EXPERIMENTS WITH LIGHT
View allAll Photos Tagged reciprocity
Kodak Ektar 100 f/16 240s
Named for the Nadeshiko pink on the sands, and the clouds which resemble nothing so much as the Dianthus (Nadeshiko) flower.
Light meter still set on PanF ISO50, probably 4 times over ideal exposure once reciprocity failure was factored: still essentially dark at that time of morning, so didn’t twig to the crazy exposure until the third frame of the morning. Awesome film latitude.
Also interesting because of the visible pink sand: would’ve watched perhaps a dozen waves break over the sand during the exposure, which usually translates to the white haze of foam dominating the final image, but no, just the wet sand reflecting the predawn colours. An unexpected delight.
Touch, trust, reciprocity, nature...
(study of confidentiality)
•
I haven't been near you for a hundred years ...
You smell of warm rain
Ferrania p30 80+ Xtol
This is one of my test shots (1st roll) with Ferrania P30. It's a high contrast film, a bit dark.
Does anyone have an idea about its reciprocity failure rate?
Kodak Portra 160 f/16 600s
First shot of the morning, so dark a torch was required to set the aperture. Wild reciprocity failure shows in the colours, green-shift from the Portra chemistry, cooling of the edges due to the large format lens. Clouds painted pink and smeared over 10 minutes.
Last shot for a week or so, will be diving on the outer reef. Hopefully some underwater film to show when I return. Look forward to catching up then. Meantime let me convey my sincere thanks for the support and friendship of this community over the last few years. The world has changed, but there remains good people. My thanks to you all
Petal Shapes & Shades
Date: May 29, 2023
Camera: KB Canham T657
Lens: Nikkor W 210mm f/5.6
Film: Kodak 320 TXP (ei:160)
Bellows Extension: 300mm
Bellows Compensation: +1 1/3 Stop
Reciprocity Compensation: +8s
Exposure: 24s @ f/22.7
Developer: Kodak HC-110 1:62
Development: Tray (continuous agitation)
Temperature: 20°c
Developing Time: 9’ 0”
Digitized: Nikon D850, Nikkor 60mm Micro AF-S
-Thomas
my tracks to you - appreciate reciprocity @calibanatspace, @akikoyana, @paradoxlibrary, @bettysmorgas, @yts - from Brightkite
Arches (Stanford Memorial Church)
Date: June 22, 2023
Camera: KB Canham T657
Lens: Nikkor W 210mm f/5.6
Film: Kodak 320 TXP (ei: 160)
Bellows Extension 210mm
Reciprocity Compensation +4s
Exposure: 6s @ f/22
Developer: Kodak HC-110 1:31
Development: Tray (continuous agitation)
Temperature: 20°c
Developing Time: 6’ 30” (N+1)
Digitized: Nikon D850, Nikkor 60mm Micro AF-S
-Thomas
Up on the wild and windy moors above the Wharfe Valley in the Yorkshire Dales and I was finding the conditions tricky! It was windy, so much so that the heather was constantly being blown around and I regretted actually not bringing a pair of gloves! It was hard to believe it was late July, it felt like October!
I was also still learning my way around the Z7ii and found the harsh low light a challenge in the blustery conditions. Still, Mr Roberts here, seemed to be oblivious as he intuitively faced his beloved Dales with his trusty D810. This shot is a bit of reciprocity as I was unaware he had taken a few shots of my efforts whilst up on the summit Simons Seat, which he has posted on here! So here is my revenge!
The crespecular rays were fabulous as the meadows in the valley between Appletreewick and Burnsall were illuminated beneath the threatening dark skies. Sunset was clearly going to be clouded out and we headed down just after taking these shots.
for all one's life — reciprocity :-)
Confucius
HBW!! Kindness Matters!
ackerman hybrid camellia, 'Snow Flurry', j c raulston arboretum, ncsu, raleigh, north carolina
Camera: Wista 45DX
Lens: Nikkor W 150mm f5.6
Film: Kodak 320TXP (ei: 160)
Subject: Stopped in to a church I passed along the way
Date: October 10, 2022
Bellows Extension: 165mm
Bellows Compensation: +2/3
Reciprocity Compensation +29s
Actual Exposure: 37s @ f/22.7
Processing: Tray Development
Developer: HC-110 H 1:62
Temperature: 20°c
Developing Time: 8’ 0” (N)
Digitized: Nikon D850, Nikkor 55mm Micro ais
Stopped in to a church I passed along the way…
I been visiting for over three years now, and every time I visit it’s been empty. At first I felt awkward sitting alone, but soon realizing it’s the first church I sat in where I truly feel spiritually enlightened. Today I quietly prayed for Dad. Three days later he passed peacefully at the age of ninety-seven. And although he never knew I like to photograph or seen any of my photos…this one’s for you Dad.
