View allAll Photos Tagged reciprocity
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 :
Budapest,
Kopaszi-gát,
Hungary,
Central-Europe
Time of shoot :
27.04.14.
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 : 81EF+Polar+Soft Contrast 2
Shooting : 180 second (III.zone)
(I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 120 sec. (22° 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 : (14.05.2014)
Scanner : Epson Perfection 3200 Photo (50x40 cm/400 dpi)
File Size : 168744 KB (TIF)
Pixel : 8504 X 6772
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 !
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 Photography
Author : IMRE BECSI
© All rights reserved
Model : András & Helga
Location of shoot :
Mai Manó House,
Budapest,
Hungary,
Europe
Time of shoot :
2014.10.11.
Info of Shooting :
Film : Fuji Fp-100c (new)
Light : Arri ARRILITE 850W Redhead
Metered expo.: 11 EV (peak)
Calculated expo.: 300 second
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 120 sec. (23° C)
PICTURE MADE WITH :
Home-made assembled pinhole camera be composed of
few original photography equipments.
www.flickr.com/photos/jonespointfilm/15342162107/in/photo...
Camera body (the base) : Polaroid 600se camera back spacer no.1
(from my Polaroid 600se camera set, made by Mamiya)
Film back : Instant pack film holder (made by Polaroid)
Shutter : Polaroid MP4 (made by Compal)
Pinhole socket : Homemade (fit to filter holder)
Filter holder (82mm) : Homemade (fit to shutter)
Grip : I made it myself
Viewfinder : Door peeping (from OBI store) calibrated to the 3x4 format instant pack film size (I made it myself)
Cable releasers : Nikon
Matte Box : Old bellows style Arriflex 3X4 (from my Eclair s16 movie camera set)
Rods mount : Homemade
Rods : Homemade
Tripod & Head : Velbon
Quick release plates : Manfrotto
Focus : 55 mm
Pinhole : 0.3 mm (from Lenox laser)
Diaphragm : f 183
Angular field (horizontal) : 83°
Angular field (vertical) : 67°
Light falloff at the corners [f/stops] : 2,5
Resolution [lines/diagonal] : 799
Post work : (2014.10.19)
Scanner : Epson Perfection 3200 Photo (400 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
This picture is my submission for WPPD 2012.
Author : © IMRE BECSI
© All rights reserved
Thanks for looking !
Comments very much welcome !
Location of shoot :
Vác,
Hungary,
Europe
Time of shoot :
12.04.29. (WPPD 2012)
Info of Shooting :
Film : 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 : Fog 1/2 (Tiffen ser.9)
Metered expo.:
(Metered with Minolta Spotmeter)
Calculated expo.: 30 sec.
(I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 90 sec. (30° 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 : (02.05.2012)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
File Size : 60,164 mb - 5073X4048 pixel (the original TIF file)
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected.
Use without permission is illegal!
No reproduction in any way,
no copies,
no editing,
no publishing,
no screenshots,
no posting,
no blogging,
no transmitting downloading
or uploading without my written permission!
Thank you !
