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I like film...(open thread)


Doc Henry

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Dazed and confused.

Leica M5 - 90 Elmarit - Ilford HP5

 

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Selfie

Leica M5 - 135 Tele-Elmar - Ilford HP5

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On ‎11‎/‎14‎/‎2020 at 12:53 AM, stray cat said:

Seville, Spain, 1986

canon F1, FD 135mm f2.5, FP4

What captures me is the balance of the OOF background in sunlight and the open shade of the foreground with the dynamic trio, holding hands. The city is back there, and the kids are free, right here. So many of your photographs have attitude of the moment; the kids aren't just standing there, but there's attitude with holding hands, the "you're not getting away with anything" look of the girl on the left and the "I'll deal with copyright releases and royalties" look of the girl on the right. The boy is an agent looking out for the interest of his "talent." An interesting symmetrical composition, but my eye keeps ping-ponging to the OOF square in the B.G., which is an interesting exercise of depth.

14 hours ago, stray cat said:

There is an amusing story behind this photograph, which I took the same time as the previous one. We were staying at a campground on the outskirts of Seville and I was wandering around, as usual, with my camera. I'd taken the previous photo and when I returned to our campsite (we had a VW Kombi van converted into a pop-up camper) there was some lovely guitar music drifting over from where we were parked. It was our next-door neighbour who was playing guitar - and the guitar was all she was wearing! She, her husband and two children had left their home in West Germany hurriedly to escape the westward-drift of the fallout from Chernobyl, which had just happened, and Seville was pretty much as far south as you could go to get away from it. Anyway we became great friends and kept in contact for many years, and I photographed the children, Hannah and Peter, and later sent them a print. Unfortunately I did not photograph the guitarist 😖.

Seville, Spain 1986

Canon F1, FD 135mm f2.5, FP4

Entertaining story and soundtrack aside, this is even more dynamic, given the circumstance of Chernobyl in contrast with the innocence and bright youthful glow in the light of these two children's faces. This is what portraiture is all about. This is a passport.

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Carnival
M-A APO 50 Fuji Natura & ADOX Color Implosion

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vor einer Stunde schrieb Ernest:

Carnival
M-A APO 50 Fuji Natura & ADOX Color Implosion

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Stands out; Rog. I love the humble gray serving as an amplifier for the bar code of colors showing through... Decoding though is left to the onlooker--but that is what art is all about. The artist doesn't need to explain his artwork--or does he ?    ( generic gender, just in case the gender correct language control squad is looking😳)

Edited by Kl@usW.
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6 hours ago, Kl@usW. said:

Stands out; Rog. I love the humble gray serving as an amplifier for the bar code of colors showing through... Decoding though is left to the onlooker--but that is what art is all about. The artist doesn't need to explain his artwork--or does he ?    ( generic gender, just in case the gender correct language control squad is looking😳)

I always appreciate your comments, reading my work and parsing nuances. Since I'm playing with color and texture, primarily, the interpretation is wide open to the "onlooker," as you say. What I contrasted in this piece was the quiet gray passages against the riotous color, only glimpsed between a kind of Venetian blind of stucco gray. It's a counterpoint of color cacophony on another dimensional level behind the gray nothing/somethingness. Assessing how color field artists, such as Richard Diebenkorn, use perimeters and margins to define space informs for me the importance of edges. In a way, it becomes allegorical in Carnival because all the color activity is either on the margin or obscured, giving only a glimpse either beyond or behind the gray. Pandemic gray. Yes, it does amplify the "bar code," as you allow. How to decode becomes the challenge of your onlooker/listener. I went to a symphony, and while I was waiting for the orchestra to tune their instruments, I decided to record the audience chatter mixed with the random tuning of instruments. I could catch only fleeting clips of language, the rhythm of  the carnival.

Persnickety stuff. Thanks for mentioning humble "gray," using the American spelling used in academia, as opposed to the British spelling, "grey." Astute forum members have taken me to task in the past over this. Wink, wink. As for gender specific language, I side with you in using he after indefinite pronouns, old school, rather than the feminist insistence on he or she, him or her, which is cumbersome. This can be avoided altogether by using plural pronouns they and themselves; "Artists don't need to explain their artwork--or do they?" Ideally, the work speaks for itself, but I am always interested to hear what artists have to say.

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2 hours ago, Ko.Fe. said:

Nikkormat, Nikkor 50 1.4.

Kodak 50D @25 in Rodinal.

5x7 RX DR prints.

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A lovely camera - lens combination, indestructible. I believe Bernard Plossu used only those on his travels. And I have heard and seen the B&W use of the Kodak movie films before, and your pictures show a delicious tonality. Could you post the development details? Thanks. 

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vor 5 Stunden schrieb Ernest:

I I went to a symphony, and while I was waiting for the orchestra to tune their instruments, I decided to record the audience chatter mixed with the random tuning of instruments. I could catch only fleeting clips of language, the rhythm of  the carnival.

 As for gender specific language, I side with you in using he after indefinite pronouns, old school, rather than the feminist insistence on he or she, him or her, which is cumbersome. This can be avoided altogether by using plural pronouns they and themselves; "Artists don't need to explain their artwork--or do they?"

Ideally, the work speaks for itself, but I am always interested to hear what artists have to say.

The reference to the excited expectancy of the symphony or opera visitor in front of the still closed curtain of course is an excellent analogy for this " soon you'll see me-hear me, but wait..." 

the artists --instead of the artist.... I´ll remember this..should make life easier

to hear what artists have to say: absolutely... such an experience. Mostly adding to the appraisal, sometimes, well how to say this-adding unexspected nuances to the picture.  Interviews with G. Richter 👍 or Ian McEwan 👍 or Ólafur Elíason 👍.. spring to my mind.... all of them amazing personalities imho, the humble Gerhard who thinks prices on the art market are crazy. Richter I saw on tv times ago, McEwan and Eliason I heard on the radio in a format of the german weekly Die Zeit in  which the interview only stops when the guest request this with a "safe word"... so the interview ranges between 4 to 8 hours... 

What I wanted to say was: its good to leave some space for the imagination of the observers and not to confront them with too plain explanations.   So your enigmatic titles are welcome--they feed the imagination... 

Edited by Kl@usW.
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vor 2 Stunden schrieb gbealnz:

Some Pen FT and 38mm, with FP4+ in Caffenol. Fun.

 

 

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Gary, very good ! The Pen seems to be the perfect instrument for --tychs... Give us more of them ! 

vor 5 Stunden schrieb Ko.Fe.:

Nikkormat, Nikkor 50 1.4.

Kodak 50D @25 in Rodinal.

5x7 RX DR prints.

Nice, KoFe.  I like the 3 small plant pictures--but the cat  is lovely too. 

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"Paçoca de carne" - various types - this one is a mixture of manioc flour with garlic, onion, chilli and dried beef. Served at the table, generally with with meat and rice dishes. Nikon F2, Micro-Nikkor 55mm 1:2.8, Kodak Portra 160.

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My, ever present, assistant gives a demo of the amazing depth of field for the 28 Hektor. It also made me realize that I do not think I have seen Roger do anything with brindle.....yet. :)

 

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Leica Ic, 28 Hektor, Fuji Natura

Edited by Wayne
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19 minutes ago, Wayne said:

My, ever present, assistant gives a demo of the amazing dept of field for the 28 Hektor. It also made me realize that I do not think I have seen Roger do anything with brindle.....yet. :)

 

Leica Ic, 28 Hektor, Fuji Natura

Goddamit Wayne but this is a great photograph!

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Crazy trees. I have no explanation for the angle at which they grow... swear I oriented landscape.    [Silvermax]

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