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  1. #11
    BWGirl's Avatar
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    Quote Originally Posted by steve simmons
    <They should come to the APUG conference next year. How about a little with this Steve.>


    ??????????

    What is the question?


    steve simmons
    Well... I do not purport to have the ability to read minds, but I think it's fairly easy to see that Wayne was wondering if maybe you could persuade the fine folks at Ilford to attend the first Annual APUG Conference in Toronto. It's a good idea! I think APUG represents a large group of analog photo supporters worldwide. It seems like a natural connection to me!
    Jeanette
    .................................................. ................
    Isaiah 25:1

  2. #12
    BWGirl's Avatar
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    BTW... here's a link about the conference for you:

    http://www.apug.org/~conf/
    Jeanette
    .................................................. ................
    Isaiah 25:1

  3. #13
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    Quote Originally Posted by Ed Sukach
    Wasn't "Schindler's List" and/ or ... the one with the Polish-Jewish piano player ..
    I think it was called "The Pianist" both done on black and white film? I could be 'way wrong ... but wasn't "Saving Private Ryan" on B&W as well ..?
    Nope, standard color stocks. And digitally remastered, just like "The Man Who Wasn't There"

    The opening battle of "Saving Private Ryan" was shot on old cameras with period lenses, and their coatings were stripped off to give a more authentic appearance.

    "What Would Zeus Do?"
    KBPhotoRantPhotoPermitAPUG flickr Robot

  4. #14
    Helen B's Avatar
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    "And digitally remastered, just like "The Man Who Wasn't There"

    Er, I think that "The Man Who Wasn't There" was all film - the interpos (or an interneg?) was on sound stock to correct for the gamma mismatch between the colour neg and the B&W print as I recall. I'll check my back issues of the AC and confirm.

    "Saving Private Ryan" was in colour.

    Best,
    Helen

  5. #15
    Photo Engineer's Avatar
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    Just FYI, the International Congress of Imaging Science is being held in Rochester NY from May 7 - 12th 2006.

    This includes digital and conventional and will have representation there from all photographic companies world wide. By all, I mean ALL.

    If you are in Toronto, just take the ferry across lake Ontario to Rochester to attend. Or if you want to go to Toronto for the APUG conference, take the ferry from Rochester.

    PE

  6. #16
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    Quote Originally Posted by steve simmons
    Ilford USA is putting together a conference on the future of black and white film to be held March 3-5 in Pasadena, CA.

    View Camera is a sponsor and I will post more details as they become available.

    steve simmons
    The future of black & white photography? Is there a rep from the USA I can call regarding this?

  7. #17
    bjorke's Avatar
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    http://www.indiewire.com/people/int_...er_011030.html interviews Deakins on The Man Who Wasn't There. Also http://www.creationmag.com/editorial...e_02/dps.shtml

    It's hard to tell from these, however -- though this film came after the digital neg color work on O Brother Where Art Thou? and there are definitely digital elements throughout, both obvious (the flying-saucer hubcaps) and less so (wire removals etc)

    KB
    Hayseed

    "What Would Zeus Do?"
    KBPhotoRantPhotoPermitAPUG flickr Robot

  8. #18
    Helen B's Avatar
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    Don't know why I wrote 'sound stock'. Must have been a senior moment. It was title stock. Here is a clearer description:

    http://lightingdimensions.com/mag/li...balancing_act/

    Best,
    Helen

  9. #19

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    I will post more details in the next few days re this conference. There will also be info in the Sept/Oct issue of View Camera magazine and on our web site

    steve simmons

  10. #20
    Rolleijoe's Avatar
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    B&W Films

    Quote Originally Posted by bjorke
    On the future of B&W film, or on the future of B&W Photography? Not sure how much overlap there really is (really -- almost no one has shot B&W movies on B&W film for years, for example)
    Just this weekend, I re-watched "Schindler's List" shot on a filmstock you say no one has shot for years. The tones of this film are fantastic, and the detail, leads me to believe it was shot with Zeiss lenses.

    Also, just recently on satellite I saw "Ed Wood", different look altogether tonality-wise (can't stand Tim Burton), but again, another modern film shot purposefully in B&W.

    Even "A Hard Day's Night" is listed as one of the greatest films ever made both artistically, & historically. You can include this one too, (if you think of 1964 as "for years").

    Rolleijoe

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