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I like film...(open thread)


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End of season-the last ones.

 

MP; Summarit 2,4/90; Portra 160@100

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Salvo, our Entlebucher Mountain Dog, resting in our longe in Bristol a few years ago.

M2, Ilford HP5+

 

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Release
M-A APO 50 Fuji Natura

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Schooners, sculling and Silvermax.

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Am 12.8.2020 um 13:56 schrieb stray cat:

This one's a bit of a cheat. I took the photo on digital during my short-lived digital phase in 2007. My digital phase was short-lived largely because all of the digital photos from this 7-month around the world trip subsequently got obliterated by a Macintosh head crash coupled with a backup drive that failed to restore. Oh, that and I never took to the look of digital anyway. So why is it here in the "I Like Film" thread you may well ask? Well, I had a small jpeg of this photo on my Zenfolio page which I showed to a rather astute fellow (Hi Rog!) who recommended I make a print of the photo, shoot it on film, and then it would be eligible to be posted here. So I did! Anyway I like it because it's red:

notice board, orvieto, italy 2007

olympus E1 rephotographed using canon F1N, 100mm macro, Agfa Vista 400

 

 

What a well balanced composition-no doubt with the help of your framing. What makes it special for me, is the floating of the paper bits over the red surface.. like autumn leaves in a --somewhat toxic-- pond. This piece is asking for a haiku  ...

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vor 13 Stunden schrieb christoph_d:

Continuing a bit the theme on gothic Bavarian Churches. Here a picture from the Klosterkirche Fuerstenfeldbruck. To me it seemed that the artist purposefully created the Putto in such a way that the golden ornament seems to irritate his eye and causes his exasperating expression. Entertainment from around 1750...  

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MP, 35, ProImage100

Christoph, that must have been a very spiritual journey through the hot spots of the Bavarian Baroque..... joy of living in the face of life´s unpleasantries and the certainty of death...

I´ll have another stone... 

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Detour  II 
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On 8/12/2020 at 3:13 PM, Kl@usW. said:

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SBB-on the way to Zürich

MP; SLX 35; Portra 160@100

Gulp, the g-force here has just dropped my IQ below room temperature. I had the same diagnosis after a stint with J.M.W. Turner's "Rain, Steam and Speed - The Great Western Railway" (1844). This is your most painterly with a dash of Muybridge's locomotion, truly artful. I am definitely taking out some vertigo insurance when I visit your gallery.

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On 7/31/2020 at 12:29 AM, christoph_d said:

Luckily the initial picture of the orchard was taken with a pinhole camera. No weapons-grade rangefinder involved, though the shutter does bear a more than passing resemblance to a guillotine. In keeping with the Bosch bouquet, I found an illustration of a proposed treatment due to those that did certain deeds in the past - a case of "There's no turning back" I suppose (Marienmuenster Diessen).

MP, 35, ProImage100

I really have to come back to this little haunting gem of a shot in natural light, such a sense of dimension in the third degree. The framing of the two faces, really masterful!

17 hours ago, christoph_d said:

Continuing a bit the theme on gothic Bavarian Churches. Here a picture from the Klosterkirche Fuerstenfeldbruck. To me it seemed that the artist purposefully created the Putto in such a way that the golden ornament seems to irritate his eye and causes his exasperating expression. Entertainment from around 1750...  

MP, 35, ProImage100

A truly admirable series, and this shot with such controlled DOF--and humor where I think we would least suspect it. A real delight. Again, your sense of scale and depth is really sublime.

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Correction
M-A APO 50 Fuji Natura

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On 8/13/2020 at 12:13 AM, Kl@usW. said:

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SBB-on the way to Zürich

MP; SLX 35; Portra 160@100

Swiss rail at her best ... I shudder to  think where you were to take the photo - or you were driving an oncommng one 😉 

5 hours ago, Nachtmsk said:

Leica M6/ 35 cron

Jr High school car wash.

Nicely caught, a fun image with understandable body language.

