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I like film...(open thread)


Doc Henry

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vor 30 Minuten schrieb christoph_d:

They do have a different character to some extend. Above, say 5,6 similar, below the A stays more evenly sharp, the PA is sharp in the centre less so in the field. The PA shows more distortion, very notacibly so if you photograph brickwalls. Both have a nice creamy bokeh, the PA Mandler style, the A like the 0.95 Nocti. My PA has focusshift wide open (5cm) but I understand that others don’t have that issue. I don’t notice any difference in glare performance contre jour. the A is a bit longer, and with some the focus can be a touch more “sticky”. The A in the old style metal does not have that issue.

In summary: Both are superb excellent phantastic dream lenses, that work very well with film. 

And with a pinch of salt:

If you wear a 50s style trenchcoat and use TriX, use the PA. 

If you Wear jeans and use Tmax the A is your lens of choice.

Or the other way round 😀

Thank you for the explanation…
And when you see a guy in Jeans AND a trenchcoat your little children should not play outside alone... 😉

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NEOPAN 400PR, Dallmeyer Super-Six 2"/f1.9, M5

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Going well, since 1944, the owner proudly claimed.   [Agfa Vista 400]

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Fault
M3 APO 50 Fuji Natura

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no, this isn't very good...but it's the Holga! HP5, Ilf3 1:9. I really love this camera (when I can get the gaffer tape off to change the roll)

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Stockholm, pre-Covid

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Flickr
50/2 SF24 Gold 200 CS9000
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3 hours ago, philipus said:

Stockholm, pre-Covid


Flickr
50/2 SF24 Gold 200 CS9000

Quite interesting study in low light photography. The nearby lighted face in focus, but the Michael Kors sign showing camera shake. Maybe it’s a metaphor for how luxury businesses are doing right now. 

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Wood Stucco
M-A & M3 APO 50 Fuji Natura
The challenge of perspective and stereoscopic framing with two nothingness images taken 2,633 miles apart. What are the issues of photographing nothingness?

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1 hour ago, Ernest said:

Wood Stucco
M-A & M3 APO 50 Fuji Natura
The challenge of perspective and stereoscopic framing with two nothingness images taken 2,633 miles apart. What are the issues of photographing nothingness?

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Nothingness is tricky. In absolute nothingness, there would not be a photograph. Given relative nothingness, one would either look at the hole or the sock or see that the hole is where the sock is not. Like in the case of an in-between. The issue is the something. In other words, time and space :)

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On 7/17/2020 at 12:54 PM, robert blu said:

This is ...complex...for me ! Love it. Now I have to think about...

Thank you for your extraordinary BLOG! What a mother lode of ideas and projects, excavation of your blog reveals many rich veins of photography, art, and just living, indeed. Your notion of "inviting a special friend, Wim Wenders, for coffee" completely caught me, since I have many of Wenders's films and books and especially applaud Wings of Desire and Pina. Your invention of "inviting him to coffee" has now prompted me to reassess my own "acquaintances,' sitting in my library anxious awaiting an invitation to espresso with Rog. Your work with SX-70s has pushed Tarkovsky and his Polaroids Instant Light to the top of my invite list. I can hardly wait to share ideas with him, Polaroids and poetry! And then, there is Wenders opening the door for Antonioni. This is going to be a lively chat that will "blow up" a range of ideas that will understandably draw even Ingmar Bergman, himself, into the room. Coming back to your SX-70's work, I admire your watercolors and conte drawings using Polaroids. Your table-top still life with fruit makes me hungry to get the paint and Arches paper out, again, for a go at it.  No matter how hasty or involved the painting or drawing, the approach to photography is invariably informed. Gerhard Richter published a very small book titled Night Sketches, which has nothing but very quick pencil sketches, surely none taking him more than a minute to draw. Of course, this doesn't take into account the lifetime of work he produced in preparation, as the old adage goes. I am certainly going to blame you, Robert, for pushing me over the edge to get an SX-70 camera. Well, I can tell my wife that Tarkovsky is also to blame, as well as Ralph Gibson.

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Standing Red
M-A APO 50 Fuji Natura 

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Just shoot!

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Zeiss Ikon Tenax II, 45/2.0 Sonnar, Across 100 II

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Leverage
M3 APO 50 Fuji Natura

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12 hours ago, Ernest said:

Wood Stucco
M-A & M3 APO 50 Fuji Natura
The challenge of perspective and stereoscopic framing with two nothingness images taken 2,633 miles apart. What are the issues of photographing nothingness?

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Do I discover a new, unbearable lightness of being in this picture? 

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