View allAll Photos Tagged reciprocity
Sather Tower, Berkeley California, 10/1/2011
Sather Tower is a campanile (bell and clock tower) on the University of California, Berkeley campus. It is more commonly known as The Campanile due to its resemblance to the Campanile di San Marco in Venice, and serves as UC Berkeley's most recognizable symbol. It was completed in 1914 and first opened to the public in 1917. The tower stands 307 feet (93.6 m) tall, making it the third tallest bell and clock-tower in the world. It was designed by John Galen Howard, founder of the College of Environmental Design, and it marks a secondary axis in his original Beaux-Arts campus plan. Since then, it has been a major point of orientation in almost every campus master plan. The tower has seven floors, with an observation deck on the eighth floor. Some floors are used to store fossils. (from [en.wikipedia.org/wiki/Sather_Tower])
Efke AURA INFRARED 820 - Xtol - (processed @ www.gammasf.com )
(Shot at 100ASA, Metered through the filter)
SEKONIC L-778 DUAL SPOT F METER
Heliopan 67mm INFRARED RG-715 FILTER
EV8 (+reciprocity compensation): 2s @ f16
2deg backward tilt, 10mm downward shift (hence vignetting at the top)
Hasselblad Flexbody w/80mm CF Zeiss Planar T*
Epson PERFECTION V750-M PRO SCANNER
(20110924_EfkeIR820Aura_Eml101001_49465_005)
Doing it somewhat differently
Quite a lot of years ago now, I found myself looking down this gorge as the light failed - tripod splayed over the bridge, large format 5x4" Velvia film, an 8s exposure with reciprocity failure and all that.
Fast-forward to this year, and this version is a hand-held HDR on a Pentax K-1, blended on Linux, processed on the iPad using Affinity Photo and Snapseed of all things.
04-Apr-2025 12:23
Rollei Infrared400 @ EI 200 (3 for IR)
510 Pyro 1+100 : 16½ mins @ 20C
Pre-Wash : 3 mins continuous
Inversions first 60 sec then 3 at 8 and 16 mins
Two water Stop Baths - 1 min each
Alkali Fixer
Clearing time 1 min. Total fix time 2 mins
Initial wash to remove fixer : 1 min
Washing : 8 mins with frequent water changes
Washing : 2 minutes in Distilled Water
Kodak Photo-Flo : 2 ml in 800ml Distilled Water for 2 mins
Bronica SQAi + 40mm
Highlight = 16
Shadow = 10
Midpoint = 12
Filters : Heliopan Red (-3)
Final LV=9
Reciprocity (4 sec goes to 9)
8 sec @ f22
lenten yellow
in the scratched grocery store bucket,
deceptive sophistication, the yellow tulip
yearns. it
reaches out – immortalize me, all ye who
labour and I will give you rest for your
soul. you yearn, too – from your own
scratched
bucket. desire and empty
ness collide,
immortalize me. forever make me
yours and I will give you rest. reciprocity, the recip
rocity of beauty and heavy-laden
ness. how will you keep my
greens in myriad shades and not let
them droop and fall flat against some glass
vase – perhaps lalique, translucent green with
dancing goddesses pressed in and running
over and how
will you notice and nourish my yellow flower, kissed with
the red of God’s lips? will you
hear Haydn playing his sonata #29 in the back
ground – so sadly light and airy, the chaconne of
the yellow tulip red-tinged, tulipred, crimsonred. chaconne of the son’s
blood, second Isaac. for it is
now Lent. and I am but
another Christ to be slain… this is my body, this is
my blood given, my tulipblood, for you. take
and see that i am another sacrificial
lamb. you stare and wonder (others have been
crueler)
[from a poem I've just started, so it's very rough... I couldn't help but write it after I'd "painted" my tulips... and then I couldn't help but share it]
my textures
Hiking on foggy and windy autumn day on the Dipsea Trail near the Dear Park Fire Road, Muir Woods National Monument, Marin County, California. We stopped to have lunch here and I stayed awhile longer and set up my flexbody.
Agfa Scala 200 (expired 07/1999) - Xtol - (processed @ www.gammasf.com )
(Shot at 100ASA, Processed Normally)
SEKONIC L-778 DUAL SPOT F METER
EV5 (+reciprocity failure compensation) : 12s @ f16 (spot-metered through the filter)
Generic DARK GREEN FILTER
camera on side. 4deg swing
Hasselblad Flexbody w/80mm f2.8 Zeiss CF Planar T*
Epson PERFECTION V750-M PRO SCANNER
(20110924_Scala200_exp199907_49466_003)
Long exposure taken in, Novalja, Island Pag, Croatia on very wind day with lots of waves. I've decided to use Spur HRX which was acquiring ISO 64, but I metered on ISO 100. I've added more development than usual, but actually I shouldn't, most photos came overdeveloped. This one was 2 min exposure, no RF (reciprocity failure) added since after 2 min, Acros acquire RF, and before not.
Mamiya RZ67 Pro II - Z 250mm f/4.5 (#8 yellow filter, 0.6 ND)
Fuji Neopan Acros 100 @ ISO 100
Spur HRX (1+20) @ 20°C 12:00
Scanner: Canon CanoScan 9000F
I took advantage of the reciprocity between Desert Botanical Garden and San Diego Botanic Garden for member admission. It is a relatively young and somewhat small botanic garden. It does have a lot of interesting specimina, especially for me coming from the desert.
en.wikipedia.org/wiki/Papilio_cresphontes
The giant swallowtail (Papilio cresphontes) is the largest butterfly in North America.[2] It is abundant through many parts of eastern North America; populations from western North America and down into Panama are now (as of 2014) considered to belong to a different species, Papilio rumiko.[3] Though it is often valued in gardens for its striking appearance, its larval stage can be a serious pest to citrus farms, which has earned its caterpillars the names orange dog or orange puppy.[4] The giant swallowtail caterpillars possess remarkable camouflage from predators by closely resembling bird droppings. They use this, along with their osmeteria, to defend against predators such as wasps, flies, and vertebrates.[4][5]
One of the giant swallowtail's most notable features is its size. Females have an average wingspan of 5.5 in (14 cm), and up to 6.9 in (18 cm), while males' average is 5.8 in (15 cm), and up to 7.4 in (19 cm).
The wings are black with a horizontal yellow line across the forewings, and a diagonal yellow line across the hindwing. The underside of the wings is yellow with accents of black. A small patch of red on the ventral wing (within the small blue band) allows for distinction from the similar-looking Schaus' swallowtail.[4] Seitz -"P. cresphontes Cr. (7a).
300 Quail Gardens Drive (at Ecke Ranch Road), Encinitas, CA 92024
Welcome to our 37-acre urban oasis featuring 4 miles of meandering trails and ocean views, 5,000+ plant species and varieties, and 29 uniquely themed gardens that represent 15 different regions and many habitats of the world. Our natural wonderland is designed for children and adults, alike; explore your interests, learn about the plant world that surrounds us, and let nature fill you with a little wonder.
