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3 hours ago, hillavoider said:

Anyone else have experience with Rollei Crossbird, did you also get some weird grain 

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Yes I did. But that’s just like “real” cross development, as os that mould-green Colour :)

Which you used well here, by tge way.

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44 minutes ago, JMF said:

en rouge et noir by JM__, on Flickr

Another shutter problem, this time with a Minolta CLE.

Ektachrome 100 + 40 Rokkor M.

...into the dark. You masterly used that problem to the picture’s advantage. 😁

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Early March 2020 in Paris ...

Paris Tour by JM__, on Flickr

Ektachrome 100 - 40 Rokkor M - Minolta CLE

Edited by JMF
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Paris by JM__, on Flickr

Ektachrome 100 - 40 Rokkor M - Minolta CLE

Edited by JMF
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Had to share a tower shot !

Paris by JM__, on Flickr

Ektachrome 100 - 40 Rokkor M - Minolta CLE

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Just an unmetered shot (not even Sunny 16) with Cinestill without fixing the temp. M4-P 35 FLE and Kentmere 100 Just for fun.

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22 hours ago, Bobitybob said:

Coniston Water and flair ...

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Mamiya 645 Pro, Sekor-C. 45, Kodak Ektar (Expired), Cinestill Cs41, Jobo CPE

Very well done, Bobitybob. I like shots like this, defying the light. I always feel it an act of boldness to take it on and get it down the way you have here. I see it is a large negative and wonder if that makes it any 'easier', and also wonder how a 35mm format might have fared in this situation. 

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1 hour ago, Suede said:

Very well done, Bobitybob. I like shots like this, defying the light. I always feel it an act of boldness to take it on and get it down the way you have here. I see it is a large negative and wonder if that makes it any 'easier', and also wonder how a 35mm format might have fared in this situation. 

Thank you for your kind words and I like these sort of shots as well.

I'm sure you are right regarding the size of the negative being an influencing factor, perhaps due to the larger scan size (megapixels), or could it be that because of this the dynamic range is greater.  Unfortunately, I'm not an expert on these maters but I'm sure there are other who may be able to shed more 'light' on the subject.  I mainly just point the camera and hope for the best🤪

In the meantime a colour and black & white example, shot with 35mm film.  Not sure if they prove anything, but I like them ...

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Canon EOS 5, Ef Macro 1:2.8/100, Agfa Vista Plus 200, Tetenal Colortec C41

 

Leica 0 series (replica), Fomapan 200, Rodinal 1:100 stand

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Occlusion
M-A APO 50 E100

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On 6/18/2020 at 2:52 AM, stray cat said:

As a boy, my grandfather collected stamps:

F1N, FDn 100mm macro, velvia 50

Well, I keep coming back to this, not so much because for me it echoes the grid work series that has been clamping onto my attention but rather because it invites so many layers of discussion. Think of Jasper Johns's Number and Alphabet series, Warhol repetition of common objects, and then there is the color field aspect itself. The red and black and raw sienna limited palette. Maybe it's the squiggles of the stamp cancellations, but Brice Marden sneaks in here, too. Not to mention the theatre of Samuel Beckett and the centrality of repetition. Or is it that the whole bizarre, dark theatre of global lockdown weighs on the so heavily on the chest it's a struggle to simply breathe? And, in this context, Phil, your Victoria one penny stamps collected by your grandfather at the turn of the last century is buoyant. Yes, I couldn't help looking it up; the Australian Victoria one penny stamp--now, it would cost 31 cents--was printed from 1901-1912. All mounted by your grandfather's hand in a stamp collection book. The commerce of ideas by letter. There were several variations of the one penny stamp with varying shades of red, too. 

All right, I'll sandwich Ed Ruscha and his 26 Gas Stations into the discussion of repetition.

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1 hour ago, Ernest said:

Well, I keep coming back to this, not so much because for me it echoes the grid work series that has been clamping onto my attention but rather because it invites so many layers of discussion. Think of Jasper Johns's Number and Alphabet series, Warhol repetition of common objects, and then there is the color field aspect itself. The red and black and raw sienna limited palette. Maybe it's the squiggles of the stamp cancellations, but Brice Marden sneaks in here, too. Not to mention the theatre of Samuel Beckett and the centrality of repetition. Or is it that the whole bizarre, dark theatre of global lockdown weighs on the so heavily on the chest it's a struggle to simply breathe? And, in this context, Phil, your Victoria one penny stamps collected by your grandfather at the turn of the last century is buoyant. Yes, I couldn't help looking it up; the Australian Victoria one penny stamp--now, it would cost 31 cents--was printed from 1901-1912. All mounted by your grandfather's hand in a stamp collection book. The commerce of ideas by letter. There were several variations of the one penny stamp with varying shades of red, too. 

