View allAll Photos Tagged reciprocity
Yellows and Greens in Autumn? - only one film will do!
Ebony 45 SU - Velvia 50
Rodenstock 150S
28-Oct-2013 13:15
Front shift - down max
Bed Tilt 2 degrees forward
Light Values [Sunny 16 rule is LV=15]
11 - Yellow Bracken
10 1/3 - grass at centre top
10 - LHS greens on top of rock
8 2/3 - RHS tree
8 - Bottom of RHS tree
9 1/3 chosen for midpoint
Polariser (- 1 2/3) so final exposure 7 2/3
Selected 8 sec @ f30 at ISO 50. Increase to 12 sec due to reciprocity
12 sec @ f30
26-Mar-2024 13:23
Ilford Delta 100 rated @ EI 80
Ebony 45SU
Rodenstock 150mm f/5.6 Apo-Sironar-S
DaYi 6x17 film back set to 6x12
510 Pyro 1+100 9 mins (N) @ 20C
Pre-Wash 5 mins
Inversions first 30 sec then two every 30 sec
Two water Stop Baths - 1 min each
John Finch Alkali Fixer (1+4)
Clearing time 2 minutes. Total fix time 4 minutes
Initial wash to remove fixer : 1 min
Washing : 10 mins with frequent water changes
Ilfotol : 1 ml in 600ml for 2 minutes
Back Tilt 3 deg
Mid tone LV = 8
Highlight = 10
Shadow = 7
Filters : None
Final LV=9 1/3
Reciprocity : 3 sec (f22) goes to 4 sec
4 sec @ f24
Bending Light #33.
Refraction patterns of light through glass.
As always any interpretations of this abstract image are welcome.
Twisting Light #9.
Still trying different ways of forming the plastic shapes. I thought this network structure was interesting and the background shading gave more depth. Again if you view large you can see the small rainbow patterns. I'm not sure how the touch of blue got in there, it may have been contamination from one of my colour experiments.
These are analog images of the refraction patterns formed when light passes through formed and moulded plastic shapes. They are exposed directly on the 35mm negative film, lab processed and the print scanned for uploading to flickr. Minor adjustments have been made using Picasa2.
had a really interesting day…..Scheimpflug principle, bellows extension correction factors and reciprocity. I can explain the first two but I'm having difficulty with the third.
S-3F (4x5) No.03.
f/128, Fl; 27mm, 0,21mm (Sténocaméra, Fr)
Homemade pinhole.
Photo location; St-Nicholas, Québec.
FP4+ at 125 ASA.
Exposure Time; 23 secondes.
Green filter.
Reciprocity +. Official Data.
Development; D-76 1+3. -18% 12 minutes 30.
Ceci est la seule image existante du format 4x5 de cette appareil multi-format. Le support en bois a tordu. La même chose s'est produit pour le format 6x17. Je ne les ai jamais remplacer. Maintenant, seul le format 4x10 est utilisable sur cet appareil. J'ai planifié de l'utiliser cet été. Enfin, si le déconfinement me le permet. (02 mai 2020)
X-ray film. 25X29 cm
Pinhole 0,4 mm; focal 200 mm. f/250
Exposure @ EI50ISO
not corrected for reciprocity
Development in D-76, under visual control
Sheet have been shot over a computer screen and reversed, with level reset and no other postproduction.
Some scratches, which can be minimized with more attention and some trick, and potentially avoided with a vertical tank that I don’t owe.
Anything at its time.
The great problem is light leakage, even with double black tapering.
There are also a lot of three dimensional spot, with sharp comet shadows: they are visible only in the ghosts of light and I think it is dust, illuminated by the oblique lighting.
X ray are very contrasted, and difficult to be printed even in platinum. I’ll try with collodio chloride.
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera
Author : IMRE BECSI
© All rights reserved
Location of shoot :
N-46°49'54.00"
E-16°45'43.66"
Zalaszentmihályfa,
Hungary,
Central-Europe
Time of shoot :
2011.03.15.
Info of Shooting :
Film : Fuji FP-100c 45 Color Instant (expired)
Filter : Pola Red-Green (Cokin)
Metered expo.: 14 ev - 3 second (sky)
Calculated expo.: 8.75 ev - 80 second
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 120 sec. (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 : (13.04.2011)
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 !
30th October 2021
Camera: Leica IIIf Red Dial Self Timer 35mm Rangefinder (1955).
Lens: Leitz 13.5cm Hektor f/4.5 (1958).
Film: Ilford FP4 Plus ISO 125 35mm black & white negative.
Exposure: 1 minute @ f/16 (3 minutes with reciprocity compensation).
Development: ID-11 1 + 3 20C/22m.
