View allAll Photos Tagged reciprocity
08-Oct-2018 11:49
Movements
Front : 2cm down
Back tilt : 4 degrees back
Light Values
Mid Point : 7⅔ - trees
Highlights: 9 : distant leaves in sky
Shadows : 6⅔ - FG under bracken
Filters - none
Reciprocity 5 seconds goes to 7 seconds
7 sec @ f22
Lens - Schneider XL110 f5.6
Camera - Ebony 45SU
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Modell : Csaba
Thank you for help : to H. Attila and K. Csaba
Location of shoot :
Magyarnándor,
Hungary,
Central-Europe
Time of shoot :
2015.10.02.
Info of Shooting :
Film : Fuji Fp-100c (new)
Filter : Yellow + Polar+ Blue grad
Calculated expo.: 45 second
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 120 sec. (20° C)
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)
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 : (2017. jan. 5-6-7.)
Scanner : Epson Perfection 3200 Photo (300 dpi)
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected. 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 !
Djuphavsbadet Malmö
Underexposed Fujifilm FP-100c. The reciprocity is really difficult to calculate. The exposure is about four times the measured correct exposure. Still came out too dark.
T:About 5 min exposure, F: f/8. Metered at about one minute.
Camera: Mamiya Universal.
Lens: Mamiya Sekor P 75mm f/5.6
Film: Fujifilm FP-100c
Happy September! What on Earth do a turquoise necklace and seashells have to do with each other?
September 1993, I set out on a 2 week business trip throughout Arizona and New Mexico for the tuxedo company I worked for. The second day of the trip, I pulled into the parking lot of the Rio West Mall in Gallup, New Mexico. As I got out of my car, there was a 70's style white Chevy Suburban parked next to me with 5 Navajo Indians sitting inside, windows down, just hanging out and having a good time. So they call out to me..."Hey, are you from California?" I turned and smiled and said that I was. They said they wanted to talk to me, I mentioned that I had to go see my customer in the mall, a store called Tux & Formal and if they were still there when I got back that I would be happy to talk to them.
So 45 minutes later, they were still there. We talked, and one of the Indians said that he had something he wanted to give me. It was this handmade silver and turquoise necklace. The Indian's name was Irv, he went by the name 'Surveyor'. Surveyor said that he was going to put the necklace on me, say a little prayer and in 1 hour, I would have good luck. He also mentioned that they were Indians and that Indians are traders. He asked me if I had something from California I could give him in return for the necklace. He wanted some seashells. Since I didn't have any seashells with me, I gave him a colorful swatch card as an IOU for some seashells I would send him when I got back to California. He was very happy with that and we each went along our merry way.
As I'm driving along 1-40 heading east to Albuquerque with this necklace on, in exactly 1 hour, the AC goes out in my car. At least the fan worked, I thought. Not so bad in New Mexico when it's 85°F/29°C. When I got to Tucson, it was 115°F/46°C and the motor for the fan also went out. So it wouldn't even blow the hot air around. There sure were not the bottled water options then like there are now, so I was getting Icee's and Slurpee's everywhere I could. It was brain freeze city.
My AC is out, the fan doesn't work, when I finally get home to California (I lived in Northridge at the time), my kitten Twinkie had disappeared and was gone for good. My car got broken into and my cell phone which was a giant phone mounted in the car got stolen along with my sunglasses. My cordless phone died. My car got broken into again. My new pair of sunglasses got stolen. And I got a traffic ticket. To top it off, my Grandmother got sick and died...on my birthday (the 19th) no less.
This all happened in between the time I was given the necklace and when I sent Surveyor the seashells I promised for him. A matter of days. When he got the seashells, everything returned to normal for the most part.
All these things probably would have happened anyway, it's just very interesting how the timing coincided with this gift from a chance meeting with a perfect stranger. My car had 195K miles, my phone and sunglasses were in the car, my cordless phone was from the 80's. There was not much I could do about my Grandma or my kitten. I did get out of the ticket because the traffic sign had graffitti on it, though. Do we manage the karma of reciprocity or does it manage us?
Just an example of how we never know exactly what we will encounter on the road ahead of us. And to look on the bright side....I did make it home ok!
:-)))
Please!! NO Awards or Large Graphics...Group Buddy Icons are OK. Thank You!
