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I like film...(open thread)


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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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... "Pictures at an Exhibition" III

Exhibition Peter Lindbergh, Munich 2017
Kodak Tri-X 400, exp. 1984, Canon A1, Canon FD 28mm f/2.8 - Plustek 8200 i SE

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What a truly excellent parade of pleasant monochrome frames – bravo Bo, Steve, Chris and Wayne! And Rog's semi monochrome photo is really intriguing. Though I realise I'm off target by quite a few parsecs, fwiw, 'paren' means "the pairs" in Swedish. I do like the pair on display, that is, on the one hand the monochrome part of the image and on the other hand the colour part (feel free to groan at the sight of that terrible analysis lol).

13 hours ago, Bo-Sixten said:

Études, 32. Dusty old negs revisited. Munich 1980. Leica M4, Tri-X.

 

9 hours ago, Steve Ricoh said:

F100 50/1.2 , FP4+ in Rodinal 1+25

 

8 hours ago, chrism said:

HP5+ @640 in Diafine:

 

 

7 hours ago, Wayne said:

Contax I, czj 28/8 tessar, Foma 400 at 1600

 

1 hour ago, Ernest said:

Paren
M-A APO 50 ADOX Color Implosion & E100

 

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Members of the Defence did not have offices in the ICTY building. The reason was that they were employed, much like is the case in domestic legal systems, by law firms which usually rented properties near the ICTY and provided office space that way. But a need was found to exist for at least some space for Defence counsel and legal assistants to work while they were on the premises. This was one of two rooms made available to them. Both tended to be packed with people while hearings were going on in the three courtrooms, with lawyers checking references, looking up evidence in the electronic court system etc. On a technical note, this image was quite badly under-exposed actually so a certain amount of trickery had to be employed to make it look OK-ish. I decided to keep it in the project because it seems to suggest that the sun has finally set on the work performed. 

Flickr
203FE 40/4 Ektar X1

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vor einer Stunde schrieb dimm:

Birds in the city. Pittsburgh, 2021

 

M2-R | Lux' 35mm f/1.4 | Kodak Ektar 100, N+2, CS-41

Dimm, that's a wonderful color palette and a nice tangram of shapes... 

Am 12.10.2021 um 16:35 schrieb Nachtmsk:

Brotherhood.

Looking through old negs/prints/scans. This was from an Al Sharpton Rally in the early 90's. For those who don't know who Al Sharpton is, google will bring you lots of information.

I remember I couldn't get close to Sharpton (you can see his face in the upper left of the frame), so I shot what I could shoot. At the time I dont' think I had much, but looking back, I like this image better then a talking head.

M4p. Tri-x.

nachtmsk, this picture is indeed much better than anything you could have possibly shot on stage. A true gem in the spirit of the "humanistic photography" 

vor 14 Stunden schrieb Bo-Sixten:

Études, 32. Dusty old negs revisited. Munich 1980. Leica M4, Tri-X.

Bo, i like the perfect relation of the dark and bright spaces, the tranquil mood of the picture and, of course the mastering of the challenging contrasts... 

vor 1 Stunde schrieb Ernest:

Paren
M-A APO 50 ADOX Color Implosion & E100

Rog, standing out in your work: a symmetrical  piece !  I've spent some time now with it  (and refrain from thinking about the  title, which I think helps you to keep track of the work in your archives, but probably isn't meant to feed me the lines ) and just enjoy the vibrance of the hovering segment on the solid gray fundament...

vor 20 Minuten schrieb philipus:

Members of the Defence did not have offices in the ICTY building. The reason was that they were employed, much like is the case in domestic legal systems, by law firms which usually rented properties near the ICTY and provided office space that way. But a need was found to exist for at least some space for Defence counsel and legal assistants to work while they were on the premises. This was one of two rooms made available to them. Both tended to be packed with people while hearings were going on in the three courtrooms, with lawyers checking references, looking up evidence in the electronic court system etc. On a technical note, this image was quite badly under-exposed actually so a certain amount of trickery had to be employed to make it look OK-ish. I decided to keep it in the project because it seems to suggest that the sun has finally set on the work performed. 

Flickr
203FE 40/4 Ektar X1

Philipus, more than OK-ish. For me that's a plausible picture. Sometimes things have to be   left in the dark-for the better or the worse... 

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6 hours ago, philipus said:

What a truly excellent parade of pleasant monochrome frames – bravo Bo, Steve, Chris and Wayne! And Rog's semi monochrome photo is really intriguing. Though I realise I'm off target by quite a few parsecs, fwiw, 'paren' means "the pairs" in Swedish. I do like the pair on display, that is, on the one hand the monochrome part of the image and on the other hand the colour part (feel free to groan at the sight of that terrible analysis lol).

