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I like film...(open thread)


Doc Henry

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vor 19 Stunden schrieb stray cat:

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

Chris, I can't supply any scientific evidence, but my feeling is that we are all synesthetes to  a varying extent. Common language holds it--why should a monday be blue or envy -the feeling - green. In my system a green bordering on Cad yellow....       

And yes: Color vision is something very much less defined than the common  use of the concept suggests--just for practicality we do as if. 

vor 11 Stunden schrieb AntonioF:

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)

 

 

Lovely pictures, Antonio. The Rollei and its imperfections seems just perfect for this situation. I'm glad you are able to go out again... 

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Intersection Ascending
M-A APO 50 Fuji Natura

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2 hours ago, stray cat said:

Wow this has a really dystopian BladeRunner-type vibe...

It's an interesting place, a factory complex designed and funded by the East Germans in the 50s. A lot of elite Chinese artists had (probably still do) their studios there. Ai Weiwei's house was a short walk from the district.

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Another attempt of luring Henry back into the fold. Using his favourite motive and one of his favourite lenses...

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MP, 90, Portra160

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Schema 90
M-A APO 50 E100

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At the summit of W. Racquet Club Road, Palm Springs, Calif. March 2009

 

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Kodachrome 64 | Nikon F5 35/2.0 AF-D | Coolscan 9000 | Vuescan

 

 

Nothing special other than my first scanning of K64 with Vuescan.

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I keep coming back to this one Rog. Not so sure about the title though. It's more Hitchcockian, like depicting the aftermath of some gruesome deed in a darkroom, safelight still on. Haunting stuff! And now I have to go to sleep, great.

On 5/26/2020 at 7:24 AM, Ernest said:

Intersection No. 8
M-A APO 50 Fuji Natura

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Truly painterly! What a lovely image. More please :) 

On 5/27/2020 at 11:51 PM, Nachtmsk said:

Savannah GA, Spanish Moss on Skidaway Island.

M6 with 28 Elmarit.

Fujichrome

 

Even the simplest scenes can be turned into good photography if the photographer knows what's to be done. There's an exciting tilt to this image which, one realises once the eyes reach the expertly levelled horizon, was just a mirage.

On 5/28/2020 at 12:34 PM, Xícara de Café said:

2017. Nikon FE, Nikkor 28mm 1:2.8 Ais, Kodak ColorPlus 200.

Well haze and glow or not, both are great photos, especially the first one I think. Remarkably crisp!

On 5/28/2020 at 12:55 PM, 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)

 

 

What struck me about this image was that knot of pipes. Not only the state they're/were in, but the fact that someone was able to conceive and design it. I'm often struck by this when I see complex industrial machinery. It's beyond me how one would even begin such a project. Turning on my slightly more artistic baseball cap what's also really cool with this image is that that knot looks like a heart and I can imagine it pulsate with whatever fluids or gases are needed to make the system run. Sort of like organic industrial brutalism, if there is such a thing (to quote Mr Smith).

11 hours ago, Xícara de Café said:

2003, Dashanzi, Beijing. Mamiya C330, 55mm 1:4.5. Fuji transparency.

Well I think it is special. The colour is unmistakable, a true delight to behold. And the scene is very pretty indeed. I can definitely imagine why you would want to stop to raise your camera. 

3 hours ago, mradey said:

At the summit of W. Racquet Club Road, Palm Springs, Calif. March 2009

 

 

Kodachrome 64 | Nikon F5 35/2.0 AF-D | Coolscan 9000 | Vuescan

 

 

Nothing special other than my first scanning of K64 with Vuescan.

 

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The RT and the R   [T-Max 400]

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2 hours ago, philipus said:

I keep coming back to this one Rog. Not so sure about the title though. It's more Hitchcockian, like depicting the aftermath of some gruesome deed in a darkroom, safelight still on. Haunting stuff! And now I have to go to sleep, great.

Safelight? Is that oxymoronic? Color field safe in light of the dark? Hitchcock is all about the promise of aftermath, right? The title? I betray myself and the seven intersections required in my transit to arrive at Intersection No. 8. Perhaps Orwellian, but this far out of town or that far in town, no names come to mind. Never mind. Intersection No. 8 will probably not make the cut on the itinerary, since the conductor was too light on the nuance button. Nonetheless, into the shredder it goes to see how it flies. Go to sleep? Who sleeps, anymore?

"What struck me about this image was that knot of pipes. Not only the state they're/were in, but the fact that someone was able to conceive and design it. I'm often struck by this when I see complex industrial machinery. It's beyond me how one would even begin such a project. Turning on my slightly more artistic baseball cap what's also really cool with this image is that that knot looks like a heart and I can imagine it pulsate with whatever fluids or gases are needed to make the system run. Sort of like organic industrial brutalism, if there is such a thing (to quote Mr Smith)."