Copyright 2021 Tasmania Film Photography
ALL RIGHTS RESERVED
Bending Light #24
When two insects meet and antennae make the connection.
Well, that's what I saw in this but you may have other ideas.
Continuing with my light refraction patterns through glass.
Camera: Nikon FM-2
Lens: Nikkor 50mm f1.4 AIS
Film: Fuji Velvia 50
The skies in Australias outback are INCREDIBLE. Being so remote there is virtually no atmospheric pollution so they are crystal clear. This is the South Celestial Pole - by using the Southern Cross and Alpha/Beta Centauri its position in the sky is easily determined. By drawing a line to the horizon from that point you have due south.
The green colour in the sky is due to Reciprocity failure which requires exposure compensation (usually adding a stop or 2 to the metered EV value) and also causes this colour shift (green in this example) Most films are designed to be exposed between 1 second and 1/10000th sec. Anything outside these parameters causes this effect.
By using faster speed films you can decrease the exposure time but of course you then get smaller arcs as the stars arent travelling as far across the frame. I really dont know of any way to limit the green colour cast effect in Velvia other than using a magenta colour correction filter or colour correcting in post.
Tungsten balanced film will have a different colour shift. Provia 100F requires no correction at all for exposures shorter than 128 seconds wheras Velvia exhibits colour shift after 4 seconds.
Letter Reads - Pictou July 31st, 1847 - Mr. John Ings - Dear Sir, I wrote you last week from this place but have not received an answer. Your type of last order my brother sent by Capt Sutherland whose vessel was ??cked and all goods lost on the 26th November last. The amount of the Bill of type I do not know but it was something over the ??? ??? netted. I ??? the ????? exceedingly I will not leave here till after the Election on Thursday, and if you have any commands to Boston I will be happy to attend to them. A young lady in Boston desired me to oblige from young Peppy the Printer, a Daguerreotype Mania time and a gold ring belonging to her. You will do me a very great favor to obtain this from him. and send them in a sealed package to me addressed, John Stiles, care Mr. David Fraser, Merchant, Pictou, N.S. and give them in Charge of the Stewart or someone who will deliver them, and they will be paid for this trouble. Do not fail to send them by steamer on Thursday next. I am Yours oblige - John Stiles
John Stiles
(b. 24 May 1813 in Pictou, Nova Scotia, Canada - d. 1 March 1880 at age 66 in Washington, District of Columbia, United States)
Hi wife - Sarah (nee Fraser) Stiles
(b. 15 June 1815 in West River, Pictou County, Nova Scotia - d. ) they were married - 22 June 1840 and had four sons and one daughter.
In the spring of 1838 John Stiles issued a prospectus of a new paper to be called "The Mechanic and Farmer." Mr. Stiles was brought up near Pictou, his father who had come originally from Cornwallis, settled near Scotch Hill, where he had a mill. Mr. Dawson, thinking there was not room for two papers in Pictou, agreed to sell his establishment to Mr. Stiles; and the Bee was discontinued in the month of May of that year. The Mechanic and Farmer was immediately announced in its stead, and was first issued on May 23, 1838. Mr. Stiles made his paper a success financially, and gave great stimulus to farmers in the amount of information circulated on agricultural subjects. In 1842 a religious paper in connection with the Presbyterian Church of Nova Scotia was established in Pictou under the name, Presbyterian Banner. It was edited by the Rev. James Ross; printed by Mr. Stiles, and continued for a little over one year. On October 4, 1843, "The Mechanic and Farmer" and "The Banner" were merged in "The Eastern Chronicle" which is still issued at New Glasgow. The plant was purchased from Mr. Stiles by the Rev. George Patterson and Mr. J. L. Geldert, and was conducted by them for some time. Mr. Stiles went to Washington in 1861 and secured a good position in the Pension Office there, where he died in 1880. LINK - electricscotland.com/history/canada/pictou/pictou9.htm
Young John Stiles was an earnest scholar. When a boy he had to walk four miles to attend school. At the age of 14 he left his father's farm to learn the printer's trade in the office of the Colonial Patriot, the first newspaper published in Pictou. The name was afterward changed to the Bee. Young Stiles was continued in the office, and he also continued his studies. Upon attaining his majority he bought out the paper, and on becoming editor and proprietor of the establishment he changed the name of his paper to the Mechanic and Farmer. This he published for four years, when he sold out and moved to Boston, Mass., June 1, 1844. Here he was engaged in printing and commercial pursuits until 1852, when he started the International Journal, which paper he edited and published for several years mainly in the interest of reciprocity, and had much to do with the passage of the “Reciprocity Treaty."
