I like film...(open thread)

[leicamour]

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Autumn in valley.

Leica M6 - 90ApoSummicron - Velvia

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[leicamour]

Thinking Diane Arbus.    Grain de Beauté.

Leica M5 - 50Summicron - Ilford hp5

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Edited November 7, 2020 by leicamour

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[bags27]

3 hours ago, philipus said:

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. 

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)

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."

 

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. 

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....

 

Yes, thanks so very much, Phil, for your insights and ability to draw together threads so appreciatively. It helps keep our not-so-small community vital.

[250swb]

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Accidental double exposure, Kodak Portra 160, Vollenda 620 and Leitz 10.5cm lens

[250swb]

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River Wye in Derbyshire. Kodak Portra 160 in a Vollenda 620 camera that has a Leitz 10.5cm lens. The ends of the 120 spool were nibbled down with side cutters so it would fit into the camera. The lens can be quite sharp, but there is lots of 'glow' even in dull weather.

[Suede]

Rainy day in Lyon.    [Silvermax 100]

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[Bobitybob]

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Stare & steps ...

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M6, Voigtlander Nokton 1:1.4/40, Kodak BW400CN

[Ernest]

7 hours ago, philipus said:

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. 

I appreciate the feedback on Cul de Sac. I share your enthusiasm for black and white in color and go out of my way in the hunt for monochrome gray in the wild. I wanted to work with a diagonal in opposition to the rectangle in this assemblage, inviting entry into a non-conformist space, the black quadrangle, which suggests a simple triangle by continuing the black space that is missing (at the left). After I composed numerous rough drafts and got one to work, I flashed on cul de sac and remembered Polanski's film of the same name, which bears more than a trace of Samuel Beckett's influence. Several of Polanski's early student films, such as Animals, Two Men and a Wardrobe, and The Fat and the Lean, evidence Beckett's signature of alienation. Thanks for the footnote on black hole physics, such an enigmatic concept to get my brain to wrap around; "umbra"" is one of my favorite words. 

[benqui]

vor 7 Stunden schrieb philipus:

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."

 

Thanks a lot Philip for taking the time to analyze our photos and you did it very very good. I had the same in mind when I saw Bo's beautiful natural portrait. And also the look of my model, aloof, strong, self-assured, with a kind of arrogance, you saw it perfectly! This is so good here on the thread, you see so many different photos and you always learn something new.

 

[benqui]

Today in the morning

 

M-A, 1.4/35 Summilux pre asph, Portra 800, C 41-Tetenal, Negative Lab Pro

 

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[Ernest]

Cornerstone
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[Ernest]

Chain Link Sketch
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[Ernest]

If Only
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[Charles Morgan]

Walkhampton Church and Church House, Dartmoor. Leica M3, Summaron 35mm f2.8, Fomapan 200 at 125 in PMK Pyro.

 

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[Gibbo]

Salvo Chilled. M2, HP5 plus.

 

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[Ernest]

Skirmish
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[Suede]

Not yet fired.   [Tri-X]

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[mdachs]

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 m6 tele-elmar agfa precisa expired 2015

 

Joachim

[hillavoider]

at the train museum 

Kodak 3200

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[hillavoider]

ambulance 

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