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I like film...(open thread)


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Chevron AP9
M-A APO 50 ADOX Color Implosion
CV19 lockdown has me simplifying.

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Am 23.1.2021 um 02:57 schrieb Ernest:

Censorship Order
M-A APO 50 ADOX Color Implosion

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Very impressive, Rog. My wandering mind gets lost in possible interpretations about the  meaning of the black rectangles... and then  the steel cable crashes into sight... giving it a very real foundation: it´s real, it´s not a phantasy, you can grab the cable and make a nasty noise... do it, but don't hurt your fingers with these treacherous little spikes sticking out of the cable.... 

Am 23.1.2021 um 08:06 schrieb Bo-Sixten:

Contre-jour. Leica M4, Tri-X.

 

wonderful, Bo. I hear the wind play with the drapes... 

Am 23.1.2021 um 11:36 schrieb christoph_d:

Colourstudies, 39 years ago. 

Contax 139, Planar 1.4/50, Orwo UT18

noble colors, albeit the surfaces offer a more democratic surrounding here. Well spotted, Christoph

Am 23.1.2021 um 13:27 schrieb benqui:

This is not an analog photo but it shows my M-A with a metal grip from kamerakraft. I have read about it here in this thread. I was never a fan of grips but this one improves the handling a lot especially if you are walking through the streets.

 

 

Me too, Marc 

Am 23.1.2021 um 23:04 schrieb Wayne:

Pentax AP, Takumar 2.4/58, Acros II

Sheer poetry, Wayne. I've tried this many times. And failed. You did it. 

vor 13 Stunden schrieb christoph_d:

Ernest,

I will, if I find more 🙂. My filing system is not exactly foolproof, and I am plodding along searching through a selection of slide boxes to see what is worth scanning... Also, unlike my Kodachromes, Orwo UT18 has acquired a certain colour shift with time. 

Here's a picture from about the same time as the previous one - a colour study of a different kind if you want - September '82, somewhere on Mallorca.

I probably used a very long f8/500 third party lens for this one. And I am not quite sure if I pushed the Agfa 50S to 200, which would explain the grain. 

Yashica, 8/500 (?), Agfa 50S

 

Time may have been your adjuvant, Christoph-but the outcome is a masterpiece anyway. Ernest has said it all; for me this  captures the blinding light of a high mediterranean sun in a perfect and poetic way. Chapeau ! 

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21 hours ago, Wayne said:

Entrance to Primitive Area, National Muzzle Loading Rifle Association (NMLRA,) Friendship, Indiana...............Sweet relief from the Iphone. OOOOOh Yes! They are very serious about it.

Zeiss Super Ikonta IV, Fuji Acros

Hello Wayne

I also am a muzzleloader fan since the 70's

Have shot at the California state shoot, and bleong to the Burbank Muzzleloaders

Don

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More Cine250D

SL with 90/2

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Derelict building

SL 90/2, Cine250D

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Reiteration
M-A APO 50 ADOX Color Implosion

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9 hours ago, Ernest said:

This is a very luminous rendition: grain and color shift underscoring a color impressionist statement, the depiction of the changing quality of light in the landscape. And what I find significant, like a visual footnote, is the small figure. squatting, perhaps collecting something with his blue bucket. This footnote is a statement that this is the mediation of wild nature with man's tilled farm fields. The line of shrubs cutting across the field may be an irrigation trough or simply a fence, but it serves man's industry, nonetheless. The Monet lighting and coloration calls to mind earlier 18th-century aesthetics of the sublime and the beautiful, on one hand, and the picturesque on the other. In 1775, Thomas Gray mentioned his use of a "Claude glass" to view the picturesque to fully appreciate its nature. The Claude glass, named after painter Claude Lorrain, was a blackened mirror that artists or observers used to create art works in the style of Claude Lorrain. An artist held this small pocket mirror, turned his back to the scene, and observed the landscape reflected in the mirror. Certainly, it's pre-photographic and a backward glancing view of nature that you have photographed here head-on.

Not generally recognized is the notion of the 18th-century in terms of pre-cinema, since William Gilpin, who defined the picturesque aesthetic, mounted a Claude glass on his carriage to observe "a succession of high-coloured pictures . . . continually gliding before the eye." I wonder if he should be credited with the first rearview carriage mirror.

Thanks, christoph_d, for this inspiring work. A very large print would emphasize the 18th-century heritage.

Thank you, I was not aware of the existence of the "Claude glass", though I do know that many two-dimensional images can be experienced as (more) three-dimensional when viewed through a mirror.

Back to the times of Kodachrome. I cannot recollect the exact location where I took this picture, Italy for sure, probably Assisi, but then...

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Olympus XA, Kodachrome 64

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On 12/8/2020 at 2:36 PM, AntonioF said:

For example:

Nikon FM2, Nikkor 50/1.8, Kodak Colorplus 200

Pentax 6x7. 105/2.4, Fomapan 200

 

One more combo: Leica M6, Summicron 35 asph, Rollei RPX 400 + hazy day

Test roll after the CLA. The M6 seems to be fine. I'm going to develop another roll soon.

Spot the dog! I tried to shoot while the dog was in the middle of the road, but he got scared and got away in spite of the half sandwich I wanted to share with him. Then I found out a pack of dogs was hanging out on the other side of the dune.

 

Edited by AntonioF
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#RVLife - Leica M6, Summicron 35 asph, Rollei RPX 400

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big white cloud 2020

m2, 35mm summaron, yellow (k2) filter, XP2 Super

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5 hours ago, stray cat said:

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big white cloud 2020

m2, 35mm summaron, yellow (k2) filter, XP2 Super

wow, the sky is really pulled down into a darker tone in this shot, I didn’t expect that much of a shift from a yellow filter.

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Statue of a young dancer at Covent Garden, London by Enzo Plazzotta (1921-1981).

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Leica M2, Voigtlander Nokton 35, Fuji Superia 100.

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Have A Seat...

Nikon F2 / 35/2.8 / Kentmere 400 / Xtol

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I hope the beer is better than the building ...

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Canon EOS 1n, EF28-70mm, Foma Retropan 320

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Best Seller
M-A APO 50 ADOX Color Implosion
(Redacted book series)

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20 hours ago, Kl@usW. said:

 

On my way home, I made a litte detour to the pond. 

HB 503, Distagon 60;  Pan F, Rodinal

Surrealism lives! Is this Ralph Gibson's pond with a floating nude transformed into a swan? Mirror reflections, each "an island entire of itself." Classic "S" composition, from the arc of the pond to the swan's neck, ending with man's mediation of nature with power line high tension towers. Interesting detours, you take.

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