He went to Washington, D. C., in 1861, and was the first editor of the Washington Chronicle, John W. Forney, Secretary of the United States Senate, being proprietor of the paper. In addition to his writings he took an active part in the trying times of the Civil War as a member of the sanitary commission, and on many occasions rendered valuable service in the field with Gen. Grant's army, and at other points. At City Point, Va., he narrowly escaped with his life on one occasion, and at the battle of Winchester, Va., under Gen. Milroy, in 1864, he was captured by the Confederates and taken to Richmond, where he was confined in Libby Prison. He had the good fortune, however, to be released in a month, and returned to his family in Washington. He was an ardent Republican, and for several years edited the Republic of Washington, published in the interests of the Republican party. He was an intimate friend of Senator Zachariah Chandler, afterward Secretary of the Interior, under whom he was chief of the Appointment Division.
He was an able and earnest writer on political economy, tariff, and many of the important topics of the day, and contributed largely with his pen to several of the principal papers of the country, and had a large and commanding acquaintance with many of the prominent men of his day. He died March 1, 1880, at Washington, D. C., an honored member of the 4th Presbyterian Church of that city. LINK - books.google.ca/books?id=BvEUAAAAYAAJ&pg=PA236&lp...
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.
-----------------------------------------------------------------
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...
……………………………………………………………………….
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.
Hai mai ascoltato PIERO CALAMANDREI in una delle sue appassionate difese? Ora puoi!
archive of Casa Cuseni, an original newspaper article, preserved by Daphne Phelps, who hosted Danilo Dolci in Taormina.
Hai mai ascoltato PIERO CALAMANDREI in una delle sue appassionate difese? Ora puoi!
archivio di Casa Cuseni, un articolo di giornale originale, conservato da Daphne Phelps, che ospitò a Taormina Danilo Dolci.
-----------------------------------------------------------------
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...
……………………………………………………………………….
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.
Yesterday, me and a buddy had a 9am meeting with each other. Before going to the meeting, I stopped by Peets and got him a big cup of tea.
He showed up to the meeting and had something for me -- a bouquet of flowers! Well, not specifically purchased for me; it was given to him, but he thought I would like it, so he gave it to me. So we traded. How nicely balanced!
He hadn't put the flowers in water, so they were a bit wilted. I've put them in water now (and took the shot above), so fingers crossed that they'll perk up!
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 :
The northern end of Szentendre-island.
Kisoroszi,
Hungary,
Central-Europe
Time of shoot :
2016.07.20.
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 exp.time (without filter) : 25 second
Second shoot exp.time (with Green filter) : 100 second
Third shoot exp.time (with Red filter) : 120 second
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Filters : Cokin P
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 : (2016.08.17.)
Scanner : Epson Perfection 3200 Photo (60x50 cm/300 dpi)
File Size : 156450 KB (TIF)
Pixel : 8246 X 6475
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 !
A not very good FILM star trail frame whilst shooting Milky Way at Pensford Viaduct. This was my first time shooting night skies with Portra 400 & seeing as I was near the end of a roll, I thought it worth an experiment.
It appears Portra 400 requires much more than 2x reciprocity that Agfa Vista needed. It also appears I left the light meter batteries in the camera.....
Yashica FX3 - ML28 - Portra 400
Twisting Light #7. Continuing the experiments with the refraction patterns of light through formed and shaped plastics. Here is the first attempt at introducing colour into the plastic shape while still trying to retain the fine detail and rainbow patterns (see large) in the clearer and lighter parts. Here I think we're still in 'fishy' theme and even 'jellyfishy'. You may see it more as an inferno or maybe something else. ;-))
This was taken as an analog image direct on to 35mm colour film, lab printed and then flatbed scanned for flickr.
09-Dec-2022 13:30 - Ilford Pan F @ EI 50
5 min pre wash @ 24C
Developed in Prescosyl (A=6ml + B=30ml + Water=600mm)
Semi-Stand 10 mins 30 Sec (N) @ 24C
3 post dev water wash of 5 inversions @ 24C
John Finch Alkali Fix 1+4 : 4 mins @ 24C
5,5,10,15,20 inversion washes
Final Water bath with 2 drops of Ilfotol
Bronica SQAi + 80mm
Highlight = 111
Shadow = 9
Midpoint = 9
Filter : Red (-2)
Final EV = 7
Reciprocity : 8 sec goes to 16 sec
16 sec @ f22
The serpent and staff symbol seemed a strange choice for an old bank building until I read this passage: "the caduceus is also a symbol of commerce and negotiation, two realms in which exchange balanced by reciprocity is recognized as an ideal."
en.wikipedia.org/wiki/Caduceus
This former bank building in Nanaimo was designed by a Scottish architect from Edinburgh who moved to Canada, Victor Horsburgh, in a classical revival style. oaa.on.ca/Assets/Common/Shared_Documents/Awards/Honour%20...