SDBG2024
23-Jan-2025 13:05
Kodak TMax 400 rated @ EI 400 (N)
Zero Image 5x4 Pinhole
75mm focal length (3 sections)
0.35mm pinhole
Stearman Press SP445 Tank
Pre-wash : None
Developed : Pyrocat HD 1+1+100 for 15 mins @ 20C
2 x Water Stop Bath
Eco Zone Alkali Fix. Clearing time 3 minutes
Total Fix time doubled to 6 minutes
Wash for 10 mins in frequent water changes
Ilfotol final rinse (1ml in about 500ml)
Filters : None
Reciprocity : 15 sec goes to 30
30 sec @ f216.5
You probably thought what I did: If I post to an award group that requires 3 awards, then I should expect 3 awards, on average. Obviously, any given photo will get more or less, but you figure on average you should get as much as you give, right? WRONG!!
I’ve done a systematic study of how many awards the different award groups give out, and the bottom line is this: The half of Flickrites who do actually give out rewards get nothing in return from the other half of the Flickrites who post and run.
If you’re posting and running, shame on you. If you’re posting and being honest, then you should check out the list below to see which award groups are best and worst.
Details of the study are below; I welcome any data that the group admins wish to share, or from anyone would like to validate these findings. I realize my sample is small and would like to get more data...
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Purpose: Do you get as many rewards as you give in Flickr award groups?
Method: Sample 20 Flickr award groups. Go to page 24 and count the number of awards given to the first 12 pictures; this is deep enough in the pool that awards have stopped, but not so deep that many images have been pulled. I validated a sample of 12 was sufficient.
Result: From a total sample of 240 images posted to award groups, you get 59% of the awards you give out, or roughly you have to give two awards in order to get one. There is huge variation amongst the groups, as you’ll see in table below.
Discussion: At a practical level, it appears that there are two things that contribute to a higher percentage of reciprocity. First, group cohesion makes a difference—for example Shining Star has a relatively higher percentage because many of the members are contacts with each other. Second, a mechanical pool sweeper, if properly used, makes a HUGE difference, e.g. Global Village 2 and Flickr Hearts. The results also show that there are lots of Flickrites who don’t play by the rules. In the case of group awards, without a pool sweeper there is absolutely no penalty for posting and running because there’s no way to get caught.
Group averages… For example, A+++ has 70%, meaning that for every A+++ award you give, you get 0.7 back… Some of the averages are above 100% because of sampling error, and because of multiple invites.
My Winners, 116%
Better Than Good, 116%
Global Village 2, 110%
Flickr Hearts, 88%
A+++, 70%
The Other Village, 70%
Shining Star, 68%
Music to My Eyes, 64%
Dragon Fly, 63%
Flickr Stars (newer one), 62%
Flickr Rose, 60%
Flickr Special, 56%
Perfect Photographer, 40%
Abstract Art Awards, 40%
Photographers Gone Wild, 37%
Peoples Choice, 37%
Colour Art Awards, 30%
Eperke, 24%
Flickr Stars (older one), 20%
I Think This is Art, 7%
(Explore)
This shot was made with natural light coming from the window. To compensate the contrast of lighting I used a white reflector on the left. Also I decided to pull mu Ilford HP5+ film to 200 ISO seeking for more neutral greyscale tones that should imitate a drawing instead of a photo. The exposure given HP5+ reciprocity characteristics led to a 15 min exposure at f45.
Film: Ilford HP5+
Developer: HC-110 Dilution H 9 minutes
Lens: Rodenstock Apo-Sironar-N 150/5.6
Camera: Anba Ikeda 4x5
Wandering on the west side of Bellas Artes is this metro station entrance.
This gate was a gift from the Paris Metro to the Mexico City Metro on November 14, 1998, in reciprocity for the donation by the Mexican Metro of a Huichol Mural (The Huichole Thought and Soul by Mexican shaman Santos de la Torre Santiago).
The mural was installed on October 6, 1997 at the Parisian metro station Palais Royal - Musée du Louvre Paris.
French President Jacques Chirac inaugurated a treasured Hector Guimard style art nouveau Paris Métro entrance next to the western wing of the Palacio Bellas Artes 14 November 1998.
Camera: Vermeer 6X17 curved plane pinhole camera.
Film: Rollei Infrared with R72 filter. Scene metered for 2 ASA plus reciprocity. Neg was still way thin and I could have exposed for 4X the amount of time!
"-----------------------"
Danilo Dolci: Verso un mondo nuovo
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A story of Sicily: the Sicilian Gandhi (but he was not Sicilian ...).
This photographic story is connected, at least in part, with the previous one, whose link is represented by the nephew of the painter Robert Kitson, Miss Daphne Phelps: in life she was a psychiatric social worker (she collaborated with Anna Freud, daughter by Sigmund Freud), on the death of his uncle in 1948 he moved to Sicily to take care of Casa Cuseni, having inherited it: initially he wanted to sell it and then return to England, instead he ended up falling in love with Taormina and Sicily, deciding to stay there for the rest of his life. Daphne ran Casa Cuseni welcoming paying guests, there are many illustrious names of artists, writers, well-known personalities who have stayed there: Danilo Dolci was one of these guests, and it is precisely about him that I wish to speak. He was born in 1924 in Sesana (Trieste), after a somewhat eventful life, in 1952 he moved to Trappeto (between Palermo and Trapani), a country among the poorest and most disadvantaged in Italy: that same year the first of numerous fasts, going to bed and fasting in the bed of a child who died of malnutrition, a protest that will end only when the authorities undertake to build a sewer. Danilo Dolci continues with numerous initiatives, from the publication of a book ("Banditi a Partinico", which makes public opinion aware of the poor living conditions of western Sicily, to this book and many others will follow), to the "strike at reverses ”, when the workers went on strike, hundreds of unemployed began to work to reactivate an abandoned municipal road, an initiative that was then stopped by the police; Dolci also initiates an activity of denunciation of the mafia phenomenon and its relations with politics. There are numerous certificates of esteem and solidarity that he receives from important personalities from Italy and abroad, but despite this, for others Danilo Dolci is a dangerous subversive, to be hindered, denigrated, locked up in prison. Yet Dolci does not pose as a guru, boss, or teacher, his working method is based on the conviction that change is based on the involvement and direct participation of those concerned, his idea of progress enhances local culture and skills; he tries, working closely with the people and the most disadvantaged and oppressed groups of western Sicily, to free the dormant creativity in every person, calling this research "maieutic", a term coming from philosophy, precisely from Socratic maieutics: it is "the 'art of the midwife ", every educational act is to bring to light all the inner potentialities of the one who wants to learn, like a mother who wants to give birth to her own child from her womb, so no to notions imparted a priori, yes to help the student to bring their knowledge to light, using dialogue as a tool; however, Socratic maieutics is unidirectional, while in Danilo Dolci's "reciprocal maieutics", knowledge comes out of experience and its sharing, therefore it presupposes the reciprocity of communication. During meetings with farmers and fishermen, the idea was born to build the dam on the Jato River, which is important for the economic development of the area, but also to remove a powerful weapon in the hands of the mafia, an instrument of power which controlled the few available water resources; however the request for "water for all" will be heavily hindered, popular mobilizations and long fasts will be necessary to finally see the project realized: now the dam exists, and others have been built, thus modifying the lives of thousands of people, with the development of numerous companies and cooperatives. Among the many activities of Dolci, thanks to the contribution of international experts, the experience of the Mirto Educational Center, attended by hundreds of children, should be mentioned. Returning to Daphne Phelps and Casa Cuseni, here is a lithograph by Tono Zancanaro, dedicated to the birth of one of Danilo Dolci's daughters, but, among the most important, there is a correspondence between the pacifist philosopher Bertrand Russel and Daphne Phelps, in which the English thinker invited Robert Kitson's niece to participate in the gatherings of progressive intellectuals and literary and scientific personalities of the time, among them, besides Albert Camus, Jean-Paul Sartre and Carlo Levi, there was Danilo Dolci, sociologist, educator, still recognized today as one of the most important figures of nonviolence worldwide.