All right, I'll sandwich Ed Ruscha and his 26 Gas Stations into the discussion of repetition.

Thank you sincerely , Rog. It would be disingenuous of me not to admit that your grid patterned works were very influential in my not only taking the picture, but also the editing and selection to post here. Ditto with the influences such as those mentioned in your post that you have generously steered us toward in this ever-stimulating thread. That my grandfather, as a boy, steamed these stamps off envelopes, Christmas cards and so forth around 120 years ago and arranged them in albums (there are four or five, with stamps from all over the world) IS highly interesting to me as a kind of personal archaeology. He later married and went on to serve in the Somme during World War 1, and in the 1930s died of complications caused by inhaling mustard gas in that theatre of the absurd and wasteful. He of course had no preconception of all that was to follow when he was a schoolboy, putting stamps into albums. And, yes, the thoughts you express above on global lockdown and current events - on the whole inability of the world to breathe as once we had - plays into my thinking.

31 cents in today's money? Damn! They're charging $1.10!

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4 hours ago, stray cat said:

Thank you sincerely , Rog. It would be disingenuous of me not to admit that your grid patterned works were very influential in my not only taking the picture, but also the editing and selection to post here. Ditto with the influences such as those mentioned in your post that you have generously steered us toward in this ever-stimulating thread. That my grandfather, as a boy, steamed these stamps off envelopes, Christmas cards and so forth around 120 years ago and arranged them in albums (there are four or five, with stamps from all over the world) IS highly interesting to me as a kind of personal archaeology. He later married and went on to serve in the Somme during World War 1, and in the 1930s died of complications caused by inhaling mustard gas in that theatre of the absurd and wasteful. He of course had no preconception of all that was to follow when he was a schoolboy, putting stamps into albums. And, yes, the thoughts you express above on global lockdown and current events - on the whole inability of the world to breathe as once we had - plays into my thinking.

31 cents in today's money? Damn! They're charging $1.10!

The theatre of the absurd and wasteful indeed. I am grateful that, unlike our grandfathers who may have met in the trenches all intent on shooting each other, we can meet peacefully all intend on shooting some film, having perfectly civilised conversations about Leica's and focal lengths and composition and whatnot! Somehow your image has grown into a reminder of how good a time we are living in (yes it could be better, but it could easily be much worse!). 

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3 minutes ago, christoph_d said:

The theatre of the absurd and wasteful indeed. I am grateful that, unlike our grandfathers who may have met in the trenches all intent on shooting each other, we can meet peacefully all intend on shooting some film, having perfectly civilised conversations about Leica's and focal lengths and composition and whatnot! Somehow your image has grown into a reminder of how good a time we are living in (yes it could be better, but it could easily be much worse!). 

Thank you Christoph. I agree with all that you say.

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5 hours ago, christoph_d said:

The theatre of the absurd and wasteful indeed. I am grateful that, unlike our grandfathers who may have met in the trenches all intent on shooting each other, we can meet peacefully all intend on shooting some film, having perfectly civilised conversations about Leica's and focal lengths and composition and whatnot! Somehow your image has grown into a reminder of how good a time we are living in (yes it could be better, but it could easily be much worse!). 

 

4 hours ago, stray cat said:

Thank you Christoph. I agree with all that you say.

To J.H.S.M., killed in action, March 13, 1915.

(Written/composed in the trench)

O Brother, I have sung no dirge for thee:

     Nor for all time to come

Can song reveal my grief's infinity:

The menace of thy silence made me dumb.

Poem by Robert W. Sterling ( later, also killed in action at Ypres, April 23, 1915)

 

I was gifted an old book of Robert W Sterling's poetry by my landlady when I was 24 and stationed in Scotland. Inside the book was a small envelope with contents, below. It seems, somehow appropriate here, following these two comments.

It is owed to Robert W. Sterling, for the treasure the book has been to my life since receiving it.

 

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Edited by Wayne
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