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It's the reds, it's always the reds, that give away digital pix (imho). And, I have now learnt, this can be healed by running the image through a bit of grain, halleluja! Imagine that! I love this photo, Phil. Rog analysed perfectly and my uneducated mind simply nods fervently in full agreement. We've been doing a fair bit of bodyboarding this summer and the impression I get of this great photo is of boards, surf or otherwise, hovering above a red going towards crimson sea that shouts Danger Warning Warning accompanied by that classic klaxon alarm sound that forever has indicated imminent danger in the movies. Where's the shark?

On 8/12/2020 at 1:56 PM, stray cat said:

That's a couple of fine pieces, Xícara. And what a beautiful room for it to dwell in!

This one's a bit of a cheat. I took the photo on digital during my short-lived digital phase in 2007. My digital phase was short-lived largely because all of the digital photos from this 7-month around the world trip subsequently got obliterated by a Macintosh head crash coupled with a backup drive that failed to restore. Oh, that and I never took to the look of digital anyway. So why is it here in the "I Like Film" thread you may well ask? Well, I had a small jpeg of this photo on my Zenfolio page which I showed to a rather astute fellow (Hi Rog!) who recommended I make a print of the photo, shoot it on film, and then it would be eligible to be posted here. So I did! Anyway I like it because it's red:

notice board, orvieto, italy 2007

olympus E1 rephotographed using canon F1N, 100mm macro, Agfa Vista 400

 

 

And again serendipity dips into this lovely thread and helps put two similar but dissimilar photos next to each other. This is like the detailed, clear, fully legible and intelligible, luscious and almost tangibly visceral cousin of Phil's photo above. I've now reached my quota on adverbs for the day. Well done Raymond. 

On 8/12/2020 at 3:39 PM, Erato said:

Fuji Astia 100F 35mm reversal film (RAP 100), D25, CONTAX

WOW, you need to apply for the position as cinematographer at the next Mission Impossible. Perfect timing with the front of the train not yet hidden by the grassy knoll.

On 8/13/2020 at 12:13 AM, Kl@usW. said:

SBB-on the way to Zürich

MP; SLX 35; Portra 160@100

Haha your framing makes the impression even stronger Christoph. Well done.

On 8/13/2020 at 8:41 AM, christoph_d said:

Continuing a bit the theme on gothic Bavarian Churches. Here a picture from the Klosterkirche Fuerstenfeldbruck. To me it seemed that the artist purposefully created the Putto in such a way that the golden ornament seems to irritate his eye and causes his exasperating expression. Entertainment from around 1750...  

MP, 35, ProImage100

Thank you for the description, I've learnt something new today and it's not even 11am :D Another great close-up Xicara.

22 hours ago, Xícara de Café said:

Thanks again Ernest! Re. the floor: no one can harvest that wood anymore to use on floors or in construction, its protected. It's called "pau brasil" - Brazil wood. It was originally harvested to extract the red pigment that was used to make dye and the trade in it was so profitable, they decided to name the country after it. There's a variety of it from the north east called pernambuco in English (named after the Brazilian state) which is used on every fine stringed instrument bow since i don't know when. That's the only permitted use for the wood.

No dowels or fasteners used on the stand, just glue. There's 16 joins so it's pretty solid and I did check the design with a woodworking forum before building it as the switchboard weighs over 20Kg - a professional there gave it the OK :-). The orange piece however is just sitting on the cross-bars. It's perfectly secure with the switchboard on top but i will probably attach it anyway with screws and brackets rather than glue, that way i can remove to touch up the paint when needed. I went traditional with the finish on the stand itself. It's lacquer.

Heading back to photography, here is my Stanley Bailey #3 :-). Same specs as the last colour photo:

 

That must be some badass dog. Looks like the kind Darth Vader might keep.

21 hours ago, Wayne said:

Ansco Memo (1927), Bausch & Lomb Anastigmat 60/3.5, Expired Svema 32

Wonderful, truly taken at the perfect moment.

6 hours ago, Nachtmsk said:

Leica M6/ 35 cron

Jr High school car wash.