Super Colour Swinger III pinhole conversion, Fujifilm FP-100c
Polaroid Week | Autumn 2015 | Day 5 | 1/2
This vintage photo depicts the Panting Wolf Post Dedicated at the last potlatch held on Japonski Island near Sitka on December 23, 1904. The hosts of the potlatch, the Kaagwaantaan clan, affirmed their social status by dedicating five monumental wooden carvings. The Panting Wolf house post was raised up by pulleys and attached to the front of Jacob Yarkon's (Xeitxutch) World house.
=======================================================
Potlatches
Potlatches are among the most distinctive cultural expressions of the Native American peoples of the Northwest Pacific Coasts of the United States and Canada.
Practiced by communities as far north as the Ingalik of Central Alaska and as far south as the Makah of Washington State, they are perhaps best known among the Tlingit, Haida, Tsimshian, Nootka, Salish, and Kwakwaka’wakw peoples.
Potlatches are extravagant feasts where goods are given away or sometimes destroyed to enhance social prestige. The basic principle underlying the potlatch is reciprocity and balance as the host clan regales the clans from the opposite moiety with songs, dances, speeches, food, and gifts. Traditionally, they take place in very specific cultural contexts such as a memorial for a deceased relative, the rebuilding of a clan house, or the dedication of a totem pole.
Today, potlatches are also held for other reasons such as marking important anniversaries, graduations, and personal accomplishments. Among the Tlingit, however, the memorial potlatch (koo.éex’) remains the principal one.
As Sergei Kan points out, they are not just about representing the social order; they also constitute key cultural values and principles of honor and mutual support. By hosting elaborate potlatches, individuals and clans maintain and gain status and recogni-tion within the community. The potlatch is thus a complex and multi-layered communication system where participants express their relationships among themselves, with their ancestors, and with their future generations.
Although there is variation across communities, memorial potlatches are structured according to a standard protocol. They generally begin with the hosts welcoming the guests, and they quickly move into the mourning period where the hosts sing mourning songs.
To alleviate their hosts’ grief, the guest clans immediately respond by singing songs, holding up their clan at.óow, and making consolation speeches. The potlatch then shifts to a more celebra-tory and joyous mood with dancing, the distribution of individual “fire dishes” of food for the ancestors,and the serving of a traditional meal.
At this time, the hosts distribute food and small gifts and recognize individual guests with gifts of fruit baskets. Throughout this period the guests and family members give small amounts of money to members of the host clan with whom they have a special relationship. The hosts gather this money and announce each gift, and they then give new clan names to newborn children and individuals being adopted.
Near the end of the potlatch, the hosts publicly recognize everyone who helped and supported them in their time of grief with a gift of money and sometimes a special gift such as a blanket. After all the money and gifts have been distributed, the guests generally perform a closing dance to thank the hosts.
At the turn of the 20th century, the Tlingit people experienced profound social changes. U.S. citizenship, social justice, and Christianity were topics of popular debate. Some clan chiefs and housemasters became convinced that the time had come for their people to abandon their old traditions and customs.
In Sitka, the territorial capital of Alaska, 80 Christian Indians, many of them Presbyterians, formed an organization called the “New Covenant League” that eventually became the Alaska Native Brotherhood and Alaska Native Sisterhood. The league was committed to ending such customs as plural marriages, inter-clan indemnity claims, uncle-nephew inheritance laws, and potlatching.
In 1902, several members approached Governor John G. Brady, a former Presbyterian missionary, and requested that he issue a proclamation that would “command all natives to changed and that if they did not they should be punished.”
Like other missionaries and government officials, Governor Brady considered the potlatch a practice that perpetuated prejudice, superstition, clan rivalry, and retarded progress.
He was committed to breaking up the offensive clan system and replacing it with the independent family unit, but he was not eager to impose legal sanctions.
Therefore, in a dramatic gesture, Brady decided to endorse one “last potlatch” at Sitka where Tlingit people from across southeast Alaska could gather and discuss their future. He appealed to the U.S. Secretary of the Interior, Ethan Allen Hitchcock, to secure the necessary funds with the justification that the event would “result in a lasting good to the people them-selves and would save the United States many thou-sands of dollars in the way of criminal prosecution.”
