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Vintage racing..

Nikon F3HP Ultron 40/2 Tmax400 in DDX

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1 minute ago, mdp said:

Vintage racing..

Nikon F3HP Ultron 40/2 Tmax400 in DDX

 

Nice photo, mdp. You have posted a few with this combination (F3 and the Voigtlander 40/2). I have been meaning to ask a question: Is this the lens which has a close focus attachment for macro? 

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10 minutes ago, Suede said:

Nice photo, mdp. You have posted a few with this combination (F3 and the Voigtlander 40/2). I have been meaning to ask a question: Is this the lens which has a close focus attachment for macro? 

Hi, no it doesn't have a close focus attachment, but focusses down to 25cm which is very handy. I also have an achromat (52mm) which gets it even closer. 

I find it a great all round lens.. 

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(Rakish?) light squiggles.    [Tri-X]

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Edited by Suede
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16 hours ago, stray cat said:

Hi Rog, how do you find the Mamiya Press in terms of handling? Is it relatively easy to hand-hold with 100 ISO film?

 

No problem with the Mamiya Sekor 100 f/2.8, but it's still a 6 lb cumbersome box. I wonder what Benedict Cumberbatch would say if he had one. Eggleston blows his Mamiya Universal shots up to 44" x 60" (I looked it up), and in the DVD William Eggleston in the Real World, they certainly make a statement on the museum wall. One of the rules; anything big is art. Ha, ha. Think of Clifford Still, Mark Rothko, and Jackson Pollock. Then, there's Mike and Doug Starn. I watched Sally Mann's What Remains: The Life and Work of Sally Mann (on Prime Video) and talk about collodion mega-prints and her 1890-era 8 x 10 view camera! 

For my part, I'm going to experiment with some 6 x 9 color field constructions.

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Fissure Fiction
M-A APO 50 ADOX Color Implosion

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48 minutes ago, Ernest said:

No problem with the Mamiya Sekor 100 f/2.8, but it's still a 6 lb cumbersome box. I wonder what Benedict Cumberbatch would say if he had one. Eggleston blows his Mamiya Universal shots up to 44" x 60" (I looked it up), and in the DVD William Eggleston in the Real World, they certainly make a statement on the museum wall. One of the rules; anything big is art. Ha, ha. Think of Clifford Still, Mark Rothko, and Jackson Pollock. Then, there's Mike and Doug Starn. I watched Sally Mann's What Remains: The Life and Work of Sally Mann (on Prime Video) and talk about collodion mega-prints and her 1890-era 8 x 10 view camera! 

For my part, I'm going to experiment with some 6 x 9 color field constructions.

Thank you for your thoughts, Rog. I am uncomfortably beginning to get dangerous thoughts about acquiring an "Eggleston special" myself - for that quality of camera, they can be had at a fairly reasonable price, all things considered. However by a stroke of good fortune I still can't afford one while Covid rules the earth!

Please feel free to disregard this picture if I've posted it before. Taken at the William Eggleston exhibition in a different world way back in 2017 (during the Australasian One challenge, actually). The exhibition was absolutely wonderful - those dye transfer prints, including my favourite of the girl buying a ticket, really do seem to contain a righteous inner glow. Looking at these exhibited prints is a vastly different experience to looking at the same pictures in a book or even on a screen:

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ngv, melbourne 2017

M6TTL, 35mm summicron, tri-x

 

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51 minutes ago, stray cat said:

Thank you for your thoughts, Rog. I am uncomfortably beginning to get dangerous thoughts about acquiring an "Eggleston special" myself - for that quality of camera, they can be had at a fairly reasonable price, all things considered. However by a stroke of good fortune I still can't afford one while Covid rules the earth!

Please feel free to disregard this picture if I've posted it before. Taken at the William Eggleston exhibition in a different world way back in 2017 (during the Australasian One challenge, actually). The exhibition was absolutely wonderful - those dye transfer prints, including my favourite of the girl buying a ticket, really do seem to contain a righteous inner glow. Looking at these exhibited prints is a vastly different experience to looking at the same pictures in a book or even on a screen:

ngv, melbourne 2017

M6TTL, 35mm summicron, tri-x

 

This makes me kick myself that I didn't take some more shots at the museums, other than close-ups of the Vermeers, hoping to unravel some mystery that might lead back to a perspective box. I kick myself for not shooting something at the Diane Arbus exhibition at LACMA, but I was just more than slightly blown away. Later, I was fortunate to get a Fraenkel Gallery publication, Diane Arbus: The Libraries, which is an accordion fold book of Arbus's library and personal articles, including her camera bag (looks like a Billingham) and photographs given to her by renown photographers, such as Avedon. 

