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I like film...(open thread)

Doc Henry

By Doc Henry
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thschm

thschm

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Weissenhofsiedlung, Stuttgart Killesberg, 1927

This building was created by the architect Mart Stam (1899-1986)

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Leica R6, Summilux R 1,4/50mm, Kentmere 400, Adox XT3, Epson V800, Darktable

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Michael Hiles
Michael Hiles

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 cam

Cyril Jayant
Cyril Jayant

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

helged
helged

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 t

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oldwino

oldwino

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Leaves and Light

Nikon F4 / Micro-nikkor 60 AFD / CMS20ii / Adotech

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wlaidlaw

wlaidlaw

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On coming through security at Barbados a few years ago, I had a security wonk ask me to turn on my M4 camera. I tried to explain that it was a wholly mechanical camera using film and not even having a battery for a lightmeter so no on/off switch. You could see the total lack of comprehension on the young man's face. "Well if it has no battery how can it take photos then" was his question. Again I tried to explain light sensitive silver halide compounds on a plastic film substrate, which resulted in more blank looks. He had to go and find an older colleague who basically told him he was an idiot and apologised to me for the ignorance of the younger generation. It will soon be the case when security officers will ask: "Well how do you make phone calls on that and where can you look up your Tik-Tok favourites". 

Wilson

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Kl@usW.

Kl@usW.

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vor 6 Stunden schrieb DreiPunkte:

I just returned from Norway and had several security checks domestic and national flights.
My Films in the bulkfilm tins are alway manual were checked on demand without any complains.
The tins were accepted unopened. Two timesss I had to turn my camerabag the the "left"
and they demand me to open the Cameras. They have a look through every lens.
I can discribe the hole procedure as friendly and professional.

Thank you for the information. It's somewhat comforting to hear that. Unfortunately, my experiences haven't been so positive thus far. However, I've since abandoned my plan to switch to the dark side and travel digitally, and instead, I'm in the process of assembling an analog setup. Now, I just hope that my (purchased new three years ago) MP finds its way home after more than half a year in Wetzlar...

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DreiPunkte

DreiPunkte

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The fog, a boat and five blokes

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Wisner Expedition 4x5, Imagon 250mm with +3 closeup Lens, Foma100 FX39
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DreiPunkte

DreiPunkte

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I think it helps a lot that I transport and present my filmmaterial in mesh bags imediate
without asking. Next I open my Billingham and take the Cameras out on the tray.
and so on. I never had problems. Also I lable all films with 3200ASA handwritten
stickers.

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r+m

r+m

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Old bridge of Heidelberg (River Neckar) at night (Leica M4-2, Voigtländer Heliar 40/2,8, Ilford HP5):

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Ernest

Ernest

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Scrap Index
MP APO 50 ADOX Mission

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Aryel

Aryel

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i-2, Polaroid I-type color

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stray cat

stray cat

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Sorting through some of the pictures I took in Oaxaca, Mexico, back in 2011, I'm reminded of some extraordinary experiences. This picture, taken at the town dump, is of a lovely man I met there, who makes his living scrounging what he can from the debris. I remember it being a very hot, bright day, and wanting to use flash to get some detail in the shadow under his hat. In the end I stacked yellow and green filters on the lens and set the ISO to 100 - and still had to use f22 at the sync speed of 1/50. I actually love trying to find workarounds in challenging situations so this was very satisfying when I got the negatives and proof sheets back.

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oaxaca, mexico 2011

m6ttl, 28mm elmarit, y&g filters, XP2 Super, SF20 flash

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Aryel

Aryel

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1 hour ago, stray cat said:

Sorting through some of the pictures I took in Oaxaca, Mexico, back in 2011, I'm reminded of some extraordinary experiences. This picture, taken at the town dump, is of a lovely man I met there, who makes his living scrounging what he can from the debris. I remember it being a very hot, bright day, and wanting to use flash to get some detail in the shadow under his hat. In the end I stacked yellow and green filters on the lens and set the ISO to 100 - and still had to use f22 at the sync speed of 1/50. I actually love trying to find workarounds in challenging situations so this was very satisfying when I got the negatives and proof sheets back.

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oaxaca, mexico 2011

m6ttl, 28mm elmarit, y&g filters, XP2 Super, SF20 flash

Such a great shot. It looks very natural and it is such a strong scene. 

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Bo-Sixten

Bo-Sixten

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Leica M3, 50mm Summicron v.3, Tri-X.

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Bo-Sixten

Bo-Sixten

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Dusty old negs revisited. Macy's, New York, 1979. Leica M4, 35mm Summicron v.3, Tri-X.

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Roy Bigsby

Roy Bigsby

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MP | 50lux ASPH | 100 T-Max | "Eye mail" 

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stray cat

stray cat

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10 hours ago, Aryel said:

Such a great shot. It looks very natural and it is such a strong scene. 

Thank you so much Aryel! I couldn’t help but think of this man as heroic in his determination to eke out a living in such miserable conditions.

BTW if you look carefully you may be able to spot the dog…

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leicam62003

leicam62003

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MINOX 8x11

 

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wlaidlaw

wlaidlaw

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Been down the 8 x 11 route where I have three cameras. 2 x Minox and i Rolleiflex TLR. In the end, unless you are using the 25 ISO film, the images are just too grainy. Same problem with my Leicina Special which has about the same size images on super 8 film, just not enough resolution. 

Wilson

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leicam62003

leicam62003

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vor 30 Minuten schrieb wlaidlaw:

just not enough resolution

Thanks for the comment. This is no stranger to me. You see it from the perspective of the results, I see it from the perspective of maintaining the format, cultivating this technical culture.

No sport shooter today uses a muzzle loader from the 18th century, but as a tradition of remembrance, people use it to shoot straw men.

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