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I like film...(open thread)


Doc Henry

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1 hour ago, stray cat said:

 

...and talking about aesthetic perception, look at the incredible juxtaposition here between colors on the warm end of the spectrum, opposed to colors on the cool end. The visceral reaction is quite marked, or at least mine is. Each tells quite a different story, even though compositionally they are almost identical. Wonderful - thanks Rog.

And I am tickled that you wink-wink, nudge-nudge the humor in (no)thing; no thing is nothing, and nothing is no thing. The notion behind this piece challenges Malevich’s “objectlessness” of the Black Square (1915), followed by the White Square, which becomes a Gray Square in (no)thing. Not exactly Kodak 18% gray, but the idea is there. Of course, we cannot overlook Malevich’s Red Square. What can’t be ignored is that “the black plane that has formed a square” in Suprematism is not without object, since the painted artifact is itself an object, which paradoxically deconstructs the notion of objectlessness. (no)thing is a stucco-textured surface, gray, that is the subject of this color field of apparent nothingness. It is a flat field that confounds the illusion of perspective, and only by shadow is there the play of depth. There are no images, per se, to act as signifiers, other than the minimalism of the blank (gray) slate, which in a way mirrors the status of film waiting to be exposed in recording an image.

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Yes, Rog, quite right. And to further the discussion on the complements of warm and cool colors, (no)thing has of course a totally (and tonally) NEUTRAL color which, as you say, mimics not only the unexposed film awaiting light, but the exposed film displaying that wonderful property/quality that all film photographers love, and that is grain. So it is a bit like the oft (and here again) misquoted Schrödinger's cat in that the film (assuming we see it as film in the first place) can be seen as being in a concurrent state where it is simultaneously both exposed and unexposed. Plus, following further your discussion, the shadow is intriguing - a virtual shadow, in fact, giving the tromp-d'oeuil effect of three dimensions - an effect amplified by the apparent crossing over between the "physical" elements -one which can be read as horizontal while the other is vertical. Or are they? This is the rather juicy territory we approach when such conundrums are presented for us.

And I note that - thank you - you have set us more reading!

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Australian artist Bardayal 'Lofty' Nadjamerrek AO (c. 1926–2009), Injalak Northern Territory 1997

nikon f90x, af-nikkor 50mm f1.4, ektachrome

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13 hours ago, christoph_d said:

Nice, your pulling worked out amiably. 

When did you visit that photogenic town in southern France? We just could have met...

Rgds Christoph

Thank you for your kind comment, Christoph. My wife and I were in Arles end-July and some days in August 2019. It wasn't our first visit and it's not going to be the last either. We love the light and ambience there. Look forward to meeting at Arles or any such event in the future...

Best wishes

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Near Madrid, Makina 67, Fuji Pro 160NS

 

 

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Cockerel. Contax III, Carl Zeis Jena Sonnar 5cm 1:2, Kodak ColorPlus 200.

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11 hours ago, Ernest said:

Hands down, the first one. Natural vision throws peripheral out of focus, so it's overkill in the second. Still, you placed the focal point figure in the center of the frame. Did you consider putting that figure in the right third of the composition for asymmetry? (It's bas relief.)

Yes, I must admit I thought about it afterwards rather than while I was taking the picture and I did regret not doing as you say!

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Dire straits. [Tri-X]

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Next couple. First one is taken directly upwards of the cathedral ceiling...

 

Both taken using my Hasselblad 503cx, Zeiss Planar 80mm f/2.8 on Portra 160

Edited by nefarious
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18 hours ago, nefarious said:

A couple of weeks ago, I spent a couple of hours at a photographic event at the local cathedral. To be honest, it was a bit of a learning experience for me. I hadn't shot in low light since I was a teenager and never with the Hasselblad. I made a few mistakes but thoroughly enjoyed myself. So for the next while, I will be shifting from Don Valley images to Sheffield Cathedral. These first ones are of a bass relief (I think that's the term). I'm interested whether anyone prefers the low DOF option...

 

 

The first one for me, too!

16 hours ago, mdachs said:

 

m6 tele-elmar

 

Joachim

Wonderful lavender colors.

6 hours ago, }{B said:

Fuji DL Supermini - Fuji Sensia

1999 on An Teallach north west Scotland and I'm about to take a photo of Lord Berkeley's Seat 

 

Great lights and landscape.

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Looking back to the last summer and our vacation in Rovinj / Croatia:

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M4-P - Cron 35 - Silbersalz 35 50D

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Same location and setup:

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And the last for the moment:

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(after)thought I
M-A APO 50 ADOX Color Implosion

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(after)thought II
M-A APO 50 ADOX Color Implosion

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wine autumn leaves

 

 

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m6 tele-elmar

 

Joachim

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