I like film...(open thread)

[Suede]

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Flowers in dappled sunlight, peak summer.   [Pro Image 100]

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[philipus]

Wow great work.

On 12/3/2020 at 1:09 AM, hillavoider said:

Rollei Superpan 200 with a flash 

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Ugh this one makes me feel locked in...

On 12/3/2020 at 2:35 AM, Ernest said:

Quarantine
M-A APO 50 ADOX Color Implosion

Very nice esp with the arm and the bike at the edges.

On 12/3/2020 at 8:23 AM, thschm said:

Middelburg 08/2020 - waiting

 

Leica M4, Summicron 2,0/50 collapsable, Ilford FP4+

This is a nice contrast of nature with the human-made stuff.

On 12/3/2020 at 9:15 AM, Xícara de Café said:

Leica IIIf, Summicron 5cm 1:2 collapsible, Kodak Tmax 100, Rodinal 1:50 12' 20ºC.

Perhaps this camera has a built-in #firstoftheroll burn that's so popular on instagram  

On 12/3/2020 at 4:33 PM, JMF said:

 

burn out by JM__, on Flickr

Fujicolor Press 800 - Ricoh GR1V

Very good Mr P. Makes me think of that Clapton song.

On 12/3/2020 at 5:13 PM, Mr.Prime said:

Rolleilex 3.5 TLR, Fujichrome, on holiday in Alberta.

Well this is just lovely Bo. 

On 12/3/2020 at 7:40 PM, Bo-Sixten said:

Another from the dusty old negs archive. Maria, my wife, taken 1980. M4, Tri-X.

Whaaaat, colour? Did someone hijack your account?  Just kidding, this is excellent. What a sky! 

23 hours ago, Suede said:

Blue sky, Doizieux.    [Pro Image 100]

As is this, though I had to google Hoarfrost. Apparently it's old English for frost resembling an old man's beard...

21 hours ago, Kl@usW. said:

Hoarfrost leaves #2

HB 503; Makro-Planar 4/120; Acros II; D 76

Brilliant, what a painterly scene.

20 hours ago, dimm said:

M6 | 50mm F/2.5 Summarit | Ilford HP5+ (EI 800)

Ah a towel on volcanic sand. Lovely   

20 hours ago, Ernest said:

Holiday
M-A APO 50 ADOX Color Implosion

Beautiful scene John. It's funny, mid-2000s doesn't seem that long ago. I must be getting old.

11 hours ago, John Robinson said:

Still looking through the old Agfacolor negatives:  West London, mid-2000s, almost rural.

Leica M2, Summicron (I) f=5cm 1:2, Agfacolor 200, Nikon CS5000ED, cropped and adjusted in Capture One.

What a CLASSIC! Bravo.

8 hours ago, verwackelt said:

Hello!, Moin! or just bäääähhh……
 

Lovely work. I wouldn't have guessed that this is Portra 160.

5 hours ago, SHenry said:

Portra 160, f/9.0, 1/100s, 100mm macro lens, F100

Perhaps she's demonstrating because of this?

https://www.independent.co.uk/news/world/europe/germany-phallus-sculpture-missing-grunten-mountain-b1764432.html

2 hours ago, Bo-Sixten said:

Freedom and liberation. Another dusty old neg from Stockholm in the seventies. M4, Tri-X. 

 

[philipus]

Back in San Francisco again. This shows the penthouse on the Fairmont hotel, which is literally a massive villa on top of the building. Remember The Rock with Nick Cage and Connery? There's a scene where Connery, the ex con (haha), is having a haircut on this balcony and then very menacingly throws someone over the edge, letting him dangle in order to get his way with something or other. Well as you can see it wouldn't have been a very bad fall should Connery's grip have slipped  My brother worked at the Fairmont and showed us around. It's a pretty swanky penthouse with a nice old-world charm. I believe Harry S Truman signed the UN Charter there, which to me as a public international law nut is pretty cool stuff.

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1N EF100-300 Velvia 50 X1  

[oldwino]

On 12/3/2020 at 12:08 AM, Ouroboros said:

There was a time (long pre-digital) when I might have agreed with your statement, but the pendulum swings and the world moves on.

I no longer make such a comparison, assuming you're commenting on the respective 'image quality' of 35mm and 6x6.  I no longer see that as important today as it was 25 years and more ago.  The strength of 35mm is visual spontaneity and agility that, in the right hands, translates through to the final image. 

The more refined tonal range and definition of 6x6 isn't always an asset. 

In the context of the conversation, at least as I interpreted it, with regard to clarity, tonal range, and resolution, my statement is (generally) true.