post Scriptum:
- the images with Danilo Dolci come from the Casa Cuseni archive: they are cuttings from original periodicals, often full pages, from English newspapers, carefully preserved by Miss Daphne Phelp; these images were also taken by photographing some pages of James McNeish's book, "Fire under the ashes - The life of Danilo Dolci";
- the photographs taken in various countries of Sicily, are prior to the covid-19 pandemic;
- thanks to the surgeon colleague dr. Franco Spadaro and his kind wife, Mrs. Mimma Cundari, owners of Casa Cuseni (declared in 1998, Italian National Monument), for their hospitality and availability, having made the Danilo Dolci archive available to me.
Una storia di Sicilia: il Gandhi siciliano (ma siciliano non era…).
Questo racconto fotografico, è connesso, almeno in parte, con quello precedente, il cui anello di congiunzione è rappresentato dalla nipote del pittore Robert Kitson, la signorina Daphne Phelps: lei nella vita era una assistente sociale psichiatrica (lei collaborava con Anna Freud, figlia di Sigmund Freud), alla morte dello zio nel 1948 si trasferì in Sicilia per occuparsi di Casa Cuseni, avendola ereditata: inizialmente la voleva vendere per poi ritornarsene in Inghilterra, invece finì con l’innamorarsi di Taormina e della Sicilia, decidendo di restarvi per il resto della sua vita. Daphne gestiva Casa Cuseni accogliendo ospiti paganti, numerosi sono i nomi illustri di artisti, scrittori, note personalità che vi hanno alloggiato: Danilo Dolci è stato uno di questi ospiti, ed è proprio di lui che desidero parlare. Egli nasce nel 1924 a Sesana (Trieste), dopo una vita un po’ movimentata, nel 1952 si trasferisce a Trappeto (tra Palermo e Trapani), un paese tra i più poveri e disagiati d’Italia: quello stesso anno inizia il primo di numerosi digiuni, coricandosi e digiunando nel letto di un bimbo morto per denutrizione, protesta che terminerà solo quando le autorità si impegneranno a costruire una fogna. Danilo Dolci prosegue con numerose iniziative, dalla pubblicazione di un libro (“Banditi a Partinico”, che mette a conoscenza dell’opinione pubblica delle misere condizioni di vita della Sicilia occidentale, a questo libro poi ne seguiranno molti altri), allo “sciopero alla rovescia”, quando i lavoratori fecero sciopero, centinaia di disoccupati si misero a lavorare per riattivare una strada comunale abbandonata, iniziativa però poi fermata dalla polizia; Dolci avvia anche una attività di denuncia del fenomeno mafioso e dei suoi rapporti con la politica. Numerosi sono gli attestati di stima e solidarietà che egli riceve da importanti personalità provenienti dall’Italia e dall’estero, ma nonostante ciò per altri Danilo Dolci è un pericoloso sovversivo, da ostacolare, denigrare, chiudere in prigione. Eppure Dolci non si atteggia né a santone, capo, od un maestro, il suo metodo di lavoro è basato sulla convinzione che il cambiamento è basato sul coinvolgimento e diretta partecipazione degli interessati, la sua idea di progresso valorizza la cultura e le competenze locali; egli cerca, lavorando a stretto contatto con la gente e le fasce più disagiate ed oppresse della Sicilia occidentale, di liberare la creatività sopita in ogni persona, chiamando tale ricerca “maieutica”, termine proveniente dalla filosofia, precisamente dalla maieutica socratica: è “l’arte della levatrice”, ogni atto educativo è far venire alla luce tutte le potenzialità interiori di colui che vuole imparare, al pari di una madre che vuol far nascere la propria creatura dal suo grembo, quindi no a nozioni impartite a priori, si ad aiutare lo studente a portare alla luce la propria conoscenza, usando il dialogo come strumento; però, la maieutica socratica è unidirezionale, mentre nella “maieutica reciproca” di Danilo Dolci, la conoscenza viene fuori dall’esperienza e dalla sua condivisione, quindi presuppone la reciprocità della comunicazione. Nel corso di riunioni con contadini e pescatori, nasce l’idea di costruire la diga sul fiume Jato, importante per lo sviluppo economico della zona, ma anche togliere un’arma potente in mano alla mafia, che faceva del controllo delle poche risorse idriche disponibili uno strumento di potere, però la richiesta di “acqua per tutti” verrà pesantemente ostacolata, saranno necessarie le mobilitazioni popolari, lunghi digiuni, per vedere infine realizzato il progetto: ora la diga esiste, ed altre sono state poi realizzate, modificando in tal modo la vita di migliaia di persone, con lo svilupparsi di numerose aziende e cooperative. Da menzionare, tra le tante attività di Dolci, grazie al contributo di esperti internazionali, l’esperienza del Centro Educativo di Mirto, frequentato da centinaia di bambini. Ritornando a Daphne Phelps e Casa Cuseni, qui è presente una litografia di Tono Zancanaro, dedicata alla nascita di una delle figlie di Danilo Dolci, ma, cosa tra le più importanti, esiste un carteggio tra il filosofo pacifista Bertrand Russel e Daphne Phelps, nel quale il pensatore inglese invitava la nipote di Robert Kitson a partecipare ai raduni di intellettuali progressisti e personalità letterarie e scientifiche dell’epoca, tra di loro, oltre Albert Camus, Jean-Paul Sartre e Carlo Levi, c’era Danilo Dolci, sociologo, educatore, ancora oggi riconosciuto tra le figure di massimo rilievo della nonviolenza a livello mondiale.
post scriptum:
- le immagini con Danilo Dolci provengono dall'archivio di Casa Cuseni: sono ritagli di giornali originali dell'epoca, spesso pagine intere, provenienti da quotidiani inglesi, accuratamente conservati dalla signorina Daphne Phelp; tali immagini sono state realizzate fotografando anche alcune pagine del libro di James McNeish, "Fire under the ashes - The life of Danilo Dolci";
- le fotografie realizzate in diversi paesi della Sicilia, sono antecedenti alla pandemia da covid-19;
- si ringrazia il collega chirurgo dott. Franco Spadaro e la sua gentile consorte, signora Mimma Cundari, proprietari di Casa Cuseni (dichiarata nel 1998, Monumento Nazionale Italiano), per la loro ospitalità e disponibilità, avendo messo a mia disposizione l'archivio relativo a Danilo Dolci.
