I like film...(open thread)

[bags27]

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Same as above, a simple panorama of 3 shots on a tripod stitched in PS. The Fuji is soon being augmented by a much handier Mamiya 7 along with the 43 and 80mm. Not sure I really want a built-in light meter, but it's a very cool camera I've long admired. Anyone else here using one? Edited November 6, 2020 by bags27

[fotomas]

Yes - I also use a Mamiya 7. Great camera. 
The light-meter is kind of rough, but it works surprisingly well - at least with negative film. Can't tell for slides.

Here an shot taken with it handheld:

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Mamiya 7 II, 80 mm, ORWO NP 15

Edited November 6, 2020 by fotomas

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[gbealnz]

1 hour ago, bags27 said:

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Same as above, a simple panorama of 3 shots on a tripod stitched in PS. The Fuji is soon being augmented by a much handier Mamiya 7 along with the 43 and 80mm. Not sure I really want a built-in light meter, but it's a very cool camera I've long admired. Anyone else here using one?

If pano is what you enjoy, try a roll of 35mm in your Texas Leica. 

 

[stray cat]

1 hour ago, bags27 said:

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Same as above, a simple panorama of 3 shots on a tripod stitched in PS. The Fuji is soon being augmented by a much handier Mamiya 7 along with the 43 and 80mm. Not sure I really want a built-in light meter, but it's a very cool camera I've long admired. Anyone else here using one?

Hi Ken, I had a Mamiya 7ii for some time, with 50mm, 65mm, 80mm and 150mm lenses. The lenses are incredible, and the camera is really neat to use - light, intuitive and ergonomic. The light meter's great, unlike that on the Mamiya 6 which is abysmal. I sold mine because it just wasn't "me". I've sold Hasselblads twice for the same reason, a Fuji GW680, a Bronica GS-1 and a Mamiya 6. Also had a Mamiya 645 until it eventually died on me. My conclusion is that I'm just not a medium format kind of person, although I retain a Rolleiflex that I'm keen to put to more use, and a Voigtländer Perkeo 1 which has been retired and looks good on a shelf. Oh yes, and I also had a Linhof Technika V and quickly decided I wasn't a large format person either. But what is wonderful is that some, like you and fotomas show here, produce wonderful images and get a lot of pleasure out of these great cameras.

[John Robinson]

Elsewhere in the mid-autumn woods, the carpet of leaves is forming.

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Leica R5, Summicron-R 35, Kodak Ektar 100 (seems to adore these colours), Nikon SC5000ED, slight crop in Capture One.

[Rennrocky]

Berlin Wilmersdorfer Straße Leica II Bj 1932 Summicron 50 mm Fuji400

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[bags27]

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5 hours ago, stray cat said:

Hi Ken, I had a Mamiya 7ii for some time, with 50mm, 65mm, 80mm and 150mm lenses. The lenses are incredible, and the camera is really neat to use - light, intuitive and ergonomic. The light meter's great, unlike that on the Mamiya 6 which is abysmal. I sold mine because it just wasn't "me". I've sold Hasselblads twice for the same reason, a Fuji GW680, a Bronica GS-1 and a Mamiya 6. Also had a Mamiya 645 until it eventually died on me. My conclusion is that I'm just not a medium format kind of person, although I retain a Rolleiflex that I'm keen to put to more use, and a Voigtländer Perkeo 1 which has been retired and looks good on a shelf. Oh yes, and I also had a Linhof Technika V and quickly decided I wasn't a large format person either. But what is wonderful is that some, like you and fotomas show here, produce wonderful images and get a lot of pleasure out of these great cameras.

Thanks so much, Phil (and Gary and fotomas ).

I really appreciate what you're saying about the light meter. I was really torn, as the 6 is such a cool kit. But in the end, if I'm going with a built-in meter (and I find I usually get lazy and throw metered cameras into aperture control), I'd much rather it be a spot meter: that will make me work some. 

Who knows? maybe at some point, I'll sell my Mamiya back to you. 🙂

[Bo-Sixten]

Dusty old negs revisited. San Francisco 1982. Hasselblad, Tri X.