19-Mar-2025 14:15
Rollei IR400 rated @ EI 200 (N-1)
Rated at IE=3 (N-1) for Infrared
Ebony 45SU
Rodenstock 150mm f/5.6 Apo-Sironar-S
Stearman Press SP445 Tank
Pre-wash : 4 minutes
Developed : 510 Pyro 1+100 Semistand 16 mins @ 20C
2 x Water Stop Bath
Alkali Fix - Clearing time 1 minute
Total Fix time 2 minutes
Wash for 8 mins in frequent water changes
Wash in Distilled water for 2 minutes
Ilfotol final rinse (1ml in 500ml distilled water)
Movements
Front Rise : 1.5cm up
Bed Tilt : 15 degrees forward
Back Tilt : 15 degrees back (upright)
Mid tone LV = 12
Highlight = 15
Shadow = 10
Filters : Heliopan IR72
Final LV=12
Reciprocity : 4 sec goes to 9
9 sec @ f22
06-Jun-2024 16:40
Ilford FP4+ rated @ EI 100
Kodak XTOL 1+1 : 9 mins 30 sec @ 20C
Pre-Wash 5 mins
Inversions first 30 sec then two every 30 mins
Two water Stop Baths - 1 min each
John Finch Alkali Fixer (1+4)
Clearing time 2 mins. Total fix time 4 mins
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 = 13
Shadow = 10
Midpoint = 11
Filters : Red (-3)
Final LV=8
Reciprocity 2 sec goes to 4 sec
4 sec @ f22
27-Jun-2023 14:30 - Rollei 80S @ EI 50 (ISO 3 for IR72)
Prewash 4 min (necessary for Rollei films)
Developed in Rodinal 1:50 (12ml +600) : 10 mins @ 20C
Kodak Agitation (30 sec + 2 inversions every 30 sec)
Two "stop" washes in water, 1 minute each
Ilford Rapid Fix : 4 mins
10 Minutes washing with several water changes
2 mins Ilford Ilfotol (1.5ml + 600ml)
Bronica SQAi + 80mm
Highlight = 12
Shadow = 8
Midpoint = 10
Filters : None
Final LV=10
Reciprocity : 1 sec goes to 2 sec
2sec @ f22
This one should never have been possible. When I bought my Camera City View 5x7 a couple months ago, it came with a few film holders. Some of them had film in them. This had two sheets crammed into both sides. I can only assume that the previous owner tried to load the holder while it was already loaded. The top sheet of each side was loaded somewhat at an angle, and was likely held in only by static adhesion to the sheet of film behind it. I didn't find these things out until I developed, and the images on the film were cocked about 5% clockwise, and there was still film in the holder after I had unloaded it. I can only assume that this errant loading is what caused the gray blob in the lower left corner as well. Other than this, however, I am pleased with the tonal range and brightness of the image, despite the gray, overcast skies.
Developing was a bit confusing, considering the extra sheets in the holders, but I got it sorted out. I opted for 510 Pyro as a developer. I had recently looked back through some of my unprintable negatives, and saw that some of my PMK pyro negs had a lot of streaking and mottled areas. The major drawback of Pyro is potential uneven development. I use it because the benefits outweigh the occasional ruined negative. I have to admit, though, that I have entered the darkroom with high hopes, only to have them dashed by lighter streaks in the sky, or in areas of continuous tone in just about every negative. Imagine driving 3 hours, and spending hours shooting very expensive 8x10 film, and not getting a single usable negative. I've tried just about every trick in the book recommended by Gordon Hutchins, and others on Largeformatphotography.info. I still get the occasional ruined negative. But, when it works, Pyro makes my negatives sing, especially when contact printing on graded papers. Jay DeFehr formulated 510 Pyro to address this problem. I tried it once last year. I haven't had the time to do the film testing necessary to switch to it, so I went back to PMK. Maybe it's time to do the testing. My Grist Mill negatives are exquisite. One of the 8x10's may be my single best negative ever.
This negative is almost as good, despite the trouble I had with the film holder. The exposure was 300 seconds at f22. Arista.edu 100 has a steep reciprocity curve, and I used it to my advantage. I did a quick calculation, and I figured that the the added exposure would bump my contrast up by at least N+1.5, possibly to N+2. I rated the film as 50 ASA, and added a yellow filter. I did not correct for the reciprocity in the darkroom by reducing development. I scanned the negative, and did no correction in Photoshop other than cropping to straighten the image. The interesting thing is that very few of the leaves had yet turned golden, but I got a nice, fall look to the image.
Camera: Camera City View 5x7.
Lens: 180mm Caltar II.
Film: Arista.edu 100 developed in 510 Pyro.
Sharper version uploaded 9/9/17
My Blog: quaygang.wordpress.com
On Facebook: www.facebook.com/gary.quay.7
Foolscape Imagery on Facebook: www.facebook.com/foolscapeImagery?pnr
Join my Flickr Group www.flickr.com/groups/3107011@N22/ dedicated to photography in and around the town of Mosier, Oregon
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; 2 hours 20 minutes. No filter.
Reciprocity + Arista Edu 200 D. Aimone.
With homemade Daylab Pinhole Transfert.
Development; D-76 1+3 at 21°C. 11 minutes.
Gearing up for WorldWide Pinhole Photography Day, which is tomorrow (4/24/2016). Since it is also coincides with the last day of RoidWeek 2016, I decided to try making a pinhole Polaroid.
