View allAll Photos Tagged reciprocity
There will be always loving couples in Paris, kissing each other.
It is good to know... even if it is no more me.
Between Notre Dame and the Seine in Paris, there is a quiet alley. Suddenly, my eyes falled on this couple: they were all in the kiss and the embrace, showing the love and tenderness to each other.
That is also one of my prefered photos.
One of the things I liked most were her sensible shows and how she had to be almost on tips of her feet to arrive to him and how much reciprocity showed in this image from this middle aged couple.
---------------------------------------
I remember, looking at it, as probably I did when I first looked at it, a certain night, long long time ago: I was 40 years old, and my husband from wich I was separating told me "you are too old, no one would want you any more". We decided to separate.
I met a few month later an intelligent and tender American, we went to diner, showing him later "Paris". Behind Notre Dame I discovered I can be regarded as woman and with tenderness again, and that all is not lost as I believed before.
------
After I arrived in London, I told a story called "One night stand in Paris". We kept in touch. A year later, we did meet in New York, and had a wonderful week, this time he showing me his town.
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera
Author : IMRE BECSI
© All rights reserved
Location of shoot :
Csobánka,
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 : (26.04.2011)
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 !
Yashica Mat 124, Yashinon Wide Angle Lens Attachment + 55mm IR720 & CPL filters, Rollei Superpan 200
Metered ISO 6
Kodak XTOL 1+1, 9:30 mins @ 24C (14 mins @ 20C)
Not the best lighting for infrared but a good idea of this film's IR capabilities. Exposures 1 second or longer were doubled for reciprocity failure.
The wide angle attachment gives a vignette at the edges I quite like on B&W film but I don't think it would look quite as good on color film. Funny the OEM auxiliary lens is of such poor quality while the other aftermarket lenses I have produce no vignette and only minor distortion. Oh, Yashica.
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Model : Nóra
Location of shoot :
Budapest,
Hungary,
Europe
Time of shoot :
2017
Info of Shooting :
Film : Fuji Fp-100c (new)
Light : 800W Redhead
Metered expo.: 11 EV (peak)
Calculated expo.: 360 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 :
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 !
What I really like at a pinhole is the perspective :)
So the thing number two... Now I'm proud Holga 120-WPC owner %) I didn't even think about buying this funny camera until recently. But after playing with selfmade pinhole made of soda can I decided to move into something more advanced and use a film not a paper. Developing the paper is really easy, but there is only one shot, the exposure time takes a dog's age and reciprocity failures because of it are something beyond understanding.
The pinhole Holga is a nice piece of plastic with 120 film inside. It can be easily modified if I need to change something. But I still like Zero Image and thinking about ordering one %)
P.S. I forgot to flip the shot after scanning... Now I'm not even sure if it worth it.
They were taking pictures of the steam train I was in. At one moment she and I even took a picture of one another, which was hilarious, but that one unfortunately didn't turn out too good. I like this one, though.
Last year Vitaliy P and This charming broad began to post a series of awesome daytime long exposures. Even cooler, instead of buying an ND filter, they rolled their own using welding glass! You can check out the photos they've taken with it here and here.
So when I wanted to take some daytime long exposures with my Rolleicord the other week, I went to Lowes and picked up a piece of welding glass for $1.98 USD (link).
This was shade 10 welding glass, which is supposed to be the equivalent of about 12 stops, but the photos I took came out underexposed so I'm guessing the one I have is more like 13 - 15 stops. A good excuse to take more photos and find out... I'm glad this one came out underexposed though.
I have a couple of pictures of my Rolleicord / welding glass rig in the comments below.
UPDATE: The underexposure was due to me not accounting for reciprocity failure, not the welding glass shade # being inaccurate.
I've been trying to shoot more 5x7, the idea of which being that I should be able to contact print at home instead of using Foothill College's [very fine] darkroom. But the move to 5x7 is quite a jump - at least for me - up from 4x5. For one, there's a *lot* more glass to look at under the darkcloth. Lots of corners to peer into, harder to step back and see the overall composition - at least in the thin light like here, 6am in a steep canyon. This is 4 mins of FP4 @ f/22, where 4 min = 1 min + reciprocity. The other problem is that contact printing even 5x7 gives a relatively small print and it's easy for things to get 'busy' and clutter up the scene; which this is bordering on. Anyway, lots to learn, lots more film to go through :)
Yashica Mat 124, Yashinon Wide Angle Lens Attachment + 55mm IR720 & CPL filters, Rollei Superpan 200
Metered ISO 6
Kodak XTOL 1+1, 9:30 mins @ 24C (14 mins @ 20C)
Not the best lighting for infrared but a good idea of this film's IR capabilities. Exposures 1 second or longer were doubled for reciprocity failure.
The wide angle attachment gives a vignette at the edges I quite like on B&W film but I don't think it would look quite as good on color film. Funny the OEM auxiliary lens is of such poor quality while the other aftermarket lenses I have produce no vignette and only minor distortion. Oh, Yashica.
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
Taken with a homemade 4x5 camera.
Shoot to expired 4x5 Fuji Color instant film.
AUTHOR : IMRE BECSI
Location of shoot :
Miskolc,
Hungary,
Central-Europe
Time of shoot :
2011.