One of the most prominent members of the New Covenant League was James Jackson (Anaaxoots), the head of the Kaagwaantaan clan. Other likely members were Augustus Bean (K’alyaan Eesh), Paddy Parker (Yaanaxnahoo), and Jacob Yarkon (Xeitxut’ch)—all high-ranking members of the Sitka Kaagwaantaan clan and part of the new vanguard of wealthy, educated Tlingit, who had been Brady’s allies and had served on the Indian Police Force.
Obligated to host a major potlatch, but not wanting to jeopardize their good relations with Brady, they endorsed his last potlatch idea and agreed to serve as hosts.
The “last potlatch” was held on December 23, 1904, and lasted four weeks. It officially began with the grand arrival at Japonski Island (just south of Sitka) of the Raven side guests in traditional dugout canoes flying American flags.
The Raven clans included the Deisheetaan of Angoon, the T’akdeintaan of Huna, and the Gaanaxteidí of Klukwan. The potlatch consisted of consecutive days of alternating feasts and dancing.
The Kaagwaantaan clan hosts honored their guests with great quantities of food. According to the Daily Alaskan (Dec. 29, 1904),“Every morning and afternoon there is a great feast and only one article is served …. At the feasts the man or woman who can eat the most is regarded as the special hero of the occasion and he receives an extra allowance of the good things it is within the power of the hosts to bestow.”
The Kaagwaantaan clan hosts affirmed their social status by dedicating five monumental wooden carvings. They dedicated the Multiplying Wolf screen and two house posts carved by Silver Jim (Kichxook) and installed them in James Jackson’s Wolf house. They installed two other Wolf posts carved by Rudolf Walton in Augustus Bean’s Eagle house. The Panting Wolf house post was raised up by pulleys and attached to the front of Jacob Yarkon’s World house.
They publicly validated all these objects with proper Tlingit protocol. For example, the Daily Alaskan (Jan. 13, 1905) reported that Chilkoot Jack received $270 in cash, 100 blankets, 10 large boxes of provi-sions, and 7 coal oil cans filled with candlefish oil.
Governor Brady had hoped that his “last potlatch” would help end clan factionalism and further his assimilationist agenda. Ironically, it seems to have had the opposite effect.
The Daily Alaskan (Dec. 29, 1904) observed that “one of the results of the potlatch has been to create enthusiasm among those Indians who still profess faith in the beliefs, superstitions, traditions and customs of the natives, as opposed to those who have forsaken them for the Christian faith.”
Many of the traditionalists used the potlatch to educate the younger generation: “the old Indians who never took kindly to the white man’s religion are happy, and they are using the opportunity to impress upon the younger members of the tribe what they regard as the necessity of maintaining their old customs and traditions.”
Although they were sympathetic to some of Brady’s goals, it is clear that the Kaagwaantaan clan leaders did not support the end of potlatching.
According to anthropologist Sergei Kan, unpublished records in Sitka’s Presbyterian archives indicate, for instance, that James Jackson continued to practice “the old customs” after 1904.
Indeed, the Tlingit people never fully abandoned potlatching. Many communities continued the practice in secret or masked it by combining it with American holidays and social events. These covert strategies seem to have placated Governor Brady since potlatching was never outlawed, as it was in Canada. Today memorial potlatching is enjoying a strong resurgence, and the CCTHITA maintains a calendar of these events.
www.penn.museum/sites/expedition/the-centennial-potlatch/
(Notes from University of Pennsylvania, Expedition Magazine Vol 47 No 2 Summer 2005)
Baltimore, Maryland
Nikon F6 | Ilford HP5
ND Filter 10 stop | Shutter around 2 1/2 mins (including reciprocity)
Deardorff V8 8x10 View Camera
Schneider 305mm f/9 G-Claron
Ilford HP5+ in Ilford DD-X
8 sec. @ f/72
Epson V850 & Silverfast 8
Next time I need to adjust for Reciprocity failure, as this was pretty underexposed. In hindsight, so was the Lilly Pond shot from the 1st.
I also had problems with some really strange light leaks. Definitely on the right side, and I think maybe along the top.
an original lithograph by Tono Zancanaro, donated by its Author to Danilo Dolci, on the occasion of the birth of her daughter Daniela (Casa Cuseni archive).
"TONO ZANCANARO E IL GUSTO DELLE STELLE"
una litografia originale di Tono Zancanaro, regalata dal suo Autore a Danilo Dolci, in occasione della nascita di sua figlia Daniela (archivio Casa Cuseni).