28-Sep-2025 18:03
Ilford FP4+ 125 rated @ EI 100
Tachihara Hope 10x8 two-rail
Rodenstock Ronar 360mm f9
Patterson Orbital 10x8 Tank
Pre-wash : None
Developed : FX55 1+1 (Homemade) @ 20C
2 x Water Stop Bath
Adofix P2 Fixer. Clearing time 2½ minutes
Total Fix time doubled to 5 minutes
Wash for over 10 mins in frequent water changes
Kodak Photo Flo final rinse (1ml in about 500ml)
Bed Tilt : 10 deg forward
Front Shift : 5cm up
Front Tilt : 5 deg forward
Back Tilt : 10 deg back
Mid tone LV = 12
Highlight = 15
Shadow = 10
Filters : Orange (-2) 1 stop hard grad on sky
Reciprocity : 2 goes to 3 sec
Final LV=10
3 sec @ f45
12-Mar-2024 15:00
Ilford FP4+ rated @ EI 100
Ebony 45SU
0.4mm Pinhole
Bellows at 118mm (pinhole to film)
Equivalent to 30mm on Full Frame
Stearman SP-645 Tank
Developed in HC110 1+31 mins (Normal) @ 20C
Agitation 30 sec then twice every 30 sec
Pre-wash : 3 mins @ 20C
Two water Stop Baths for 1 min each
Ilford Fixer (1+4) : Clearing Time 60 sec. Total fix time 120 sec
Rinse : 1 minute
Wash : 10 minutes with several water changes
Surfactant : Ilfotol for 2 mins
No Movements
No Filters
iPhone Meter 40 sec @ f320 (nearest on meter)
Reciprocity (used power factor of 1.4 instead of 1.2)
3 minutes @ f296
Taken down a dull wet lane in West Yorkshire during our very wet winter, 2019 - 2020. I metered with a Sekonic Twinmate L208 and allowed for reciprocity failure. Best of a bad lot.
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 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.
Winter night in Gothenburg harbour with Stena Line's ferry 'Stena Scandinavica' in port.
I don't remember how many seconds the shutter was open, but Ilford XP2 needs a LOT of exposure time for night time shots even if it is a 400 ISO film.
AUTHOR : IMRE BECSI
Location of shoot : Isle of Szentendre, Szigetmonostor, Hungary, Central-Europe
Time of shoot : 29.04.2007.
PICTURE MADE WITH :
( Home-made assembled pinhole camera be composed of
few original photography equipments )
Camera body : IKEA plant pot
Film back : 450 (Pack film holder to 4x5 back)
Film back holder : Cambo Revolving Back Assembly
Grip : IKEA handle
Viewfinder : I made it myself from Super 8 mm Titel maker and HAMA flash holder
Focus : 85 mm
Pinhole : 0.35 mm (from Lenox laser)
Diaphragm : 243
Shutter : Compal Polaroid MP4
Matte Box : Arriflex 3X4 (from my Eclair s16 movie camera set)
Tripod & Head : Velbon
Quick release plates : Manfrotto
Film : Polaroid 679 (Expired : 01/02)
Filter : Enhancing, Circular Polar, Light Yellow, Nd6 Soft Gradual
Light : Hard afthernon sun
Metered exposure : 14,25 EV (Minolta Light Meter III with diffusor)
Calculated exposure : 10 EV / 58 sec.
( I use my reciprocity compensation value chart )
Dev. : 120 sec. ( normal )
POST WORK :
Scanner : Epson Perfection 3200 Photo (900 dpi)
Scanner software : SilverFast SE
Final work : PS
If interesting for you my other work please see my all pictures on one page :
www.flickrleech.net/user/jonespointfilm
Thanks for looking !
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 : (28.04.2011)
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 !
Shot two rolls of Kodak T-Max 400 (TMY) with my Pentax K1000 at night. Developed with Ilford DD-X (Ilford's equivalent to Kodak's T-Max developer) for ~ 8 min 15 sec @ 20C (8min is what was recommended by the massive dev chart @ 20C, and I added some extra time to avoid the risk of underdevelopment).