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"]
Trying Svema Blue Sensitive for long exposures (ISO 6). This is one of the shorter exposures. Not sure if it’s a good film for long exposures. If I try again. I’ll need to figure out the reciprocity factor is. If anyone knows, let me know.
EOS 3
40mm F2
Svema Blue Sensitive
f16 @ 1 sec
Bending Light #68
Another 'double refraction' or 'recursive' pattern. The light is first refracted through a piece of shaped and blown clear glass and then this refraction pattern is passed through one of my moulded plastic shapes into which colours have been incorporated.
For new viewers: these are analog images of the refraction patterns of a single beam of light passing through various transparent objects. The image is captured directly on to 35mm film, no camera lens is used ( this is a photogram using film instead of photographic paper). No Photoshop is used only Picasa2 for alignment and cropping. The slide film was lab processed and scanned for uploading.
When viewed large the fine bands of diffraction patterns and also some faint refraction 'rainbows' can be seen.
To me this is another 'galactic' image deep in space, but you may have other ideas.
Analog Groove Modulation - The stars remind me of an old LP (vinyl record)
Making the best of the clear, dry weather this winter with a 40 minute moonless long exposure.
Chosen for the light polluted highway, and open dark space past that, I sat and read while this 40 minute exposure was made.
Hasselblad 500 C/M
Zeiss 150mm CF @ f/8
40 minutes (2400 sec)
Kodak Tmax 100
Ilfosol 3 (1:14) 10 minutes
This image was shot on a roll of Fuji Pro 400 H that was ten years out of date. I rated it at 100 ISO and the density was about right but of course the colours were off. The long exposure (4 seconds) made the colours even more unusual because the reciprocity failure curve for each colour is slightly different. But I actually like the result! In the distance is the Isle of Sheppey, seen from Seasalter Beach one summer evening.
Spring 2017 Polaroid Week. Day 4, 1/2.
Polapinhole 4e film No.05.
Polaroid EE66 Pinhole modification.
f/235, Fl; 75mm, 0,32mm
Photo location; Donnacona, Québec, Canada.
Fuji FP-100C at 80 ASA.
Reciprocity + WO lens.
Exposure Time; 5 hours 15 minutes!
With Homemade «Daylab Polaroid/Pinhole Transfert».
No filter.
Bleu original du cliché atténué.
f/235, Fl; 75mm, 0,32mm
Photo location; Donnacona, Québec, Canada.
Fuji FP-100C at 80 ASA.
Reciprocity + Fuji FP-100C.
Exposure Time; 56 minutes 3 secondes. No filter.
Negative reclamation with of paper who i had deliberately paste on emulsion. I scanned, in black and white, only a part of negative.
Everything you see is on the negative.
Récupération du négatif en enlevant du papier que j'avais collé délibérément sur la chimie.
Numérisation en noir et blanc d'une partie du négatif.
Tout ce que vous voyez est sur le négatif.
Taming Light #25
Blue rays of light penetrate deep into the abyss awakening the sprites from their long slumber.
A complex combination of light refraction patterns made in the camera, projected directly on to 35mm colour film from a mixture of glass and plastic shapes. Another one from the series where I create a small scene (24 x 36mm) which takes the place of the camera lens and is the 'photograph' of a distant light source. Purely an analogue image - not computer generated.
Amanda Palmer (who is also one half of The Dresden Dolls) performing at Edinburgh's Cabaret Voltaire last September in what was a memorable concert musically and a spectacular concert photographically.
Unusually among most performers, Amanda is very tolerant of photography and I was able to shoot the whole show with my Canon EOS-5D. However, in a spirit of reciprocity she would kinda like to see any good shots that result...and I've been passing on all the shots from the gig that I've posted so far (as well as some that are yet to see the light of day on Flickr).
If you get the chance to catch one of her shows, don't miss it. Who else can make a ukulele rock 'n' roll? :-)
You can see other pics from this gig in my Amanda Palmer set.
Please have a listen to the samples from Amanda's new album (which is great!) called:
Model: Willy Vlasic
Shot in Hillsville, Virginia
This image is the first from a new series I’m working on inspired by William Golding’s “Lord Of The Flies”.
The book compelled me into thinking how we all have savages within us. The idea that without civilization, social constructs and capacity to reason, we are barbaric pieces of meat. The mind in its rational state is looking for meaning and answers. But we all have moments, no matter how fleeting they may be, of primitive thoughts.
I’m very interested in exploring this theme and how it relates to the human mind with its dark irrational thoughts coupled with human strengths like loyalty and reciprocity.
A few things people should know:
1. The majority of black-and-white films all can be developed for the same amount of time in a particular developer/concentration. For Rodinal 1+50 8 minutes is good enough. Recommendations for a minute or two up or down only really affect the contrast curve, and these days most of us alter that in Photoshop anyway. A few films - particularly very-high-speed ones - need significantly more.
2. If you buy an electric coffee maker and it smells like plastic and makes the coffee smell (or taste) that way, too, you will find people recommend various cleaners or running lots of water through the machine. Forget it. Wipe the plastic surfaces down with vodka or everclear.
3. Fomapan 200 has terrible reciprocity characteristics.
4. The stabilizer in C-41 kits tends to leave water spots on the back of the film.
5. The food at the Photographer's Formulary workshops is really good.
6. Efke 100 in 127 size is a pain to scan.
7. The lens on a Polaroid Big Swinger has a focal length of around 114 mm and a maximum aperture of f/16. Each mark on the "lighten/darken" knob is about a stop.
8. I haven't yet found a way of shooting and developing Agfapan APX 400 that I really like. It always seems soft and muddy.