"TONO ZANCANARO E IL GUSTO DELLE STELLE"
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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.
Autumn along Old Field Creek in Johnston Mill Preserve, Orange County North Carolina.
November 6, 2018, 4:09PM
Other than burning in the upper section a bit, this is a reasonably straight scan-and-process. It's fun to see what Velvia 50 does on subtle colors but here it's just too much. That plus its slow speed and poor reciprocity failure characteristics has me thinking I'll go back to Provia for color transparency work.
Fujifilm RVP 50
4x5 Arca Swiss F-line classic
Caltar II-N 1:5.6 135mm
Front rise + tilt
f/22 16"
Epson v700
Affinity Photo
Another potentially useful chart I've put together from various sources, with a bit of a guess (optimistic?) for new Ektachrome (which I haven't shot yet!)
Obviously, for times over a minute or so these times are a guide, given the increasing gaps in time between 1/3 stops.
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
Thanks for the idea for Attila Hupján !
I create this picture on WWPD.
Location of shoot :
Vác,
Hungary,
Europe
Time of shoot :
04.28.13.
Info of Shooting :
Film : Fuji FP-100C Color Instant (expired)
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)
Filter : Wratten 85b (Tiffen 4,5 round) & Soft Contrast (Tiffen S9 round)
Metered expo.:
(Metered with Minolta Spotmeter)
Calculated expo.: 10,5 ev - 15 second
Shooting : 6 x 15 = 90 second
(I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 90 sec. (25° C)
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 : 90°
- Light falloff at the corners [f/stops] : 1,8
- Resolution [lines/diagonal] : 959
Post work : (08.05.2013)
Scanner : Epson Perfection 3200 Photo (600 dpi)
File Size : MB (TIF)
Pixel :
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 !
British Studio Glass Vase by Peter Layton at his London Studio.
This is one from his 'Lava Series' which was introduced in 1993.
Height: 18cm.
Peter Layton is well established in the British Glass movement and is also known throughout the world. His London studio has been the first stepping stone for many glass artists who are now leading artists in their own right. This year the Studio celebrates it's 30th anniversary.
For further information on Peter's work and that of the studio see www.londonglassblowing.co.uk
#63
The next in the series of refraction patterns of light through a glass vase. Nominally B/W these analog patterns have been given colour through the use of various optical filters placed in the light beam.
Viewing large will reveal the fine detail and the small areas of 'rainbow' colours.
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, only Picasa2 for alignment and cropping. The negative film was lab processed and a print scanned for uploading.
MicroWorld #20. The adventure continues:
Back in the relative safety of their craft they were once again surrounded by the familiarity of the control room. For a moment, as they sank into the long awaited comfort of the body-moulded seats, the groanings of the planet seemed somewhat distant and unreal. But there was little time to relax, the main wave of high energy particles from the supernova was almost upon them. Already large bubbles were forming in the sky above them as it started to boil. If they could survive this then the journey through the black hole back to their own galaxy should be relatively easy. Fingers danced over the contol desk and the panel lights glowed to welcome them back; so far so good.
The tension began to ease as the reassuring hum from the generators steadily increased in volume and the plasma force field spread its blue protective cloak over the outside hull. Quickly they powered up the main drive,set the co-ordinates and headed away from the planet into the path of the fast approaching ion storm. With clenched teeth they braced themselves for the impact. It was a short wait, the craft lurched sideways as it took the full force of the wavefront. The blue plasma changed hue and an eerie yellow light beamed in through the windows as the ship tried to resist the incredible forces now being exerted on it. The hull moaned like the cry of a lost whale. Answering its cry, the computers increased the force field to maximum power. Outside, sparks darted trying to find points of weakness, while inside, the accompanying rise in static energy was causing the hairs on their necks to tingle. They tightened their grip on the armrests.
It began faintly, but soon the whole ship was filled with a high pitched hiss of white noise rapidly growing louder and louder. Within thirty seconds it was deafening, as if their eardrums were about to burst. Then, almost in an instant it was gone, all was quiet -too quiet. Fearing they were deaf, they were frightened to speak. Then slowly, much to their relief, the soothing hum of the generators returned. Hopefully for them the worst was now over. They had survived, but below them the planet's atmosphere, such as it was,had almost been annihilated. The fierce heat from the remaining four suns continued to beat down raising the surface temperature on MicroWorld even higher. High enough and safe enough for the inhabitants to emerge.
