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5 minutes ago, AntonioF said:

Big Sister - Leica M6, Summicron 35 asph, Kodak Max 400 Redscale DIY

Cute. So you just re-roll the film with the back yo front? Does not look too red to me. 

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41 minutes ago, christoph_d said:

Cute. So you just re-roll the film with the back yo front? Does not look too red to me. 

Yes, you switch emulsion and back side of the film. Depending on how you expose it gets more or less red. For this set of frames the Auto Warm of NLP plugin reduced the red tones and produced this dark/warm yellow cast. Below you can see the photo without the Auto Warm setting on (it's basically a WB tool). I liked it and I kept it that way.

The film loses speed. This was an expired 400 iso and I rated it at 50.  I know it is a waste of time, but sometimes it's fun.

 

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Edited by AntonioF
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44 minutes ago, AntonioF said:

Yes, you switch emulsion and back side of the film. Depending on how you expose it gets more or less red. For this set of frames the Auto Warm of NLP plugin reduced the red tones and produced this dark/warm yellow cast. Below you can see the photo without the Auto Warm setting on (it's basically a WB tool). I liked it and I kept it that way.

The film loses speed. This was an expired 400 iso and I rated it at 50.  I know it is a waste of time, but sometimes it's fun.

 

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Thanks, looks like a lot of fun ... life on Mars ... 😁

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Foggy morning ...

MP, Noctilux 50 0.95, Tri X, Adonal 1+25 

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Bronica ETRS, Zenzanon 1:3.5/150, Kodak Portra 160

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Elegance Contest in Villa d'Este on Como lake.

 

Leica M5 - 35Summilux - Ilford HP51600

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Elegance Contest in Villa d'Este on Como lake.

Leica M6 - 50Summicron - Ilford HP5

 

 

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19 hours ago, stray cat said:

Oh dear, I see you've been hanging out around Ocean Park again...

A very apt, well considered and well-constructed homage to Diebenkorn. I hope all lives and property in the Three Rivers region, as elsewhere in the USA, are spared from the dreadful threatening fires.

Thanks for the good thoughts on the fire situation here, knowing in part what you endured down under. Climatic calamity is truly humbling, and then there is fire.

Yes, I keep trying to get my passport stamped at Ocean Park, but the Diebenkorn sense of color and perspective keeps putting me on hold. I am reminded of Ray Carver who rewrote, that is to say "edited," his short stories, even after they were published. Always striving for the leaner sentence, Carver cut every word that was not absolutely necessary, so it's not unusual to find subsequent editions different from the first release. Student writers heed Strunk's advice that "vigorous writing is concise." It's truly a reminder for artists: "A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts." So, for me, as an incessant reminder from Strunk, "every word should tell" applies to not only a directness but an economy of expression in art. What does the photograph say? Ha, ha. I know that you know all this because you are a wordsmith, but I simply wanted to share that aha! moment in my required undergraduate History of Music class when I learned music in many ways echoes its time in relation to art, politics, philosophy, economics, and so forth. So what am I saying? This latest foray into Ocean Park constantly reminds me the challenge of editing, cutting out the unnecessary, so that I can say something more with less, being mindful that there's the risk of less being less. Ha, ha. Now, I am no doubt guilty of violating Strunk's rule of being "concise."

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Double Up
M3 Summicron DR & M-A APO 50 ADOX Color Implosion & Fuji Natura

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11 minutes ago, Ernest said:

Double Up
M3 Summicron DR & M-A APO 50 ADOX Color Implosion & Fuji Natura

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I think Diebenkorn himself would have been not only flattered by the aesthetics of your homages, but in awe of your ability to assimilate the essence of what he was exploring there in Ocean Park, and put it into a coherent intellectual framework as well, using those fragments from the real world. How you physically do it is quite beyond my comprehension - I don't want to know, mind you, because in that mysterious alchemical process lies a lot of the magic. The next logical step, as I see it, would be to venture forth with saws, jackhammers and a bunch of other tools including a seriously large wheelbarrow and take all manner of sidewalk pieces, elevator doors and what have you back into the studio, assemble those actual evidentiary artifacts then get a crane to lift them onto the (pre-reinforced) walls of MOMA.

Your discussion of concision in teleological works hits the target, too. In photography it is just as imperative as in writing, painting or any of the other audience-targeted delivery systems. What purpose is served by asking your audience to wade through irrelevance when it only serves to obfuscate "the message"? Far better to practice, in your own words, the "presence of absence". I was reading earlier the story of Bobbie Gentry's wonderful 1967 song "Ode to Billie Joe". Apparently, as recorded on the demo she took to Capitol Records, it was twice the length we've come to know it (apologies if anyone doesn't know it but it's well worth seeking out). Gentry and the record company decided it was single material if of a shorter length so they edited out half of it, in the process ending up with a work that was concise and mysterious.  Leicamour's BMW photo above does this in a similar way - the incidental presence of the hand with the phone turns this from being a nice picture of a nice car into something altogether more mysterious and interesting.

Thank you sincerely, as always, for your incisive perception and generosity in sharing your broad understanding of the historical and artistic contexts in which works presented here may be considered.

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21 hours ago, AntonioF said:

Yes, you switch emulsion and back side of the film. Depending on how you expose it gets more or less red. For this set of frames the Auto Warm of NLP plugin reduced the red tones and produced this dark/warm yellow cast. Below you can see the photo without the Auto Warm setting on (it's basically a WB tool). I liked it and I kept it that way.

The film loses speed. This was an expired 400 iso and I rated it at 50.  I know it is a waste of time, but sometimes it's fun.

 

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I hadn’t thought of adjusting white balance in post, doh! I ran a roll of reversed Lomo 800, exposed at 200, and found by experiment the number of stops of over exposure required to produce something less red, tending towards yellow that can look old school and quite appealing. But I found another way (other than WB): expose a regular CN using a yellow filter on the lens. That looks rather old-world too.

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I enjoy the following video of composer John Cage talking about sound and the imposition of meaning on sound in music. With the same outlook on "things", I'm not sure that he'd have approved of my photo a street lamp with Oscar Niemeyer's digital TV tower. 🙂

https://www.youtube.com/watch?v=2aYT1Pwp30M

Leica IIIf, Summaron 3,5cm 1:3,5, lford FP4+ 125 @ 100, PMK 1:2:100.

 

Edited by Xícara de Café
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58 minutes ago, Xícara de Café said:

I enjoy the following video of composer John Cage talking about sound and the imposition of meaning on sound in music. With the same outlook on "things", I'm not sure that he'd have approved of my photo a street lamp with Oscar Niemeyer's digital TV tower. 🙂

https://www.youtube.com/watch?v=2aYT1Pwp30M

Leica IIIf, Summaron 3,5cm 1:3,5, lford FP4+ 125 @ 100, PMK 1:2:100.

 

Oh, I'm not so sure. It was the vernacular sound of traffic that he loved the most, according to what he said in the interview. I think such a stunning picture as you have presented here, of the seemingly discordant elements of streetlamp and TV tower, would play right into his sense of fun. Given that there is an uncanny echo between the graceful curve of the lamP (is it also by Niemeyer?) and the greater structure, it certainly resonates with mine! A wonderful picture.

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Scalene
M3 Summicron DR Fuji ACROS 100 II & M-A APO 50 Fuji Natura 1600
Bauhaus constructivism with asphalt and stucco. And white space.

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