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I like film...(open thread)


Doc Henry

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vor 10 Stunden schrieb fotomas:

Zeiss Ikon ZM, Summicron 50, Ferrania P-30, 2-bath homebrew

This is a beautiful photo. I liked it on the first view: beautiful deep contrasts with this film and a very relaxed natural pose! Congrats

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If you happened to be in Melbourne, Australia, in the mid-1970s and traveled up Swanston Street, you would likely have noticed the powerful smell of beer being brewed, right in the middle of the city (Foster's Lager, anyone?).  A scan from a Pan-F negative (another fantastic emulsion for strong sunlight) taken in 1975, proving just how long a well-processed roll of film can last.

The Tram Controller's lookout is still there, but not much else and the trams aren't made of wood any more.

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1 hour ago, John Robinson said:

If you happened to be in Melbourne, Australia, in the mid-1970s and traveled up Swanston Street, you would likely have noticed the powerful smell of beer being brewed, right in the middle of the city (Foster's Lager, anyone?).  A scan from a Pan-F negative (another fantastic emulsion for strong sunlight) taken in 1975, proving just how long a well-processed roll of film can last.

The Tram Controller's lookout is still there, but not much else and the trams aren't made of wood any more.

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Yes, John, I remember it very well. I was at Melbourne Uni just up the road there in 1974. Is this from a 645 negative?

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Hey! Look! It's a human!

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Kodak Retina 117 (the first,) 3.5/50 Xenar, Tri-X

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Memory of Spring

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FrankenMinox (Combining BL & IIIs parts to arrive at a IIIs configuration with modern Minox lens) Kodak 50D

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Good fences make good neighbors.

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FrankenMinox, Kodak 50D

 

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Hasselblad 501 CM, 100 Planar, Max 400, Adonal 1/50, Silver Efex

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Summertime VIII

At the lake 

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HB 205, FE 2/110; Portra 400@200

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vor 10 Stunden schrieb Wayne:

Hey! Look! It's a human!

Kodak Retina 117 (the first,) 3.5/50 Xenar, Tri-X

 

vor 9 Stunden schrieb Wayne:

Memory of Spring

FrankenMinox (Combining BL & IIIs parts to arrive at a IIIs configuration with modern Minox lens) Kodak 50D

 

vor 9 Stunden schrieb Wayne:

Good fences make good neighbors.

 

FrankenMinox, Kodak 50D

 

Wayne, I love these  pictures from your rural  Indiana. Is it ok to call them visual vignettes ? 

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On 9/2/2020 at 1:39 PM, Kl@usW. said:

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

I wasn't even thinking of that, so now I will have to check another one I completed (Tuesday, Tuesday) to see if that blue sneaked in there.

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On 8/30/2020 at 6:14 AM, christoph_d said:

Winsum, north of Groningen. 

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MP, 4/25VC, Metropolis@100

Vermeer would certainly smile appreciatively at your rendering, here.

On 9/1/2020 at 9:27 AM, philipus said:

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


Flickr
40 CFE Ektar X1

I'm certainly glad I had the foresight to get a Flash Gordon anti-gravity belt! These night shots are masterful, and the Dutch tilt framing is inspired.

On 9/2/2020 at 10:08 PM, stray cat said:

Taos Pueblo, New Mexico 2009

R8, 50mm Summicron, Fomapan 100, orange filter and I wish the %$#%^(*& SUV had have waited just a few seconds longer...

You talked yourself into cropping out the SUV, which makes the entry perfectly symmetrical and frames the four figures in that classic asymmetrical 1 + 3. The cross is then perfectly centered with the connotation of religion the center for believers. What a shot. Is that one figure with arms raised taking a photograph, also, or just calling to the kids?

On 9/3/2020 at 1:57 PM, Kl@usW. said:

Rog, you are  chasing my eyes around this field, trying to have a closer look at the gray spots at the crossings--which of course vanish as soon as I think I got it... So maybe it is not only about photography as Phil suggests, but also about reality and imagination; maybe about windmills in the distance.. 

Phil, I agree with Antonio --your New Mexico Series is phantastic. For me the %$#%^(*& SUV isn't that bad; it just shows two worlds colliding.....

