View allAll Photos Tagged reciprocity
02-Mar-2023 16:25 - Ilford Ortho80+ 80 @ EI 50
5 min pre wash @ 24C
Developed in Prescosyl (A=5ml + B=25ml + Water=500mm)
8 mins (N-1/3) @ 24C
2 post dev water wash of 5 inversions @ 24C
John Finch Alkali Fix 1+4 : 5 mins @ 24C
5,5,10,15,20 inversion washes to give 10 minutes
Final Water bath : 500ml with 1ml of Ilfotol
Ebony 45SU + Schneider Super Symmar 110-XL f5.6
Highlight = 13
Shadow = 7
Midpoint = 9
Filter : none
Final EV = 9
Reciprocity : 4s -> 6s
6 sec @ f32
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"]
f/242, Fl; 63mm, 0,26mm (Sténocaméra, Fr)
Photo location; Québec, Canada.
Negative Arista Edu ultra 200 ASA at 100 ASA.
8x10 sheet cut at 6,3 x 6,3 cm.
Exposure Time; 45 minutes. No filter.
Reciprocity + Arista Edu 200 D. Aimone.
With homemade Daylab Pinhole Transfert.
Development; D-76 1+3 at 21°C. 10 minutes 30.
8x10 Pinhole Camera F’320
Impossible 8x10 Silver Shade Pioneer Test Film
Rated at ISO 800.
Metered at F’16 1 sec.
Converted to F’350 8 min. 8 sec.
Time added for reciprocity failure.
Exposure time: 42 minutes
05-Jul-2024 16:25
Rollei Retro 80S @ EI 50 (Infra Red @ EI 3)
Rodinal 1+50 : 11 mins @ 20C
Pre-Wash 5 mins
Inversions first 60 sec then once at 10 mins
Two water Stop Baths - 1 min each
Alkali Fixer (1+4)
Clearing time 70 sec mins. Total fix time 140 sec
Initial wash to remove fixer : 1 min
Washing : 10 mins with frequent water changes
Ilfotol : 1 ml in 600ml for 2 minutes
Bronica SQAi + 80mm
Highlight = 14
Shadow = 9
Midpoint = 11
Filters : Red (-3)
Final LV=8
Reciprocity : 4 sec goes to 9 sec
8 sec @ f22
Bending Light #48.
A series of refraction patterns of light passing through glass and other transparent objects. The images are formed direct in the camera on to 35mm film. Colour (when added) is made with the use of colour filters in the path of the light beam. No Photoshop is used, only cropping etc with Picassa. This was taken on slide film and scanned to CD by the lab.
I see this as a red solar flare with Icarus getting a little too hot. Others may see it as an angel approaching the open jaws of the forces of evil. Any other ideas?
09-Dec-2022 12:30 - Ilford Pan F @ EI 50
2 min pre wash @ 20C
Developed in PyrocatHD (A=2.5ml + B=2.5ml + Water=625mm)
Semi-stand - 35 mins (N) @ 20C
3 post dev water wash of 5 inversions @ 20C
John Finch Alkali Fix 1+4 : 4 mins @ 20C
5,5,10,15,20 inversion washes
Final Water bath with 2 drops of Ilfotol
Bronica SQAi + 150mm
Highlight = 12
Shadow = 8
Midpoint = 9
Filter : None
Final EV = 9
Reciprocity 4sec goes to 8 sec
8 sec @ f32
In all size is better!
or
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Location of shoot :
Top of the Stone-mount,
Pomáz,
Hungary,
Central-Europe
Latitude - 47°40'29.00"
Longitude - 19° 1'2.18"
Time of shoot :
15.03.2010.
Info of Shooting :
Film : FUJI FP-100c Color Instant (expired : 2010-01)
Filter : Cir.Polar and ND.6
Metered expo.:
Calculated expo.: half second
( I use my reciprocity compensation value chart to FUJI Color Instant film)
Dev.: 240 sec. (10 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 : 119°24'26"
- Light falloff at the corners [f/stops] : 3,6
- Resolution [lines/diagonal] : 887
Post work : (19.03.2010)
Scanner : Epson Perfection 3200 Photo (1200 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!
Thanks for looking !
Comments very much welcome !
Thank you !
The Bridge and the Islands: A Thousand Wonders is a captivating aerial photograph showcasing the beauty of the Thousand Islands Bridge in Ontario, Canada. The image captures the essence of autumn with a rich tapestry of fall colors adorning the islands, while the deep blue waters of the Saint Lawrence River flow beneath the bridge.
The Thousand Islands Bridge connects the Canada-US border, and its impressive engineering is highlighted in this aerial perspective. The bridge seems to float effortlessly above the river, providing a vital link between the two countries. The scene is both historic and picturesque, with the bridge standing as an iconic landmark in this region.
A multitude of islands, including Constance Island, Ganawaga Island, Georgina Island, Huckleberry Island, and Reciprocity Island, are scattered across the frame. Each island is unique, covered in lush green foliage and vibrant fall colors, creating a harmonious blend of nature and human-made infrastructure. The shadows from the clouds above dapple the islands and water, adding depth and contrast to the image.
