I like film...(open thread)

[Wayne]

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to Amy. A fellow dog lover

 

Nikon F2, Nikkor-O 35/2, Foma 200, 510 Pyro.

 

A while back, I can't find the post now, a member inquired about the aesthetics of dust spots on the negative. I have thought about that question long and hard. I consider it a personal defeat to not be able to come to any useful conclusion on the subject.....from an aesthetic standpoint. However, I have determined the dust to be somewhat useful: I do find the labor of "healing" the dust spots to be therapeutic. 

Wayne

 

Edited August 2, 2020 by Wayne

[stray cat]

5 hours ago, Erato said:

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Elitechrome, P50 MMJ, Contax

 

Stray Cat, FUJIFILM ASTIA 100F, Rolleiflex 2.8F Xenotar II

 

4 hours ago, gbealnz said:

THE "Stray Cat"? The fair dinkum Ozzie bloke who's likey well locked fown at the moment?  Phil, is that really you?

Love them both.

 

2 hours ago, philipus said:

If so he's a lot furrier than I had imagined  I agree, Raymond both are great pictures.

What can I say? Raymond has captured me in a reflective, albeit alert, moment. Doesn’t happen all that often (reflective OR alert) so it is a brilliant picture.

And yes, Gary, I’m sure you have wonderful memories of Stage 4 restrictions, which we entered tonight. Can’t say I’m looking terribly forward to the next six weeks, but you lot across the pond seem to have come out of it pretty well, so I just hope we can do as well as you.

 

 

2 hours ago, philipus said:

Have I posted this one already or have I only dreamt that I did? If so, excuse the double post. When I walked around Tbilisi the first time I was there I was inspired by a shot Phil (Stray Cat) had posted quite a while ago that was sort of similar to this, so I simply had to raise my camera to see what it would look like when developed. This is with the new Ektachrome, a film I have more a hate, than a love, relationship with. I find it exceptionally difficult to expose and scan, but this one turned ok.


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50/1.4A Ektachrome CS9000

Philip this is wonderful - chapeau! I am continually excited by the way photography trains us to see. I think Rog would give you top marks for the colour palette here, too - Ektachrome (and I think I agree with you about having an ambivalent Feeling towards it) is the perfect choice here.

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[stray cat]

15 minutes ago, Wayne said:

To Amy. A fellow dog lover.

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Nikon F2, Nikkor-O 35/2, Foma 200, 510 Pyro.

 

A while back, I can't find the post now, a member inquired about the aesthetics of dust spots on the negative. I have thought about that question long and hard. I consider it a personal defeat to not be able to come to any useful conclusion on the subject.....from an aesthetic standpoint. However, I have determined the dust to be somewhat useful: I do find the labor of "healing" the dust spots to be therapeutic.

Wayne

 

Again, so well seen, observed, composed, framed and shot, Wayne. On the question of the aesthetics of dust - I admit to being an anti-duster - I really can’t bear looking at it in pictures. Within reason I also find eliminating the dreaded little spots quite therapeutic, although I have some negatives that seem to be more dust than picture. Those ones, usually from the depths of the crypt, tend to end up getting a new wash 🧽  🧼 before the spotting begins.

[Wayne]

I wanted to crop the road; the pavement was fresh; it seemed a shame to just throw it away.

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[Erato]

Interesting...No wokkas.

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RDP III, D25, Contax

 

Ektarchrome 64, Nikkor 85mm F1.4, FM2

Edited August 2, 2020 by Erato

[Wayne]

Karate

 

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Edited August 2, 2020 by Wayne

[Sparkassenkunde]

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9 hours ago, Erato said:

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Both are outstanding! The first for the awesome colors, and the second for the perfect focus. Thanks for sharing them here!

[Sparkassenkunde]

Another one from my long exposure series from the Baltic Sea:

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M4-P - Cron 35 - Portra 160

[philipus]

Well this photo begs the question what nothing is, methinks. Some people talk of negative space in photographs to indicate that which is not the main focus of the picture, and often it seems to be emptyish areas too, like sky, grass or such. But there's a lot going on here. Look at the lines, the diagonal of the building at left which leads straight to the diagonal of the centre crane. And see how the wavy fumes of the smoke stack mimic the sinus curve of the railing. Not to mention the almost perfectly symmetrical yin-yang dualism of the grass and the body of water with us, the viewers, perilously at the central line, balancing over a split abyss that is both malevolent, should we fall to the right into the darker yin half, and benevolent, should we instead tip left into yang. Or is it the other way around? Yin, the female, is normally interpreted as wet whereas yang is dry. All very confusing and so tantalisingly interesting. While it may have been a gloomy day the photo is not very gloomy at all  

6 hours ago, Suede said:

Photography on a gloomy day... really nothing there.   [Tri-X]

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Really lovely photo.

5 hours ago, mdp said:

Cross country

MP Nokton 75/1.5 Tmax100

As is this. And I confess, I am a dust hater and go to great lengths and spend lots of zen-like time to hunt those specs down.

5 hours ago, Wayne said:

f

to Amy. A fellow dog lover

 

Nikon F2, Nikkor-O 35/2, Foma 200, 510 Pyro.

 

A while back, I can't find the post now, a member inquired about the aesthetics of dust spots on the negative. I have thought about that question long and hard. I consider it a personal defeat to not be able to come to any useful conclusion on the subject.....from an aesthetic standpoint. However, I have determined the dust to be somewhat useful: I do find the labor of "healing" the dust spots to be therapeutic. 

Wayne

 

Hahaha! Made me smile. It took me a while to spot the figures.

4 hours ago, Wayne said:

Karate

 

Nikon F2, Nikkor-O 35/2, Foma 200, 510 Pyro

This is really good James, and I prefer the tender light and palette of this one to the previous one. The rocks almost look lit by gelled strobes.

