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Church of Compiègne -France

Couplex II / Elmar 50 / HP5 / Ilford LC29

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Yesterday, I posted some images from a recent trip to the Yaquina Head National Scenic Area in Newport, Oregon. After posting, with further review, I realized there was quite a bit of motion blur induced during the capture process. My little foldable table was the culprit. This morning, I moved the setup to a better table and raised the ISO to 200, the results were much improved. Like any form of converting a negative to a positive, there are always factors that can cause image degradation. A misaligned enlarger head, a film holder that is slightly tweaked and in this case, a vibrating table. The images were made with a M4 using a Voigtlander 35 2.0 Ultron ASPH V1, Delta 400 developed in Ilfotec HC 1:31, capture was with a Sony A7II, FE90G 2.8 Macro, Negative Supply Carrier MK 1, 5x7 Light Source Pro 95 CRI. Processing was with RAW Power from Gentlemen Coders.

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This is the photo that made me aware of the problem:

And the adjusted image:

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Saturday's shave

 

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Summertime #9  

beech

I use  Distagon 3,5/30 with care. A beast, with an unapologetic technical character. No pussy footing here. Huge front lens, weight that makes your fear for the bayonet  and you have to disassemble it to put in a filter. It´s fun as long as you don't  overdo it. 

If you forget the filter  ( red filter here ) after changing from the b/w magazine to the Ektar magazine, this is what you get: 

 

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Hasselblad 205; Distagon 3,5/30; Ektar 100, red filter

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Summertime #9a

beech, morning light

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dito, no filter

Edited by Kl@usW.
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Mycket bra Bo! :) 

On 9/22/2021 at 5:27 PM, Bo-Sixten said:

M4, Tri-X. 90mm Summicron.

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Thank you very much Ken. I think I just had too much coffee to drink that morning...

On 9/22/2021 at 5:40 PM, bags27 said:

What a wonderful mix of the technical and philosophical. Thanks so much for this!

I really like this one. Clearly there's something going on here that only an infrared emulsion could catch. A local black hole perhaps? Or some aliens.

On 9/22/2021 at 7:16 PM, ianman said:

Thank you. Here is another from Cornwall. This is a very difficult film to scan, the contact sheet is ok but they are very "thin" when scanned. I must be doing something wrong. Note the weird beam coming down from the cloud. I don't recall seeing anything like this at the time but so I guess it's the infrared sensitivity picking it up. Spooky :)

 

 

 

Your title reminds me of a Swedish pop song by Tomas Ledin which is about a party. The singer observe all sorts of things happening to people and them himself joins the party and "picks his basket full of trouble".

On 9/23/2021 at 1:39 AM, Ernest said:

Collecting Fractures
M-A APO 50 & Thambar-M CS ADOX Color Implosion

Really cool. 

On 9/23/2021 at 6:56 AM, hillavoider said:

Rollie infrared at the river

Leica 35mm 

Thank you very much Christoph for your excellent observations, and also for mentioning Frank's Paris which I had overlooked. What you write reminds me that the vision and the execution of that vision are what count in that it's that which moves a viewer and not the technical details behind a photo. I'm also reminded of a lesson I keep learning every time I put myself in front of a computer to edit images; that there is rarely such a thing as an image that is finished in-camera.

On 9/23/2021 at 10:35 AM, christoph_d said:

Thanks for your thoughts. I am not sure if I agree with all your thoughts on, what shall I call it, photonphilicity or photonphobicity of various photographic techniques, or perhaps I agree and just have a few additions. For one, I believe that the developer used for analogue photography plays a significant role. In Europe up to about 1950ies, photographers seem to prefer film development that “dissolved” grain, sacrificing sharpness. Look, for example at Robert Franks Book ”Paris”. This in contrast to the “American” style of developing that seems to have prevailed since, visible, for example in the work of Gary Winogrand or, even more extreme, with William Klein. 
A further thought that crossed my mind was the recommendation by a fellow forum member to develop b&w negatives very “thinly”, as this would significantly reduce the grain. So on the second point, your recommendation may work for colour film and a mixed analogue / digital workflow, whereas for b&w things may be different? But ultimately it all comes down to an aesthetic choice made by the photographer to achieve a certain effect, and on that note I have to agree that Ektar is a very nice emulsion, and that you know very well how to use it at its best!
 

I can only echo what others have written, this is one of those images I would have put my camera on the shelf after having taken. It's truly sublime. 

On 9/23/2021 at 12:32 PM, stray cat said:

For certain reasons, tectonic shifts have been on my mind recently:

cooled lava from kilauea, hawai'i 1996

hasselblad, 80mm, kodak panther 100 pro

Very nice Charles. Perfect framing and actually quite funny with the centre horse looking back.

On 9/23/2021 at 4:13 PM, Charles Morgan said:

Ponies and stones, Showery Tor to Rough Tor, Bodmin Moor. Horizon S3, Industar 28mm f2.8 lens, Ilford Delta 100 Rodinal 1:50

 

Very good results for pulling the film so much. 

On 9/24/2021 at 9:47 AM, AntonioF said:

Canon A1, Canon FD 50/2, Expired Ferrania Solaris 100 @ 25

That must have been one heck of a nice kayak tour James!

On 9/24/2021 at 9:02 PM, Sparkassenkunde said:

That kayak again...

