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1 hour ago, futhemen said:

Hi Guys,

another image from my expired roll of AGFA Vista 200.

Sadly I cannot use the good weather for new images, since my Leica is in for a repair (film advancelever was stuck, repaircosts around 750 Euros....)

Leica M4-P
7Artisans 28mm f/1.4 ASPH. 
AGFA Vista 200 expired in 2009

Plustek 7600i Silverfast 9 Plus

That’s bad news! But I am convinced that it’s worth every cent. I had a similar problem with my M4-P some years ago and had it get fixed by Mr. Reinhardt. It was a big joy to have my camera repaired and functional like new. 

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This photo is from a series from some of my crazy, extreme photo adventures I  had photographing Mountains "Alpinists " and rock climbers. This is Alpes mountain range which is called   "Le Massive du Mont Blanc", Haût Savoir region  In France.  And this place is a White valley ( La Vallee Blanche - Chamonix ) the most beautiful region You must visit. I was very brave enough to carry my Medium format two lenses/ meters/ and a Canon EOS and a 50mm, a lot of films No tripod/ It is crazy when I thi

Bonjour Henri,   I still prefer black and white film (I use almost no colour). The advantages of digital don’t mean much to me. Seeing instant results is not so useful, since what comes out of a camera is always far from a final result, and the final result requires time and thought.   Film also continues to improve. The quality of available film and developers is as good as it has ever been, and it is still as competent as digital sensors of equivalent size.   I also much prefer silver g

On a week-long stay at the Faroe Islands, I took the ferry from Torshavn (the 'capital') to the southernmost island, Suduroy, and looked up potential shooting locations on the island. This image was taken a little before the sun was setting in the ocean, with wind from the west (left). With the uplift of the humid air at the cliffs, fog and clouds drifted over the island. A quite typical situation for the islands; the ocean can be more or less cloud free, but the islands are generally covered in

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Really cool series Phil. What a great project. It reminds me of that saying that one has to suffer for one's art. Or, well, at least one's spouse has to suffer for one's art :D 

8 hours ago, stray cat said:

 

Thank you sincerely Rog! Your contextualizing work presented here in this forum within the greater universe of art and design history is an enormously valuable resource for us all in aiding an understanding of what we're doing as not just "taking pictures" or even plagiarizing masters (!), but in fact expanding our own vision and the horizons of our own particular aesthetic position. It also gives us ample scope to research works, such as Cole's, Dürer's (I found an umlaut!), Ruscha's and Parke's, that you've referenced here, and add to our own library of knowledge.

As you suggest, my initial attraction was to the idea that these things, once useful and desirable, were now discarded and, after a relatively short life of serviceability, now on their way to becoming beyond useless, and in fact a problem. Yet, in a way, they are quite beautiful, in a different way than their initial form suggested.

I think back in 1989 post-modern talk of "re-envisioning" was not yet widely taken up, so I cannot claim that was forefront in my mind. My tutor that year, Susan Fereday, however, was (and is), a major artist whose work often referenced the re-appropriation of everyday objects and/or non-artistic works such as police forensic photographs. I therefore thought I would be on pretty safe ground nicking Penn's basic premise. Anyway, I only just rediscovered these pictures and scanned a few of them. I remember having a lot of fun with the project, both in finding artistic rubbish and dragging it home (much to Sue's horror) then setting up a makeshift studio with my bounced Metz flash and bracketing exposures so that I could come up with something printable. I still have those prints somewhere:

all Nikon, 55mm macro, Agfapan 25

 

Wow very impressive, like staring down the neck of an alien. Helloooo Beastie :) 

5 hours ago, docmarten said:

Rolleicord, Kodak Portra 400

 

Beautiful photo. I'm sorry to hear about the repair :( I hope it will come back soon and as new :) 

3 hours ago, futhemen said:

Hi Guys,

another image from my expired roll of AGFA Vista 200.

Sadly I cannot use the good weather for new images, since my Leica is in for a repair (film advancelever was stuck, repaircosts around 750 Euros....)

Leica M4-P
7Artisans 28mm f/1.4 ASPH. 
AGFA Vista 200 expired in 2009

Plustek 7600i Silverfast 9 Plus

 

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Am 6.3.2021 um 11:41 schrieb Ouroboros:

Berkshire Downs.

Hasselblad 503cw

Zeiss 150mm sonnar cf

TMax 400 in Rodinal

 

Amazing and impressive photo. Did the central lighter spot occur naturally or is it  the lens ? Thought of getting a C 150 for my 503..... And, sorry for so many questions, my favorite developer, Rodinal, has a questionable reputation for the flat crystal films--not in your experience, as I see. Or is it the MF that takes care of the grain ? 

Am 7.3.2021 um 13:34 schrieb mdachs:

 

since many years in cows heaven

 

m4-2 2/90 I/2 slide

Joachim

Joachim, I like this photo very much. From the composition, the colors, and of course the subject: Cows are such great creatures.