May you Rest In Peace 🙏
-Thomas
The territorial expansion towards Chinchaysuyo (now Ecuador) took place towards the middle of the 15th century and culminated in the first decades of the 16th. It was initiated by the Inca Tupac Yupanqui, son of Pachacuti Inca, the "renovator of the universe" and true builder of the Tahuantinsuyo or Empire of the Incas. The example of the great Tupac Yupanqui was followed by his son Huayna Cápac, until he submitted under his power the entire "universe" then known, with more than 6,000 kilometers of North-South extension and fundamentally affecting the people of the Sierra, since they felt no interest in the low plains of the West Coast and in the endless Amazon rainforests of the East. This empire included on the one hand the widest diversity of peoples, cultures, languages, cults and technologies, and on the other an extraordinary variety of ecological resources; factors with which thanks to an administrative, economic and theocratic system imposed by the Cuzqueños, the largest civilization that has existed in Andean History was structured.
The Incas had no major difficulty in dominating the Cañaris and Puruháes (in Ecuador) with whom they applied a very common strategy in them: the friendly system of reciprocity with the heads of the groups until they achieved their subordination; This method had given them rapid and successful results in Bolivia and Peru; while in the northern villages they had to apply the severe military conquest due to the stubborn resistance they encountered. Testimony of those fierce battles was precisely that of Yahuarcocha (lake of blood) whose waters were dyed red with the blood of the brave Caranquis who succumbed to Huayna Cápac himself.
The invaders captured from the conquered the long tradition and knowledge they had about agriculture, metallurgy, production of luxury products, extraction of the Spondylus shell, salt, coca, etc. Here they found a prodigal nature, with humid rainforest, mangroves and coastline on the coast; wide valleys, grasslands and fertile mountains in the Sierra. This geography counteracted with the ecological systems of the puna, reduced fertile spaces, or the extensive coastal deserts that predominate in the Central and Southern Andes, characteristic of present-day Peru.
An image first uploaded 9 years ago and which has now been through the virtual darkroom once again for some up-to-date grain reduction work. The original upload has been deleted.
Exhaust fumes and leaking steam add to the atmosphere in the wee small hours of a cold winter's night at York station, as class 47 no. 47410 waits time with a rake of Mark 1 carriages on a down East Coast Mainline service.
The somewhat dodgy Zodel CDS Light Meter I was using at the time (a hand-me-down from my Dad) would likely have given me an indicative reading of 15 secs at F5.6.
But after factoring in the 1.6 stop adjustment of the 80B filter I was using for colour correction, then adding 50% for reciprocity failure (film reactivity being non-linear at low light levels), I got a final exposure of 23 seconds at F4-2.8. All a bit finger in the air but, with a couple of additional bracketed exposures, I generally managed to get a keeper.
As suggested above, the Zodel meter wasn't the most competent one on the block, but being familiar with its traits was a real help. In fact I see one is currently available on eBay for just £13 plus postage - perhaps an investment beckons for old times sake!
Agfa CT18
4th February 1978
Pendant l'attente de l'évolution du lever du jour .
Apres des premiers échanges, quelques photos de groupe..... puis certaines souhaitent nous prendre en photo.... d'où réciprocité......
................While waiting for the daybreak to evolve.
After the first exchanges, some group photos..... then some of them want to take a photo of us.... hence reciprocity..........
......................
Mientras se espera que el amanecer evolucione.
Después de los primeros intercambios, algunas fotos de grupo..... luego algunos de ellos quieren tomar una foto de nosotros.... de ahí la reciprocidad......
The word “God” originated early in the history of our language and goes back to the Indo-European root gheu, with the meaning of “calling.” God was originally understood to mean “the called-upon,” but perhaps also “that which is calling us.” In any case, the notion of calling suggests the reciprocity of an I/You relationship. At the same time, however, the original gender of the word was neither male nor female, but neuter, thus avoiding the danger of projecting too human an image on God…
…God means the ultimate Mystery under the aspect of our I/You relationship with it. The term “God” is not a name,* but we might call it a code word that refers to the nameless, incomprehensible power that cannot be conceptualized, and to which our human awareness stands in its deepest personal relationship. But in the course of history, this personal relationship has often been emphasized much more than the fact that “God” refers to the incomprehensible mystery. When this happens, the word is easily misunderstood as the name of a supreme deity, of whom we cannot help speaking in mythical images. Rilke says of this process, “Our image-fashioning hands obscure you, whenever our hearts behold you unveiled.”
-You Are Here, Keywords for Life Explorers, David Steindl-Rast
In the early hours of a winter's Saturday morning, Class 73 electro-diesel no. 73004 waits time at Eastleigh with the 1.38am mail and parcels service to London Waterloo.