Ricoh GR1s - Agfa CT 100 Precisa

This is truly fascinating, thank you Phil. The human mind is a dangerous thing. Photos being taken of things that are really about things that aren't there. The imagination takes off on a tangent at F1 speed, much like when watching an artistic portrait of a lightly clad lady (or man depending on one's preference of course) which leaves more to the imagination than the eye. 

On 9/25/2021 at 6:20 AM, stray cat said:

Thank you sincerely, Rog. Your thoughts have led to my own thoughts, taking the lava field photograph as an example. The value of any still photograph, to quote the "bleeding obvious", is that it takes a selected moment in time and space, and there it is, forever waiting to see the light of day again, independent of its original context if need be. So we begin, with pictures such as Klaus' wonderful double exposure, and with this lava field photograph, a conversation about nature. Same with Chris's woodpecker portrait, without a woodpecker in sight. It's very probable that, with my own picture, I was simply aware of the branch and the grasses as compositional elements - I have other pictures from the same location playing around with these same elements in different configurations. But now, now that a conversation has been started about nature and its resilience, my original simple idea of composing a picture has been turned into something different. I like how that can happen. This goes to the heart, perhaps, of why we post pictures or show them to people at all - to gain different perspectives, different approaches, and learn new ways to look at something. I go back, too, to Philip's wonderful and important (I think) series on the rooms in which he worked, bringing to justice the perpetrators of those diabolical crimes in the former Yugoslavia. These rooms, just rooms, represent something way more important than what generators or tiles or chairs or computer monitors describe. Klaus' ghostly grasses tell us more about time than that some things move at different rates than others. There is the seen in a picture and the unseen (just on the previous page, look at Bo's photograph at his mother-in-law looking at a photograph, Antonio's or hillavoider's beachgoers seen/not seen, Charles' horses with a human figure watching over both horses and photographer, Dimm's wonderful hurricane not-yet-happened, Steve's glorious sprocketed graffiti of a timeless scene of interaction/non-interaction, and James' (Sparky's) marvellous and idyllic paddle towards the sunrise (sunset?) on calm and untroubled waters. Your own phrase comes to mind: the presence of absence. This thread continually dishes up the most wonderful ideas and images of imaginative discourse.

Someone call 112! Bravo Klaus.

On 9/25/2021 at 10:10 PM, Kl@usW. said:

bruised beetroot

 

HB 205; Makro-Planar 4/120; Portra 400 

 

I like this one very much. Such contrast and a brilliant composition.

23 hours ago, madNbad said:

Yesterday, I posted some images from a recent trip to the Yaquina Head National Scenic Area in Newport, Oregon. After posting, with further review, I realized there was quite a bit of motion blur induced during the capture process. My little foldable table was the culprit. This morning, I moved the setup to a better table and raised the ISO to 200, the results were much improved. Like any form of converting a negative to a positive, there are always factors that can cause image degradation. A misaligned enlarger head, a film holder that is slightly tweaked and in this case, a vibrating table. The images were made with a M4 using a Voigtlander 35 2.0 Ultron ASPH V1, Delta 400 developed in Ilfotec HC 1:31, capture was with a Sony A7II, FE90G 2.8 Macro, Negative Supply Carrier MK 1, 5x7 Light Source Pro 95 CRI. Processing was with RAW Power from Gentlemen Coders.

 

That is a lens I've often wanted to have but having the 40 I can't justify it. But seeing your two photos I'm very tempted. The one below is really cool.

20 minutes ago, Kl@usW. said:

Summertime #9  

beech

I use  Distagon 3,5/30 with care. A beast, with an unapologetic technical character. No pussy footing here. Huge front lens, weight that makes your fear for the bayonet  and you have to disassemble it to put in a filter. It´s fun as long as you don't  overdo it. 

If you forget the filter  ( red filter here ) after changing from the b/w magazine to the Ektar magazine, this is what you get: 

 

Hasselblad 205; Distagon 3,5/30; Ektar 100, red filter

 

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Here's meeting room M177 again, but from a slightly different angle. Some fun facts about the chairs are that the bright red ones were much more comfortable than the burgundy-coloured ones and that regardless of whichever type one chose/got there was a very high likelihood that it would creak like bloody crazy as soon as one moved the slightest. 

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Flickr
203FE 40/4 Ektar X1
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vor 28 Minuten schrieb philipus:

That is a lens I've often wanted to have but having the 40 I can't justify it.

Thank you Philipus for your comment.. I can't really recommend to buy this lens, it´s pretty rare and thus expensive. If you should suffer  ( or enjoy ? quote: never resist a temptation, who knows if it will ring a second time... ) an attack to buy it: make sure the little filters come with it. At least the UV-filter, its part of the optical calculation. Thinking about it: I enjoy  all the lenses sitting on my shelf, even the rarely used. I just love the sheer perfection of the stuff. And since I'm an amateur: no need to justify the cost ... 😁

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Edited by Kl@usW.
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12 hours ago, philipus said:

Very nice Charles. Perfect framing and actually quite funny with the centre horse looking back.

 

Many thanks philipus! The reaction of the Bodmin Moor ponies was intriguingly different to those I've come across on Dartmoor. The latter get fed a lot and are far too familiar with visitors, those here were a bit more wary and made no attempt to approach me at all. They just kept a weather eye on me at all times!

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Canine discontent. Memphis, 2021

 

M2-R | Lux' 35mm f/1.4 | Ilford FP4+,  EI 400, Rodinal 1:25

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golden shower, 2021

rolleiflex, 80mm, ektar

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a lot to take in, 2021

rolleiflex, 80mm, ektar

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