View Full Version : A/NZ PX Round #8 - Comments and Feedback
12-09-2012, 11:56 PM
Prints have arrived and been added to each parcel. Will be taken to post box in the next 15mins.
12-10-2012, 11:23 PM
Sorry guys...what can I say? Getting old and senile? I can only worry if I'm like this now what will I be like when I hit 50 :whistling:
Better with age? Quoting a line out of the movie The Odd Life of Timothy Green: Timothy just made a poor soccer kick for the umpteenth time, but smiled proudly. His coach's asked in a disappointed growl, "What are you smiling about?" Timothy replied while still smiling, " I can only get better!"
12-11-2012, 05:57 PM
My parcel arrived in the mail yesterday - opened it this morning. Well, consensus last time was that the previous exchange was the best, but in the Olympic tradition, this may be the best too. There is a very satisfying diversity of material in this treasure-packet!
I will stare at them at length, and, productivity allowing, will post comments later...
got mine today too... yep I agree with Marc, a fine selection. I don't generally don't comment (I just appreciate them) but I'm going to say that the toning of Bob's "Take a load off" is exquisite! Overall, I really enjoy the variation in papers & subject matter.
12-12-2012, 06:11 AM
same again here. i intend to spend some time looking over what appear to be quite a unique and awesome collection of prints. i will most certainly comment once some time comes my way. but thanks go to Andrew for collating all the prints!
12-12-2012, 08:53 PM
Thank you Nige for the kind words. Controlling the degree of sepia and selenium toning with different papers is an ongoing goal of mine. A parallel goal is learning to decide which type of print is better toned with a colour shift and which is better as a straight b&w. Mixing my own bleaches and toners plus using step wedges has helped a lot. On the horizon is experimenting with copper sulfate bleach and gold toning (separate issues). That's part of what I like about analog photography: it's much more than take the picture, develop the film, make the print.
I can't wait to see what's in my package:happy:
12-21-2012, 12:46 PM
Mail just arrived which included the A/NZ PX Round 8 prints:D Got to go; have to open my "present."
12-30-2012, 03:44 PM
A/NZ PX Round #9 sign -up tomorrow.
Will post later today my comments on the the prints later today, after I have commented on my postcards from the current exchange.
Happy new year everyone.
12-31-2012, 02:50 PM
Please find the link to the sign-up for round 9 - HERE (http://www.apug.org/forums/forum391/113915-nz-px-round-9-sign-up.html#post1440253)
Comments to follow.
01-06-2013, 09:11 PM
Here are a few brief comments from me on the prints received. Overall I think it was another excellent batch and I was pleased to see some colour prints included. I don't plan to comment on every print received, please don't be offended if I don't mention your print - it doesn't mean I don't like it, or it had no impact on me - just means I don't have anything useful or relevant to say about it.
Andrew k - Jorja in the yellow field - this is my favourite from the exchange. I love the light, the colour contrast of the yellow against the pale blue sky, her enigmatic pose as well as the softness and vignetting of the lens.
Polyglot - I like both of yours, and bravo on doing colour printing at home. I've always used machines where you put the paper in one end and the print comes out the other 5 minutes later. Unfortunately I no longer have access to anything like this (all closed) and the home route looks daunting, which has lead to me shooting more B&W film these days. The colour in your print is superb - nothing looks as good as a traditional colour print when it is done properly.
walbergb - this print has worked out well. I was interested to see that you process Tri-X (Arista Premium 400) exactly the same as I do - Rodinal 1+50 for 13 minutes. It's a nice image with good light and use of space, but I think it's the careful printing and toning technique that really brings the image to life. I'm planning to do some split printing in the near future and I will be referring to your toning notes then.
munz - I have been doing some interiors on 4x5 recently so that gives me a particular interest in your photo. I think you have handled it really well in regards to camera placement, depth of field and shadow exposure. I know a guy who has a Wista 45DX and he said he would let me borrow it for awhile - I need to upgrade from my Crown Graphic to have more control over vertical framing.
nige - I like the photo and the idea behind the printing, but it doesn't quite work for me as it is. If it was my photo i would think about some toning (see the walbergb print); use a warm paper; or perhaps try it as a lith print. I think it's because it seems like a dreamy, romantic image but the current print is quite hard and cold.