I am amazed at how well this turned out for my first Polaroid pinhole picture! I made the camera out of a Polaroid Automatic Land Camera Model 320 which was no longer working.
I measured the distance from the pinhole to the film plane at 120mm. I then consulted the Mr Pinhole website and found that the optimal pinhole size for 120mm was 0.462mm. I had a 0.45mm drill bit and figured that was close enough. I drilled the hole thru a flattened out piece of aluminum from a beer car (what else :). I then sanded down the aluminum over the hole and re-ran the drill bit thru again. I did this two or three times to get as perfect a circle as I could without any ragged edges, etc.
I then took a meter reading for this scene - f/16 1/50 second. Then I converted that to f/260 (the aperture size of the pinhole) and came up with an exposure of 4 seconds. I looked to see if Fuji had any reciprocity failure information for their FP-100C pack film, and they did. At 4 seconds, they said to add one stop. So, the ultimate exposure was for 8 seconds.
When I peeled the film apart, I could not believe how nice the picture looked. I could have probably exposed it for another couple of seconds, but it almost looks as good as a normal Polaroid lens to me! I was definitely happy with the results.
I will be taking it out tomorrow on Pinhole Day - I hope I get another picture as nice as this one :-)
Taken RoidWeek 2016 Day 6 (4/23/2016)
Oceana County, Michigan
Polaroid 320 Land Camera pinhole
f/260
8 second exposure
Fuji FP-100C
Scanned with Epson V500
I like to shoot in this building. It's a challange. Not much light, lots of contrast, need for a lot of DOF. It was really a challange with the 4x5. I had to get the lines back parallel after pointing the camera down.
A little back tilt, a little swing and it all looked pretty good in the glass. At least, I'm pleased.
What did large format photographers do before apps? I used my DOF calculator to figure out where to focus. Then a reciprocity failure calculator (which even gives you a timer to use for the exposure!) because of the very long exposure. And no more making shooting notes in a little notebook...
Wista 45N w/Schneider-Kreuznach 150mm f/5.6
Delta 100 @ ISO 100
34.5 sec @ f/32.5
Rodinal 1:25, 9 mins, water stop, Ilford Rapid Fix, dry and scan
This album's name is dedicated to my favourite game of all time Elder Scrolls Online and race of all time, The Argonians (reptile humanoids). There's a story for you to read below about some of them towards the bottom.
What does Ku Vastei mean? Read below
By Lights-the-Way, Mystic of the Mages Guild
It is hard to describe the culture of my people. Often my tongue stumbles as I try to explain, but it is my hope that ink and quill will give me time enough to gather my thoughts. And perhaps, though such writing, I will finally connect the parts of me that now feel so divided; my homeland of Murkmire and my new life within the Mages Guild.
These journals are to become my ku-vastei. And, as I write that, I can think of no better topic to begin with.
Ku-vastei roughly translates to "the catalyst of needed change," though such a direct translation in no way does justice to the original meaning. Another translation could be "that which creates the needed pathway for change to occur" or even "the spark which ignites the flame which must come into being."
Perhaps a more direct analysis should be first presented. Ku-vastei is a noun, a thing or person. Vastei directly translates to change, an important part of my culture. Ku is harder to speak of. It is that which leads to change, though not that which creates change. An important role, as stagnation is a fate worse than death.
Take a boulder which sits atop a cliff, teetering in place. It must fall eventually. The ku-vastei does not push the boulder off the cliff; rather, it picks the pebble which holds the rock in place. And so it falls, not by a push, but by a pathway cleared.
Ku-vastei is revered, just as change itself is revered, for to look back at what was means to stumble as you move forward. Sometimes, a little push in the right direction is all someone needs to remember such wisdom. Other times, they may need to be shoved.
-------------------------------------------------------------------------------------------
Naka Desh Tribe
by Emmanubeth Hurrent, the Wayfarers' Society of Wayrest
My guide, Names-the-Orchids, took me deep into the swamp to meet a little-known tribe called the Naka-Desh, or Riverbacks. Few Imperials venture far enough into Black Marsh to meet the People of the River, and the Naka-Desh see little benefit in traveling beyond the boundaries of their Hist's roots. For that reason, most perceive them as a secretive and mysterious tribe. This misconception is made all the more amusing by the Riverbacks' boundless hospitality.