9. A 46mm adaptor ring will screw (with some difficulty) into the front of a Holga and provide a good perch for filters.
10. One-shot developer isn't. I run several rolls through a tankful of dilute one-shot developer before I toss it.
21-Mar-2025 13:30
Adox CMS20 II (Expired 3 years) rated @ EI 20
Zero Image 5x4 Pinhole
50mm focal length (2 sections)
0.28mm pinhole
Stearman Press SP445 Tank
Pre-wash : None
Developed : Adox Adotech IV (old) 1+14 for 11 mins @ 24C
No stop or wash
Ilford Rapid Fixer (old) (1+9) for 45 seconds then discarded
Wash for 5 mins in frequent water changes
Ilfotol final rinse (1ml in about 2000ml)
Filters : None, Reciprocity (doubled meter reading)
45 seconds @ f176
I approached this year's eclipse a bit different than one might expect. That is to say that I chose to make one photo for the eclipse. To be honest I grabbed a couple with my phone and there were a few shots of the crowd I did with my Fuji 617 but those were just extra. The list of images I really wanted to make was only one item long and it was this one. I wanted to make a two hour exposure of the entire process of the eclipse. I did this with my Hasselblad and a pair of heavy ND filters and one frame on a roll of color film. I also did this with a certain sense of fearlessness, or rather a lack of FOMO. Because if I had let myself be too worried about missing out, or too worried about the consequences of pinning all my hopes on one exposure done in a fashion that is prone to unpredictable consequences (flares, reciprocity calculations, the like) then I would have fearfully kept myself from even attempting this image, and that to me is one of the greatest photographic sins. I pursue images for the sake of the pursuit and with the hopes of success. I do not pursue them for promise of success. My mentality here I think is key to understanding my process. Would I have been bummed if this exposure had not turned out? Not really. I was standing there with my own eyes after all. I have my memories. More important I have the knowledge that I tried and wasn't afraid to try. And I would have the experience gained. Am I thrilled that the image turned out? Oh, you bet. I enjoy the successes, don't get me wrong, but I don't worry about missing out. Once you start worrying about what you miss, you discover that list is infinitely long. You will always miss something, no matter how hard you try to not. So I let that all go. I don't rue what I cannot do, I try to do what I can and enjoy that. In that vein, how could I not attempt to do a two hour exposure of such a rare occasion? I wanted to see how it would look. That was enough for me and I dare say it always will be.
Hasselblad 500C
August 21st, 2017
9:15am - 11:15am
Oh, thank you so much for being on the path of wisdom and of my dear ones, as well.
Thank you for remembering me, at all times and for caring about me and mine,
who are very important to me.
Thank you for your ability to express yourself warmly.
Thank you for being kind in contacting me.
Without further thought, I will write in a way that respects you,
in this way I also respect myself.
I will write and answer your email in a respectful manner that always respects both of us.
Oh, thank you very much. I will always write in my own words
...and always express myself in my own words only.
A derogatory type will never and will never dare to insert such or other words
and certainly will not control the way of your correspondence or communication.
My answer to you expresses and will mutually express support.
What we sow, we reap...
and I will always remember your willingness to be independent of someone else's dictates...
of what to say, what to say... or if at all to answer... or to do a "favor" in response to your automatic symbolic smile.
You are not an egoist and I am not an egoist...
we will continue to have a respectable relationship.
As you care about me and the dearest of my heart,
correspondingly I care about you and the dearest of your heart.
The relationship between us is uncontrollable by others.
Oh, thank you so much. You are just as good as me, and even if we are not the same,
caring and truth dictate our ways in life.
Reciprocity is the word.
It's all a question of goodwill, or of being uncontrolled by others,
No one dares to dictate to you.. Never to me!
I will write... exactly as you write, and not just to get out of my way by marking one way or another.
Oh, thanks to you and your importance in a way that does not depend on unnecessary dictates or injustices.
By the way.. if some are controlled by their content.. extremely unfortunate.. The universe will repay accordingly. Now... ask yourself and here is the reference not to primacy in my writings here. When was the last time you thought to let me know? What were you asked, to tell me.. to do.. or simply not to answer.. or not to address... you are controlled! And you became a stranger by someone else's will. And what did you get out of it?... A lot. Hiding the truth is like lying, even if you gain a lot from it.
To those that are controlled by order, such as, reply, no reply, comment with NICE (I become allergic to "nice" ). I have NO THANKS, Sorry... so sorry for those who are controlled or controlled others.
The world could be better because of people like me... But surely It will never be, since you are controlled by giving gifts @ orders.
Copyrights (c) NIra Dabush.
Additional Artwork
Tags
Photography Photograph Florals Nira Dabush Colourful Magic Studio Floral Flowers.
Taming Light #32
At last I've managed to brush out the tangled rays and smooth out the filaments in this beam of light and yes it's still a refraction pattern through one of my plastic creations.
For new viewers: These are light refraction patterns or 'caustics' formed by a white light beam passing through a shaped and textured plastic form. The pattern is captured directly on to 35mm film by removing the camera lens and putting the transparent object in its place. Colours are introduced by placing complex coloured optical filters directly in the light beam.
The processed film is digitally scanned for uploading. Please note these are not computer generated images but a true analogue of the way light is refracted by the objects I create.
BTW they're all 1:1 macro images.
I know that some of you are going to yell that Flickr "interestingness" and Explore are silly things to worry about, and that's fine... But for those interested in how it works, let me run down a quick top 10 list. (Yes, this pic made Explore)
Caring about getting into Explore per se is silly, because Explore has a big random component to it. However, Explore is important because it is the only "signal" we easily have about how "interesting" the photo is. Flickr doesn't give us the actual interestingness number so Explore is a good way to know it must be pretty high.
Why does interestingness matter? If you get happier the more people that see and appreciate your work, then you care about interestingness. Beyond your contact network, the vast majority of Flickr views come from search engines. Flickr has a zillion photos, so if you're photo isn't Flickr-interesting, people will never see it come up in the search engines.
Ten things to do to improve Flickr Interestingness:
1. Take good photos.
2. Have a good network of contacts who will view and comment and fave.
3. Post to at least one group, but don't post to more than five for the first few days. During the first week, posting to lots of groups hurts; after the first week, it helps.
4. In first week, don't post to more than a few award groups.
5. Have notes.
6. Have map and camera data. If you block camera data, or use film and don't add the camera meta data, you'll be penalized, A LOT. There's thousands of film people or people who don't want to give up their "secret settings" who can't figure out why they can't get into Explore... This is it!
7. Have a title and tags and text that people will search for, as that drives search engine traffic.
8. Don't upload too much per day. Maybe 3 max? If you upload more than 3 per day it not only hurts interestingness, but it taxes your contact network. It also means any given photo is de facto seen by less people, since most contacts only look at last 1-4 photos.
9. Be active. If you give significantly less than you get, it terms of views, comments, and faves, all of your photos will be penalized significantly.
10. Challenge yourself. There's a lot of competition when it comes to grabbing people's limited attention. Take interesting photos!
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To answer Steve-H's question about why if you get into Explore do you not get in their more highly ranked?
I am in same boat. Had one reach #9 that is now permanent at #26. Some of it is random. The difference in interestingness between #1 and #500 is like 99.99999 to 99.99998. If you are the lucky one to get in the top (e.g.) 50, then you get a lot of additional views and it becomes self-fulfilling (esp. if women are in pic).
Some of it may be network related. I don't know if they sample central people, or people who are boundary spanners, but that would make a difference too. I do notice that everything else can be essentially equal between two photos and they differ in interestingness because different people commented and faved.
It also depends on the interestingness and timing of surrounding pics. If you have a strong network like ours your pics tend to get the same views, comments, faves, roughly. This is good for getting in but not getting into the top. I think a pic at the top of Explore tends to have much much much better stats than other pics by that artist around the same time. So in the example below, Joe would get one pic high into Explore, whereas Sally would get two into Explore but not as high:
Joe: pic 1--8 views, 3 comments, 2 faves; pic 2--100 views, 21 comments, 28 faves
Sally: pic 1--85 views, 24 comments, 18 faves; pic 2--100 views, 21 comments, 28 faves
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Update 1.29.09... I may be wrong about the groups, at some level. Above I conjecture that posting to too many groups may be harmful, and I do believe that is still true. However part of the negative effect on Interestingness that one gets from posting to many groups is that it decreases the ratio of comments to views, and faves to views, which in turn decrease Interestingness.