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[philipus]

Wow time flies and what a wealth of great photography I've had the pleasure of catching up on. Bravo everyone!

This shot is fantastic, must have been a great day I just love how photography, and especially analogue photography which also gives us a tangible, well, thing to cherish and hold on to, is a way to travel in time.

On 11/2/2020 at 11:19 PM, Nachtmsk said:

Early 90's

Tri-x

Riis Park in Queens NYC

M4p probably.

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I've never seen a Noctilux shot look this tender, brilliant.

On 11/3/2020 at 10:09 AM, Arrow said:

Birch and roses.

MP, Nocttilux 0.95, HP4, LC29.

 

Well done Klaus, from the exposure to the framing. 

On 11/3/2020 at 3:45 PM, Kl@usW. said:

 

Election day

Hassy, 2/110; Portra 400

(running to get the fire extinguisher) Damn, you put my screen on fire, Phil!  Fantastic.

On 11/4/2020 at 10:14 AM, stray cat said:

young leaves 2020

m6ttl, 50mm summicron, ektar 100

I love shots like this, that explore the mundane up close and turn it into something spectacular. 

On 11/4/2020 at 3:22 PM, Suede said:

Close-up rocky...  [ProImage 100]

That's a great smile. And my uncle's old glasses. Very funny photo Bo.

On 11/4/2020 at 4:14 PM, Bo-Sixten said:

Dusty old negs revisited. Rainy day - happy anyway. M4, Tri X.

Lovely. Though I thought magpies were human?

On 11/5/2020 at 2:53 AM, hillavoider said:

magpie

industrial 100 

I really like this one Steve. When I saw it over at @leicafilmfriends (anyone here on Instagram please look us up!) I didn't notice the face of the cyclist. Icing on the cake. Bravo Steve.

On 11/5/2020 at 4:22 AM, sblitz said:

Last night outside Trump tower ..... Leica M-A50mm summilux, Ilford HP5+ developed in Ilford DD-X (by me, my 2020 accomplishment 🙂 )

 

 

I think it might be Dutch architecture actually.

On 11/5/2020 at 5:32 AM, hillavoider said:

what is it

portra 400 

Perfect timing and focus and framing and, well, just great stuff all around.

On 11/5/2020 at 5:36 AM, plaidshirts said:

Match Point

📷M6TTL 👓Elmarit 90/2.8 🎞expired Fujichrome Sensia 200

 

[Ernest]

Zed
M-A APO 50 ADOX Color Implosion

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[Bo-Sixten]

Dusty old negs revisited. Leica M4, Tri X. 1977.

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Edited November 6, 2020 by Bo-Sixten

[philipus]

In the far reaches of the realm, across the dangerous badlands of the Furnace Desert a caravan slowly moves towards an uncertain destiny.

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Flick
40/4 CFE Ektar X1

[Ernest]

Cul de Sac 
M-A APO 50 ADOX Color Implosion

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[benqui]

M-A, Apo 50, Ilford Delta 400

 

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[Suede]

Father and son.   [Silvermax 100]

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[bags27]

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Fuji GSW iii 690 orange filter Delta 400 HC110-B

 

Edited November 7, 2020 by bags27

[philipus]

I must apologise for having inadvertently broken the flow of magnificent black and white work below with my caravan. Joking aside, each of the below photos is in its own way sublime, I think.

When I saw Rog's Cul de Sac I was astounded. I really dig this monochrome "colour study". Sounds strange perhaps but one of the things I like the most about black and white photography is the removal of colour which leaves more space for one's mind to roam around in, even if it is in a dead end environment. In astronomy it is assumed that black holes are always round, because matter in a weightless environment congregates and gels into spheres due to the force of gravity. Seems to me that this cut de sac, then, breaches the laws of physics in a beautiful way, leaving the poor wanderer who accidentally got caught by its gravity in the surrounding narrow lanes forever to search for the way out in a triangular fashion, only never to find it.

Incidentally, speaking about French expressions I chatted yesterday with dear @Doc Henry, this magnificent thread's founder, who sends his best. 