...to be continued.
For new readers the adventure begins here or you can dip into it anywhere within the MicroWorld set.
The above image is a macro shot of internal bubbles in a hand-made glass bowl.
MicroWorld #22. The adventure continues.
The tenuous walls of the black hole slowly began to pulsate as if struggling to digest the large amounts of material from the supernova, its rotational momentum faltering as the massive intake proved too much for its delicate stability – it was beginning to collapse. Once again our heroes were running out of time as the door started to close on the only route back to their own galaxy.
Jerking backwards into their seats as the captain ordered maximum thrust, they braced themselves as the final moments ticked away and they sped towards the gaping black mouth. Suddenly the main engine cut out, overloaded by the excessive demands. In almost silence, save for the background hum of the computers and air supply pumps, they were now in free-fall towards the entrance of the looming abyss. Their destiny was now sealed. With no control over their speed and with only minor steering capability from the directional thrusters, the ship began to creak an groan as it began to stretch under the tremendous gravitational pull of the black hole.
Slowly they started to spiral towards the inner wall. It was imperative that that they stay on course down the central axis of the time tunnel for if any part of the vessel touched the surface of the black hole then the differential forces produced by the ever increasing drag would tear them apart. Their future now lay in the captain's ability to steer the craft using only its side thrusters.
The hull began to shake as they gathered momentum, sucked in by the massive gravity waves flowing into the black chasm. They were now drifting dangerously close to the side of the vortex as number three thruster failed to respond. Small drops of perspiration began to form on the captain's brow, illuminated red by the steady warning light of the failed servo-mechanism. Switching to manual override he strained at the controls in an attempt to pull the craft back on course. It was like watching an arm-wrestling contest between two equals, but with much higher stakes than a dented ego. Slowly the captain gained control, edging the craft back to the centre line.
They entered the black hole at the moment the stability of the rim line collapsed. From MicroWorld all to be seen was a strange pulse of light in the sky, hardly visible against the bright light of the remaining suns. Inside the tunnel the situation was very different indeed - a white hot ball of accelerating plasma was building up behind them. Unable to flee, they were at the mercy of the shock wave forcing them even faster through the narrow cylinder of time. Like puny surfers riding the 'big one' they approached the speed of light and the exit. The strain on their bodies was now too much and they all blacked out into unconsciousness to be ejected back into their own universe and galaxy in a fireball of hot dissipating gases.
Meanwhile, back on MicroWorld...
...to be continued.
For new readers the adventures in MicroWorld begin here or you can dip into any of the chapters in the MicroWorld set.
The image is a macro detail from a studio glass piece by British glass artist Peter Layton - one of his 'Shell Series' of 1986.
life always reciprocity , u be nice to me then i responded the same thing !
kk im still be a kid but i also hav my brain and i can think abt everything ..
dont say to me that u're older than me and can do all freaking stupid things u want to , how do you do me when u're not having skills ? u're disturbing my great life bitch :)) get the fuck out and shut ur stupid mouth off !
im not the type to brk my self down ..
dear my beauty lady :-*
Taming Light #14
Another experiment with deep colours - pushing the limits of the film.
For new viewers: These are light refraction patterns or 'caustics' formed by a light beam passing through a shaped and textured plastic form. Coloured dyes were added to the clear plastic as it hardened adding further distortions to the shapes. The pattern is captured directly on to 35mm film by removing the camera lens and putting the transparent object in its place. The 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.
4x5 film. The photography went well, but the development was a comedy of errors!
I forgot to account for reciprocity effect for the 15 second exposure and thought I underexposed by 3 stops. When developing, I couldn't find two bottles of working solutions in the dark. Then my phone-based timer failed (first try... argh!) so I counted/estimated in my head. Then I realised I had no squeegy to clear the water from the negative. I improvised with a piece of windshield wiper from my car (sacrifices in the name of art)....
After all that, I have a photo which is almost precisely the way I wanted it to look straight out of the camera.
The photo is a poorly-assembled still life of some ingredients for a mirepoix (vegetable stock base) used in many French recipes. I add garlic because I love it. That is also my favourite knife, set up on a cutting board on a table outside (to take advantage of the diffused overcast light).
Woohoo! What an awesome day!