 

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vor 21 Stunden schrieb Wayne:

Ansco Memo (1927), Bausch & Lomb Anastigmat 60/3.5, Expired Svema 32

Loosing your dog is something very distressing-and the dog looking at us seems to know the trouble it is causing... seemingly simple, it tells a story and brings into memory some stories of the past. That's what a picture can do-if it´s good. 

Am 12.8.2020 um 15:39 schrieb Erato:

Fuji Astia 100F 35mm reversal film (RAP 100), D25, CONTAX

Lovely, Erato

Am 11.8.2020 um 21:19 schrieb Ernest:

Zone Radio
M-A APO 50 Fuji Natura
Companion piece for Xicara de Cafe's party line, though I was probably more in a Chernobyl state of mind.
 

An intruiging combination.  A plinth, drawn with the decision of a designing engineer who knows were he's heading--only to  be topped by some organic structure in  advanced stage of decay, soon to ooze its nasty contents all over the beautiful construction... 

 

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On 8/13/2020 at 1:26 PM, Ernest said:

This is such a provocative work on a number of levels. The presence of absence, the fragmentation, hints of ruin architecture, compositional elements, the sense of movement in stillness, and tonal grain. 

The gap allusion by what is missing is forceful; there are only shards, paper scraps, that only allude to fragments of rectangular sheets. The hint of calligraphy. It calls to mind an art book I just received by Brice Marden titled Think of Them as Spaces--abstract calligraphic passages ordered on paper, reminiscent of Jasper Johns's alphabet series. Only your work here does not afford the luxury of signs easily deciphered. These are fragments that float over a flat landscape of cadmium red. It calls to mind, simultaneously, the 18th-century vogue of the preoccupation of architectural ruins, a vogue that carried into British Romanticism. One oft-cited example is John Keats's ode "On Seeing the Elgin Marbles," the marbles being the ruins of Greek sculptures Lord Elgin moved to England, a controversy that persists, today.

The subtle grain of film does what cinematographers did shooting film in the sixties and seventies--pushing and flashing--to take the inherent sharpness out of Kodak's 5254 film. For example, Vilmos Zsigmond used this lab technique on Spielberg's first feature film, The Sugarland Express.

I am anxious to experiment with this, so thanks for pushing this on stage.

The way that the cadmium yellow fellow downstages everyone else is really quite entertaining. The work needs a grand theatre. Thanks, Phil.

Thank you so much Rog, for this incredibly generous and interesting comment on my photograph (also to Philip and all who gave it a thumbs up). As always, Rog has brought into the discussion an incredible depth of understanding of the wider world of art. Of particular interest to me was the discussion of pushing and flashing in cinema (and of course still in film photography). My research revealed the following article which I found fascinating, and I think might be of wide interest to people who love film (both photographic film and in the sense of cinema):  https://ascmag.com/articles/creative-post-flashing-technique-for-the-long-goodbye Vilmos Zsigmond was involved in both this and The Sugarland Express as well as Deliverance, One Flew Over the Cuckoo's Nest... one of the truly great DoPs.

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Thanks for linking to that article Phil. What an interesting technique to control contrast. 

8 hours ago, stray cat said:

Thank you so much Rog, for this incredibly generous and interesting comment on my photograph (also to Philip and all who gave it a thumbs up). As always, Rog has brought into the discussion an incredible depth of understanding of the wider world of art. Of particular interest to me was the discussion of pushing and flashing in cinema (and of course still in film photography). My research revealed the following article which I found fascinating, and I think might be of wide interest to people who love film (both photographic film and in the sense of cinema):  https://ascmag.com/articles/creative-post-flashing-technique-for-the-long-goodbye Vilmos Zsigmond was involved in both this and The Sugarland Express as well as Deliverance, One Flew Over the Cuckoo's Nest... one of the truly great DoPs.

A selfie? :D 

6 hours ago, Xícara de Café said:

Nikon F2 Photomic, Nikkor-S Auto 50mm 1:1.4, Ilford FP4+ 125 @ 100, PMK 1:2:100.

 

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More from the fun fair, but in daylight this time.

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TTL 50/1.4A Portra 400 CS9000 Edited by philipus
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M6, 35 CronASPH I, ADOX Silvermax, Caffenol

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