15 hours ago, Ernest said:

Cul de Sac 
M-A APO 50 ADOX Color Implosion

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I've said it before — this thread is blessed by the gods of photography in that it tends to gather similar-but-different photos together on a regular basis. Reminds me of the wonderful part in I, Robot, the monologue of Dr. Alfred Lanning (played by one of my favourite actors, James Cromwell, who delivers it in a fantastic way: watch it here)

Quote

There have always been ghosts in the machine. Random segments of code, that have grouped together to form unexpected protocols. Unanticipated, these free radicals engender questions of free will, creativity, and even the nature of what we might call the soul. Why is it that when some robots are left in darkness, they will seek out the light? Why is it that when robots are stored in an empty space, they will group together, rather than stand alone? How do we explain this behavior? Random segments of code? Or is it something more? When does a perceptual schematic become consciousness? When does a difference engine become the search for truth? When does a personality simulation become the bitter mote... of a soul?

But I digress. It's difficult not to compare Bo's and Marc's portraits when seen so near each other. I really like both. Bo's is outstanding in its natural, honest beauty. Marc's is equally beautiful as a posed portrait. There's the aspect of time, too, which is difficult to ignore in photography. For me both evoke the idea that time, and the experiences its residue necessarily leave on a person, affects the image that he or she projects onto the world. It seems to me that Bo's model still has the youthful naive hopefulness, shown by the unabashed direct gaze into the camera, full of confident curiosity, whereas Marc's model is guarded, disdainful even, and seemingly full of security mechanisms that suggest "by all means, do have a look, but come no further."

17 hours ago, Bo-Sixten said:

Dusty old negs revisited. Leica M4, Tri X. 1977.

 

14 hours ago, benqui said:

M-A, Apo 50, Ilford Delta 400

 

And then we have this cracker by Pritam. What a myriad of questions it raises. What has just happened here? How has their day been? The breaking of the fourth wall by the boy with such a knowing glance is truly powerful. It's as if the father (I assume, judging by their eyes) is still "in character", fully immersed in his own pool of thoughts and feelings, a long way away from wherever he is at the moment. The boy on the other hand is right there, here together with us, his eyes and the ever so slightly raised eyebrows betraying something that, had this been a movie, we as the audience would also already know. This seems to me singles out his father as the only one of us all, who does not realise that we all know what happened. Yet, we, of course, don't. Brilliant. 

14 hours ago, Suede said:

Father and son.   [Silvermax 100]

Photos need not be complicated or complex. They can simply be beautiful depictions of striking scenes, like this one which is both truly well framed and expertly developed with tonnes of tonality for the eyes to take in. This one had me right off the bat with the straight horizon, and then look at those clouds....

9 hours ago, bags27 said:

Fuji GSW iii 690 orange filter Delta 400 HC110-B

 

 

[Suede]

34 minutes ago, philipus said:

And then we have this cracker by Pritam. What a myriad of questions it raises. What has just happened here? How has their day been? The breaking of the fourth wall by the boy with such a knowing glance is truly powerful. It's as if the father (I assume, judging by their eyes) is still "in character", fully immersed in his own pool of thoughts and feelings, a long way away from wherever he is at the moment. The boy on the other hand is right there, here together with us, his eyes and the ever so slightly raised eyebrows betraying something that, had this been a movie, we as the audience would also already know. This seems to me singles out his father as the only one of us all, who does not realise that we all know what happened. Yet, we, of course, don't. Brilliant. 

Thank you, Philip, for your time in 'reading' the photo and shedding your own 'light' on it, adding life to it with the narrative. Much appreciated.

Regards, 

[Bo-Sixten]

3 hours ago, philipus said:

 

 It seems to me that Bo's model still has the youthful naive hopefulness, shown by the unabashed direct gaze into the camera, full of confident curiosity,...

 

Many thanks philipus for your kind comment and thoughts from your acute observation of the photo. Vey much appreciated. :))

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Halloween.

In a market, little girl try on masks por the party in lockdown.

Leica M4-P - 50Summicron - Ilford HP5/1600

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