Invariably, I groan with delight taking in your terribly astute analyses. Yes, it's a bit of synchronicity that a flurry of arcs took stage as if on cue. Dr. Klaus is dead on with the housekeeping chores of titles, sorting out mental tags to the photographs, but there is the whole interplay, or perhaps I should call it jousting, of text vs. image, where text does not name the image but may call up a different parade, either by allusion or allegory. So, here we are with the simple "paren," an abbreviation for parenthesis and all the baggage that entails. In the photograph, it's the simple colorless arc, a paren on its side. One challenge for me is to remove the parentheses, being wary of digressions and afterthoughts. A parenthetical statement thrust midstream into a sentence claims immediacy over the footnote, and recall what Alexander Pope did with the footnote in The Dunciad. Overwhelming footnotes. But the voice of the footnote doesn't compete with parentheses, which sound like an aside, and we recall what Iago did with asides in Othello. Yes, we must be wary of the paren, particularly when it is articulated with bloody red in contrast to "fundamental" gray (American spelling), which doesn't take sides, 18% or otherwise.  So much for the inscrutable paren and all the strategies of zigzagging. (Notice there is no discussion of parens in mathematics.)
 

5 hours ago, Kl@usW. said:

Rog, standing out in your work: a symmetrical  piece !  I've spent some time now with it  (and refrain from thinking about the  title, which I think helps you to keep track of the work in your archives, but probably isn't meant to feed me the lines ) and just enjoy the vibrance of the hovering segment on the solid gray fundament...

Yes, we know this facsimile of a paren by its contrast with grey (British spelling). I am reminded of the significance of an entire volume of Jasper Johns's works devoted to his gray paintings, titled simply Jasper Johns: Gray.  (American spelling.) In photography, are there simply gray photographs, as opposed to black-and-white photographs? It's Saul Leiter: Early Black and White.

I wish I had Philip's polyglot skill, but I spent too much time in parentheses.

Edited by Ernest
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Sign on a pub named after a famous English chap who (allegedly) stayed there once (or maybe just visited) with his friend Victoria.

Leica R5, Vario-Elmar-R 4/35-70 at 70, Fuji Superia 400.

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11 hours ago, Kl@usW. said:

Bo, i like the perfect relation of the dark and bright spaces, the tranquil mood of the picture and, of course the mastering of the challenging contrasts... 

Many thanks Kl@usW. for your kind reaction and analysis. So appreciated. Regarding the contrasts - that's one of the things film does so beautifully and we love. :))

Edited by Bo-Sixten
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21 hours ago, Wayne said:

So I guess I am a bit behind the times. Has Fuji pretty much exited the film world? I noticed, this morning, that Fuji Superia 200 is out of stock. I can remember times when the Superia 400 has been out of stock, but never 200.

Finding Superia 400 in England is becoming quite difficult, which is a shame.  There seem to be some stocks of Superia Premium 400 imported from Japan, fewer exposures at twice the price.  One supplier has Fujicolor C200 but I have not tried it and don't know how it would compare with Superia.  Oh for the "good old days" (barely a decade ago) when one could stock up on Superia 100, 200, 400 and above as they have always provided excellent, reliable results.  Currently trying to work out whether Kodak has anything that compares.

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3 hours ago, John Robinson said:

Sign on a pub named after a famous English chap who (allegedly) stayed there once (or maybe just visited) with his friend Victoria.

Leica R5, Vario-Elmar-R 4/35-70 at 70, Fuji Superia 400.

When we were kids, we'd call a tobacco shop and ask if they "had Prince Albert in a can." If they said "yes," we'd reply "then you'd better let him out." We would hang up hysterical. That was around 65 years ago. sigh.

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Lake of Monte Cotugno Dam - Pentax 67, Takumar 105/2.4, Fomapan 400

Cool place. The pillars look taller than they are because of their reflections. I think the roll breathed a little bit or I handled it poorly, because I found a lot of light leaks at the edges. I was able to save some images.

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42 minutes ago, AntonioF said:

Lake of Monte Cotugno Dam - Pentax 67, Takumar 105/2.4, Fomapan 400

Cool place. The pillars look taller than they are because of their reflections. I think the roll breathed a little bit or I handled it poorly, because I found a lot of light leaks at the edges. I was able to save some images.

I love this one. I am curious about development as I have taken a keen interest in Foma 400. I would have to say this is about the best I have seen with the film.

 

Best,

wayne

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1 hour ago, Wayne said:

I love this one. I am curious about development as I have taken a keen interest in Foma 400. I would have to say this is about the best I have seen with the film.

 

Best,

wayne

Thanks, Wayne. I have been rating Fomapan 400 at 200 and developing as 400: 7 mins in HC-110 dil B. In this particular photo, I was using a yellow filter, so I had my hand meter set to 100 iso. Because it was sunny but hazy, the meter gave me something around 1/125 F11-F13 (pretty much in line with Sunny 16).

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m3, Summitar 50 (1941), trix (dd-x), scan of a darkroom print on mgfb. 

 I plan to print the below one (Rolleiflex 2.8f, delta-400 (dd-x)) and workout a way to display them together. Any suggestion on how to do this is more than welcome 🙃. They will have a closer look once printed and toned using the same process. 

Edited by Aryel
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