But yes, one can do things with 35mm that cannot be done in any other format, certainly not digital. One should play to each format's strengths; on this I think we agree. 

Edited December 4, 2020 by oldwino

[Suede]

A light subject.  [M4, Silvermax]

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[Kl@usW.]

Am 3.12.2020 um 16:33 schrieb JMF:

 

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burn out by JM__, on Flickr

Fujicolor Press 800 - Ricoh GR1V

the  "burn out series" are great, Jean Marc. The igneous line lends a strangely surrealistic   quality to the pictures, enhanced by the prolific grain.

Am 3.12.2020 um 20:45 schrieb Ernest:

Table Talk
M-A APO 50 ADOX Color Implosion

i love the deceptive simplicity of this 3-color piece.. as soon as I  start looking at what I consider to be the center of the arrangement--the fine black line at the bottom of the red field, the green line at the bottom end starts to flash in my peripheral visual field. Seems to be on the margin of the color receptor area and has to work hard to catch my attention... a color field to spend some time with... thank you, Rog. 

vor 5 Stunden schrieb Bo-Sixten:

Freedom and liberation. Another dusty old neg from Stockholm in the seventies. M4, Tri-X. 

ha, she's waiting for someone to get it up.. ( the kite )   Thats so  seventies, Bo. Great memories not only of flying kites... 

vor 29 Minuten schrieb Suede:

A light subject.  [M4, Silvermax]

 

very nice, Pritam. I love  the light notes  on the more solid lines of the steps, resulting in a kind of musical interaction--basso continuo decorated with a patchy string ornament... well spotted! 

[Guest JMF]

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no jardim botânico by JM__, on Flickr

TMax 400 - M7 - 35 Summilux

[Kl@usW.]

vor 2 Stunden schrieb philipus:

As is this, though I had to google Hoarfrost. Apparently it's old English

Philip, I just take what my go to online dictionary  dishes out... btw, I think it´s quite good: https://dict.leo.org/englisch-deutsch/Raureif 

At least for my level of school english. The general problem for the non native speakers like me is the context, the field, or the habitat where certain words are living. While  I'm quite good at this in german, I'm aware that I'm missing the spot quite often in English. So perhaps we have to agree on "Broken English" to be the least common nominator ?  😊

 

Edited December 4, 2020 by Kl@usW.

[Kl@usW.]

 

 

From the pleasant temperatures of the jardim botanico to the 

white frost #3

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HB 503; Makro-Planar 4/120; Acros II; D76

[benqui]

M-A, Apo 50, Ilford Delta 400, X-Tol, NegLabPro

 

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[Ernest]

Pi Notation
M-A APO 50 ADOX Color Implosion

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[Ernest]

2 hours ago, Kl@usW. said:

i love the deceptive simplicity of this 3-color piece.. as soon as I  start looking at what I consider to be the center of the arrangement--the fine black line at the bottom of the red field, the green line at the bottom end starts to flash in my peripheral visual field. Seems to be on the margin of the color receptor area and has to work hard to catch my attention... a color field to spend some time with... thank you, Rog. 

 

Thanks for your comments, Dr. Klaus. I enjoy how you parse the color elements of my work. Invariably, I am drawn to what is probably the overlooked, pedestrian images of flat field color that have the nuance of history: smudges, abrasions, tears, rips, or pieces of tape from a posted notice long since gone. It's only two-dimensional in "Table Talk," using four separate images. Yes, I worked to get that single line with the jagged edge at the bottom of the red with two tiny screws in it that says, "I'm something of a surface, after all." I wanted to break up the precision of the line between gray and red. The red also has the hint of seam line at the left margin. The gray has four features that worked for this piece: the reddish triangle "tear" in the little box, the rusted smudge, the painted-over old tape marks, and the hint of sunlight flare at the bottom, next to the green, which gives the green the hint of glow. The color fields, then, read from red to the intermediate gray and finally the whisper margin of green, complement to the red. For the title, I glanced at my library shelf and noticed my 1888 edition of Samuel Taylor Coleridge's Table Talk  I picked up at a used bookstore. Yes, that would do: the conversation prompted by the juxtaposition of these color fields talking to one another. All right, perhaps they don't talk, per se, but the conversation has to go somewhere, given red, gray, and green with a little rust. Wink, wink. The gray has history, and I'm listening.

[Ernest]

5 hours ago, philipus said:

Ugh this one makes me feel locked in...

Definitely, locked in! There's only a peek at the outside world--it's green beyond the gray barrier--but there's realgar red, and we know what arsenic can do. I used some of "Quarantine" in "Table Talk," just to see where the conversation would go.

[adelie]

Milford Sound - New Zealand.