The train had started out, diesel hauled, as Friday night’s 10.37pm from Weymouth and was due a change of traction here at Eastleigh. In fact 73004 had been used on the down 10.52pm Waterloo - Weymouth mail / parcels train, which also happened to carry a couple of passenger carriages for folk travelling late out of the capital - the train I used myself.
The trip down here was an overnighter specifically to photograph this out and back working for the class 73 EDs - one of the few non-freight services they were regularly rostered for at the time. I was also hoping to bag a cab ride on the outward journey, something I'd managed a couple of times before, but alas it wasn't to be on this occasion.
For this shot, I locked the shutter open and zapped the front-end 3-4 times with an off-camera flash-gun in an attempt to bring out some of the detail - obviously not a technique you would get away with today. Unfortunately I don't have a note of the exposure details but am guessing it would be somewhere around 25 to 30 seconds, a duration I was reasonably comfortable with regards guessing the reciprocity adjustment needed.
There was not much doing after this train left so it was back to an uncomfortable night in the waiting room trying to get some sleep. The following morning, as soon as the light was good enough, it was a visit to the local diesel depot where the following of interest were noted: 07001, 07002, 07005, 07006, 07010, 07011, 07013, and 74001, 74010.
First uploaded in 2011, the image has been reprocessed and improved in the digital darkroom. The original is deleted.
Nikkormat FT2, Agfa CT18
Around 1.25am, 18th February 1978
This album's name is dedicated to my favourite game of all time Elder Scrolls Online and race of all time, The Argonians (reptile humanoids). There's a story for you to read below about some of them towards the bottom.
What does Ku Vastei mean? Read below
By Lights-the-Way, Mystic of the Mages Guild
It is hard to describe the culture of my people. Often my tongue stumbles as I try to explain, but it is my hope that ink and quill will give me time enough to gather my thoughts. And perhaps, though such writing, I will finally connect the parts of me that now feel so divided; my homeland of Murkmire and my new life within the Mages Guild.
These journals are to become my ku-vastei. And, as I write that, I can think of no better topic to begin with.
Ku-vastei roughly translates to "the catalyst of needed change," though such a direct translation in no way does justice to the original meaning. Another translation could be "that which creates the needed pathway for change to occur" or even "the spark which ignites the flame which must come into being."
Perhaps a more direct analysis should be first presented. Ku-vastei is a noun, a thing or person. Vastei directly translates to change, an important part of my culture. Ku is harder to speak of. It is that which leads to change, though not that which creates change. An important role, as stagnation is a fate worse than death.
Take a boulder which sits atop a cliff, teetering in place. It must fall eventually. The ku-vastei does not push the boulder off the cliff; rather, it picks the pebble which holds the rock in place. And so it falls, not by a push, but by a pathway cleared.
Ku-vastei is revered, just as change itself is revered, for to look back at what was means to stumble as you move forward. Sometimes, a little push in the right direction is all someone needs to remember such wisdom. Other times, they may need to be shoved.
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Naka Desh Tribe
by Emmanubeth Hurrent, the Wayfarers' Society of Wayrest
My guide, Names-the-Orchids, took me deep into the swamp to meet a little-known tribe called the Naka-Desh, or Riverbacks. Few Imperials venture far enough into Black Marsh to meet the People of the River, and the Naka-Desh see little benefit in traveling beyond the boundaries of their Hist's roots. For that reason, most perceive them as a secretive and mysterious tribe. This misconception is made all the more amusing by the Riverbacks' boundless hospitality.
We approached the Riverbacks' territory via ferry boats. Our expedition encountered tribal sentries almost immediately. They floated to the surface of the water like turtles or crocodiles. I was struck by the wideness of their faces, the largeness of their eyes, and the broad webs adorning their forearms and throats. The Hist clearly provided the "right skin" for the locale. Riverback territory is more water than land—a drowned marsh navigable by small rafts, canoes, and little else.
Names-the-Orchids greeted them with a series of low croaks. They cheerfully repeated the sound before lifting themselves onto our boat. Neither of the sentries seemed familiar with Cyrodilic, so our guide had to interpret. She told us that the Riverbacks demanded tribute in the form of a riddle before they would grant passage. I detected no threat behind the demand. It seemed like more of an invitation than an order. I've no talent for wordplay, but I shared a children's riddle about doorknobs that practically every Imperial knows. As soon as Names-the-Orchids translated it, the two sentries clapped their hands. One of them pressed his forehead to mine, croaked twice, then both vanished into the water as suddenly as they appeared.
We spent four days among the Riverbacks—all but one of them on rafts fishing. Riverback fishing resembles traditional fishing in name only. Rather than hook and line, the Naka-Desh use large river fish called osheeja gars. Each osheeja is secured by a strange harness and bridle. When the Argonians find an abundant fishing spot, they release the predatory gars and let them snatch up the fish. As soon as an osheeja bites a fish, the Argonians pull their pets to the side of the boat and claim the fish for themselves. I asked Names-the-Orchids how it works. Apparently, the bridle prevents the gar from swallowing. She assured me that the osheejas are well-cared for, though. Until they grow too old, of course, whereupon they too are eaten.