Sinar P2 view camera (bulky thing... wish it was a field camera)
Efke PL100 4x5 large format film
Cokin P.003 deep red filter (hand-held)
Sekonic L-758DR meter
15 seconds @ f/16 (overcast/rainy, natural light)
Ilford LC29 developer approx 6 mins @ 20C.
Ilfostop 10 seconds
Ilford rapid fixer approx 8 mins
Water wash
Ilford wetting agent
Epson V700 scanner
Patience
Significant disorganisation
Bending Light #54
The next in the series exploring the refraction patterns of light through various glass objects. This is the pattern formed using a patterned glass tumbler. The colour has been added by using a combination of various coloured filters placed in the light beam path.
This is an analog image formed directly on to 35mm colour negative film, lab processed and the print scanned for uploading to flickr. Only Picasa2 has been used for minor post-processing adjustments.
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 :
Margit-Bridge,
Budapest
Hungary,
Central-Europe
Time of shoot :
2018.10.22.
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)
Metered exp.: 15 EV (grey stones)
First shoot exp.time (with W85nd6 filter) : 10 second
Second shoot exp.time (with Green filter) : 2 second
Third shoot exp.time (with Red filter) : 2 second
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Filters : Agfa 3x3
Dev. time : 160 second (16° C)
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 : (2018.10.23-24.)
Scanner : Epson Perfection 3200 Photo (60x50 cm/300 dpi)
File Size : 157378 KB (TIF)
Pixel : 8268 X 6496
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 !
Bending Light #38
Continuing the series of refraction patterns of light through various glass objects.
"In their thousands they came throughout the night, glowing in the moonlight."
Well, that's my view on this one, of course there are probably others. ;-)
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 :
Karolina-graben,
Kiskovácsi,
Hungary,
Central-Europe
Time of shoot :
2018.10.05.
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)
Metered : 9,5 Ev
Calculated expo.: 600 second (10 min.)
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Filters : Orange
Dev. time : 180 second (20° C)
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 : (2018.10.20.)
Scanner : Epson Perfection 3200 Photo (60x50 cm/300 dpi)
Original File Size : 157379 KB (TIF)
Pixel : 6496 x 8268
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 !
The creativity of the past weaves skin and sinews in contemporary photography, with thinking for future creation.
These and other types of earrings, different materials, I used to design and produce by hand in the early nineties.
The work was done at the "Spectrum" store/gallery. (name based on a scientific optical phenomenon)
At that time I used to draw and design fabrics.. and more and more...
When one design field, or painting serves as inspiration for another design field.
The variety of creating my earrings as part of accessory design.
In my thinking, anything can actually be an earring, conditional, and with an emphasis on size.
When different people have different tastes as a personal choice. Tight earrings to long dangles. With the good qualities of valuable jewelry, jewelry created from relatively cheap materials, which can be purchased by almost anyone, has an important meaning for me.
Which brings inspiration, to various other things and also energies.
It is possible to adapt something different every day to create a suitable atmosphere and character,
which is adapted to the clothing as well.
As part of my work, I used to give a gift from time to time, in a symbolic way, to someone close or dear to me.
Like giving a tiny part of myself, something that is an expression of me, out of my energy and love (of course not romantically) as a gesture.
Many times a gift of this kind was added to something else I bought.
This giving is part of appreciation, reciprocity, and my desire to please, or cause pleasure with my energies.
Here is also the place to point out that the fact that the recipient of the gift uses it, from time to time, is important.
If I gave and no use was made of what I gave, there is no need for me to give again.
As a creative woman, by the way, I know the feeling of wearing something that someone who thought of me made for me.
Regardless of whether it's my style or not.. because I could sense the energies of giving and doing or time. The feeling that warms the heart.
However, friendship is not necessarily built on giving gifts.
It's not a matter of... worth it to me or not.
When I closed Spectrum in December 1993, I donated two bags of small works to good causes.
My many and varied creativity over the years has inspired many.
The manager and owner of a textile factory where I designed in the distant past told me many years ago: "I love the earrings you make so much.
You always match accessories to wear... so I decided to get holes in my ears..."
By the way, she wasn't young when she made the decision.
There's no way I'll be proud of something I didn't do as if I did it.
As a creator, I could feel sorry for those who pretend to be the creators, who claim to be the creators.
I will always give credit to the creator himself.