Energetic perspective, you plot. As Phil pulled the trigger on the other Philip, as in K. Dick, and that Blade Runner dystopia, this is a haunting harbinger of the landscape deconstructing itself. Deconstruction architecture two decades before the Centre Pompidou Paris, naked pipes embraced as utility text. As you metaphorically say, "that knot of pipes"--like a fist doubled up for a gut punch to take you down. Frankenstein. Mary Shelley had it two hundred years before Dick's androids started dreaming. Dr. Frankenstein's Creature gone horribly wrong. 

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15 hours ago, Xícara de Café said:

2003, Dashanzi, Beijing. Mamiya C330, 55mm 1:4.5. Fuji transparency.

 

3 hours ago, philipus said:

I've been out walking in Stockholm again. 

Royal Palace


Flickr
80 Planar Ektar X1

Furthering the discussion of Cup of Coffee's remarkable shot, I couldn't help noticing - as so often seems to serendipitously happen on this most excellent thread, the incredible contrast between the two photographs above. In what is surely Philip's masterpiece from his midnight rambles through Stockholm we are gifted an absolutely wonderful picture that portrays a much respected and venerable building, no less than the seat of the Royal family, illuminated by sparkling lights and with a significant splash of red to allude to the passion with which Swedes, presumably, view their Royals. It's all neat as a pin, sharp, perfect, symmetrical, pleasing to the eye. Juxtaposed against this is Xicara's brutalist, seemingly unloved industrial anachronism, belching smoke from its tangle of pipes which have, or had, god-knows-what purpose, although we can perhaps assume that it wasn't done with the well-being of its citizens, as opposed to the Swedish Royal family. Xicara's picture also has that line of military, ominously very aware of the camera and Xicara's interest.

Wonderful! I am, as an aside, fixated on the reflection of the sign floating on the surface of the water in Philip's picture. Who mentioned polar bears?

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11 hours ago, Suede said:

The RT and the R   [T-Max 400]

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This looks a very nice setup for some serious touring, Pritam. Is this taken close to home or further afield?

 

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Sometimes the one-eyed god of photography seems to be playing with us. From Adam (is he still reading in?) I received a roll of 13 year out of date slide film, which I had in my camera, and which I paired with the 2/40C to try and get some useful shots to demonstrate the specific traits of said lens to Phil, who is waiting for his version. I had it cross-developed in the local store. The result was not at all what I expected, the lady at the store initially wanted to throw the  film away and offered the development for free,  as she thought the disappointment of getting back a pitch black negative without content shouldn't be paired with the further disappointment of having to pay for it (that's great service by the way, I really like my local store!). So while the years beyond the "photograph-by-date" really showed, on closer inspection some shades of blackness could be discovered on the negatives, so I took it upon me to scan them in. Suffice it to say that, while 150 years ago the results may have been a world-sensation, the quality for today's standards are rather idiosyncratic with a generous dollop of serendipity thrown in 😁

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CL, 40, Konica Minolta Slide film, 13 years out of date, cross developed (no photoshop involved)

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6 minutes ago, christoph_d said:

Sometimes the one-eyed god of photography seems to be playing with us. From Adam (is he still reading in?) I received a roll of 13 year out of date slide film, which I had in my camera, and which I paired with the 2/40C to try and get some useful shots to demonstrate the specific traits of said lens to Phil, who is waiting for his version. I had it cross-developed in the local store. The result was not at all what I expected, the lady at the store initially wanted to throw the  film away and offered the development for free,  as she thought the disappointment of getting back a pitch black negative without content shouldn't be paired with the further disappointment of having to pay for it (that's great service by the way, I really like my local store!). So while the years beyond the "photograph-by-date" really showed, on closer inspection some shades of blackness could be discovered on the negatives, so I took it upon me to scan them in. Suffice it to say that, while 150 years ago the results may have been a world-sensation, the quality for today's standards are rather idiosyncratic with a generous dollop of serendipity thrown in 😁

CL, 40, Konica Minolta Slide film, 13 years out of date, cross developed (no photoshop involved)

This is brilliant! Only with film, eh? And if my still-yet-to-arrive 40mm minolta gives me any measure of creative  like this, I'll be absolutely stoked! Bring on the happy accidents, the fortuitous mistakes, the serendipitous unimaginable things the camera store would rather you not see or even pay for! This is art! This is brilliant!

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Increase in demand..

M4-P VM75/1.5 FP4+ in ID11

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