My previous night photography has been with Ilford 3200, so this was my first time taking exposures long enough to have the potential for film reciprocity failure - or, as I like to call it, the non-linear region. My methodology for these two rolls was as follows: I started at f/8. I metered with the Light Meter app on my phone and exposed accordingly (~60-90 sec depending on the scene). I then repeated the exposure for longer, using the reciprocity compensation for T-Max 400 calculated by the Lightme app (~4-5 min). For some images, I then did another exposure adding an additional 60-75 seconds just to cover my bases (~7 min), although that was probably overkill. If the image had high highlights and low shadows making Light Meter go all over the place, I took a few more images for those shutter speeds AND their non-linear compensations. Since this was my first time doing such long exposures, and I REALLY wanted to walk away with at least a few good images, I then opened the aperture to f/2.8 and repeated this process. While not the ideal f-stop for some of the photos I was taking, f/2.8 allowed for much shorter exposure times (~10-20 seconds), thereby reducing uncertainty due to non-linearity.
Unfortunately, I did not log each exposure, so I don't know exactly which photographs correspond to which shutter speed/aperture combinations. I really wish I knew for sure, because I THINK that some of the shorter exposures (ie, not reciprocity-failure-compensated) ended up turning out the best. If true, this means T-Max 400 didn't even "fail," which is quite impressive - and means that taking all these long exposures isn't necessary (at least until you get up to much longer exposure times). I'll need to do some more testing to confirm this, though.
You could also spare yourself the long exposure times by pushing this film. The data sheet says it can be pushed up to 1600 no problem and it's acceptable at 3200. I may give this a try, but I'm honestly really digging T-Max @ 400...
Conclusion: Night photography is a lot of guesswork. As long as you have the patience to take several exposures, it is very forgiving. Just use several exposure times given by the lightmeter apps and at least one of them will turn out.
Taming Light #5
Continuing my experiments to control the shapes and refraction patterns, and to create small 'scenes'. Here I concentrated on one colour and attempted a flight of 'optical' birds. Of course you may visualize something completely different.
For new viewers: these are analog images formed directly on to film without the use of a camera lens (in the same way as a photogram), of the refraction patterns of light passing through formed and shaped plastics. Normally a b/w image, colour has
been added directly into the plastic. The fine detail of the diffraction patterns and the rainbow colours can be seen when viewed large.
By extension of its association with Mercury and Hermes, the caduceus is also a recognized symbol of commerce and negotiation, two realms in which balanced exchange and reciprocity are recognized as ideals.[ -- wikipedia
green cross symbol is currently used to denote sale of medical marijuana
i'll post more detail of this commercial facade tomorrow.
columbia city
seattle, washington
Negative
Fatif view camera. Rodenstock Sironar 1:6,8/360mm (6 836 747). Ott: Compur 3.
Fomapan 200, 20X25. EI 100 ISO
EV8 f:22, 3 sec, Bellow X1,8; reciprocity Δ:3.75 = compensated exposure 13”
Developed in Pyrocath HD, 2:2:100, 23°, 11’ (N). Stop bath: water. Fixer: tetenal fixer 1:4
Platinum print: A 20 gtt; B 0; C Pt12 gtt, Pd 8 gtt.
Ferric Oxalate “Flash”® (LabOldTech). 5’, mechanical UV lamp.
23°C; 57% RH. Bergger Cot 320.
Developer Potassium Oxalate, warm.
EDTA (IV) - Na Solfite - EDTA (II)
Ferric Oxalate "Flash"® is a new kind of product built by LabOldTech, which cuts off the problems of dissove the powder. Thought for platinotype, is premade in two solutions (A and B) which only need to be mixed to obtain the final product. Still experimental, but promising. Wonderful clearing of the highlights.
Platinum Print The barn 2
the negative
Fatif view camera. Schneider Kreuznach - Linhof Technika super angulon 1:8/165mm (6265215).
Ilford FP4 125 plus. EI 80 ISO. f32, 4" > 11" for reciprocity effect.
presoak 5 min; Development Pyrocath HD 2:2:100, N-1 (10 min 20°); Stop bath ¼ strength; Na Sulfite 1% 1 min; Tap water 30min
The print
Paper Arches Platine - 320 g
Sensitizer: A 20 drops; B#Pt 2 drops; C (Platinum) 18 drops + (Palladium) 6 drops.
4 min exposure to UV lamp (5 bulbs UV Philips sunlamps 20W; 10 cm from the paper plane)
Developer: Potassium Oxalate 35% and Ammonium Citrate, warmed
Clearing bath: tetrasodium EDTA and 4% sodium sulfite.
Event venue at night. I knew this was going to required a long exposure (bulb mode). I guessed that the camera would default to it's widest aperture and metered accordingly. I think I ended up exposing for 5-10s after accounting for reciprocity failure.