Our time with the Riverbacks was not without frustration. Of all the Argonians I have met, the Naka-Desh were by far the least curious. Other than riddles, they had no appetite for anything we brought. They refused our food, took no particular interest in our tales, and did not even ask for our names. This disinterest combined with their boundless hospitality made most of the expedition uncomfortable. Names-the-Orchids chided us for thinking kindness demands reciprocity. As always, even these small disappointments teach us valuable lessons.
["the tribe is not currently in the game but in the world of the game"]
I will be not capable to accomplish the reciprocity and if this thing it’s very important for you, I ask you don’t comment, fave, invite my photos because I don’t want to disappoint you!
God bless you!
There is a madness to the mathematics involved with these shots.
HP5 is 400 speed film. I pushed it to 1600 - two stops faster. I then stacked a yellow and ND filter atop the lens, knocking it down to a meterable 200iso.
So why not just shoot HP5 with a ND filter that knocks off a stop or two? Simple. I didn't have one. I have a three-stop, a six-stop and the mighty ND1000 - a ten stop filters.
Here's how I worked it.
The scene was around 11EV. With 400 speed film, I'd have shot it at f/12 and 1/100th of a second (the fastest this shutter will go). But to me that's a little boring for a scene like this. I wanted the oddness of the lens to show through a bit.
Separately, I've noticed that I really like HP5 shot at 1600iso rather than 400. It's a bit darker (possibly because of reciprocity failure, possibly because of how I develop it - no idea, really), and grainier due to the pushing.
I wanted to shoot it at f/6.3 - a stop "slower" than the lens itself. To do this, I'd need to deaden some of the light, especially since it's at 1600.
So with a light of EV11 and an aperture of f/6.3 and an ISO of 1600, that would hand me a shutter speed of around f/1000. Obviously that's not going to fly.
But what if I also wanted to have a slow shutter speed - the slowest I could get with this shutter: 1 second.
Well, the difference between 1/1000 of a second and one second is ten stops. Fortunately I have a 10 stop ND filter. Huzzah for me!
With the yellow filter... well, sometimes I decide not to meter for it. Sometimes I just want things a little darker.
And that's my set up here. f/6.3 and 1 second at 1600. It's sort of odd and pointless, but so many things are.
Technically, I could shoot this at box speed (400) and use an 8-stop ND filter, but there really isn't such a thing. I could stack a 6-stop and a 3-stop and adjust accordingly, but doing the full 10-stop at 1600 iso will bring out the grain when I dev. Granted, at 4x5, it's hard to tell, but it's there.
.
.
.
'Stasis No. 3'
Camera: Graflex Speed Graphic
Lens: Steinheil München Anastigmat Actinar 4.5; 135mm
Film: Ilford HP5+ at 1600iso
Exposure: f/6.3; 1sec
Process: HC-110B; 11min
Wyoming
July 2022
Unfortunately, I know that in the future I will have just a little free time for you and my hobby, I will be not capable to accomplish the reciprocity and if this thing it’s very important for you, I ask you don’t comment, fave, invite my photos because I don’t want to disappoint you!
God bless you!
Happy holidays, friends, stay loved and in love, give light and enjoy pleasant meetings and new acquaintances! Let every person feel this unearthly feeling of love, because it is love that can change the world for the better and melt even the most impenetrable hearts! Harmony, mutual understanding, respect, joy and happiness! I wish you all more romance and tenderness, affection and care, reciprocity, warmth and frank conversations! May all plans come true, and may love warm your body and soul from the inside out on the coldest winter days!
Early morning long exposure shot taken in Bexhill-on-Sea on the English south coast. I hadn't done any long exposures on film for about 6 months so I was a little rusty when setting up for this. Wouldn't you know it I made the most rookie of mistakes on the two exposures directly prior to this shot. The process is a little complicated but certainly not difficult. Get an exposure reading for the scene, use a phone app to apply the ND filter compensation (in this case 10 stops), use another phone app to work out reciprocity for the film your using, set up the camera to deliver the correct shutter time (in this case around 15 seconds). I did all of the above except for the last step. I forgot to put the camera in the bulb setting and as a result when I opened the shutter with the cable release it shot at whatever speed the shutter had previously been set to. Basically, instead of 15 seconds of having the shutter open I got "click". Instant ruined exposure. And I managed to do that twice. (Don't ask!)
I have a tag that I use for my film photography : stay broke shoot film. Never is that more true than when throwing away exposures on medium format (MF) film like I did here. Each MF shot costs in the neighbourhood of £2 when the cost of the film and development is factored in. That's a giant ouch!