We approached the Riverbacks' territory via ferry boats. Our expedition encountered tribal sentries almost immediately. They floated to the surface of the water like turtles or crocodiles. I was struck by the wideness of their faces, the largeness of their eyes, and the broad webs adorning their forearms and throats. The Hist clearly provided the "right skin" for the locale. Riverback territory is more water than land—a drowned marsh navigable by small rafts, canoes, and little else.
Names-the-Orchids greeted them with a series of low croaks. They cheerfully repeated the sound before lifting themselves onto our boat. Neither of the sentries seemed familiar with Cyrodilic, so our guide had to interpret. She told us that the Riverbacks demanded tribute in the form of a riddle before they would grant passage. I detected no threat behind the demand. It seemed like more of an invitation than an order. I've no talent for wordplay, but I shared a children's riddle about doorknobs that practically every Imperial knows. As soon as Names-the-Orchids translated it, the two sentries clapped their hands. One of them pressed his forehead to mine, croaked twice, then both vanished into the water as suddenly as they appeared.
We spent four days among the Riverbacks—all but one of them on rafts fishing. Riverback fishing resembles traditional fishing in name only. Rather than hook and line, the Naka-Desh use large river fish called osheeja gars. Each osheeja is secured by a strange harness and bridle. When the Argonians find an abundant fishing spot, they release the predatory gars and let them snatch up the fish. As soon as an osheeja bites a fish, the Argonians pull their pets to the side of the boat and claim the fish for themselves. I asked Names-the-Orchids how it works. Apparently, the bridle prevents the gar from swallowing. She assured me that the osheejas are well-cared for, though. Until they grow too old, of course, whereupon they too are eaten.
Our time with the Riverbacks was not without frustration. Of all the Argonians I have met, the Naka-Desh were by far the least curious. Other than riddles, they had no appetite for anything we brought. They refused our food, took no particular interest in our tales, and did not even ask for our names. This disinterest combined with their boundless hospitality made most of the expedition uncomfortable. Names-the-Orchids chided us for thinking kindness demands reciprocity. As always, even these small disappointments teach us valuable lessons.
["the tribe is not currently in the game but in the world of the game"]
10-May-2022 17:00
Ilford Delta 100 ISO100 rated @ EI 100
Ebony 45SU
Rodenstock APO Sironar S 135mm F/5.6
Developed in ID11 1:1 for 11 mins @ 20C
Bed Tilt : 20 degrees forward
Back Tilt : 22 degrees back (effectively 2 deg back)
Front Tilt : 18 degrees back (effectively 2 deg forward)
Mid tone LV = 10
Highlights LV = 12
Shadows LV = 8
Filters - Yellow 12 (-1)
LV=9
1 sec @ 22 - Reciprocity to account for
Shutter speed 2s @ f24
Eno River State Park, NC
August, 2011
--
Another shot from the archives.
One finds many shots of this cascade in my photostream, but most are from the other side of the river. The water level back in August made this view more appealing to me than it normally is.
Please forgive the recent lack of reciprocity in posting. I'll be working a lot of hours through the end of February, but maybe just maybe, things will lighten up a bit after that.
--
Copyright Nathan Montgomery, 2011. Please do not reproduce any of my photographs without my 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
Modell : Kinga, Bence, Luca, Réka, Blanka
Location of shoot :
Csobánka,
Hungary,
Europe
Time of shoot :
21.06.13.
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)
Metered expo.: 10,5 Ev (face)
(Metered with Minolta Spotmeter)
Calculated expo.: 9,75 Ev
Shooting : 300 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 : (22-23.06.2013)
Scanner : Epson Perfection 3200 Photo (480 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 !
Bending Light #28
Refraction patterns of light through glass.
I've just had a film back so I'm afraid you can't escape from more of these.
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Thank you for help : Péter Reisz
Location of shoot :
Dömörkapu,
Szentendre,
Hungary,
Europe
Time of shoot :
2016.06.07.
Info of Shooting :
Film : Fuji Fp-100c (new)
Filter : Wratten 85 C
Calculated expo.: 720 second (12 min.)
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 180 sec. (18° C)
Film : Fuji FP-100C Color Instant
Format: 3.25 x 4.25 in. (8.5 x 10.8 cm) "Regular Size" pack film
Image Area: 2.88 x 3.75 in. (7.3 x 9.5 cm)
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 33 mm
- pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 132
Film back from my Polaroid 600se camera.
