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I like film...(open thread)


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Some DIY redscale at the beach - Leica M6, Summicron 35 asph, expired Kodak Max 400 Redscale DIY

Edited by AntonioF
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Leica M6, Cosina-Voigtlander 25/4.0 Snapshot Skopar LTM, Hoya R72 filter, Rollei Infrared 400 film, developed in Rodinal

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Am 7.9.2020 um 09:52 schrieb verwackelt:

A stairway to heaven…
But a typical german one. Signs, signs a Flagpole and a gate…;-)

From the other roll of Silbersalz…

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vor 19 Stunden schrieb verwackelt:

from foggy woodlands…

Silbersalz 250D Leica M3

I love these strong colors! Have to try this film too.

vor 1 Stunde schrieb stray cat:

Rain over the Bellarine Peninsula 2020

Canon F1N, FD 35mm f2 SC, Adox Silvermax 100

Very good! Looks so dramatic!

vor 55 Minuten schrieb AntonioF:

Some DIY redscale at the beach - Leica M6, Summicron 35 asph, expired Kodak Max 400 Redscale DIY

I really love these scences from the beach and you find the best in Italy

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Aussie trailer life...  [XP2]

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(The roll of XP2 was generously gifted to me by Phil, our dear man down at McCrae on the Mornington Peninsula. It's the only one of its kind I've ever shot.)

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Another beach photo, this time from Monopoli - Same camera set-up, different film: Leica M6, Summicron 35 asph, Ferrania P30

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vor 21 Stunden schrieb Ernest:

Rolodex Found
M-A APO 50 Fuji Natura & ADOX Color Implosion

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the little break of the tyranny of the rectangle in the upper right corner makes this even more interesting. 

vor 13 Stunden schrieb stray cat:

port phillip 2020

m6ttl, 50mm summicron, yellow filter, tri-x

phil, I just see a question mark.. 😟

vor 12 Stunden schrieb hillavoider:

portra 400

nature and architecture trying to keep up with the color field artists... 

vor 10 Stunden schrieb John Robinson:

Working beach, SE England.  Leica M2, collapsible Summicron-M 1:2/50mm, Agfacolor 200, mini-lab C41, Nikon Coolscan.

This is very nice. I like the "postcard-esthetics" 

vor 6 Stunden schrieb stray cat:

Rain over the Bellarine Peninsula 2020

Canon F1N, FD 35mm f2 SC, Adox Silvermax 100

and a yellow or orange filter ?   Or is this the plutonium lens with the incorporated yellow filter ? 😆  Makes me seriously think about the where-about of my F1n which didn't turn up after the last  moving of my household...   last not least: a very impressive seascape. Makes me think of the dutch masters-- with a different lens we could even think of Turner.. 

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Preparing the paella. The perfect dish for the garden party. 

MP; S´rit 50; Portra 160@100

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2 hours ago, AntonioF said:

Another beach photo, this time from Monopoli - Same camera set-up, different film: Leica M6, Summicron 35 asph, Ferrania P30

This photo taught me an essential rule of composition: If at all possible, put a young girl in a bikini in the foreground.

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3 hours ago, Suede said:

Aussie trailer life...  [XP2]

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(The roll of XP2 was generously gifted to me by Phil, our dear man down at McCrae on the Mornington Peninsula. It's the only one of its kind I've ever shot.)

It's a good film and one I tend to fall back on if/when we travel, as the whole lot (C-41 colour neg, and XP2 B&W) can all go to the same process.

Gary

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4 hours ago, AntonioF said:

Another beach photo, this time from Monopoli - Same camera set-up, different film: Leica M6, Summicron 35 asph, Ferrania P30

Great photo.

 

So. You're on the  beach with a beautiful woman:........" Hey! let's check out what is going on with Twitter." I am now glad I am getting older.

 

Best,

Wayne

Edited by Wayne
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On 9/6/2020 at 1:42 PM, Kl@usW. said:

what a wonderful combination of happy colors on top of a more subdued palette... I´will be coming back to this for sure. 

Ha, you did it again. Sending me to the books. 🙄...

I remember rolling on the floor and/or trying to discover the political message behind the  wordplay some decades ago... Today you find me musing about this specific color field and its connection with  Ionesco...

I'm not confident enough to have figured it out, either. Martin Esslin coined the term "Theatre of the Absurd" in 1961 to discuss the work of Ionesco and Beckett, as well as Adamov, Genet, Pinter, and other "avant-garde writers," as he called them, in Europe and the United States. The view had the common denominator of the futility to struggle in a senseless world. We had the H-bomb and tested thousands of times the ability to destroy mankind. Ionesco's Rhinoceros dramatizes the absurd comedy and terror of human reality gone berserk. In my first college stage performance, I played the Fireman in Rhinoceros, delivering all six of my lines with my back to the audience as I climbed a ladder to rescue a lady. In Notes and Counter Notes, Ionesco discusses his plays, philosophy, and arguments with other writers and critics. There are "notes" and notes "against the notes." So, this is the somewhat rambling background to my homage to Ionesco's Counter Notes. Start with Theatre of the Absurd, repetition being a hallmark, seemingly pointless repetition. It's not readily apparent, but the objects I photographed are windows. There's a black aluminum frame, but everything else is glass, the large window glass being backed so it's not transparent. The bluish window is transparent and has a kind of translucent quality; it seems clear, but it's enigmatic. In Perspective as Symbolic Form, Panofsky quoted Durer's explanation of the concept of perspective: "Perspectiva is a Latin word which means 'seeing through.'" The perspectival view of space, in this way, transforms the picture into a "window" so that "we are meant to believe we are looking through this window into a space." This echoes Alberti's advice to painters in the 15th century to imagine the picture as though looking through a window. Remember, John Szarkowski then brings us to Mirrors and Windows. So, with "Ionesco's Counter Notes," I have glass, some opaque and some transparent, using Josef Albers's technique to create the illusion of transparency with opaque colors. If anything, it's unremarkable, and for this reason, absurd. Hello, Ionesco. I chuckle when I think of Woody Allen's comeback to the question of what his movie was about, and he says, "It's about two hours." I want to borrow that and respond to the question of what "Ionesco's Counter Notes" is about and say, "I think it should be about 3' x 5'."

Edited by Ernest
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