Medium format film photography
Rolleiflex 2.8E v3
Carl Zeiss Planar 80mm f/2.8
Kodak Ektar 100 (converted to B&W in pp)
“How generously they shower us with food, literally giving themselves so that we can live. But in the giving their lives are also ensured. Our taking returns benefit to them in the circle of life making life, the chain of reciprocity. Living by the precepts of the Honorable Harvest—to take only what is given, to use it well, to be grateful for the gift, and to reciprocate the gift”
― Robin Wall Kimmerer
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Thanks to all for 9,000.000+ views and kind comments ... ! Have a nice week...!
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
Camera: Shen Hao PTB45
Lens: Nikkor W 150mm f5.6
Film: Kodak 320TXP (ei: 160)
Subject: Bev’s Lamp
Date: September 21, 2022
Bellows Extension: 180mm
Bellows Compensation +2/3
Reciprocity Compensation: 37s
Actual Exposure: 37s @ f/22.3
Processing: Tray Development
Developer: HC-110 H 1:62
Temperature: 20°
Developing Time: 8’ 0” (N)
Digitized: Nikon D850, Nikkor 55mm Micro ais
-Thomas
Experimenting with a pinhole camera.
Metred at 3 sec. Shots at 14 sec to allow for for reciprocity failure
Camera: Holga 120 wpc (F135)
Format: 6X12
Film: Ilford FP4 Plus 125
Developer: HC-110
Location: Jumis Studio
Sitting Paragon: Kate
Capture: Firestorm
Editing & Post Processing: Gimp
Background by "TT"
THALESTRIS, AMAZON QUEEN ~ LOVER TO ALEXANDER THE GREAT
~Valerie Beasley~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I dreamed of the ancient blue Aegean;
Its waters deeply furious and flashing destruction.
My eyes stretched the width of history only
To find you on the opposite shore…waiting!
My desire emptied its depths to open a path,
Once extinct, now revealed by a greedy longing
Only to find your reciprocity was not forthcoming.
The waves froze in abeyance, my estate unvested;
For by invitation only is my title of “true love” bestowed.
Dreams are for those who have not tasted the spoils
Of victory after a hard campaign, they do not understand
That we are numbered among the children of Ares!
Refuse the Scythian princess she is not worthy;
I offer a far better liaison to ensure a noble pedigree.
Hale O King! I come to honor you with my bravest 300!
I am Thalestris, Amazon Queen of Themiskrya, here
To propose a bold proposition of procreation and fame.
Rest your army for thirteen days and I shall love
You in the nights, under the stars and the moon’s glow!
Shall we spawn greatness between us, you and I?
Unite our armies and breed royal seed to royal seed
Great Alexander, famed King of all the Greeks?
The auguries are not needed to give consent!
Together, let us master the art of the hunt and the kill!
Teach me battle secrets, strategies, the art of winning wars!
We’ll exchange stories of our auspicious victories!
But as each day slips under its blanket of dusk
When the campfires spark and spit flying embers;
We shall be in each other’s arms, entwined
Within passionate embraces our bodies atremble.
My depth shall sheathe the strength of Alexander;
Our ardor will rise to vehement flame as we make
History in my womb, the beginning of a lineage
Of sovereign majesty and potent power!
We shall rule the world and beyond it!
What we bear between us ~ your child and mine,
Great King will rule when we are dust and ash!
^^^^^
Our future has rooted this night my Love!
The sibyls chant in celebration for the prophecy is true!
I am with child, a daughter, a Queen, my lover!
Now, I leave you to your conquering in Parthia!
I shall return with my embedded prize to Caucasia,
My kingdom, my home, the land of the leopard!
I adjure you to listen to the winds and watch
For you will know the time as the stories
Of an Amazon Warrior, who spins the world
Upside down will be heard throughout the lands
Of Asia to the furthest seas and beyond their bounds.
Yes, our progeny shall boldly rule and conquer!
Our legacy…will be greater than you or I!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
In the intricate fabric of our language lies a phrase that speaks to the essence of human connection—'take you under my wing.' Its origin, much like the graceful spread of a protective wing, harks back to the nurturing care of birds shielding their young. This expression beautifully encapsulates our capacity to offer guidance, support, and shelter to those in need. We find ourselves, at different points in our lives, in varied roles: sometimes the guardian, extending our wing to shield and mentor others, and sometimes the fledgling seeking solace and wisdom, yearning to be taken under the comforting embrace of another's wing. It's a testament to the cyclical nature of our human experience—where giving and receiving support intertwine, shaping our collective journey towards empathy, resilience, and growth.
Luane's World
maps.secondlife.com/secondlife/Le Monde Perdu/234/153/24
GROUP COVER: Virtual Travels & Escapades - Places of Interest - November 8, 2023
Your vision connects you to the earth and all that it contains. To stop and gaze upon the simplicity and complexity of this world is to merge with it, not to the extent of losing your identity in that merging of a moment in time, but to recognise that in the carbons and atoms of all creation, there is an interconnected life.