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).
Picture from the camera :
www.flickr.com/photos/jonespointfilm/2837193476/in/set-72...
The parameters of camera :
(when I use 95x73 mm format instant film)
- Angle of view : 110°
- Light falloff at the corners [f/stops] : 1,8
- Resolution [lines/diagonal] : 959
Post work : (2016.06.10.)
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 !
Notes for process and tghoughts on future exposures....Right to left....5 sec, 8 sec, 11 sec, 14sec, 17sec, 20sec, 23 sec, 26 sec, and lastly 30 seconds, using Number 1 filter...7 seconds was used for my highlight value despite that 8 would also have been a nice place to start, I decided to split tone this print with the Number 1 filter at 7 seconds and then an additional 7 seconds using the intermediate filter to yield mid range tones for a total of 14 seconds (as seen in the test print) while maintaining the high values of 7 seconds using reciprocity concept with film for the paper emulsion because I printed using the highest c ontrast first, thus holding exposure of the highlight values last for the 7 second exposure (albe-it they also got exposed during the mid range series) (the reason Split Grade Printing even works in the first place is caused by a gradual working up of the tonal gradation) It might likely be better to only use high and low contrast filtration due to the 2 levels of light sensitivity in MG paper from Ilford...
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Thank you for help : Péter Reisz
Location of shoot :
Háros,
Budapest
Hungary,
Europe
Time of shoot :
2016.05.27.
Info of Shooting :
Film : Fuji Fp-100c (new)
Filter : Polar + Orange + 81EF
Calculated expo.: 600 second
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 120 sec. (25° C)
Film : Fuji FP-100C Color Instant
Format: 3.25 x 4.25 in. (8.5 x 10.8 cm) "Regular Size" pack film
Image Area: 2.88 x 3.75 in. (7.3 x 9.5 cm)
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 33 mm
- pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 132
Film back from my Polaroid 600se camera.
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).
Picture from the camera :
www.flickr.com/photos/jonespointfilm/2837193476/in/set-72...
The parameters of camera :
(when I use 95x73 mm format instant film)
- Angle of view : 110°
- Light falloff at the corners [f/stops] : 1,8
- Resolution [lines/diagonal] : 959
Post work : (2016.05.28-29.)
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 !
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
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"]
A therapist I saw many years ago once said to me, "I'd like to see you care for yourself like you do your dog."
I never forgot that.
As I care for me, I care for her.
As I care for her, I care for me.
She receives and in every way, she gives back.
Together, we are reciprocity at its best.
29-Jul-2022 16:50 - Rollei Retro 80S @ EI 50
Developed in Rodinal 1+50 (N-1/3) 10 mins @ 20C
Bronica SQAi + 50mm
Highlight = 11
Shadow = 3
Midpoint = 5
No Filters
Final EV = 5
15 sec goes to 60 seconds (reciprocity) @ f22
Negative
Fatif view camera. Rodenstock Sironar 1:6,8/360mm (6 836 747). Ott: Compur 3.
Fomapan 200, 20X25. EI 100 ISO
EV8 f:64, 30 sec, Bellow X1,8; reciprocity Δ:3.97 = compensated exposure 1’ 57”
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.
Cameo glass consists of two or more layers of glass of different colours. The outer surface layer is cut or etched away revealing the next layer and forming the design. Depending on the amount removed and the remaining thickness of the glass layers, delicate shades of colour and shadowing effects can be achieved.
This turtle bowl is more complex than usual since it is made using the 'incalmo' technique, fusing two or more parts. Using this method Helen has made three same sized bowls, each with different coloured cameo layers on a clear inner surface of glass. Then each of the bowls has been cut and sliced and three of the slices fused together in the furnace to form the final three layer bowl. After annealing and cooling the cameo surface is then cut and worked using a range of cutting wheels and diamond points. The depth of cut is delicately controlled to give different surface effects and colour shades as the layer below is gradually revealed.
Cameo Turtle Bowl. British Artist: Helen Millard. Technique: Double Incalmo Cameo, wheel cut. Made: 2000.
Height: 12.5cm Diameter: 16cm.