I have also discovered a possible cumulative limit to how many pics one can have in Explore at one time. Most of the time, I have about 5 or 10 pics in Explore (versus the hundreds that were in it at some time but aren't at that moment). Recently some of my older pics have been getting in and staying in, or mostly staying in, the top 50 or 100. (This is mostly due to Yahoo! using my photos for news stories, blogs, etc.) As this has happened, my daily likelihood of getting into Explore has decreased, even though my other "stats" are the same. It may be that 20 or 25 serves as a practical limit.
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Update 11.18.10... Regarding the point above about Explore, I now have about 50 in Explore at one time and don't seem to be getting many more in, so that may be a saturation point, but who knows... Since I last updated, the Interestingness algorithm has changed. I talk about it here:
www.flickr.com/photos/pagedooley/4233691578/
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Update 5.14.15... Much has changed over the years since I first wrote this. The general guidelines noted above still hold very true, but Explore and Flickr's Interestingness algorithm have evolved and become more nuanced. Since Explore is and always has been about "sampling" Flickr's community, there are various limits and constraints that have been added to ensure a few people don't dominate Explore day-to-day. Additionally, from what I can best gather from other experts on the subject, some people have been excluded from Explore due to a glitch on Flickr's side (I fall into that camp now). But if you're asking - why didn't I get into Explore - the most likely answers are still reflected in the principles above: you're not getting enough faves/comments, not including EXIF data, posting to too many groups, or not acting with reciprocity to other Flickrites.
For the best and most up-to-date discussions on Explore, Interestingness, and analytical topics re Flickr, see Saffron Blaze's "In Explore" discussion pages.
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Here are some other essays that may be of interest:
* All About Flickr titles, text, tags, and views
* All about Creative Commons
* The scaling issue in digital art
* How Flickr is diffferent than "great" photography
* At a loss for Flickr comments? Here's a catalog
* Five key decisions in photography.
* How I make the Christmas light paintings.
* www.flickr.com/photos/pagedooley/3084967790/in/set-721576... on how to improve your photography.
* The Impassioned Eye, Henri Cartier-Besson.
* You can't always get what you give: A study of Flickr award groups
* The skills of enthusiastic amateurs
* Open source photography--are you in or out?
* Suspicion, trust, and Flickr
* I'm bokeh, you're bokeh, pure bokeh
* See the World Through My Eyes and Explore the Motel at Wink's Place in the Golden Garden of Karma because L'amicizia fa la differenza! (or, Flickr the Soap Opera)
* Why is one of my photos more Interesting than the other?
* All about Flickr contacts
Boxgrove Parish Church, next to Boxgrove Priory. I finally got round to testing the Schneider 75m f5.6 Super Angulon I bought recently. It's really sharp and doesn't seem to have any distortion to speak of. It's a challenge to use in a dark environment like this, I could only see image in the corners of the ground glass by looking at them at and angle. Exposure was 15 secs @ f16 (4 secs metered plus reciprocity compensation). Shot on #ilfordHP5. #ilfordphoto #film #filmisnot dead #blackandwhite.
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A story of Sicily: the Sicilian Gandhi (but he was not Sicilian ...).
This photographic story is connected, at least in part, with the previous one, whose link is represented by the nephew of the painter Robert Kitson, Miss Daphne Phelps: in life she was a psychiatric social worker (she collaborated with Anna Freud, daughter by Sigmund Freud), on the death of his uncle in 1948 he moved to Sicily to take care of Casa Cuseni, having inherited it: initially he wanted to sell it and then return to England, instead he ended up falling in love with Taormina and Sicily, deciding to stay there for the rest of his life. Daphne ran Casa Cuseni welcoming paying guests, there are many illustrious names of artists, writers, well-known personalities who have stayed there: Danilo Dolci was one of these guests, and it is precisely about him that I wish to speak. He was born in 1924 in Sesana (Trieste), after a somewhat eventful life, in 1952 he moved to Trappeto (between Palermo and Trapani), a country among the poorest and most disadvantaged in Italy: that same year the first of numerous fasts, going to bed and fasting in the bed of a child who died of malnutrition, a protest that will end only when the authorities undertake to build a sewer. Danilo Dolci continues with numerous initiatives, from the publication of a book ("Banditi a Partinico", which makes public opinion aware of the poor living conditions of western Sicily, to this book and many others will follow), to the "strike at reverses ”, when the workers went on strike, hundreds of unemployed began to work to reactivate an abandoned municipal road, an initiative that was then stopped by the police; Dolci also initiates an activity of denunciation of the mafia phenomenon and its relations with politics. There are numerous certificates of esteem and solidarity that he receives from important personalities from Italy and abroad, but despite this, for others Danilo Dolci is a dangerous subversive, to be hindered, denigrated, locked up in prison. Yet Dolci does not pose as a guru, boss, or teacher, his working method is based on the conviction that change is based on the involvement and direct participation of those concerned, his idea of progress enhances local culture and skills; he tries, working closely with the people and the most disadvantaged and oppressed groups of western Sicily, to free the dormant creativity in every person, calling this research "maieutic", a term coming from philosophy, precisely from Socratic maieutics: it is "the 'art of the midwife ", every educational act is to bring to light all the inner potentialities of the one who wants to learn, like a mother who wants to give birth to her own child from her womb, so no to notions imparted a priori, yes to help the student to bring their knowledge to light, using dialogue as a tool; however, Socratic maieutics is unidirectional, while in Danilo Dolci's "reciprocal maieutics", knowledge comes out of experience and its sharing, therefore it presupposes the reciprocity of communication. During meetings with farmers and fishermen, the idea was born to build the dam on the Jato River, which is important for the economic development of the area, but also to remove a powerful weapon in the hands of the mafia, an instrument of power which controlled the few available water resources; however the request for "water for all" will be heavily hindered, popular mobilizations and long fasts will be necessary to finally see the project realized: now the dam exists, and others have been built, thus modifying the lives of thousands of people, with the development of numerous companies and cooperatives. Among the many activities of Dolci, thanks to the contribution of international experts, the experience of the Mirto Educational Center, attended by hundreds of children, should be mentioned. Returning to Daphne Phelps and Casa Cuseni, here is a lithograph by Tono Zancanaro, dedicated to the birth of one of Danilo Dolci's daughters, but, among the most important, there is a correspondence between the pacifist philosopher Bertrand Russel and Daphne Phelps, in which the English thinker invited Robert Kitson's niece to participate in the gatherings of progressive intellectuals and literary and scientific personalities of the time, among them, besides Albert Camus, Jean-Paul Sartre and Carlo Levi, there was Danilo Dolci, sociologist, educator, still recognized today as one of the most important figures of nonviolence worldwide.
post Scriptum:
- the images with Danilo Dolci come from the Casa Cuseni archive: they are cuttings from original periodicals, often full pages, from English newspapers, carefully preserved by Miss Daphne Phelp; these images were also taken by photographing some pages of James McNeish's book, "Fire under the ashes - The life of Danilo Dolci";
- the photographs taken in various countries of Sicily, are prior to the covid-19 pandemic;
- thanks to the surgeon colleague dr. Franco Spadaro and his kind wife, Mrs. Mimma Cundari, owners of Casa Cuseni (declared in 1998, Italian National Monument), for their hospitality and availability, having made the Danilo Dolci archive available to me.
