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On 11/29/2022 at 7:09 PM, 4r36 said:

Lovely. Personally I really like also the rendering of Rollei RPX 400 when it comes to soft-contrast shades of grey!

Many thanks for your comments.

In the use case of medium format, the Rollei RPX 400 is awesome for sure, especially if you manage the light properly in order to take an outstanding low contrast indoor portraiture.

For instance, here's a nice portrait found at THE CODEX that won my vote.

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Source: THE CODEX

URL: https://bluemooncameracodex.com/film-fridays/ffrpx400

 

On the side notes, I'll feed few rolls of ILFORD XP2 SUPER 135-36 on my M4 and Barnack later and see how good it can be.

Edited by Erato
wording
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16 hours ago, ansteyp said:

My granddaughters attacking ice cream.

Leica MP, 50mm Summicron, Tmax 400, HC110

 

Ansteyp  , too cute  ....   and black of Kodak TMax 400 so nice

 

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Piscinas, Sardinia

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Kodak Portra 800, OM1-n, Zuiko 24 2.8 

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Sicilia

M3 / 50mm / Portra 160

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Rue des Jardins

 

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Lomo LCA+, Metropolis

Edited by christoph_d
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Hasselblad 500 C/M, Carl Zeiss Planar 2.8/80, Ilford HP5+
 

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Dog kennel, Isle of Lewis.

Hasselblad 503cw

Zeiss 120mm makro-planar CFi

Ektar in Tetenal C41

 

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Portra 160 - 28mm Summilux - Minolta CLE

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Portra 160 - 28mm Summilux - Minolta CLE

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Mamiya 7 65mm HP5+ in Pyrocat

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On 11/29/2022 at 11:41 PM, Doc Henry said:

 

 

I find that Rog has evolved in the design of these new color forms , sometimes appealing to nature  🥰 . The colors are great Rog

Would Rog have become ecological  ? ....  good then because we are currently changing with the deteriorating climate 😀

One modest contribution  to what Rog does in search of an artistic aesthetic of perfection  🥰

Kodak Portra 400-Leica M7-35 Summilux Asph 

Portra dev in Tetenal and scan in TIFF with Nikon Scan Software > No correction > linear curve when scan.

Best

Henry

Deauville France 2022

Your “modest contribution” here, Doc Henry, is quite a captivating composition that echoes even Leon Battista Alberti’s advice to painters in the 15th century: “I will tell you what I do when I paint. First of all about where I draw. I inscribe a quadrangle of right angles, as large, as I wish, which is considered to be an open window, through which I see what I want to paint.” Alberti would most certainly use your photograph as an outstanding example of the “open window“ to composition. Flash forward to the 21st-century, and we have your minimalist statement, which is certainly surrealistic in its simplicity. Simply clouds, water, and sand. Yet, the left and right margins of this composition are indeterminate, open left and right. What would otherwise be a static composition now suggests movement reading from left to right. The illusion to 3-D is also underscored by your framing. Even the point of view reminds us that we are looking through a framing device, let alone the camera itself. Bravo, Doc Henry, you have given us a composition that bridges painting from the Renaissance to photography of the 21st-century.

I really do appreciate your generous comments about my own work, which centers on the subject of photography paradoxically using subjects in photography. It is the colors, textures, and attitudes that speak in metaphors.

Zigzagging,

Rog

“To my mind, photography has the power to evoke and must not simply document. We have to be abstract, just like nature.”
 —Henri Cartier-Bresson

Edited by Ernest
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