Helen Millard is one of the UK's leading cameo artists. She blows her own cameo blanks and uses the traditional (and time consuming) method of copper wheel cutting to produce her work. More examples of her artistry can be seen here. www.helenmillard.co.uk
14-Jul-2023 15:46 - Ilford Ortho+ 80 @ EI 50
Developed Semi-Stand in PyrocatHD 2+2+500 : 60 mins @ 20C
Inversions for first minute
inversions for 10 sec at 10,20,30,40 mins
Two "stop" washes in water, 1 minute each
John Finch Alkali Fixer : 4 mins
10 Minutes washing with several water changes
2 mins Ilford Ilfotol (1ml + 500ml)
Bronica SQAi + 80mm
Highlight = 8
Shadow = 1
Midpoint = 3.5
Filters : None
Final LV=3.5
Reciprocity : 90 sec goes to 278 sec
278 sec @ f16
This hallway within Eastern State Penitentiary was one of the filming locations for several key scenes in Terry Gilliam's 1995 movie "12 Monkeys" staring Brad Pitt and Bruce Willis. Areas of the prison were used for several locations in the movie that were set in a mental institution. In particular, this hallway is where the characters played by Brad Pitt and Bruce Willis first meet in the institution and where the patients are sitting at tables playing board games and watching cartoons on television. The prison, located in Philadelphia Pennsylvania, was built in 1829 and closed in 1971.
You can get a feel for what the prison is like for visitors today by watching this video walkthrough of some of the prison cell blocks filmed by Chris Butler. www.youtube.com/watch?v=JXAS9oiQ6BM ESP is an amazing opportunity for photographers who love to shoot authentic, old locations with a ton of history and items with lots of texture and elements of rust and decay.
Technical details:
Sakai Toyo 4 1/2 x 6 1/2" (half-plate) large format metal field camera with 4x5" film back.
150mm Caltar-S II F 5.6 lens in Copal BT shutter.
Ilford Delta 100 film shot at ISO 100.
Exposure was 1 minute 30 seconds at F32 including reciprocity compensations.
Developed in Ilford DD-X 1+4 dilution for 10 minutes @ 20 degrees Celsius using a Beseler 8x10 print drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
4x5" negative scanned with Epson V600.
05-Jul-2024 14:40
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 = 15
Shadow = 10
Midpoint = 12
Filters : IR72
Final LV=12
Reciprocity : 4 sec goes to 9 sec
8 sec @ f22
Fifty-six percent of voters approved Proposition 215 on November 5, 1996. The law took effect the following day. It removes state-level criminal penalties on the use, possession and cultivation of marijuana by patients who possess a "written or oral recommendation" from their physician that he or she "would benefit from medical marijuana." Patients diagnosed with any debilitating illness where the medical use of marijuana has been "deemed appropriate and has been recommended by a physician" are afforded legal protection under this act. Conditions typically covered by the law include but are not limited to: arthritis; cachexia; cancer; chronic pain; HIV or AIDS; epilepsy; migraine; and multiple sclerosis. No set limits regarding the amount of marijuana patients may possess and/or cultivate were provided by this act, though the California Legislature adopted guidelines in 2003.
The medical use provisions in California do not include reciprocity provisions protecting visitors from other medical use states
Gossip is idle talk or rumor, especially about personal or private affairs of others. In Britain dialect, the word refers to a godparent.
Gossip has been researched in terms of its evolutionary psychology origins.] This has found gossip to be an important means by which people can monitor cooperative reputations and so maintain widespread indirect reciprocity. Indirect reciprocity is defined here as "I help you and somebody else helps me." Gossip has also been identified by Robin Dunbar, an evolutionary biologist, as aiding social bonding in large groups. With the advent of the internet gossip is now widespread on an instant basis, from one place in the world to another what used to take a long time to filter through is now instant.
The term is sometimes used to specifically refer to the spreading of dirt and misinformation, as (for example) through excited discussion of scandals. Some newspapers carry "gossip columns" which detail the social and personal lives of celebrities or of élite members of certain communities.