Am 8.3.2021 um 05:10 schrieb Ernest:

No Trace Midday
M-A APO 50 ADOX Color Implosion

Rog; amazing how such little differences in hue and lightness result in a convincing 3-D effect. The stage is set, the audience rustling and shifting on their places... 

Am 8.3.2021 um 12:30 schrieb Wayne:

Rolleiflex New Standard, 75/3.5 Tessar, HP5

Wayne, I like the photo. Isn't it a nice paradox the camera you look down to by default is perfect for photos for things above our heads   ? 

vor 22 Stunden schrieb Sparkassenkunde:

Hello dear film community members 😀

It's been a while for me to join this thread and as I have seen in the last days, a lot has been shown here since I last visited. In the meantime I also did some photography, bought new and old gear, did some prints in my darkroom (what a joy!) and also tried out color negative development in C41. As some of you might have seen on Instagram, I bought a Leica R7 that has obviously seen something in her life. The lens of the 50 Summicron looks as if someone tried to polish it with sand paper, but astonishingly the pictures coming out of this camera aren't that bad at all. Here an example with an attached Elpro 2 macro lens that I have chosen for todays International women's day:

Leica R7 - Summicron-R 50 - Elpro 2 - Kodak Portra 160 (home developed in Cinestill C41 developer)

 

welcome back ! Great entrance ! 

vor 19 Stunden schrieb docmarten:

I know, wrong place to discuss, to many old white men...(double exposure Rolleicord) - so: just flowers without cause 

 

lovely photo, doc marten !  btw: the cosmos in german are called  "Jungfer im Grünen"   ("Virgin in the green" )  so--I´m not sure if your subconscious chose these flowers for women's day.. 

vor 7 Stunden schrieb Wayne:

Remodel.

Brooks/Plauble Veriwide 100, SK 47/8 Super Angulon, Rollei 200 Superpan (6x10)

" Chevron " revisited--or new old topography, with added stove  😃 

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10 hours ago, benqui said:

M-A, Ilford Delta 400, Apo Summicron 2/50

 

I could get lost in the eyes of your model and would be happy in that state too!

On 3/8/2021 at 7:21 PM, Sparkassenkunde said:

Hello dear film community members 😀

It's been a while for me to join this thread and as I have seen in the last days, a lot has been shown here since I last visited. In the meantime I also did some photography, bought new and old gear, did some prints in my darkroom (what a joy!) and also tried out color negative development in C41. As some of you might have seen on Instagram, I bought a Leica R7 that has obviously seen something in her life. The lens of the 50 Summicron looks as if someone tried to polish it with sand paper, but astonishingly the pictures coming out of this camera aren't that bad at all. Here an example with an attached Elpro 2 macro lens that I have chosen for todays International women's day:

Leica R7 - Summicron-R 50 - Elpro 2 - Kodak Portra 160 (home developed in Cinestill C41 developer)

 

Sublime colour James, love the back lighting too. 

3 hours ago, Steve Ricoh said:

Nikon FM2n, 50mm f/1.2, Ektar EI200

Its the colour that does it for me here too, but theres more, the softness and swirl across the image to rest the eye and charm the soul.

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7 hours ago, Sparkassenkunde said:

That’s bad news! But I am convinced that it’s worth every cent. I had a similar problem with my M4-P some years ago and had it get fixed by Mr. Reinhardt. It was a big joy to have my camera repaired and functional like new. 

Not sure what's going on... must be a sticky time for advance levers. I've, just today, sent my M4 with a jammed advance lever for repair to Paris. Did I read 750 euros?? Sounds excessive that. 

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Thank you all for your warm welcome :) I will try to show up here more often. I had a massive workload in the last couple of months but now will try to get back a bit of life balance. To stay within the floral theme I started yesterday:

Leica R7 - Summicron-R 50 - Elpro 2 - Kodak Portra 160 (Cinestill C 41 developer)

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43 minutes ago, Suede said:

Not sure what's going on... must be a sticky time for advance levers. I've, just today, sent my M4 with a jammed advance lever for repair to Paris. Did I read 750 euros?? Sounds excessive that. 

Prices seem to increase not only for the cameras but also for the repairs. Bought my M4-P about 8 years ago and with the repair it cost me about 650€ for the body. But that is the way it goes...

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vor 3 Stunden schrieb Bateleur:

Oh, how I long for the return of the Summer ...

Leica MP ~ 35mm Summicron ~ Ilford HP5 ~ Scan of the print

Me too!You can feel the warm sun on this beautiful day in the summer

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5 hours ago, Bateleur said:

I could get lost in the eyes of your model and would be happy in that state too!

Sublime colour James, love the back lighting too. 

Its the colour that does it for me here too, but theres more, the softness and swirl across the image to rest the eye and charm the soul.

Thank you Bateleur, it was the swirly look I was after and also a possible colour shift by pushing Ektar.