01-08-2013, 03:15 AM
thanks Michael - this is my favourite photo of Jorja to date...
01-09-2013, 12:55 AM
And now for my 2¢ worth (no reason for the order):
William. Samson Defeats the Lion. Processing your own colour film, and making your own colour prints—I’m impressed. I don’t know anyone that does that. I do know it requires precision. The clarity and brilliance of the gold and the water make the picture. Love the cloud-sky contrast. Ploshchad Revloyutsii. I love it when printers can make rocks and statues glisten. The way you captured the light in this image is gorgeous. I would burn the top right corner just a bit more.
Nige. Queen Charlotte Sound. I’ve seen colour images that were double-exposed the way you made the print, but I’ve never seen or heard of doing so with a print. It really adds to the mood of the scene. Well done. I’ll have to try that technique. All that’s missing is a mythical head or something sticking out of the water!
Shane. Better Days. Your choice of toning suits the title of the print. The image has a wonderful and appealing range of tones. Two questions: (1) Is the sepia toning to completion or partial? and (2) How did you make the black border? I ask the second question because I have a full-frame 35mm negative carrier, but one can’t crop the image. However, I have learned of a technique that allows cropping; I just haven’t tried it yet.
Andrew K. Jorja. What a difference waiting for the right moment makes. Jorja covering her eyes adds mystery to the image: What is she doing? Thinking? Feeling? If you hadn’t told me about the bright sun, I wouldn’t have known. The out of focus perimeter really draws my attention to your daughter. Shrine of Remembrance. Great play on round shapes, and whatever Jorja is wearing in her hair mirrors the flame. Glad to hear your dark room is nearly operational.
Mark. M&MTB W1 No. 432 Interior. Fabulous detail and sharpness throughout: that’s LF for ya. It is a difficult lighting situation with the windows, but you managed to capture some detail.
Ashley. Posts & Rails. Quite the contrast with Mark’s tram shot where everything is in focus. I enjoy a shallow dof shot once in a while. My attention keeps coming back to the lead post and all its detail.
Michael. Portrait. I admire people who are motivated to do photography the old-fashioned way. When I hold your picture in my hands (I used two hands instinctively), I felt like I was viewing a picture my great grandfather might have taken. Outstanding!
Yannick. The Night Gig. I take it that you worked with natural lighting (i.e., no flash) which serves to isolate the subjects. I like how the image is sharp for handheld and pushed 2 stops. From a compositional perspective, I would like to see the guitarist’s face. Hidden Away. I like the great range of tones in this picture, but I’m not sure whether the bench or the statue (?) is supposed to be the subject. The shallow dof makes me think the bench is the main subject because I keep coming back to it. Also, I think the image would be better served with a wider view and in landscape orientation.
Andrew. Pinnacles at Cape Woolamai. I know from experience how difficult clouds can be to get just right without showing telltale signs of burning in. With the exception of the upper left corner, your treatment of the clouds really brings out the feeling of an overcast day. Given the title, I wonder if cropping the scene to isolate the pinnacles would increase the viewer’s interest in the pinnacles. It would definitely eliminate the light areas on the left. You continue to surprise me with your knowledge of alternative processes. Last time it was the image on linen; this time your developer concoction.
One final, overall comment about the equipment used: glad to see MF and LF being used. I have a "Baby" Bessa 66 (circa 1940) that I use for MF. I'll submit a shot from it sometime.
Well, I'm off to Mexico for a week of sunshine, sandy beaches, and cold beer. By Saturday it will be -20 C here and its 29 C in Mexico:munch: I don't think I have to tell you guys what that kind of heat feels like.