Wikipedia
One minute exposure with no reciprocity compensation
- Mamiya RB67 Pro SD with K/L 90mm f/3.5
- Fujichrome 64T Slide Film (Expired 1990)
- Home developed with Unicolor Rapid E-6
- Scanned with Epson V600 and Vuescan
25-Mar-2025 16:15
Kodak TMAX400 rated @ EI 400
Zero Image 5x4 Pinhole
50mm focal length (2 sections)
0.28mm pinhole
Stearman Press SP445 Tank
Pre-wash : None
Developed : FX55 50A + 10B + 440 Water : 15 mins @ 21C
2 x Water Stop Bath
Alkali Fix. Clearing time 2½ minutes
Total Fix time doubled to 5 minutes
Wash for 10 mins in frequent water changes
Ilfotol + distilled water rinse (1ml in about 500ml) : 2 mins
Filters : None
Reciprocity : Add one stop
1 second @ f176
Testing a whole bunch of changes to the 8x10 rig: New 18x24 holder, changes to the springs, guessed adjustment for reciprocity on the UM-MA. Still, getting better, IMO. Seneca Improved View 8x10, Sironar-N 210/5.6, 18x24cm Fujifilm UM-MA. 2 second exposure, bellows compensated to 30 seconds (20" of draw), reciprocity compensated to 60 seconds. Shot at f/11. Dev'd in HC-110 dil H, 6:30 at 20C.
Bending Light # 89
I've been working with the idea of creating 'Refractographs' directly on to film that look like they have been painted with a brush when in fact there's no movement involved at all. This refraction pattern (through a piece of textured glass) is how it appears on the developed 35mm transparency film.
Bending Light #18
Another refraction pattern of light through glass.
This one reminded me of a multiple shot collage of a figure running and jumping, but then you may have other ideas...
This pinhole image was taken last weekend - the one where dawn didn't really happen in the cold and wet, but only just got the film back. Considering I was just guessing the exposure here I don't think it came out too bad. Certainly lst weekend I was using an exposure meter to work these out but reciprocity failure rears it's ugly head.
Now apparently this is a Hawthorn tree, not a Juniper as I suspected from looking elsewhere. Junipers, apparently, are evergreen.
Taken with a Zero Image 2000 and Fuji Pro 400, converted to mono in LR2.
For the past 13 years, there has been a fantastic, Nature photography focused contest down in Hocking Hills, OH called Shoot the Hills.
www.shootthehills.com/aws/FHHSP/pt/sp/shootthehills
Heading down there on behalf of LumoPro to do a presentation on macro photography, I found some free time to shoot some large format. Even though it was early morning, there was still quite a bit of contrast to the scene, and I think the the combination of FP4+ and the new spot meter handled it very well!
Bottom line, being less than an hour drive from Columbus, I need to shoot down here much, much more!
Tachihara 8x10 Double Extension
Fujinon W 250mm f/6.7
2min. @ f/16 ish + front swing, front fall
Ilford FP4+ @ ASA 80
10 min. in Pyrocat HD 1:1.5:100
Watching the cars go by.
My first long night exposure with the Holga 120N. My first reaction to it was ‘wow there is a lot of things going on here’, and it is admittedly a little busier than I had intended it to be. I do not own a light meter, and relied loosely on a light meter application I downloaded on the iPhone to meter the shot. I say loosely because honestly I don’t trust it much at all. The iPhone meter read at 3 seconds, adding time for reciprocity failure plus a little more to be on the safe side I decided to do a 10 second exposure.
I have shot from this location once before and wanted to replicate the shot of people waiting to cross the street as cars drove by. After setting up the camera on a tripod and composing the shot, I waited several minutes for a passer-by to come along and wait to cross the street. I struck gold when this elderly man in a suit stopped at the crosswalk, couldn’t have asked for a better subject to come along.
Where I think this photo starts to go array is in the light trails of the cars, and the flare that cuts across the top half of the picture. They seem overly busy and detract from the rest of the picture. Perhaps this shot would have been best with color film, as the light trails would have been both red and white, adding a little more depth to them. All things aside for my first long exposure night shot with the Holga its not half bad, and look forward to trying it again in the future.
Pessimism claims an impressive following — from Rousseau, Schopenhauer, and Nietzsche, to Freud, Camus, and Foucault. Yet “pessimist” remains a term of abuse — an accusation of a bad attitude — or the diagnosis of an unhappy psychological state. Pessimism is thought of as an exclusively negative stance that inevitably leads to resignation or despair. Even when pessimism looks like utter truth, we are told that it makes the worst of a bad situation. Bad for the individual, worse for the species — who would actually counsel pessimism?