The King Stone at Garry Beach, with its crystal heart of quartz, is one of these natural monuments which seem to reflect that reciprocity of man and nature. We gaze upon it, touch it and feel its touch upon our own souls. 'Here I stand upon shifting sands and rolling waves, yet I will not be moved'.
ONDU RISE 4x5 pinhole
Ilford Delta 100
Exposure (Sekonic L-758DR) metered at 1"@f/22, conversion to pinhole 2mts, reciprocity failure for Delta, 6:58
Kodak HC-110 dilution b 6:00 min at 20*C
DsLr ScAn
PS/Negative Lab Pro
Europe; Portugal. Porto; Ribeira; Stairs, Tourists (slightly cut)
(for the 6 word story group)
Shot near our rental apartment in Porto on one of the longest and steepest stairways of the Ribeira. I was tempted to expand on the title. But I won’ t lay hard core sociology on you ;-) If the first part of the title piqued your interest - check out Margareth Archer, the grand master of social realist theory, in: The Reflexive Imperative (2012).
ONDU RISE 4x5 pinhole
Ilford Delta 100
Exposure (Sekonic L-758DR) metered at 1/4s@f/22, conversion to pinhole 10s, reciprocity failure for Delta, 20s
Kodak HC-110 dilution b 6:00 min at 20*C
DsLr ScAn
PS/Negative Lab Pro
Kodak Portra 800 f/16 6s
Overexposed Portra 800 unleashes some wild colours. Portra 800 has more colour saturation than Portra 400 to start with, and both intensify with moderate overexposure of about 1 stop. This was taken about 20min before sunrise with a 1.5 stop ND centre filter for uniformity. Metered at ISO 400 (+1) and exposure further increased 50% for reciprocity failure.
And pareidolia: cats sometimes look like clouds and clouds sometimes look like cats…
Experimenting with a pinhole camera.
Metred at 3 sec. Shots at 14 sec to allow for for reciprocity failure
Camera: Holga 120 wpc (F135)
Format: 6X12
Film: Fomapan 100 (pushed to 400)
Developer: Rodinal (1+100) stand developed
While Frigus Iustitia makes an emergency docking with Stonehenge Intergalactic Spacefort, another drama plays out on a planet currently unknown to the Interstellar Reciprocity Coalition, Vhipernhal. The yellow-green planet is partially enveloped by a strange stellar, mist-like phenomenon which the scientists of Vhipernhal have been unable to identify. There is one thing of which they are certain, the phenomenon is killing the people of their world.
King Durus stands alone in his throne room, gazing at wall where a display of Vhipernhal, as seen from space, is displayed, while he waits for word from the spaceship he sent to Hypatia on an urgent assignment.
Princess Bhonumm Durus: (in a lavish gown, sweeps into the throne room) Father?
King Durus: What is it, Bhon?
PBD: The Mhanuss has returned from Hypatia.
KD: Have all of the alien scientists been recovered?
PBD: All but one, Father. The last alien was rescued by --
KD: (interrupts) I will not hear excuses for failure, Bhon! My order was to secure ALL of the scientists. The fact that they failed to do as I commanded is all I need to know.
PBD: Father, be reasonable. The Mhanuss nearly exhausted its fuel, remaining unseen by the aliens. They're fortunate to have returned at all.
KD: You find me unreasonable, Bhon? I find it unreasonable for you to defend their failure as "fortunate." Our family rules from a position of strength, not compromises.
PBD: But, Father --
KD: (interrupts) The people of Vhipernhal are dying! OUR people, Bhon! Our sole focus must be to save them, at any cost!
PBD: I remember when you would weigh the costs, and try to balance the scales as best you could.
KD: If that's true, it was only because the extinction of our species was not at risk. Where are the alien scientists?
PBD: They're in isolation, in the crew quarters at Primis Base.
KD: Crew quarters? Have them moved to the nearest detention center for questioning.
PBD: Why, Father? If you seek their cooperation, mistreatment isn't going to convince them to help us.
KD: (tilts his head) Perhaps you're right. Erotog!
Erotog: (a king's guard steps into the throne room) Yes, Majesty?
KD: (staring at PBD) Remove the scientists from the crew quarters, and take them to the Quaerere.
E: (with a tiny head bow) Yes, Majesty.
PBD: No, Father! Not that! I'll have them moved to the detention center! KD: Erotog, I've changed my mind. Withdraw.
E: Yes, Majesty. (and he withdraws from the throne room, to whatever alcove he occupies while awaiting his king's commands)
KD: I am king, Bhon. My commands will be obeyed -- by everyone in my kingdom. If these aliens have the answer to the survival of our people, then I will have that answer, no matter the cost to the aliens. I didn't want to arrive at this place in history, where we must be ruthless in order to survive.