Film stock: Ilford HP5 Plus
ISO: 400
Format: 135
Camera: Pentax17
Lens: 25mm F3.5
Digitised: Plustek 8100
Developer: 510-Pyro @20degC 1:500
Time: semi-stand 60min
Bending Light #85
Deep in space the young blue sprites are being guided by their red leaders to the energy feeding grounds. Later, when fully mature, they will return and gather once again before they set off on their journeys throughout space. The older red sprites are sometimes observed re-charging themselves in the transient luminous events in Earth's upper atmosphere before they continue on their voyage of discovery. Very occasionally a sighting of a rare blue sprite is made, presumably blown "off course" by the strong magnetic storms surrounding their feeding grounds. Unfortunately many do not survive the outward journey.
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. Also there is no camera movement - the image is captured in-camera with a single exposure
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 :
Dömör-kapu,
Szentendre,
Hungary,
Europe
Time of shoot :
2016.06.16
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 : Yellow
Metered expo.: 9 EV
(Metered with Minolta Spotmeter)
Calculated expo.: 17 minute
Shooting : 17 minute
(I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 120 second
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 : (2018.11.30.)
Scanner : Epson Perfection 3200 Photo (300 dpi)
File Size : 160847MB (TIF)
Pixel : 8302 x 6612
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 !
Hasselblad 500c/m
Lee Big Stopper
Ilford ∆100 & dd-x
Epson V600
Aperture
Fairy pools, Skye.
Difficult to photo somewhere that is done so often.
An interesting Ghyll scramble with Dan, to an island of rock and a view of a waterfall with The Cuillin on top.
DOF, light meters, 10 stop filters, reciprocity failure, development times, now i know why i learnt maths at school.
Still buzzin' from shot one of this pack of Polaroid 809...
www.flickr.com/photos/mat4226/6413225631/
...I decided to try yet another sheet. This was the next day, same time of day, with much stronger sunlight and the aid of Lauren and a large reflector.
This particular shot has more uneven color shifting throughout, but still has a very cool, pastel palette.
"Note to self, people must be wearing busy outfits to exploit the colors!"
Eastman Commercial B 8x10
Fujinon W 210mm f/5.6
1/15th @ f/6.3 + front fall
Polaroid 809, shot @ ASA 64
Calumet hand-crank processor
Telephoto Seascape
Mendocino County, California
I wanted a very long exposure for this shot, so I chose Ilford Pan F which at ISO 50 is the slowest black and white film in my stash. I used a K2 yellow filter plus a ND8, ND4, and ND2 on the 300 mm lens for a seven stop exposure reduction. The exposure was metered with the Pentax 67II's matrix meter with the lens stopped down until I got the longest exposure that was less than 30 seconds (the most time the camera will meter). I then doubled that exposure time for each full stop down to F/45. Since that time was several minutes I doubled the time again to account for the reciprocity effect for long exposures on the film and ended up with ~6 minute exposure.
I used the Hejnar Photo Long Lens Support Rail to support the camera and the lens.
On the computer I applied the doutone processing with ACDSee 6 Pro.
camera: Pentax 67II medium format MLU SLR
lens: Super-Multi-Coated TAKUMAR 6X7 300mm F/4
film: Ilford Pan F+
metering: TTL prism finder
exposure: manual
filters: Hoya HMC K2 Yellow, Hoya HMC ND8, Hoya HMC ND4, Hoya HMC ND2
support: tripod
scan: NCPS
One day, while at my last job, I was sitting around watching my line, getting bored. Line was running fine, I wasn't yet an operator for that line, so I was really just there for changeovers which happened around 5 times a day with the operator I was paired with. I was bored. SO BORED! In my bordedom, I had a lot of time to think, so I tactfully wasted that time twiddling my thumbs. Eventually this tired me too, so I went to a different line that I had run earlier that week and got a core that was destined to go in the dumpster. When I say core, think cardboard toilet paper tube on steroids. It's 1/4" thick cardboard tube with an inner diameter of about 3"...It's practically structural tubing. I took out my multi-tool and started to bore a hole in it with the leather punch. Now mind you that this core is 1/4" wood pulp held together with thick glue. It took me 30 minutes to get a hole in the core. Woo hoo. Then the idea hit me like a ton of bricks. I WOULD MAKE THIS PIECE OF GARBAGE INTO A CAMERA. I told everybody that I would do so, and nobody believed me. That night I went home and got a 3/8" wooden dowel, 4 1/4x20x1.5 NF Hex head bolts, an old film can, an old roll of fuji superia that I wasn't going to use, some super glue, my drill bits, and a good roll of TMax 100. I also printed out a sheet of reciprocity failure characteristics for the TMax.
The next day, armed with my parts and ideas swirling around in my head, I went to work. It was going to be another day of the same boredom from the last, but I was prepared. When I got there, I performed my usual setup and cleaning duties, helped to start the line, and got things running smooth. Then it was waiting time.