Una storia di Sicilia: il Gandhi siciliano (ma siciliano non era…).
Questo racconto fotografico, è connesso, almeno in parte, con quello precedente, il cui anello di congiunzione è rappresentato dalla nipote del pittore Robert Kitson, la signorina Daphne Phelps: lei nella vita era una assistente sociale psichiatrica (lei collaborava con Anna Freud, figlia di Sigmund Freud), alla morte dello zio nel 1948 si trasferì in Sicilia per occuparsi di Casa Cuseni, avendola ereditata: inizialmente la voleva vendere per poi ritornarsene in Inghilterra, invece finì con l’innamorarsi di Taormina e della Sicilia, decidendo di restarvi per il resto della sua vita. Daphne gestiva Casa Cuseni accogliendo ospiti paganti, numerosi sono i nomi illustri di artisti, scrittori, note personalità che vi hanno alloggiato: Danilo Dolci è stato uno di questi ospiti, ed è proprio di lui che desidero parlare. Egli nasce nel 1924 a Sesana (Trieste), dopo una vita un po’ movimentata, nel 1952 si trasferisce a Trappeto (tra Palermo e Trapani), un paese tra i più poveri e disagiati d’Italia: quello stesso anno inizia il primo di numerosi digiuni, coricandosi e digiunando nel letto di un bimbo morto per denutrizione, protesta che terminerà solo quando le autorità si impegneranno a costruire una fogna. Danilo Dolci prosegue con numerose iniziative, dalla pubblicazione di un libro (“Banditi a Partinico”, che mette a conoscenza dell’opinione pubblica delle misere condizioni di vita della Sicilia occidentale, a questo libro poi ne seguiranno molti altri), allo “sciopero alla rovescia”, quando i lavoratori fecero sciopero, centinaia di disoccupati si misero a lavorare per riattivare una strada comunale abbandonata, iniziativa però poi fermata dalla polizia; Dolci avvia anche una attività di denuncia del fenomeno mafioso e dei suoi rapporti con la politica. Numerosi sono gli attestati di stima e solidarietà che egli riceve da importanti personalità provenienti dall’Italia e dall’estero, ma nonostante ciò per altri Danilo Dolci è un pericoloso sovversivo, da ostacolare, denigrare, chiudere in prigione. Eppure Dolci non si atteggia né a santone, capo, od un maestro, il suo metodo di lavoro è basato sulla convinzione che il cambiamento è basato sul coinvolgimento e diretta partecipazione degli interessati, la sua idea di progresso valorizza la cultura e le competenze locali; egli cerca, lavorando a stretto contatto con la gente e le fasce più disagiate ed oppresse della Sicilia occidentale, di liberare la creatività sopita in ogni persona, chiamando tale ricerca “maieutica”, termine proveniente dalla filosofia, precisamente dalla maieutica socratica: è “l’arte della levatrice”, ogni atto educativo è far venire alla luce tutte le potenzialità interiori di colui che vuole imparare, al pari di una madre che vuol far nascere la propria creatura dal suo grembo, quindi no a nozioni impartite a priori, si ad aiutare lo studente a portare alla luce la propria conoscenza, usando il dialogo come strumento; però, la maieutica socratica è unidirezionale, mentre nella “maieutica reciproca” di Danilo Dolci, la conoscenza viene fuori dall’esperienza e dalla sua condivisione, quindi presuppone la reciprocità della comunicazione. Nel corso di riunioni con contadini e pescatori, nasce l’idea di costruire la diga sul fiume Jato, importante per lo sviluppo economico della zona, ma anche togliere un’arma potente in mano alla mafia, che faceva del controllo delle poche risorse idriche disponibili uno strumento di potere, però la richiesta di “acqua per tutti” verrà pesantemente ostacolata, saranno necessarie le mobilitazioni popolari, lunghi digiuni, per vedere infine realizzato il progetto: ora la diga esiste, ed altre sono state poi realizzate, modificando in tal modo la vita di migliaia di persone, con lo svilupparsi di numerose aziende e cooperative. Da menzionare, tra le tante attività di Dolci, grazie al contributo di esperti internazionali, l’esperienza del Centro Educativo di Mirto, frequentato da centinaia di bambini. Ritornando a Daphne Phelps e Casa Cuseni, qui è presente una litografia di Tono Zancanaro, dedicata alla nascita di una delle figlie di Danilo Dolci, ma, cosa tra le più importanti, esiste un carteggio tra il filosofo pacifista Bertrand Russel e Daphne Phelps, nel quale il pensatore inglese invitava la nipote di Robert Kitson a partecipare ai raduni di intellettuali progressisti e personalità letterarie e scientifiche dell’epoca, tra di loro, oltre Albert Camus, Jean-Paul Sartre e Carlo Levi, c’era Danilo Dolci, sociologo, educatore, ancora oggi riconosciuto tra le figure di massimo rilievo della nonviolenza a livello mondiale.
post scriptum:
- le immagini con Danilo Dolci provengono dall'archivio di Casa Cuseni: sono ritagli di giornali originali dell'epoca, spesso pagine intere, provenienti da quotidiani inglesi, accuratamente conservati dalla signorina Daphne Phelp; tali immagini sono state realizzate fotografando anche alcune pagine del libro di James McNeish, "Fire under the ashes - The life of Danilo Dolci";
- le fotografie realizzate in diversi paesi della Sicilia, sono antecedenti alla pandemia da covid-19;
- si ringrazia il collega chirurgo dott. Franco Spadaro e la sua gentile consorte, signora Mimma Cundari, proprietari di Casa Cuseni (dichiarata nel 1998, Monumento Nazionale Italiano), per la loro ospitalità e disponibilità, avendo messo a mia disposizione l'archivio relativo a Danilo Dolci.
Series: Seattle via Nashville
Cameras: Zero 2000 and Zero 69
Film: Ilford Pan F Plus 50
Location: Seattle, WA and Nashville, TN
Second image in a series of pinhole double exposures between myself and SquarePegPinhole. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
There doesn't seem to be much of a double exposure going on in these images. Possibly due to bright contrast of the boat images overpowering the darker exposure before it. Another theory is Ilford Pan F Plus' reciprocity failure makes it difficult to handle double exposures well.
The first color double exposure was uploaded by SquarePegPinhole today, you can see that here. We shot a roll of Fuji Velvia 50, which Herschel then cross processed, scanned as a positive and inverted in PS. The results are pretty interesting.
More amazing detail and tonality. This was in fact the first shot I took on 5x4, so nice to see that it worked (in the end)!