PBD: We arrived at this place more than a year ago, Father. A year after the Anomaly began to engulf our planet, and you appointed the Quaerere. (she turns and exits the throne room)
(Theme music)
freemusicarchive.org/music/hot-dope/background-epic-music...
King Durus: Seth
Princess Bhonumm Durus: Bailey
Erotog:
Set Design: Teddi
ONDU RISE 4x5 pinhole
Ilford Delta 100
Exposure (Sekonic L-758DR) metered at 1"@f/22, conversion to pinhole 2mts, reciprocity failure for Delta, 6:58
Kodak HC-110 dilution b 6:00 min at 20*C
DsLr ScAn
PS/Negative Lab Pro
Trying out the pinhole feature of the Diana f+. Obviously you're not going to get sharp photos from a toy camera. However, they are full of character and mood. Exposure what about 20 seconds from what I remember allowing for reciprocity failure. It's always fun to experiment.
Diana F+
Fomapan 200 Creative
Caffenol CHL
Ilford Rapid Fixer
Negative scan with a Canon 5D mark III and Sigma 50mm f2.8 macro lens.
For as many times as I've been to Douglas County, you'd think that there would hardly be a road that I missed. But this one was new to me, and fortunately still open as a public road.
It is seldom used, and I saw only one other set of tire tracks apart from my own.
I also wound up shooting a few sheets of Fomapan 200. I usually stick with 100, but figured I'd break out the speedy stuff for the gray day (heh).
Still, with an ND1000 filter (that's 10 stops) I wound up with a minute-long exposure. I think the meter indicated I should expose for 30 seconds, so I added a stop for the sake of reciprocity.
According to Foma's own reciprocity chart, I should have exposed it for around 7 minutes, but Foma seems to believe its emulsions have the worst reciprocity failure in the history of reciprocity failures.
I mean, that's literally adding nearly three stops. I could see how adding one stop (so, a two minute exposure) might have helped a little, but three stops would have blown the hell out of my highlights. And I was even using a Gradutated ND8 filter.
So that's one hell of a filter stack. Especially for a gray day.
- Deep Yellow Filter (1 stop)
- ND1000 Filter (10 stops)
- Graduated ND8 Filter (3 stops)
I love long exposures.
.
.
.
'Malign'
Camera: Graflex Speed Graphic
Lens: Steinheil Rapid Antiplanet 6,5;27cm
Film: Fomapan 200
Exposure: f/16; 60sec; Yellow Filter
Process: FA-1027; 1+14; 9min
Douglas County, Washington
April 2022
Looking at St. Cadfans church in Tywyn. If I remember this exposure was around 2 minutes allowing for reciprocity failure. I wouldn't say the Diana f+ is the sharpest of pinholes but it's a very cheap way to get into pinhole photography.
Diana F+
Fomapan 200 Creative
Caffenol CHL
Ilford Rapid Fixer
Negative scan with a Canon 5D mark III and Sigma 50mm f2.8 macro lens.
This album's name is dedicated to my favourite game of all time Elder Scrolls Online and race of all time, The Argonians (reptile humanoids). There's a story for you to read below about some of them towards the bottom.
What does Ku Vastei mean? Read below
By Lights-the-Way, Mystic of the Mages Guild
It is hard to describe the culture of my people. Often my tongue stumbles as I try to explain, but it is my hope that ink and quill will give me time enough to gather my thoughts. And perhaps, though such writing, I will finally connect the parts of me that now feel so divided; my homeland of Murkmire and my new life within the Mages Guild.
These journals are to become my ku-vastei. And, as I write that, I can think of no better topic to begin with.
Ku-vastei roughly translates to "the catalyst of needed change," though such a direct translation in no way does justice to the original meaning. Another translation could be "that which creates the needed pathway for change to occur" or even "the spark which ignites the flame which must come into being."
Perhaps a more direct analysis should be first presented. Ku-vastei is a noun, a thing or person. Vastei directly translates to change, an important part of my culture. Ku is harder to speak of. It is that which leads to change, though not that which creates change. An important role, as stagnation is a fate worse than death.
Take a boulder which sits atop a cliff, teetering in place. It must fall eventually. The ku-vastei does not push the boulder off the cliff; rather, it picks the pebble which holds the rock in place. And so it falls, not by a push, but by a pathway cleared.
Ku-vastei is revered, just as change itself is revered, for to look back at what was means to stumble as you move forward. Sometimes, a little push in the right direction is all someone needs to remember such wisdom. Other times, they may need to be shoved.
-------------------------------------------------------------------------------------------
Naka Desh Tribe
by Emmanubeth Hurrent, the Wayfarers' Society of Wayrest
My guide, Names-the-Orchids, took me deep into the swamp to meet a little-known tribe called the Naka-Desh, or Riverbacks. Few Imperials venture far enough into Black Marsh to meet the People of the River, and the Naka-Desh see little benefit in traveling beyond the boundaries of their Hist's roots. For that reason, most perceive them as a secretive and mysterious tribe. This misconception is made all the more amusing by the Riverbacks' boundless hospitality.