It's a slice of synchronicity, Phil, looking at your composition, snapped on the fly and stamped with that innate skill trusting how the elements come together in a fleeting moment--today I received my copy of Henri Cartier-Bresson: Le Grand Jeu with critical essays (Wim Wenders among the contributors). It's interesting to watch HCB on DVD move through a crowd with his Leica, no bag, somewhat casually held at his side, and every so often, almost like a knee-jerk, he bags an image. It reminds me of Eggleston shooting in the same fashion with his Leica. Solo camera, snapping, instinctively, quickly.  Unlike the rhythm of Mamiya Universal, deliberate, studied, tripod married.

I watched John Szarkowski: A Life in Photography on Prime Video, a DVD also available. So many threads tie together, yet pull at each other. I know, I ramble. 

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1 hour ago, christoph_d said:

Phil, I remember the exhibition well. The APX-100 that I used that day was, however, not very well suited to the rather dim light.

The permanent "exhibit" at the entrance also caught a lot of my attention, and had better (=more) light. 

PS, I hope you and your loved ones survived the storm well!

M5, 35 or 50, APX100

Thank you Christoph, and I just love that photo taken at the NGV's water wall - such a brilliant architectural feature, and seemingly made for photographers, but it's rare to get something as wonderful as this one of yours - those shadowy creatures surrounding the little girl add a certain amount of perceived menace. And again, it was such a pleasure to meet you and Dominique at that Australasian One get-together.

Yes, it certainly was windy last night - lots of damage and, tragically, three deaths. We were safe down here - thank you.

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On 8/27/2020 at 6:51 AM, philipus said:



Flickr
203FE 40/4CFE+1.4 PC Mutar Ektar X1. Oh, and a tripod :D 

This is such a wonderful picture, Philip - incredible colours against that inky black night sky, and having that "Fun Fair" signage front and centre just confirms what a fun and happy (not to mention inventive and masterfully composed and exposed) photograph it is. One of your very best.

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vor 6 Stunden schrieb christoph_d:

Phil, I remember the exhibition well. The APX-100 that I used that day was, however, not very well suited to the rather dim light.

The permanent "exhibit" at the entrance also caught a lot of my attention, and had better (=more) light. 

PS, I hope you and your loved ones survived the storm well!

M5, 35 or 50, APX100

Very good! really an eyecatcher Christoph!!

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Still holding up, with a little help....  , Joux Plane, Haute-Savoie.   [ProImage 100]

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Pritam and Phil, thank you very much :) 

On 8/27/2020 at 5:26 PM, Suede said:

Philip, great result. I really like it. Chapeau !

 

8 hours ago, stray cat said:

This is such a wonderful picture, Philip - incredible colours against that inky black night sky, and having that "Fun Fair" signage front and centre just confirms what a fun and happy (not to mention inventive and masterfully composed and exposed) photograph it is. One of your very best.

This is a truly fantastic photograph Christoph, very well done. And once more serendipity dips its toes into this thread by placing your and Marc's (also excellent) photos near each other. The selective focus on the subjects' faces is perfectly executed in both. One can even imagine that the girl would eventually grow up to look like the lady in Marc's photo so there's a temporal aspect at play here, too. As is so interesting with photos of children, yours has other aspects as well that elevates it even further. The shadowy characters in the background are a very cinematic if slightly ominous touch. Combined with the girl's pose, these blurry silhouettes and the fact that the girl is hindered by the glass make it seem as if she is trying to get away from something. Then there's the light on and perfect exposure of her face, which also Marc's photo shares. This is what ultimately makes the photo for me and lifts it out of the slightly darkish place that the background tries to pull us into. The girl is curious and confident and quite certain that everything will be alright. It is easily one of the best photos I have seen. 

11 hours ago, christoph_d said:

Phil, I remember the exhibition well. The APX-100 that I used that day was, however, not very well suited to the rather dim light.

The permanent "exhibit" at the entrance also caught a lot of my attention, and had better (=more) light. 

PS, I hope you and your loved ones survived the storm well!

M5, 35 or 50, APX100

 

4 hours ago, benqui said:

Nikon F6, Ilford Delta 400, Nikkor D 1.4/85

 

 

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11 hours ago, christoph_d said:

Phil, I remember the exhibition well. The APX-100 that I used that day was, however, not very well suited to the rather dim light.

The permanent "exhibit" at the entrance also caught a lot of my attention, and had better (=more) light. 

PS, I hope you and your loved ones survived the storm well!

M5, 35 or 50, APX100

Brilliant photograph, Christoph.

...and not more than a few metres from the spot at which you took your photo, I managed to spook this young lady with a Silvermax 100 shot!

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