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I like film...(open thread)


Doc Henry

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Am 27.8.2020 um 14:55 schrieb Wayne:

Tessina subminiature, Svema 200

Like a frame out of a dream on a Sunday afternoon.... You wake up and everybody is gone... 

Am 28.8.2020 um 10:02 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 impressive, Christoph. One of the photos I would like to have taken myself... 

Am 28.8.2020 um 16:57 schrieb benqui:

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

 

Thank you for the photo, Marc. Makes me smile back. 

Am 30.8.2020 um 10:37 schrieb philipus:

Into the night again at the fair 🎡


Flickr
40 CFE+PC Mutar Ektar X1

the wobble is really worrying... 

Am 30.8.2020 um 20:54 schrieb Ernest:

Monday, Yet
M-A APO 50 Fuji Natura
Collage colors, memory forgettable.

Rog, your color field shows in a masterly way  that the association of Mondays with the color blue is in no way obligatory. 

Am 31.8.2020 um 15:55 schrieb Wayne:

Checking up on daughter's cat, Piper. Or, being checked out by daughter's cat.

 

Zeiss Ikon Box Tengor, Foma 400

Isn't that what Marx called dialectic ? I like the atmosphere of the photo, Wayne. 

Am 1.9.2020 um 18:27 schrieb philipus:

Some more fun fair drama, up close. And hopefully without wobble-induced departures :D 


Flickr
40 CFE Ektar X1

Philipus, for me the best of the fun fair series-so far. Aren't those LEDs  an interesting  addition to the joys of fun fair photography... ? Somehow my physics teacher comes to my mind: if the rotation of the wheel is ... .. and  the flicker frequency  of the LED is 100 Hz,  what's the exposure time ? 

vor 1 Stunde schrieb Arrow:

Contemporary version of a cynognathus ....

MP, APO Cron 50, Agfa APX 100

who blinked first ? 

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4 hours ago, Kl@usW. said:

Isn't that what Marx called dialectic ? I like the atmosphere of the photo, Wayne. 

 

As always, Klaus, you make me think. I am happy to think the cat cannot read: she could become a Stalinist and revolt until she has achieved a camera.....or co-ownership of the Box Tengor.

Best,

Wayne 

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5 hours ago, Kl@usW. said:

Summertime VI

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HB 205; Distagon 40 IF, Portra 400 

This is so 3D with the shadows, the lighting, the casual movement of three chickens and the sheep, and the mass of the building taking not quite two-thirds to anchor the deep space. It's the shadows of the trees that nudge me back to E.H. Gombrich's little book Shadows: the Depiction of Cast Shadows in Western Art.

1 hour ago, stray cat said:

taos pueblo, new mexico 2009

R8, 50mm Summicron-R, Fomapan 100, orange filter

And here, Phil, the lighting is to my eye so cinematic, so High Noon, Treasure of Sierra Madre, Hud. Crisp. James Wong Howe. The tonal range. Here, the play of eroding architecture against the chorus of cemetery crosses.

16 hours ago, stray cat said:

pueblo, taos, new mexico 2009

R8, 50mm Summicron-R, FP4+, orange filter

And, this. I know it's just me, but it's Mondrian, too. I've painted Taos, but I don't recall this stacked architecture. The time deconstruction crew is working past golden hour. High noon lighting with just those vertical shadows spilling down the walls from the rain gutters. Ansel probably would've gone for a red filter, even. Maybe not with the ochre adobe walls? Hungry for more Taos, please.

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Criss-cross No. 2
M3 Summicron-M DR Fuji Natura 1600

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Zoutkamp view

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MP, 4/25VC, Metropolis@100

Edited by christoph_d
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On 9/2/2020 at 2:27 AM, philipus said:

Some more fun fair drama, up close. And hopefully without wobble-induced departures :D 


Flickr
40 CFE Ektar X1

This. And we'll get to that 40mm Hasselblad lens a little later, but look at the dynamics of perspective here. We know it's in motion, too, because only a photograph can show in two-dimensional space what occurred over seconds, minutes... days. But it always comes back to the celebration of colour (= FUN) in these amusement park pictures of yours, Philip. Bravo!