Inspiration... is not necessarily to do the same or similar... but to take the energy to create something different.
Copyrights (c) Nira Dabush.
27-Jun-2023 14:25 - Rollei 80S @ EI 50 (ISO 3 for IR72)
Prewash 4 min (necessary for Rollei films)
Developed in Rodinal 1:50 (12ml +600) : 10 mins @ 20C
Kodak Agitation (30 sec + 2 inversions every 30 sec)
Two "stop" washes in water, 1 minute each
Ilford Rapid Fix : 4 mins
10 Minutes washing with several water changes
2 mins Ilford Ilfotol (1.5ml + 600ml)
Bronica SQAi + 80mm
Highlight = 12
Shadow = 8
Midpoint = 10
Filters : None
Final LV=10
Reciprocity : 1 sec goes to 2 sec
2sec @ f22
This is the first exposure I've done with my new Deardorff 8x10 view camera and Kodak Ektar 12" lens. Film used was Ilford's Delta 100, exposed at 80 ASA (plus bellows extension factor added) and some reciprocity = 12 seconds, natural light. Processed in Xtol 1:1 for 10.5 minutes.
LUX GEOMETRICA
A series of original analogue 'Refractographs' which have been digitally cut, folded, copied and re-assembled to produce geometrical patterns of refracted light.
Bending Light #9
The next one in the series. This is the light refraction pattern formed by a beam of light passing through the bottom of a clear moulded plastic beaker. I've used coloured optical filters in the light beam to add colour to the final image. I'd like your views please on whether to add colour (and lose detail) or keep the image black and white (like #8) and have more detail. Or, is there room for both?
Zero Image 6x9 camera with Rollei RPX 100, developed in Rodinal. I took great pains to work out exposure, including for reciprocity failure. In hindsight, I now understand why Rollei don't provide details of the reciprocity characteristics of this film, as it doesn't appear to suffer from reciprocity and all of the frames were overexposed... lesson learned for next time.
The colours in this 35mm slide are partly reciprocity law failure due to the long exposure (70 seconds at f5.6) & the mix of artificial light sources. I didn't use a starburst filter either - this is lens flare, but quite effective! The camera used was my first SLR, a Yashica FX-2, loaded with Fujichrome RD100 film, taken on 22nd August 1979
Ilford FP4 4x5 (10X12 cm)
shot with Crown Graphic, Rapax 135 lens
Exposure settings: EI80; EV100 8. f/16 > 1,7 sec reciprocity compensation 2,8 sec (real exposure)
Developed in HC110, dil B, 20° 13 min
Printed over gelatine sized Bergger Cot 320.
FeOx standard 10 gtt plus Pl 4 gtt and Pt 6 gtt
12 min exposure
developed in potassium oxalate, warmed
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
Modell : Cina (my wife)
Location of shoot :
Csobánka,
Hungary,
Central-Europe
Time of shoot : 16.10.2006.
Info of Shooting
Camera : Homemade pinhole camera with Polaroid back
Focus : 123 mm
Pinhole : 0.45 mm (Lenox laser)
Diaphragm : 273
Film : Polaroid 690 film (100 asa)
Light : Morning sun (9 EV on the half shadow skin)
Expo. : 36 sec. (reciprocity compensation value) I calculated -1EV underexposition
Dev. : 90 sec. (normal)
Post work : (15.02.2012 - 2016.02.16.)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
File Size : 60,491 mb - 5091X4054 pixel (the original TIF file)
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 !
Detail of perfume bottle by British Glass Artist: Allister Malcolm
From his "Spiral Spine" series. Made 2004
the photograph of the nephew of the painter Robert Kitson, Miss Daphne Phelps (on the right, with light hair), who inherited Casa Cuseni, and hosted Danilo Dolci in Taormina (Casa Cuseni archive).
la fotografia della nipote del pittore Robert Kitson, la signorina Daphne Phelps (sulla destra, coi capelli chiari), che ereditò Casa Cuseni, ed ospitò a Taormina Danilo Dolci (archivio Casa Cuseni).
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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 Phelps; 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 Phelps; 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.
Bending Light #84
While scientists on Earth may have rejected the feasibility of the idea of creating wormholes to travel through time and for inter-universe exploration, unfortunately nobody told the inhabitants of our neighbouring Universe. Over the last few 'earth centuries' they have been quietly 'burrowing' into our Universe through the boundary layer which has been keeping us apart.