17/2/16, 11.15am
Linhof Technikardan S45
Nikkor SW75
Ilford Delta 100 (N+1)
11" f/32, 14mm front rise and 5º of rear backward tilt.
Totally thought this shot was ruined, since I misread the meter as indicating 4 seconds rather than 1/4"(!!), and so shot it at 11 seconds to take reciprocity into account. But it came out perfectly well, it seems, though obviously there's little to no detail in the sky.
Ironically, the second shot I took some minutes later, when I realised my error, isn't so great. I used much too much front rise (I went about 5mm over), so the shot has some vignetting; it's also not quite in focus, and the composition is different. But the exposure is a lot darker and more moody.
Updated edit using 4 frames shot onto lightbox with D800E and 60mm micro stitched in CS6.
KODAK AEROGRAPHIC Direct Duplicating Film 2422 was used to make exact copies of aerial surveillance film. It is positive process, orthochromatic and very very slow. I shoot it at EI 3/32 [0.09375] and develop it in Rodinal 1:50 for 13 minutes. Metering is done for EI 3, then that time is multiplied by 32 (5-stops). Exposure times of 16 or 32 seconds are common. I got mine as a 5 inch by 350 foot roll on eBay for $51.40 delivered.
Pretty good stuff I'd say. This scene is something of a highlights and shadows acid test. Between the windows are shadows, and there is detail there. There is also detail in the sunlit scene past the far window.
Calumet 4x5 modified to use Linhof Technika lens boards
Schneider-Kreuznach Super-Angulon ƒ8 90mm @ ƒ14 for 32 secomds
Stopwatch
No Filter
Kodak 2422 that expired in 1991
Rodinal 1:50 for 13 minutes at 20°C
It took about a month of playing around with this stuff to figure out the speed and developing time for it. Documentation cites no reciprocity effects out to 10 seconds, but I've taken it to 17 minutes with not much degradation - probably would need about a full stop adjustment out there.
The Ruins at 33420 Series
Lyukkamera, Pinhole Camera, Appareil à sténopé , Cámara escura, Camera obscura, Estenopeica, Foro stenopeico, Hålkamera, Kамера опскура, Lochkamera, Otworek, Pinhole fotoğraf makinesi, Stenopeica, φωτογραφία, Пинхол Фотография
Author : © IMRE BECSI
© All rights reserved
Location of shoot :
Óbudai-sziget,
Budapest,
Hungary,
Central-Europe
Time of shoot :
2015.04.16.
Film : Fuji FP-100C Color Instant
Format: 3.25 x 4.25 in. (8.5 x 10.8 cm) "Regular Size" pack film
Image Area: 2.88 x 3.75 in. (7.3 x 9.5 cm)
Shoot exp.time : 150 second
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev. time : 120 second
Filters :
Polar,
W85C,
Yellow,
Blue-grad
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 33 mm
- pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 132
Film back from my Polaroid 600se camera.
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).
Picture from the camera :
www.flickr.com/photos/jonespointfilm/2837193476/in/set-72...
The parameters of camera :
(when I use 95x73 mm format instant film)
- Angle of view : 110°
- Light falloff at the corners [f/stops] : 1,8
- Resolution [lines/diagonal] : 959
Post work : (2019.03.26-29.)
Scanner : Epson Perfection 3200 Photo (60x50 cm/300 dpi)
File Size : 138167 KB (TIF)
Pixel : 7677 X 6142
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected.
Use without permission is illegal!
No reproduction in any way,
no copies,
no editing,
no publishing,
no screenshots,
no posting,
no blogging,
no transmitting downloading
or uploading without my written permission!
Thank you !
Thanks for looking !
Comments very much welcome !
Photogram #59
Another stage in the experimental work of refraction patterns of light.
This is a 'double refraction' . The refraction pattern of light formed through one of my glass objects is passed through one of my plastic shapes. The result,as you can see. is quite complicated. There is still the basic shape of the glass refraction pattern but this is now broken down again by the second refraction.
For new viewers: these are analog images of the refraction patterns of a beam of light passing through various transparent objects. The image is captured directly on to 35mm film, no camera lens is used ( this is a photogram using film instead of photographic paper). No Photoshop is used only Picasa2 for alignment and cropping. The negative film was lab processed and a print scanned for uploading.
Beauty shot of my Eastman MD-315. Longest exposure to date. With bellows compensation and reciprocity correct (which, for Arista 100, is a bitch): 1:05:00. Burke & James Watson Portrait View, Ross 5"/4.0, 5x7 Arista.EDU Ultra 100 in HC-110 dil H (7:12 at 20C). First try with this lens. Not bad. Need to pull it apart and clean a bit more haze from it, apparently...
Periodically Moonlit Seascape
Mendocino County, California
I set up this exposure on a timer assuming moonlight plus 2X factor for reciprocity failure. Once I started the exposure the moon starting ducking behind clouds and reappearing so I had to extend the exposure time on the fly. So the total exposure time was a bit of a WAG based on what I observed while it was happening.
I believe the one long streak in the sky must have been a meteor since I saw no planes in the sky. I did not see it happen, but the camera caught it.
camera: Pentax 67II medium format MLU SLR
lens: SMC Pentax 67 75mm F/4.5
film: Ilford HP5+
metering: seat of the pants
exposure: ~7 minutes
filter: UV
support: tripod
scan: NCPS
Stanwell Tops, NSW, Australia. November 2017.
This long exposure was taken at dusk to capture some of the light trails on the roads and in the village below. The long exposure time was also to take into account Portra reciprocity failure.
Pentax 6x7. Takumar 150/2.8. Portra 400. f/11.0 3min45sec.
Epson V600 flatbed scan. Adobe CC Ps for dust reduction, curves, levels, saturation.
Taken with a homemade pinhole camera.
Shoot to 3x4 Polaroid Color instant film.
Author : IMRE BECSI
Location of shoot : Csobánka, Hungary, Central-Europe
Time of shoot : 08.05.2008.
Shooting
Film : Polaroid Polacolor 690 gloss (expired : 06-2004)
Filters : Tiffen Cir.Polar
Metered expo.:
Calculated expo.: 10 sec.
( I use my reciprocity compensation value chart to Polaroid color film)
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 34 mm
- pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 136
Film back from my Polaroid 600se camera.
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).
Post work
Scanner : Epson Perfection 3200 Photo (900 dpi)
Scanner software : SilverFast SE
Final work : PS
If interesting for you my other work please see my all pictures on one page :
www.flickrleech.net/user/jonespointfilm
Thanks for looking !
This was taken with tungsten film which reacts strongly to the various artifical lights used in cities. The light from the Golden Gate Bridge and the reciprocity effects of the film cause this color shift.
04-Nov-2022 13:00 - Fuji Acros II @ EI 100
3 min pre wash
Developed in 512 Pyro 7 mins 45sec (N) @ 20C
1 min post dev water wash
Tetenal SuperFix Plus 1+4 : 4 mins
Bronica SQAi + 80mm
Highlight = 12
Shadow = 8
Midpoint = 10
Filter : Orange -2
Final EV = 8
Note - Film has No Reciprocity for first 50-120 sec
1 sec @ f22