50LUX and a C-Sonnar, partly because using an expensive lens was making me nervous), and using Delta 400 exposed for EI1600 and developed in XTOL stock for EI3200.

The photographs are all from a much longer blog post which includes commentary and many more images. The national-populist tide that is sweeping Europe makes for some interesting pictures, but I keep thinking that I would rather spend a year with nothing more to photograph than colourful landscapes.

 

 

Very impressive! Take care!!!

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7 hours ago, robgo2 said:

Looks like a Mark Rothko painting.


Yes, it is difficult to unring the bell of Mark Rothko that resounds so definitely in the art world. Many of the color field painters benefited from the work of Josef Albers and Johannes Itten in the Bauhaus. In exploring an approach to understanding color, Itten was concerned with the emotional and symbolic color effects concerning subjective feelings and objective color principles. In The Art of Color (116 fig. 113), Itten “shows a vertical section of the color sphere, taken in the red-orange/blue-green sector. Looking at the equatorial zone of this section, we find blue green at the left and red orange at the right in maximum saturation towards the axis, we find two mixed degrees of each of the two saturated hues. The resulting seven equatorial chromas are tinted towards white and shaded towards black. Search vertical sections may be passed through any pair of the complementary colors and the black and white poles. The several tonalities of any level of lightness or darkness should in this case should be equal, and match the gray of that level.” It is difficult to follow this description without looking at the color illustration in his book. Suffice it to say that the colors have a grayed kind of chroma, and this is what I am experimenting with in this study: two complementary colors that have an offbeat gray component. I have spent a good deal of time studying and experiencing the Rothko paintings at the Broad museum here in Los Angeles. They are oversized, immense, and standing within 10 feet of the painted surface, the lack of peripheral vision eliminates any sense of a defined horizon line.  As a result, there is a kind of chromatic vibration between the colors. Rothko’s approach was to use sheer scale to make the paintings more important than the individual.

cheers, Rog 🎬

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3 hours ago, }{B said:

Fuji DL Supermini (28mm) & Fuji Sensia

North west Scotland - yours truly on Stac Pollaidh 1999

wow, I don't know how you do it, but you continue to blow away.  This is so surreal and puts me right there and gives me butterflies in my stomach thinking there isn't enough room on that peak for the both of us 😮

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and some film shots of my granddaughter, portra 160 ... Adam --- she's quick and it's bright out there, rule of 16 means 1/1000 at f/5.6 works great ... these though were slower and indoors .. not going to bore everyone with more than two.

 

 

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