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I like film...(open thread)


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2 hours ago, christoph_d said:

As you are on a shopping spree anyway, you may want to look for a VC 4/24 snapshot skopar as well. Small, light, not coupled to the rangefinder and an ideal travel companion together with the 40mm. Attached a picture I took from a taxi, somewhere east, on the way to the airport.

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Bessa-L, 24, Eagle640

That’s a great picture, Christoph. As we see, it’s the limited palette with yellow bias, and repeating structure of electricity pylons growing in stature;. There’s synergy too; the unseen energy transmitted by the electricity cables and the energetic atmosphere looking possibly like the aftermath of a nuclear event. There my imagination is running away with me...

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Tranquil..

M2 Summarit 35/2.4 FP4+ in DDX

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5 hours ago, christoph_d said:

As you are on a shopping spree anyway, you may want to look for a VC 4/24 snapshot skopar as well. Small, light, not coupled to the rangefinder and an ideal travel companion together with the 40mm. Attached a picture I took from a taxi, somewhere east, on the way to the airport.

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Bessa-L, 24, Eagle640

Dammit! Based on this brilliant picture alone (and I completely agree with Steve's assessment) I want to just snaffle one of those snapshot bad boys. But I'm going to RESIST! RESist! resist...

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Blessed with yet another walk

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Welta Welti, 50/2.8 ZJ Tessar, Kodak Pro Image 100

 

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Repair Intersection II
M-A APO 50 E100

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Am 21.5.2020 um 21:09 schrieb Ernest:

Context
M-A APO 50 ADOX Color Implosion & Fuji Natura

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Rog, great combination of colors. I just love the green-grey. And the fine line separating the two fields.... really something for the wall. 

Am 22.5.2020 um 03:01 schrieb bags27:

M4-P Zeiss 50 f/1.5 Sonnar Kentmere 100 in Ilf-3

 

very nice

Am 23.5.2020 um 17:38 schrieb philipus:

A few simple shots from Arles last year. It was my first time there so I spent the afternoon shooting the old town instead of watching pictures at exhibitions. All M4 50/2 and Gold 200 scanned on the CS9000.


Flickr


Flickr


Flickr

It´s fun and important to look at photos--but sometimes it´s more important to take photos... 

Am 24.5.2020 um 00:30 schrieb gbealnz:

Murano 2018

SWC Portra 400

Wow. The island of glass... expertly taken with the SWC.

Am 24.5.2020 um 11:23 schrieb Ouroboros:

Some people seem to want to be planted in a neat row.  To hell with that, I'll be heading for the hills and the weather forever!

 Hasselblad 503cw

Zeiss 120mm makro-planar Cfi

T-Max 400

 

Steve, I'm sure none of them opted for the neat row... but I completely agree with the hills and the weather. 

Am 25.5.2020 um 01:42 schrieb chrism:

I'm happy to report I had a lot more fun in Soho 45 years ago, and didn't need a vintage rangefinder! A mile or so north of there was the Regent's Canal and a young broad I met thereabouts:

Pentax K1000 and Fujichrome 100. Haven't quite managed to rid myself of her since, but there we are.

 

 

 

Well done Chris. 

Am 25.5.2020 um 03:19 schrieb stray cat:

ranchos de taos, new mexico 2009

leica r8, 50mm summicron, kodak ektar

Wow, as you say, sometimes the gods look down smiling at the photographer-- on the  other hand -- in 99% its not serendipity, but sheer experience, ability and anticipation amounting to a spectacular shot. And that's probably the reason why you were there and the camera was ready... great photo ! 

Edited by Kl@usW.
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1 hour ago, Kl@usW. said:

Rog, great combination of colors. I just love the green-grey. And the fine line separating the two fields.... really something for the wall. 

Thanks, Klaus. Just an extra, if you stare at only the red field for twenty seconds, not letting you vision wander, you will see the most spectacular complementary after-image of emerald green when you shift your view to the gray/blue field. It's quite a Zen experience.

First, you see dis, Zen you see dat.

Zigging and zagging,
Roger Dodger

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On 5/25/2020 at 12:57 PM, philipus said:

I've been coming back to this one a few times to jog my gray matter into unfuzzing itself to figure it out. The title makes me think that this is a reception desk at some brutalistically architectured office. Is it a modernist bare bones office of some fancy corporation? Turn the corner and there are open spaces with only three ingredients, glass, steel and concrete? The abstract art on the wall would suggest so. But the oppressive atmosphere lies heavy as a result of the concrete so I would go for some kind of government administration building. Either way it is not a warm reception, far from it. There isn't even a receptionist but only that cold bare manmade stone. Really good, Rog.

Ah, brutal architecture would certainly be fair to conjure, something concrete. I've got my cement boots, and I warrant the water is colder the deeper I venture. It's only color, I keep repeating in my sleepwalk, only color. All right, throttle back on the theatrics. Whatever it is, we always naturally want to make sense out of it, though they're only colors of nondescript surfaces that seem to muster a voice. I hear the echo of Beckett's repetition and the chorus of accusations in Kafka. But that's just me. I tried to play the precision of the lines in space against the ambiguity of the color surfaces. It's only one shot. I was hunting for grays. I lean toward Richter's posture, not just gray but ohne farbe, which is not the same. 