The 50mm f/1.2 is a difficult lens to focus wide open, not helped by virtue of the focusing screen in the FM2n not being able to differentiate below f/2.8 (so I’m told), even though I have the K3 which is supposed to help.

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vor 11 Stunden schrieb Suede:

Not sure what's going on... must be a sticky time for advance levers. I've, just today, sent my M4 with a jammed advance lever for repair to Paris. Did I read 750 euros?? Sounds excessive that. 

Yes, my advancelever just got half the way and won"t go back or for.

Yes, 750 Euro. If you are interested I can send you the list of work that will be done.

Estimated worktime was 4h for 597 Euro (which sounds like the repairguys at Leica does have nice hourly wages). Spareparts are under 50 Euro.

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vor 15 Stunden schrieb Bateleur:

Oh, how I long for the return of the Summer ...

Leica MP ~ 35mm Summicron ~ Ilford HP5 ~ Scan of the print

Charles, a wonderful photo. 

vor 2 Stunden schrieb futhemen:

Yes, my advancelever just got half the way and won"t go back or for.

Yes, 750 Euro. If you are interested I can send you the list of work that will be done.

Estimated worktime was 4h for 597 Euro (which sounds like the repairguys at Leica does have nice hourly wages). Spareparts are under 50 Euro.

Sending my stuff to Wetzlar sometimes reminded me of taking part in a pagan ceremony, being the member of the Leica  cult...hoping  the humble offerings will be accepted-- but in the end, it was always worth the price. 150 € /hour for a highly skilled technician is fine, half of the money going to social sec, health insurance, benefits and so on, the rest is split between company and technician. What I appreciate most, is the fact the have a look at this old stuff anyway. At least the non digital...     And: they are approachable; if you call them, there are real people on the other end of the line... 

Am 9.3.2021 um 05:19 schrieb stray cat:

 

Thank you sincerely Rog! Your contextualizing work presented here in this forum within the greater universe of art and design history is an enormously valuable resource for us all in aiding an understanding of what we're doing as not just "taking pictures" or even plagiarizing masters (!), but in fact expanding our own vision and the horizons of our own particular aesthetic position. It also gives us ample scope to research works, such as Cole's, Dürer's (I found an umlaut!), Ruscha's and Parke's, that you've referenced here, and add to our own library of knowledge.

As you suggest, my initial attraction was to the idea that these things, once useful and desirable, were now discarded and, after a relatively short life of serviceability, now on their way to becoming beyond useless, and in fact a problem. Yet, in a way, they are quite beautiful, in a different way than their initial form suggested.

I think back in 1989 post-modern talk of "re-envisioning" was not yet widely taken up, so I cannot claim that was forefront in my mind. My tutor that year, Susan Fereday, however, was (and is), a major artist whose work often referenced the re-appropriation of everyday objects and/or non-artistic works such as police forensic photographs. I therefore thought I would be on pretty safe ground nicking Penn's basic premise. Anyway, I only just rediscovered these pictures and scanned a few of them. I remember having a lot of fun with the project, both in finding artistic rubbish and dragging it home (much to Sue's horror) then setting up a makeshift studio with my bounced Metz flash and bracketing exposures so that I could come up with something printable. I still have those prints somewhere:

all Nikon, 55mm macro, Agfapan 25

 

Phil, very interesting and great photos in every perspective. Sent me down the memory lane..Irving Penn was one of my first photographic heroes and i was lucky enough to see the " Centennial Exposition" in Berlin 2018   https://www.co-berlin.org/en/irving-penn    ..amazing and very impressive indeed. Including his famous "corner"  and the  original backdrop from the studio work.   And: The Cigarettes !!    The juxtaposition of his highly esthetic portrait and fashion work with the cigarette butts  was an anouncement I only understood later  - if at all. The question why should we--Penn, you, me .. take photos of the discharge of our life and life in general at all ?  I don't have an answer that claims to be universal, but for me its the question of balance. The living, the beautiful and the pure  needs to be balanced, not all the times, but sometimes--by the leftovers, the discharge and the smelly. Trying to get into Penn´s mind--I simply believe he needed the raw beauty of the cigarette butts  to stay sane.  Strange enough, but thinking of Penn´s cigarettes I smell them as much as I envision them. So: any roadkill  photos in your files ?? 

Edited by Kl@usW.
typo, syntax, grammar aso
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16 hours ago, Kl@usW. said:

 

 

Wayne, I like the photo. Isn't it a nice paradox the camera you look down to by default is perfect for photos for things above our heads   ?

" Chevron " revisited--or new old topography, with added stove  😃 

It is fun to look down into that screen. Now that you mention it, I am not sure the photo would have worked as well if taken from an elevation of just a couple of feet higher.

Now that you mention it, that gas station has been recently converted from a "Marathon" to a generic "Fast Stop." In truth, the old stove was what caught my eye.........Sort of a reminder of the "dropped out of the sky" comments we shared with Antonio a few months past.

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