On 9/2/2020 at 3:01 AM, John Robinson said:

Panatomic X, shot taken at Bondi Beach, Sydney in October 1980 on Olympus OM1, probably with the 2/85 lens, processed in ID11, scanned in the 2000s.  Negative has kept remarkably well.  How I miss that particular film stock!

 

"The rich come to forget; the poor come to dream". An idyllic day at an idyllic beach in the Australian heat. Swimmer swummer swummer. Empty deck chairs, a sleeping girl and people go oh so slowly about the important business of being at the beach. But it is that homespun philosophy in that seemingly incongruous yet somehow richly appropriate setting that stays in the mind.

9 hours ago, Arrow said:

Contemporary version of a cynognathus ....

MP, APO Cron 50, Agfa APX 100

Wow. Talk about anthropomorphism. How "human" is this expression? Bewilderment or sizing up a meal? And the grain is just a perfect celebration of FILM!

7 hours ago, Kl@usW. said:

Summertime VI

HB 205; Distagon 40 IF, Portra 400 

From the funyard to the farmfair, the flighty forty gets a good workout today. Here Klaus' low-down perspective makes a big chickens/little chickens conundrum, and that elongated sheep which is, for me, the punctum. Rog's shadows, too - add a little burnt umber to that viridian, and make those things reach, claw-like to the viewer. And, yes, this summer crackles and shimmies. The rich come to forget; the poor come to dream.

1 hour ago, Ernest said:

This is so 3D with the shadows, the lighting, the casual movement of three chickens and the sheep, and the mass of the building taking not quite two-thirds to anchor the deep space. It's the shadows of the trees that nudge me back to E.H. Gombrich's little book Shadows: the Depiction of Cast Shadows in Western Art.

And here, Phil, the lighting is to my eye so cinematic, so High Noon, Treasure of Sierra Madre, Hud. Crisp. James Wong Howe. The tonal range. Here, the play of eroding architecture against the chorus of cemetery crosses.

And, this. I know it's just me, but it's Mondrian, too. I've painted Taos, but I don't recall this stacked architecture. The time deconstruction crew is working past golden hour. High noon lighting with just those vertical shadows spilling down the walls from the rain gutters. Ansel probably would've gone for a red filter, even. Maybe not with the ochre adobe walls? Hungry for more Taos, please.

Thank you so much., Rog. Who can fail to be entranced by somewhere as culturally, historically and visually rich as Taos? Not so far from where those mentioned movies were crafted. Bugger this bloody virus - I'm going back there as soon as I can!

1 hour ago, Ernest said:

Criss-cross No. 2
M3 Summicron-M DR Fuji Natura 1600

And twenty five little mysterious squares, arranged in a chessboard configuration. Are you playing games with us, Rog? Pawn to King. A pattern of repeated, though sequentially reversed, squares forming a square. The separating grid not white as expected but the kind of colour that reminds me of fixer stain on prints. Could this be about photography? Where's that 40mm Distagon?

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Berlin City West Voigtländer Vito CS

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On 8/28/2020 at 10:02 AM, 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

Love this ! Thank you 🙂

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Ilha Grande by JM__, on Flickr

Ektachrome 100 - Leica CL - 38mm f2.8 Zeiss (former  Contax T lens) 

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Ilha Grande by JM__, on Flickr

Ektachrome 100 - Leica CL - 38mm f2.8 Zeiss (former  Contax T lens) 

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Ilha Grande by JM__, on Flickr

Ektachrome 100 - Leica CL - 38mm f2.8 Zeiss (former  Contax T lens) 

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On 9/1/2020 at 7:01 PM, John Robinson said:

Panatomic X, shot taken at Bondi Beach, Sydney in October 1980 on Olympus OM1, probably with the 2/85 lens, processed in ID11, scanned in the 2000s.  Negative has kept remarkably well.  How I miss that particular film stock!

 

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

Panatomic X, now that takes me back. The graffiti on the other hand in this fine photograph keeps me anchored in the present. Thanks for sharing.

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