 

Leica M5 - 35mm Summicron f/8 on Kodachrome 64 colour slide film.

 

Image taken March 1979.

 

Scanned today on a Nikon Coolscan 8000 with Silverfast 8.8 HDRi Archive Suite.

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[bags27]

Mamiya 7  43mm HP5 in HC110-B

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[bags27]

ditto

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[thschm]

Fernbahnhof Frankfurt-Airport 05/2020

 

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Leica M4, Summicron 2,0/50 col., Ilford HP5+

Edited December 5, 2020 by thschm
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[John Robinson]

There are many reasons to like film.  Trawling through old negatives from the mid-2000s (not to mention the 1970s and 80s) reminded me of the endless "film vs digital" arguments that raged at the time (now, thankfully, died down).  One thing that cannot be disputed is the function of film as an archival medium.  I can go back to my collection of negatives and transparencies and re-scan using the latest technology.   Of course, a well-kept digital raw file offers the same possibilities but there are two critical differences:  digital preservation is a more demanding discipline than keeping film safe (think about the need to migrate to new media and possibly new file formats every five years or so);  in the 2000s the only option to shoot a native 25Mpixel or higher-resolution digital image cost tens of thousands of dollars (e.g. Phase One P25 or P30+) whereas a well-exposed negative or transparency could be scanned to 25Mpixel using a modestly-priced (by comparison) scanner.  Hence the film vs digital arguments.

Today there are plenty of affordable digital cameras yielding 25Mpixel or higher-resolution, often using the same lenses as the previous film cameras.  This creates the opportunity for a different conversation.  Is there a "look" about film images that is different from similar images taken on a digital camera?  Is there a reason why some film-makers still insist on shooting 35 or 70mm film before transferring to digital for post-production?  Why is one of my old photographer colleagues still lugging around a 10x8 view camera for his landscape work?

My observation, comparing images from the Leica M9 or SL with my scanned film images is that there is something "clinical" about digital images.  For commercial work, publication, syndication etc this is no doubt an advantage.  For other purposes ...

Looking back at the mid-2000 pictures from London's Regent Park, taken with a 1958 M2, I am struck by the purposeful walking that seems to go across species barriers.  A metaphor perhaps?

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[Wayne]

2 hours ago, John Robinson said:

There are many reasons to like film.  Trawling through old negatives from the mid-2000s (not to mention the 1970s and 80s) reminded me of the endless "film vs digital" arguments that raged at the time (now, thankfully, died down).  One thing that cannot be disputed is the function of film as an archival medium.  I can go back to my collection of negatives and transparencies and re-scan using the latest technology.   Of course, a well-kept digital raw file offers the same possibilities but there are two critical differences:  digital preservation is a more demanding discipline than keeping film safe (think about the need to migrate to new media and possibly new file formats every five years or so);  in the 2000s the only option to shoot a native 25Mpixel or higher-resolution digital image cost tens of thousands of dollars (e.g. Phase One P25 or P30+) whereas a well-exposed negative or transparency could be scanned to 25Mpixel using a modestly-priced (by comparison) scanner.  Hence the film vs digital arguments.

Today there are plenty of affordable digital cameras yielding 25Mpixel or higher-resolution, often using the same lenses as the previous film cameras.  This creates the opportunity for a different conversation.  Is there a "look" about film images that is different from similar images taken on a digital camera?  Is there a reason why some film-makers still insist on shooting 35 or 70mm film before transferring to digital for post-production?  Why is one of my old photographer colleagues still lugging around a 10x8 view camera for his landscape work?

My observation, comparing images from the Leica M9 or SL with my scanned film images is that there is something "clinical" about digital images.  For commercial work, publication, syndication etc this is no doubt an advantage.  For other purposes ...

Looking back at the mid-2000 pictures from London's Regent Park, taken with a 1958 M2, I am struck by the purposeful walking that seems to go across species barriers.  A metaphor perhaps?

 

Not to, regrettably, make an attempt to resurrect the "film vs digital"  discussion, I do have an observation. Unfortunately, I lack the technical means of explaining it, but rather, must use generality and comparison:

I remember, in the 70s and 80s, there was some popularity of paintings or tapestries on black velvet. Although I never owned one of these, I was always struck by them and found it difficult to pull my eyes away....they included something astonishing, not natural, but yet, riveting. Digital images have that same sort of impact on me. I still think about it when I see excellently rendered and reproduced digital images. The effect seems magnified as pixel count goes up. I think "clinical" may be the best descriptive I have encountered.

OBTW, outstanding photograph; certainly an excellent candidate for a black velvet rendering.

Best,

Wayne

 

Edited December 5, 2020 by Wayne

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jardim botânico by JM__, on Flickr

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