We approached the Riverbacks' territory via ferry boats. Our expedition encountered tribal sentries almost immediately. They floated to the surface of the water like turtles or crocodiles. I was struck by the wideness of their faces, the largeness of their eyes, and the broad webs adorning their forearms and throats. The Hist clearly provided the "right skin" for the locale. Riverback territory is more water than land—a drowned marsh navigable by small rafts, canoes, and little else.
Names-the-Orchids greeted them with a series of low croaks. They cheerfully repeated the sound before lifting themselves onto our boat. Neither of the sentries seemed familiar with Cyrodilic, so our guide had to interpret. She told us that the Riverbacks demanded tribute in the form of a riddle before they would grant passage. I detected no threat behind the demand. It seemed like more of an invitation than an order. I've no talent for wordplay, but I shared a children's riddle about doorknobs that practically every Imperial knows. As soon as Names-the-Orchids translated it, the two sentries clapped their hands. One of them pressed his forehead to mine, croaked twice, then both vanished into the water as suddenly as they appeared.
We spent four days among the Riverbacks—all but one of them on rafts fishing. Riverback fishing resembles traditional fishing in name only. Rather than hook and line, the Naka-Desh use large river fish called osheeja gars. Each osheeja is secured by a strange harness and bridle. When the Argonians find an abundant fishing spot, they release the predatory gars and let them snatch up the fish. As soon as an osheeja bites a fish, the Argonians pull their pets to the side of the boat and claim the fish for themselves. I asked Names-the-Orchids how it works. Apparently, the bridle prevents the gar from swallowing. She assured me that the osheejas are well-cared for, though. Until they grow too old, of course, whereupon they too are eaten.
Our time with the Riverbacks was not without frustration. Of all the Argonians I have met, the Naka-Desh were by far the least curious. Other than riddles, they had no appetite for anything we brought. They refused our food, took no particular interest in our tales, and did not even ask for our names. This disinterest combined with their boundless hospitality made most of the expedition uncomfortable. Names-the-Orchids chided us for thinking kindness demands reciprocity. As always, even these small disappointments teach us valuable lessons.
["the tribe is not currently in the game but in the world of the game"]
Experimenting with a pinhole camera. 2 second exposure (after allowing for reciprocity failure)
Camera: Holga 120 wpc (F135)
Format: 6X12
Film: Fomapan 100 (pushed to 400)
Developer: Rodinal (1+100) stand developed
Another image from my film archive, one of the very first photographs I made on Dartmoor when we moved here nearly twenty years ago. The film I used, Fuji Velvia 50, transformed landscape photography on its release in the 1990s, because of its vivid saturated colours and dramatic contrast. But it wasn’t without its problems. It suffered from a strong magenta bias and extremely limited dynamic range, five stops (!) at best. No wonder companies like Lee made a small fortune selling graduated neutral density filters. They were essential if you wanted to avoid blowing out the highlights in a high contrast scene like this. The film was also very slow and plagued by reciprocity failure.
Nevertheless, it was very fine grained and in large format capable of capturing very fine detail, even by today’s standards. Modern imaging software makes it much easier to correct unwanted colour casts and rebalance tone and colour. Even so, an image captured on Velvia will always have that distinctive Velvia look. And despite its technical limitations, in the hands of skilled practitioners – true photographic visionaries like Joe Cornish, David Ward, Christopher Burkett, William Neill and Jack Dykinga, to name but a few – it has been used to create some of the finest landscape photographs ever made. Not that I mean to imply any of my own humble efforts deserve to make that list!
Ebony 4x5ins field camera, 90mm Grandagon, Fuji Velvia 50. Original photograph copyright © Simon Miles. Not to be used without permission. Thanks for looking.
11-Oct-2025 17:05
Ilford Delta 100 rated @ EI 100 (N)
Ebony 45SU
Schneider 110mm f/5.6 Super-Symmar XL
Stearrman Press SP645 Tank
Pre-wash : None
Developed : D23 (1+1) Homemade : 10 mins @ 20C
2 x Water Stop Bath
Adofix P2. Clearing time less than 1½ minutes
Total Fix time doubled to 3 minutes
Wash for 10 mins in running water
Ilfotol final rinse (1ml in about 500ml)
Movements
Bed Tilt : 7 degrees forward
Front Shift : 3cm down
Back Tilt (Asymmetric) 10 deg back
Mid tone LV = 10
Highlight = 15
Shadow = 8
Filters : Yellow 12 (-1) 2 stops hard grad on sky
Final LV=12
Reciprocity : None
1 sec @ f22