Yes, as Phil points out, this photo-collage seems perhaps devoid of a "photographic" subject, yet the subject is in a minimalist sense, photography itself. Working with the first Criss-cross in the series, there two axes, one a ghost-like grid that creates a kind of dimensional illusion with a two-dimensional collage. The challenge for me was to take a very minimal image, which as a glass window, as I recall, and see if by repetition I could create a view of something unapparent. The intimation of ordered chaos--chaotic systems that betray a kind of order. 

On 9/4/2020 at 12:49 PM, philipus said:

Sometimes 40mm isn't wide enough :rolleyes:


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40 CFE Ektar X1

This awesome image, time-traced light, is like the record of a chaotic system that starts to betray a systemic repetition. Are we to expect Men in Black?

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Field Perimeters
M-A APO 50 & M3 Summicron DR Fuji Natura

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Accordion
M-A APO 50 Fuji Natura

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10 minutes ago, Ernest said:

Field Perimeters
M-A APO 50 & M3 Summicron DR Fuji Natura

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Hang on! This is just fantastic. In one sense, at first glance, it reminds me a little of the traditional house painting done in South Africa https://juliocesarroman.com/ndebele-house-painting-south-africa/  and yet it is altogether different. There is a sharp definition from the more complex arrangement at top on exactly the golden ratio vertical to those bold swathes of ochre and dark teal. And, attention to detail to the forefront, detail on the right side and bottom. Complex, colourful and fun, like releasing your eyes and brain into a field of colour and letting them play.

2 hours ago, Ernest said:

You talked yourself into cropping out the SUV, which makes the entry perfectly symmetrical and frames the four figures in that classic asymmetrical 1 + 3. The cross is then perfectly centered with the connotation of religion the center for believers. What a shot. Is that one figure with arms raised taking a photograph, also, or just calling to the kids?

 

Thank you Rog. I'd never actually considered the crop as suggested, but it does rid the composition of the SUV and center the rest of it. Hmm. The picture does, as you suggest, then become something different. I'd always considered the interest to be in the girl wearing that old-fashioned, perhaps Amish?, bonnet amongst the other visual elements but your suggestion certainly works on a higher level. There you go, we can sometimes be blinkered to seeing our work in one way, and all it takes is a slight nudge in a different direction and the ideas mutate into something else. The brilliance, might I add, of this thread. And, yes, I do believe the lady in the back had her camera raised.

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Ionesco Counternotes
M-A APO 50 Fuji Natura

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4 hours ago, Kl@usW. said:

 

 

Wayne, I love these  pictures from your rural  Indiana. Is it ok to call them visual vignettes ? 

Yes. By all means. As I trek the same routes, I am constantly amazed by those brief moments and developments that, at first, seem so mundane, but as they pass you by, you begin to understand that they are the building blocks of life; taking a photo of them seems like a way of not taking them and life for granted. It is good to have a place like this to share them.

Best,

Wayne

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20 minutes ago, stray cat said:

Hang on! This is just fantastic. In one sense, at first glance, it reminds me a little of the traditional house painting done in South Africa https://juliocesarroman.com/ndebele-house-painting-south-africa/  and yet it is altogether different. There is a sharp definition from the more complex arrangement at top on exactly the golden ratio vertical to those bold swathes of ochre and dark teal. And, attention to detail to the forefront, detail on the right side and bottom. Complex, colourful and fun, like releasing your eyes and brain into a field of colour and letting them play.

Thank you Rog. I'd never actually considered the crop as suggested, but it does rid the composition of the SUV and center the rest of it. Hmm. The picture does, as you suggest, then become something different. I'd always considered the interest to be in the girl wearing that old-fashioned, perhaps Amish?, bonnet amongst the other visual elements but your suggestion certainly works on a higher level. There you go, we can sometimes be blinkered to seeing our work in one way, and all it takes is a slight nudge in a different direction and the ideas mutate into something else. The brilliance, might I add, of this thread. And, yes, I do believe the lady in the back had her camera raised.

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Incredibly deep that she's taking a picture with YOU framed as a small figure in the church entry, simultaneously Szarkowski's Mirrors and Windows, only here, the window (church entry) is also a mirror. Religion prompts self-reflection as a sub-text. I would wager that every time you looked at the SUV intruding on the composition, you subconsciously cropped it out of the photograph. Oh, to revisit Taos! 

Thanks so much for the link to South African architectural art! Very cool. 

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Talk about photo bomb...Luckily I shot a second one :D These are with the 80 Planar which never ceases to impress me. Ektar as usual and scanned on the X1.

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