Still, I am enthusiastically waiting for your casting ideas, even though we don't see a receptionist. I was drawn to the notion of the lines being "receptors," receiving and deceiving, simultaneously. Thanks so much for your feedback and the static it creates for my antennae. Keeps me on my toes: no mean feat standing in concrete.

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2 hours ago, Ernest said:

Thanks, Klaus. Just an extra, if you stare at only the red field for twenty seconds, not letting you vision wander, you will see the most spectacular complementary after-image of emerald green when you shift your view to the gray/blue field. It's quite a Zen experience.

First, you see dis, Zen you see dat.

Zigging and zagging,
Roger Dodger

so... a color isn't a color at all. It's our perception and, while we are happy to share general agreement among us all that red is red and so on, this isn't necessarily the case: environmental factors are important determinants of our perception. Woebetide us if we're out driving and the red lights suddenly appear green! But of course this doesn't happen (does it?) because all sorts of other factors condition us to accept that red is red in the time-honored way - unless we unfortunately happen to be afflicted with color-blindness of course. We must also spare a thought for synesthetes: https://www.livescience.com/169-rare-real-people-feel-taste-hear-color.html

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15 minutes ago, stray cat said:

so... a color isn't a color at all. It's our perception and, while we are happy to share general agreement among us all that red is red and so on, this isn't necessarily the case: environmental factors are important determinants of our perception. Woebetide us if we're out driving and the red lights suddenly appear green! But of course this doesn't happen (does it?) because all sorts of other factors condition us to accept that red is red in the time-honored way - unless we unfortunately happen to be afflicted with color-blindness of course. We must also spare a thought for synesthetes: https://www.livescience.com/169-rare-real-people-feel-taste-hear-color.html

Again, you are such a master of the oblique, Dr. Wright! Synesthetes, indeed. I thought Ferdinand de Saussure's aha! that we know red is red because it's not brown triangulated all the questions with a means to keep traffic moving. Thanks for the link. This is why one should never follow Dr. Leary's endorsement for LSD, or as Hitchcock referred to Martin Landau's mind on shooting North by Northwest, "There's a circus in there." 

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2 hours ago, stray cat said:

so... a color isn't a color at all. It's our perception and, while we are happy to share general agreement among us all that red is red and so on, this isn't necessarily the case: environmental factors are important determinants of our perception. Woebetide us if we're out driving and the red lights suddenly appear green! But of course this doesn't happen (does it?) because all sorts of other factors condition us to accept that red is red in the time-honored way - unless we unfortunately happen to be afflicted with color-blindness of course. We must also spare a thought for synesthetes: https://www.livescience.com/169-rare-real-people-feel-taste-hear-color.html

... and then we are not even speaking of tetrachromacy! And following that, imagine a synesthetic person with tetrachromacy! The mind boggles 🤣

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1 hour ago, christoph_d said:

... and then we are not even speaking of tetrachromacy! And following that, imagine a synesthetic person with tetrachromacy! The mind boggles 🤣

Thank goodness all we have to do is load a roll of colour film into a Leica. Then let Kodak do the rest!

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On 5/27/2020 at 7:57 AM, christoph_d said:

As you are on a shopping spree anyway, you may want to look for a VC 4/24 snapshot skopar as well. Small, light, not coupled to the rangefinder and an ideal travel companion together with the 40mm. Attached a picture I took from a taxi, somewhere east, on the way to the airport.

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Bessa-L, 24, Eagle640

Great picture!!!

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3 hours ago, AntonioF said:

Picnic with the Rolleiflex Automat (Tessar 75/3.5) - Apart from my focusing skills with the horrible, dirty, dark and highly reflective ground glass of the camera, it looks like there's some glowing at the highlights when the lens is open. The lens is probably in the same ugly conditions as the ground glass. Yet, it is fun to use this old camera.

Rolleiflex Automat 2, Kodak Portra 160 ('05 expired)

 

 

A feast for the eyes, both, the protagonists, as well as the image; just look at the disappearing background behind the car! 

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2 hours ago, christoph_d said:

A feast for the eyes, both, the protagonists, as well as the image; just look at the disappearing background behind the car! 

And that Thambar-like glow around the blue bonnet of the stroller! Though it's in color, it is reminiscent of photographs in my 1936 The Golden Book of the Rolleiflex.

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Bumps
M-A APO 50 E100
Johannes Itten and The Art of Color underfoot with cautionary colors.

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vor 22 Stunden schrieb Ernest:

Thanks, Klaus. Just an extra, if you stare at only the red field for twenty seconds, not letting you vision wander, you will see the most spectacular complementary after-image of emerald green when you shift your view to the gray/blue field. It's quite a Zen experience.

First, you see dis, Zen you see dat.

Zigging and zagging,
Roger Dodger

Thank you Rog. I love these Zen moments. Considering myself a diligent member of the order of the colored fields--charter Rog, subchapter strict observance--this was the first thing to do...and I agree-this emerald green is absolutely stunning. A hidden picture in it self...  

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