Joshua Foa Dienstag does. In Pessimism, he challenges the received wisdom about pessimism, arguing that there is an unrecognized yet coherent and vibrant pessimistic philosophical tradition. More than that, he argues that pessimistic thought may provide a critically needed alternative to the increasingly untenable progressivist ideas that have dominated thinking about politics throughout the modern period. Laying out powerful grounds for pessimism’s claim that progress is not an enduring feature of human history, Dienstag argues that political theory must begin from this predicament. He persuasively shows that pessimism has been — and can again be — an energizing and even liberating philosophy, an ethic of radical possibility and not just a criticism of faith. The goal — of both the pessimistic spirit and of this fascinating account of pessimism — is not to depress us, but to edify us about our condition and to fortify us for life in a disordered and disenchanted universe.
Awards and Recognition
Winner of the 2006 Award for Best Professional/Scholarly Book in Philosophy, Association of American Publishers.
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Joshua Foa Dienstag’s work focuses on the intersection of politics with time, history, memory and narrative. Professor Dienstag teaches classes on the political theory of the Founders and other topics at the intersection of law, politics and philosophy.
Originally from New York City, he received his doctorate from Princeton University and taught at the University of Virginia for 13 years before moving to UCLA. His research focuses largely on European political theory between the 17th and 19th centuries but he has also written about the American Founding, film and Wittgenstein. His articles have appeared in American Political Science Review, Polity, Political Theory, Journal of Politics, History & Memory and New Literary History among other places. He has held fellowships from the American Council of Learned Societies and the Center for Advanced Study in the Behavioral Sciences at Stanford University. His second book Pessimism: Philosophy, Ethic, Spirit (Princeton U.P., 2006) won the Award for Excellence in Philosophy from the American Association of Publishers. His most recent book Cinema Pessimism: A Political Theory of Representation and Reciprocity (Oxford U.P.) appears in the fall of 2019.
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An appropriate book to read in this 'pessimistic' and confused times. It gives hope to overcome the passage of time.
'All the tragedies which we can imagine return in the end to the one and only tragedy: the passage of time. (Simone Weil)'
'The burdens of temporality' (p. 132)
'The palliative effect of illusion' (p. 234).
'Optimism makes us perpetual enemies of those future moments that do not meet our expectations, which means all future moments'. (...) ' Expectations are an endless deferral of freedom.' (p. 247)
'All that is necessary is an illusion to carry us through seventy or so years of life' (p. 252).
I particularly like the part of the 'first thought' and the value of thinking (p. 260/262).
Perhaps the first thought was that 'things could be otherwise'. An evolutionary journey along animal 'suffering' to a state of 'a brute desire to be anywhere but at that one particular place where it is at that moment' leads (on animal level), in Dienstag's view, to a death-wish. 'The discovery (or the creation) of time is thus linked to the wish to depart from existence, from life'. (...) And so we say that humanity only began to live when it wanted to die'.
Unfortunately 'a pessimist believes that time is linear' (p. 264). Maybe that is the reason that pessimistic thoughts - just like optimistic thoughts - are bound to reach short of their goal: their frame of mind is simply too simple. 'Time' in a dialectic (two-fold, oppositional) setting is for losers, but 'time' in a cyclic (four-fold, quadralectic) setting is for winners - although this statement bites, like the ouroboros - in its own tail, like it is bound to do. Hmmm (MK).
Photogram #46 Another refraction pattern of light passing through a glass object. Taken direct in the camera onto 35mm slide film. Colour has been added by using optical filters in the beam of light.
Bending Light #27.
Another light refraction pattern through glass.
I saw this as nebulae in deep space, but you might see something else.
View large for detail
My favorite place to spend warm July evenings. A beer garden at Letná, serving cool Plzeň beer with free views of the Prague Old Town.
Shot on Foma 100 film (a film known for its severe reciprocity failure - not necessarily a bad thing in long exposure photography) with Bronica ETRSi, Zenzanon 75 PE. 5 minutes exposure at f 11 + Hoya ND64 filter. Developed in APH 09 (= Rodinal) for 8:45 minutes @ 20°C, presoaked for 2 minutes.