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2 hours ago, S/W said:

Burano

(Oct. 2019, Isle near Venice)

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Leica M4-P * Voigtlaender Nokton VM 1.4/35 S. C. * Kodak Portra 400 @200 * Nikon Coolscan V ED

Colors are indeed wonderful, but it's the great horizontal and vertical lines and then, amazingly, the diagonal at the bottom front. Just such great structure!

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Lockdown city

M3 | Summaron 28mm f/5.6 | Foma Fomapan 100 | Rodinal 1:50

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Am 14.1.2021 um 03:49 schrieb Ernest:

Yes, double, even triple (or more) exposing is its own country. I can't remember where I saw it originally in the early 70s, the technique of double exposing a portrait, shooting the first exposure slightly out of focus, then a second exposure in tack-sharp focus. Of course, one of those mid-nineteenth-century head rests to keep the model motionless for the exposures would be called into service or the command, "Now, hold still!"

Somewhere among  inherited photos  I found a couple of this kind of photo-- my great grandmothers family took the discomfort of a long travel to have a family  photo made before the two sons went to the trenches: exposure time about half a minute, heads fixed with some construction, but, what I found highly disconcerting was the veil over their eyes: nobody can suppress the flicker of the lid for such a long time-so the eyes are blurred; not completely but quite.. Nightmarish. 

Zitat

 In Barth's book White Blind (Bright Red), there's a series of in-focus/out-of-focus barren trees, a kind of layering that adds that depth of near and far.

 

She describes her goal "“I keep trying to find ways to shift the viewer’s attention away from the object they are looking at and toward their own perceptual process,” she has explained. “How can I make you aware of your own activity of looking, instead of losing your attention to thoughts about what it is that you are looking at?”   So making us aware of our perceptual process is not an easy thing... 

Zitat

Dean's work that may give some reference ideas is thework with an ancient tree in Kent: Majesty and Crowhurst, both done in 2006. Majesty is a photograph with white gouache of an eight-hundred-year-old oak. Why is it identified as "white gouache"? I remember gouache as always being white.

Not really, I had to look it up, but they describe gouache simply as a mixture of a coarse pigment and stuff that makes the resulting color opaque... the german Wiki gives chalk as the usual addition, the english wiki none. So a white gouache seems to be a very special thing-white but opaque... like a gray horse  ? 

Zitat

 So, I am very curious seeing what rolls out of your A12 with 24 or more exposures.

I´ve done that, have to find the rolls... 

Am 13.1.2021 um 01:16 schrieb Ernest:

Cast
M-A APO 50 ADOX Color Implosion          

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wonderful, Rog. A bit disquieting, the yellow sea mist... 

Am 15.1.2021 um 12:42 schrieb Wayne:

For historical purposes: Agfa's "nifty fifty"

Agfa Super Silette, 50/2 Solagon, Fuji 200, C41 cold.

Wayne, had to do some research about the Agfa Super Silette 50/2...seems you got a real gem !  And the picture is hot. Not cold. 😁

Am 15.1.2021 um 22:17 schrieb bags27:

Two bridges at low tide. Mamiya 7 150mm Delta 400 in T-Max

Ken, the 150mm seems to be a real monster, sharpness-wise... nice photos of the coast line there. I can almost smell it. 

vor 7 Stunden schrieb philipus:

Speaking of Fuji films, here's a shot on severely expired Fuji Superia 1600 which I exposed at EI800. It's from a concert in Oberhausen with Norwegian black metal band Dimmu Borgir exactly one year ago when corona was only a Chinese thing.


Flickr

That's really an unusual good  shot of some stage event.. I like the graphics of the spotlights and the reduced color palette. 

vor 7 Stunden schrieb P1505:

Two things: here are the Havana photos. I have hundreds more but these are my personal favourites. Others prefer others, so I’ll add them (maybe) over time.

And second, I need help. Looking at these scratched, fungus riddled images Im in love film again brut until I’m ready for 5x7 and a tripod I need to go the medium format waist level “thunk!” That I’ve desired for so so long. I need to know if I should splurge on a Hasselblad knowing I can put a digital back on it later, or if I’m paying for the name.

Ill be shooting colour only and not very often. I’ll send them away for developing I think. I’ll scan myself.

Honest crit on the images welcome. I need to put little comments on them.

Prices are rising but if you buy an SWC or a body of the 500 or 200 series you'll still get good value in my experience. There are few cameras that are more pleasurable in their perfection and professional qualities.  But to buy one of them with the idea of adding a digital back later- makes no sense in my opinion. I would go to digital directly then... 

vor 20 Stunden schrieb Ernest:

No
M-A APO 50 ADOX Color Implosion

YES YES YES--great photo !! The color. The graphic composition. The Explosive Grain ! 

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Untitled 

 

Time-Warner Center, Columbus Circle NYC, 2019

M6, Nikkor 3.5cm f1.8 ltm, AP400 (expired), souped in Diafine.  

Edited by KevinL
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Leica iiif / Acros 100 / Jupiter-9 85mm LTM

Focused on the top of the tree..this VIOOH is quite handy!

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Edited by frame-it
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Leica iiif / Acros 100 / Jupiter-9 85mm LTM

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5 hours ago, leicamour said:

Wild North Italy

Leica M5 - 35Summicron - Ilford fp4+

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great photo,

The dark sky - due to high altitude / filter ??

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In Memoriam by JM__, on Flickr

Accidental double exposure - SWC - Ektar 100 converted to black & white

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Solstice Tension
M-A APO 50 ADOX Color Implosion

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Rolleiflex 3,5A, HP5, D76 1:1

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My Dog and Her Toy

Nikon F2 / 55/1.2 / Kentmere 400 / Xtol

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A spot of cricket while the sun is out.

Pen FT with 40mm FP4+ in Caffenol

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Leica M4-P
Voigtländer 40mm f/1.2
Ilford Delta 100
Adox Adonal Developer 1+25 
@ 9 min
Plustek 7600i Silverfast 9 Plus

 

HIstoric meets modern by Tim Fuhrlaender, auf Flickr

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Au Père Lachaise by JM__, on Flickr

Ektachrome 100 - 35 Summilux v2  - M6 Classic 

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