I set about building my device. I took the straight edge I kept at work and lined out 4 lines down the length of the core, 90 degrees apart, making sure to keep one line through the approximate center of my recently created hole. I took my drill bits and, by hand, drilled out 4 holes for the bolts and 4 holes for the dowels undercut by one size bit. I cut the dowels to approximate size with my multi-tool. I tapped the four bolt holes with the bolts themselves in order to ensure the most light-tight seal that I could get. I CHANGED OVER THE MACHINE.
After the changeover, I had to cut some cores for the current run. I grabbed a few and my cut dowels and ran upstairs to the bandsaw. When I was done with the cores, I cut a slot down the approximate center of the dowels, about 1/3 the length of the dowel. When I got back to the line, I tried to fit the dowels into the rolls of film. They didn't fit. I took a small drill bit and carved the dowels down the sides of the band saw cut, and the knife in my multitool until the dowels fit into the film cartridge and engaged the flats (so I could advance/rewind the film without having to rely on friction fits or glue). Then...A CHANGEOVER!
Once we got that all sorted out, I went back about my business. I attacked the roll of superia like a dog. I tore off the top of the can and ripped all the film out. I made sure to completely remove all the film and tape from the spindle without damaging it, because I knew I'd need it later. I took the film can from the TMax and cut out a slot so the part of the superia can where the film came out would fit through it. I superglued them together as you see in the image. Then I drilled out a hole in the lid and bottom of the can to fit the dowel to the spindle (again by hand...no power tools or even bit-holders for me). I set that aside to dry and decided to cut a groove the size of some tape around the aperture. It worked out well and it was a quick sortie of hacking and tearing. I then decorated my creation with shapies until the next CHANGEOVER!
At last, I was set to assemble my camera...but wait! I had forgotten to create an aperture! There was merely a gaping hole in the camera where the controlled diameter aperture should be! CRAP! I quickly set about going to a break in order to search out a suitable (preferrably ductile) material that I could use as an aperture plate. I walked slowly toward the restroom through the warehouse looking for any garbage that may be of use...and there it was. Foil. Trash, left on a dead machine with no printing on it. Perfect. I got a good 6" square piece of my prize and went to the restroom, then to lunch.
A half hour later, I returned and sought out one of my mechanic friends. I asked for something like a pin, and he said he'd look around and find me on the line. I went back to the line just in time for a CHANGEOVER!
This was it, the last CHANGEOVER of the day. I had to get this thing together. About an hour before quitting time, Mr. Mechanic came by with an extremely fine-pointed pin-type thing. It was perfect. I quickly cut my foil to about the size of a dime, layed out two pieces of tape on the steel table and cut a triangular hole in the centers. I sandwiched the foil between the two pieces of tape, as centered as I dared eye, and applied it to my cameruh. I poked a hole in the foil as close to center as possible and refined it with a combination of calipers and pressure. The hole came out to about 0.2mm in diameter. It was done. I went home for the night.
The next day, I went in and did my normal routine until we were running. Boredom time. I got out my film from my pocket and the camera from under the table where I had left it last night. This was it. The moment of truth. I pulled out the leader of the TMax and cut it to an appropriate shape. I stuck it through the slot in my makeshift film receiver and taped it securely to the spindle. I wound the unwind spindle a couple revolutions. It worked well enough in the damning light of...um...sodium lights? Happy with my contraption, I placed it into the body. The spindles would sit suspended upon the dowels, which would also act as advance/rewind knobs for the film. The bolts would act as holders to avoid the cans from spinning with the advance/rewinde action. I was set. A double layer of tape covering both ends of the tube, a 0.2mm or f/235 aperture installed, and film in the proper place, approximately 47mm from the opening of the aperture. There was no reason it wouldn't work. I had the reciprocity characteristics at hand and was itching to try out my creation...
tl;dr - I made a camera from garbage at work cause I was bored. Also left an attempted cliffhanger/segway into the next picture I'm going to post...just push F!
Sorry for the wall of text, but there might be another one coming.
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Modell : Tünde
Location of shoot :
Fehérszék,
Mátranovák,
Hungary,
Central-Europe
Time of shoot :
2015.04.25.
Thank you for help : to H. Attila and K. Csaba
Info of Shooting :
Film : Fuji Fp-100c (new)
Filter :Orange
Metered expo.:
Calculated expo.:
( 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 : (2015.10.25. - 2016.02.09.)
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 :
Szentendre,
Hungary,
Europe
Time of shoot :
15.04.12.