The landscape is a testament to the beauty of life on the river, where the islands and the surrounding water provide a serene and idyllic setting. The photograph captures the essence of the Thousand Islands region, showcasing the stunning scenery and inviting viewers to experience the magic of this enchanting place.
06-Jan-2023 12:30 - Rollei RPX25 @ EI 25
3 min pre wash
Developed in Rodinal R09 1+50
11 mins (N) @ 20C
Tetnal Superfix (cleared in 45s) then 45s more
5,5,10,15,20 inversion washes
Final Water bath with 1ml of Ilfotol
Bronica SQAi + 65mm
Highlight = 10
Shadow = 8
Midpoint = 10
Filter : None
Final EV = 10
Reciprocity 2->3 @ f11
4 sec @ f13
This is the first of a series of experiments I have been doing with my Zero Imaging pinhole camera shooting at night. Here I used Ilford Delta 3200 film but took my light meter readings at ISO1600. (I had to guess the reciprocity failure as I had forgotten to take my notebook with me in which I keep my reciprocity charts). Using a pinhole camera at night is tricky as the fixed aperture of the pinhole is f138 giving long exposures even in daylight. Add to this the reciprocity failure of film (this is the way the light sensitive crystals on the film gradually become less sensitive to light the longer they are exposed to light. So the longer the exposure on film, the more exposure length you have to add over and above what your light meter is telling you to account for this drop off in sensitivity. The very long exposures with pinhole cameras at night make the resulting exposures very long).
As I had forgotten my notebook I haven't recorded the exact length of this exposure but, from memory, it was around 30 to 45 minutes. There was a little residual twilight in the sky at the beginning of the exposure but by the end the sky was completely black, although in a city you always have the city lights providing illumination too).
When exposures on film become this long you don't have to worry about being too precise about exposure length. If the 'correct' exposure is 30 minutes and you expose for 45 minutes, you are only adding on half a stop. (less actually, if you factor in reciprocity).
Bending Light #15
Refraction patterns formed by light passing through glass objects.
Again, interested in any of your interpretations of what it reminds you of.
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Modell : Bence
Location of shoot :
Óbuda,
Budapest,
Hungary,
Central-Europe
Time of shoot :
2015.04.16.
Info of Shooting :
Film : Fuji Fp-100c (new)
Filter :
- Cromatek W85c
- Cromatek Pola
- Cromatek ND3 Blue grad. (HG 208)
- Tiffen Photar 16 (orange)
Calculated expo.: 150 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 : (2017.01.29-30.)
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 !
I finally went to the Grist Mill near Woodland, Washington. My intention was to get some good fall foliage pictures. Well, most of the leaves were already down. So, I was left with a difficult contrast situation, i.e. there was no contrast to speak of, just a little sun break just past the mill. My 165mm Schneider (for 8x10) lens is so large that none of my filters would fit on it, so a red filter was out of the question. I decided to shoot FP4 because of its slightly higher contrast, and even though I rated it at 80 ASA, I developed for full film speed. I also did not adjust development for 2 stops of reciprocity correction. This bumped up the contrast enough to give me detail in the wood on the mill. I actually had to lower contrast after scanning, but I burned in some of the remaining leaves a little.
Camera: Deardorff 8x10 with a 5x7 back.
Lens: 165mm Schneider Angulon.
Film: Ilford FP4+ developed in 510 Pyro.
# #cedarcreekgristmill #washington #garyquay #woodland #deardorff #largeformat #filmphotography #viewcamera #pacificnorthwest
Uploaded a sharper version 1/15/19.
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31-May-2023 16:40
Ilford HP5+ ISO 400 rated @ EI 320
Tachihara Hope 10x8 two-rail
Rodenstock 210-S
Developed Perceptol 1+1 for 18 mins (N) @ 20C
Water Stop Bath 2 mins
Ilford Rapid Fixer (1+4) for 4 mins
Mid tone LV = 3 1/3
Highlight = 12
Shadow = 1
Filters : None
Final LV=3 1/3
Reciprocity : 60 sec goes to 214 sec
214 sec (3 mins 34 sec) @ f45
Taming Light #7
Another experiment to control the refraction patterns of light. Small (35mm frame size) 'pictures' or patterns are formed in clear plastic and the resulting patterns of a beam of light passing through are captured directly on to 35mm film. Coloured dyes are added to the clear plastic while it is still soft which adds to the distortion generating further patterns. The camera lens has been removed, the plastic object becoming the camera 'lens'. Please note - all these 'Refractographs' are analog images and not computer generated.
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera
Author : IMRE BECSI
© All rights reserved
Location of shoot :
Tahi,
Hungary,
Central-Europe
Time of shoot :
2011-04-24
Info of Shooting :
Film : Fuji FP-100c 45 Color Instant (expired : 01/2004)
Filter : Polar, Red Enhancing, Orange (all Tiffen)
Metered expo.:
Calculated expo.: 6,95 Ev - 300 second
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 180 second (20° C)
Picture made with Home-made assembled pinhole camera be composed of
few original photography equipments.