45 minutes ago, Sparkassenkunde said:

Another one from my long exposure series from the Baltic Sea:

M4-P - Cron 35 - Portra 160

 

[gbealnz]

7 hours ago, stray cat said:

And yes, Gary, I’m sure you have wonderful memories of Stage 4 restrictions, which we entered tonight. Can’t say I’m looking terribly forward to the next six weeks, but you lot across the pond seem to have come out of it pretty well, so I just hope we can do as well as you.

To be sure Phil, still indelibly etched into the mind, Level 4 lock-downs. And while we seem to be back to normal, other countries have shown it doesn't take much to revert to spikes. So I think for us it's just a matter of sticking to the plan, personally I'd have clammed the borders shut ages ago, to everyone. But there is a mass of people returning, and putting all manner of strains on the logistics. And most are bitching about the prospect of having to foot the bill of mandatory managed isolation.  Anyway, currently we are lucky.

6 weeks will pass quickly, in our case the rural road where we are was perfectly safe to walk on, everyone was out walking, and cycling, few cars, I'd be less than honest if I said it wasn't fun, because it was.

Keep well.

[Ernest]

11 hours ago, philipus said:

Have I posted this one already or have I only dreamt that I did? If so, excuse the double post. When I walked around Tbilisi the first time I was there I was inspired by a shot Phil (Stray Cat) had posted quite a while ago that was sort of similar to this, so I simply had to raise my camera to see what it would look like when developed. This is with the new Ektachrome, a film I have more a hate, than a love, relationship with. I find it exceptionally difficult to expose and scan, but this one turned ok.

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Simply register for free here – We are always happy to welcome new members!

Flickr
50/1.4A Ektachrome CS9000

Yes, I agree with Phil on the color palette--an assertive white contrasting with the nosebleed red and the manganese blue/viridian/Payne's gray with burnt umber/yellow ochre rust and a couple of slashes of cobalt violet. But, it's your editing that makes the statement. You could have framed it without the context of the locked steel door, but it would not have spoken with the same voice, the same sense of assault. The historical layering of one message over another, an ongoing chorus of complaint, assertion, advertising, persuasion--it's the ruined message that invites our translation, our reconstruction of an imagined wholeness from the fragments. Evidence in our muzzled existence, the visual complaint. Ralph Gibson, shooting his Quadrants with a DR Summicron to get close, printed his images 16x20 so that they appeared almost life-size. I am imagining your image that size, which will draw the viewer close for a one-on-one. 

[Jim J]

One from me, taken on Ilford XP2 with a Leica IIIa with an uncoated f3.5 Elmar:

 

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[hillavoider]

100 Macro Portra 400 

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[hillavoider]

same 

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[Jim J]

On Ilford XP2 with a Leica IIIa fitted with an uncoated f3.5 Elmar:

 

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[philipus]

Thank you very much for your insights, Rog. I didn't know of Gibson's Quadrants actually and had to look it up. I like it a lot, because it is almost as if there is no theme among the photos, beyond the narrow framing and the high-contrast scenes. Very exciting stuff, so thank you for mentioning it. You gave me an idea to print it large if only to see what it looks like. Perfect project for today's rainy day  

8 hours ago, Ernest said:

Yes, I agree with Phil on the color palette--an assertive white contrasting with the nosebleed red and the manganese blue/viridian/Payne's gray with burnt umber/yellow ochre rust and a couple of slashes of cobalt violet. But, it's your editing that makes the statement. You could have framed it without the context of the locked steel door, but it would not have spoken with the same voice, the same sense of assault. The historical layering of one message over another, an ongoing chorus of complaint, assertion, advertising, persuasion--it's the ruined message that invites our translation, our reconstruction of an imagined wholeness from the fragments. Evidence in our muzzled existence, the visual complaint. Ralph Gibson, shooting his Quadrants with a DR Summicron to get close, printed his images 16x20 so that they appeared almost life-size. I am imagining your image that size, which will draw the viewer close for a one-on-one. 

This is lovely Jim, very organic or even human with the roots looking like human fingers. It calls to mind Salgado's beautiful photo Marina Iguana, to me.

3 hours ago, Jim J said:

One from me, taken on Ilford XP2 with a Leica IIIa with an uncoated f3.5 Elmar:

 

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Masterfully done. I really like dreamy floral photos like this. Which camera is it with?

1 hour ago, hillavoider said:

same 

 

 

[wlaidlaw]

Gibson's quadrants we were taught at school in physics lessons, is why you should always paint a butcher's shop green not red. Green will make the meat look redder whereas red will give it a green appearance. 

Wilson

[philipus]

I love good wordplay, and this is one of the better I've seen in a while. 

Tbilisi

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50/1.4A Ektar CS9000

[hillavoider]

1 hour ago, philipus said:

Thank you very much for your insights, Rog. I didn't know of Gibson's Quadrants actually and had to look it up. I like it a lot, because it is almost as if there is no theme among the photos, beyond the narrow framing and the high-contrast scenes. Very exciting stuff, so thank you for mentioning it. You gave me an idea to print it large if only to see what it looks like. Perfect project for today's rainy day  

This is lovely Jim, very organic or even human with the roots looking like human fingers. It calls to mind Salgado's beautiful photo Marina Iguana, to me.

Masterfully done. I really like dreamy floral photos like this. Which camera is it with?

 

 

Oh yeah forgot it’s a Canon 7s 🤪

need a 🥃

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[Bateleur]

15 hours ago, Sparkassenkunde said:

Another one from my long exposure series from the Baltic Sea:

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M4-P - Cron 35 - Portra 160

I'm enjoying your "long exposures" James, for me you have a nice mix of movement and detail. Oh and the colours are sublime.