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 : Orange (Tiffen S9 round)
Metered expo.:
Calculated expo.: 9 Ev - 40second
Shooting : 3 x 40 = 120 second
(I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 120 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 : (24-25.10.2012)
Scanner : Epson Perfection 3200 Photo (400 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 !
This is a film shot from my trip. I had seen this view before and knew I wanted one for myself. Shot on sunset after all the good light had gone and it was the last shot on the roll.
My exposure started off at 2.5 min (with reciprocity failure) and as the light dropped the exposure time was extended. After about 10 min I though that should do and it came out great.
Fuji GX617 | Velvia 50 slide film.
Main site: www.mattlauder.com.au
The Blog: www.mattlauder.wordpress.com
Follow me on Facebook: see what I am up too in between blog posts
All images are © Matt Lauder Photography, All Rights Reserved. You may not use, replicate, manipulate, redistribute, or modify this image without my written consent.
Author : IMRE BECSI
Taken with a 6x9 homemade pinhole camera.
Shoot to ILFORD B&W rollfilm.
Coloured with PS.
Location of shoot : Békásmegyer, Hungary, Central-Europe
Time of shoot : 2008. feb. 02.
PICTURE MADE WITH :
( Home-made assembled pinhole camera be composed of
few original photography equipments )
Camera body : Polaroid 600se camera back spacer no.1 (the base)
(from my Polaroid 600se camera set, made by Mamiya)
Film back : Graflex 23 (6x9) roll back
Focus : 41 mm
Pinhole : 0.25 mm (from Lenox Laser)
Diaphragm : f164
Shutter : Copal Polaroid MP-4
Pinhole holder with 82 mm filter thread : I made it myself
Grip : I made it myself
Viewfinder : I made it myself
Cable releasers : Nikon
Matte Box : Arriflex 3X4 (from my Eclair s16 movie camera set)
Tripod & Head : Velbon
Quick release plates : Manfrotto
Shooting
Film : Ilford Fp4 plus 125 B&W neg.
Filters : Tiffen ND6 Soft Grad filters
Metered expo.: 1/4-f22 (100 asa)
Calculated expo.: 45 sec.
( I use my reciprocity compensation value chart to ILFORD film)
Post work (part 1)
Developer : Agfa Rodinal
Developing dilution : 1:75
Developing time : 11 min. and 30 sec.
Developing temperature : 20 C
Developing agitation : Continuously for the first 60 second, and then tilt every 60 second (5 second)
Post work (part 2)
Scanner : Epson Perfection 3200 Photo (900 dpi)
Scanner software : SilverFast SE
Final work : PS
If interesting for you my other work please see my all pictures on one page :
www.flickrleech.net/user/jonespointfilm
Thanks for looking !
Pinhole (Camera Obscura/Lensfree/Lensless / Without Lens) Photography to 3x4 color instant Film
Author : IMRE BECSI
© All rights reserved
Location of shoot :
Lake Fertő,
Fertőrákos,
Hungary,
Central-Europe
Latitude : 47°43'14.24"N
Longitude : 16°41'36.39"E
Time of shoot :
05.12.2008.
Shooting
Light : Late afternoon sharp sunlight
Film : Fuji FP-100c
Filters : Cir.Polar and ND3 (Tiffen)
Metered expo.: 12 Ev - 5 sec. (with Minolta Spot Meter)
Calculated expo.: 9 Ev - 40 sec.
( I use my reciprocity compensation value chart to Polaroid film)
Developing time : 240 sec. /+10 C°
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 35 mm
- angle of view : 119°24'26"
- light falloff at the corners [f/stops] : 3,6
Pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 140
- resolution [lines/diagonal] : 887
Film back : Polaroid Land Pack Film Holder to medium format type pack film (from my Polaroid 600 SE set)
Viewfinder : Door peeping (from OBI store) calibrated to the Polaroid pack film size
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann
with filter thread for series 9 and 4 1/2 size tiffen filters (homemade).
Post work : (14.12.2009.)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
Scanner software : SilverFast SE
Final work : PS
Thanks for looking !
Comments very much welcome !
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!
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 :
Szentendre,
Hungary,
Central-Europe
Time of shoot :
15.09.13.
Info of Shooting :
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)
Filter : Wratten 85b
Metered expo.: 11 Ev (tree)
(Metered with Minolta Spotmeter)
Calculated expo.: 11 Ev
Shooting : 150 second (III.zone)
(I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 120 sec. (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 : 120°
- Light falloff at the corners [f/stops] : 1,8
- Resolution [lines/diagonal] : 959
Post work : (19.10.2013)
Scanner : Epson Perfection 3200 Photo (50x40 cm/480 dpi)
File Size : 257259 KB (TIF)
Pixel : 10509 X 8355
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 !