At first there were just a few alien craft which survived the trip, but now the 'traffic' has increased to such a level that the “Inter Galactic Alliance” has decided to act. A massive “Migration and External Security Station” (MESS) is under construction adjacent to to the time tunnel's exit at the outer limits of our Universe. This fine MESS will provide a contained area where 'immigrant travellers' will be “invited to submit their applications” while their crafts are 'long-stay parked' in a secure retaining area.
In the meanwhile work is well under way (Planning Stage 2) to build a 'reverse tunnel' through which the 'travellers' could be returned home. If the influx of 'visitors' continues at the current rate then there is general agreement for the creation of a larger MESS until the whole situation is fully resolved. Time will tell.
For new viewers: these 'Refractographs' are analogue images of the refraction patterns of a beam of light passing through various transparent objects (in this case a piece of textured glassware). The image is captured directly on to 35mm film, no camera lens is used, the transparent object replaces the lens. Colour, in this case, has been added by positioning coloured filters in the optical beam. This is an analogue image and has not been computer generated or colour treated. The colours you see are a faithful reproduction of those captured on film.
There is no movement of lights - a single static white light source is used. There is also no camera movement - the image is captured in-camera with a single exposure
'reciprocity'
Mamiya RB67 Pro S Medium Format / Tri X 400 blackandwhite film / Sekor 90mm / Glass of water / Hand
Rodinal 1:25
11-Jul-2023 15:55
Ilford FP4+ 125 rated @ EI 100
Ebony 45SU
Nikkor90mm f4.5
Developed in 510 Pyro 1+100 : 10 mins @ 20C (N)
Two "stop" washes in water, 1 minute each
John Finch Alkali Fixer : 4 mins
10 Minutes washing with several water changes
2 mins Ilford Ilfotol (1ml + 500ml)
Front Shift : 2cm up
Mid tone LV = 4
Highlight = 9
Shadow = 2
Filters : None
Final LV=4
Reciprocity 30 sec goes to 730 sec
74 sec (1 min 15 sec) @ f22
Shot with my Fuji GX 680 III and the 125mm Fujinon lens. To get increased magnification, I added the
80mm extension rails, to get better focus across the axis of the leaf, I used the cameras tilt and swings with a 10mm rise. The exposure was f/22 at 125sec, which is about 3 stops extra to compensate for reciprocity (not quite enough though). I used 2 Elinchrome Ranger strobes with a 3x5 soft box and 2 inch snoot and a silver reflector.
Kodak Porta 400 BW (C-41) developed in Xtol 1:1
07-Apr-2023 15:45 - Ilford Delta 100 @ EI 100
Tank placed in water bath @ 20C. All fluids : 20C
Room Temp 23C : 3 min prewash @ 20C to cool
Developed in 510 Pyro 1:100 (6ml +600) : 10 mins @ 20C
Kodak Agitation (30 sec + 2 inversions every 30 sec)
Two "stop" washes in water, 1 minute each
Ilford Rapid Fix : 4 mins (acidic - can reduce stain)
12 Minutes washing with several water changes
2 mins Ilford Ilfotol (1ml + 500ml)
Bronica SQAi + 150mm
Highlight = 11
Shadow = 10
Midpoint = 10
Filters : None
Final LV=10
Reciprocity 1 sec goes to 2 sec
2 sec @ f32
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Location of shoot :
Debrecen,
Hungary,
Central-Europe
Time of shoot :
2016. 04. 21.
Info of Shooting :
Film : Fuji Fp-100c (new)
Calculated expo.: 4 minute (240 second)
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 120 sec. (20° C)
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)
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 : (2016.05.09.)
Scanner : Epson Perfection 3200 Photo (300 dpi)
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected. 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 !
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 :
Mártély,
Hungary,
Central-Europe
Time of shoot :
2016.09.08.
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)
First shoot without filter.
Second shoot with Green filter.
Third shoot with Red filter.
Filters : Cokin P
I use my reciprocity compensation value chart to Fuji Color Instant film.
Dev. time : 120 second (25° C)
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 : (2016.10.18-19.)
Scanner : Epson Perfection 3200 Photo (75x60 cm/300 dpi)
File Size : 211478 KB (TIF)
Pixel : 9547 x 7560
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 !