The Camera set info :
Camera body (the base) : Cambo 4x5 base
Filmholder : Cambo 4x5 rotating filmholder back (without focusing glass)
Film back : Instant pack film holder (550)
Shutter : Polaroid MP4 (made by Compal)
Pinhole socket : Homemade (fit to filter holder)
Filter holder (82mm) : Homemade (fit to shutter)
Viewfinder : Door peeping (from OBI store) calibrated to the 4x5 format instant pack film size (I made it myself)
Cable releasers : Nikon
Tripod & Head : Velbon
Quick release plates : Manfrotto
The Camera technical info :
Focus : 66 mm
Pinhole : 0.35 mm (from Lenox laser)
Diaphragm : f189
Angular field (horiz) : 96°27’51”
Light falloff at the corners [f/stops] :
Resolution [lines/diagonal] :
Post work : (07.03.2013)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
Scanner software : SilverFast SE
Final work : PS/Tiff
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 !
I had a roll of Agfa Chrome 100RS ready to develop and I thought it was silly to develop just one roll of film so I put a second roll of the slide film in the Singer Graflex 6X7 back on the Sixty7PH pinhole camera and took some shots. I could have exposed them longer (the light meter app said 8 seconds and I exposed for 10 seconds in anticipation of the reciprocity failure) but they came out quite well to my eye.
I have shot four 24-exposure rolls of a 100' roll of this slide film that was expired in 1992. I guess the guy I bought it from really did store it frozen all of that time.
Camera: Frozen Photon Camera Co. Sixty7PH
Lens: Laser-Drilled .15mm pinhole
Film: Agfa Chrome 100RS
Developer: Unicolor E-6 from the FPP
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
Turns out we sold the Schneider 150mm f2.8 Xenotar I had been having so much fun with at work, but I still had several sheets of Velvia 100 left that needed exposing, and there is nothing quite like unexposed film with its unfulfilled potential to motivate one to get out and make photographs. So I grabbed a Caltar 150mm f5.6, which let me tell you was nowhere near as fun, but at least it had a larger image circle that accommodated movements better and I headed down to my favorite bridge.
It is also worth noting that I didn't take any device capable of metering light other than my own brain. As it turns out, I seemed to have done alright. Metering is something that can be easily intimidating, but that is only because we have taught ourselves to rely on light meters, so that ability within ourselves has atrophied. But you figure that photography existed for many decades before light meters came about and then you realize that despite all our gadgets (or maybe because of them) photographers a century ago probably had a more advanced understanding of light than we do. Perhaps it isn't so crazy to think that as our technology goes forward, we go backward. But perhaps it is still a little crazy. Who can really say. What I can say though is that several years ago I spent a whole year photographing the bridges of Portland, all at night, all without any sort of meter other than myself. I learned to gauge exposure at night by only using one aperture and one ISO (f11 and 400 for those that are curious). By pinning down two of the variables, I was able to more easily associate shutter speeds with nighttime lighting conditions and lo and behold, I exposed film for a year without a meter and missed nary an exposure. Of course, I was using negative film and erring on the side of over-exposure, so I had a lot of latitude and margin of error to work with. But it works and it works surprisingly well. So I pulled on that experience in making this photo. I mentally calculated an exposure at 400 ISO and f11 and then I just did the mental math to convert that shutter speed to 100 ISO (two stop loss) and f5.6 (two stop gain) and added a second or two for reciprocity and voila. Exposure. It is a lot to write about and a lot to read about but in reality the whole thing happened in about 5-8 seconds, I spent most of my time concentrating on the scene and not the exposure, but that is where practice comes in.
Try it out sometime.
Linhof Technika IV / Caltar 150mm f5.6 / Fuji Velvia 100
25-Jan-2024 13:40
Rollei RPX25 rated @ EI 25
Developed in HC110 Dilution H (1+39) for 7 mins @ 20C
Pre-Wash : 3 mins
Inversions for first 30 sec
Two Inversions every 30 sec
Two water Stop Baths of 1 min
Ilford Rapid Fixer (1+4) : cleared in less than 1 minute
Fix time total : 2 Minutes
Initial Rinse to remove fixer : 1 minute
Inversion washes for 10 minutes, multiple water changes
Ilford Surfactant : 2 mins
Bronica SQAi + 80mm
Highlight = 13
Shadow = 9
Midpoint = 11
Filters : None
Reciprocity : None
Final LV=11
1/4 sec @ f11
archive of Casa Cuseni, an original newspaper article, preserved by Daphne Phelps, who hosted Danilo Dolci in Taormina.
archivio di Casa Cuseni, un articolo di giornale originale, conservato da Daphne Phelps, che ospitò a Taormina Danilo Dolci.
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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.
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)
Taming Light #49
For new viewers: These are light refraction patterns or 'caustics' formed by a white light beam passing through a specially made complex plastic form. The pattern is captured directly on to 35mm film by removing the camera lens and putting the coloured and transparent refractive object in its place.
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.
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
f/235, Fl; 75mm + ou -, 0,32mm
Photo location; Donnacona, Québec, Canada.
Fuji FP-100C at 80 ASA..
Reciprocity + ... WO lens.
Image transfer on wet Stonehenge 110 lb.
Polaroid week 2015, day 5.
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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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;
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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