PICTURE MADE WITH :
( Home-made assembled pinhole camera be composed of
few original photography equipments )
Camera body : IKEA plant pot
Film back : 550 (Pack film holder to 4x5 back)
Film back holder : Cambo Revolving Back Assembly
Grip : IKEA handle
Viewfinder : Mamiya 75 mm
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 :
Filter :
Metered exposure : EV (Minolta Light Meter III with diffusor)
Calculated exposure :
( I use my reciprocity compensation value chart )
Dev. :
POST WORK : (02.01.2013.)
Scanner : Epson Perfection 3200 Photo (400 dpi)
Scanner software : SilverFast SE
Final work : PS
Comments very much welcome !
Thanks for looking !
01-Apr-2024 15:40
Ilford HP5+ rated @ EI 400
Developed in 510 Pyro for 9 mins @ 20C
Pre-Wash 5 mins
Inversions first 30 sec then 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
Bronica SQAi + 80mm
Highlight = 6
Shadow = 2
Midpoint = 3
Filters : None
Final LV=3
Reciprocity : 4 sec goes to 7 sec
8 sec @ f11
Wista Field 4x5 - Nikkor 210 5.6
Measured 4sec @ f11
Bellows extension 35cm + Reciprocity = 29 sec
Xtol 1+1 20 degC in Jobo at minimum speed
Expert 3006
7,5 min
Malmö harbor
Underexposed Fujifilm FP-100c. The reciprocity is really difficult to calculate. The exposure is about four times the measured correct exposure. Still came out too dark.
T:About 2-3 min exposure, F: f/8.
Camera: Mamiya Universal.
Lens: Mamiya Sekor P 75mm f/5.6
Film: Fujifilm FP-100c
Filter: Cokin ND-grad 1 stop
The Dreaded Selfie, Pinhole style!
Camera: the Clipper 6X18 Printed Pinhole camera
Film: Tmax 400, expired in 2005 (!!!) shot at 200 ASA plus reciprocity, run through D-76 1:1. I think I even added half a stop more exposure to compensate for its age, but that wasn't enough - the negs are still a bit thin and the fog base is fairly significant. I have about 7 more rolls of this, and I will shoot it as if its 100 ASA.
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,
Hungary,
Central-Europe
Time of shoot :
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.: 11 Ev (face)
(Metered with Minolta Spotmeter)
Calculated expo.: 10,5 Ev
Shooting : 300 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 : (15-16.11.2013)
Scanner : Epson Perfection 3200 Photo (50x40 cm/480 dpi)
File Size : (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 !
From my Estate series.
A council block near Stockwell.
Nikon F100, Nikkor 50mm AF-S f/1.4 G, Fuji Velvia 100 and for you anoraks this is a long exposure about 25 seconds at f/16 to get the depth because it was dark under there early in the morning and at ISO 100. F100 on a gorillapod on a bollard. Double anorak points for Velvia 100 not suffering from the reciprocity effect (not that I knew that at the time - I was hoping for the best.)
No graphics in the comments kind reader.
Pinhole Photography
(Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera)
Author : © IMRE BECSI
© All rights reserved
Model : Bence (my son)
Location of shoot :
Kisoroszi,
Hungary,
Europe
Time of shoot :
18.09..2011.
Info of Shooting :
Film : Polaroid 690 Color Instant (expired)
Filter : Wratten 85b (Tiffen 4,5 round)
Metered expo.: 15 EV (100 asa)
Calculated expo.: 2 sec.
( I use my reciprocity compensation value chart to Polaroid 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 : 119°24'26"
- Light falloff at the corners [f/stops] : 3,6
- Resolution [lines/diagonal] : 887
Post work : (20.09.2011)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
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 !
Shipwreck at Stronstad, near Fiskebol, Lofoten Islands, Norway 2005
I thought that I had better clarify the situation regarding the possibility of a re-fit from comments made on the close-up shot of the weathered timbers.See here
Taken : 18:15 16-Aug-2020
Ebony 45SU + Nikkor 300 f9
back tilt : 5 deg back
Mid Tone : 10 - Tree, RHS
Highlight : 13 2/3 sky
Shadows : 9 1/3 back of wall
Filters : Orange -1
Final LV : 9
Exposure
1 Sec goes to 2 sec (reciprocity) sec @ f24
Developed : 5:00 @ 20C in Bellini Hydrophen
12-May-2024 22:15
Ilford FP4+ rated @ EI 100
Kodak XTOL 1+1 : 10 mins @ 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 = 6
Shadow = 1
Midpoint = 3
Filters : None
Final LV=3
Reciprocity 22 sec goes to 90 sec
90 sec @ f16
AUTHOR : IMRE BECSI
CAST : BLANKA, she is my little girls (left side) and her cousin, KINGA
Location of shoot : My house (Csobánka, Hungary, Central-Europe)
Time of shoot : 22.01.2007.
PICTURE MADE WITH :
( Home-made assembled pinhole camera be composed of
few original photography equipments )
Camera body : Back spacer no.1 (from my Polaroid 600se camera set, made by Mamiya)
Film back : Polaroid pack back (from my Polaroid 600se camera set)
Grip : I made it myself
Viewfinder : I made it myself
Focus : 48 mm
Pinhole : 0.25 mm (from Lenox Laser)
Diaphragm : 192
Shutter : Copal Polaroid MP-4
Cable releasers : Nikon
Matte Box : Arriflex 3X4 (from my Eclair s16 movie camera set)
Tripod & Head : Velbon
Quick release plates : Manfrotto
Film : Polaroid 690 color film/100 asa (expired 2005/06)
Light : Hazy light sun into window (from right)
Metered exposure : 5 EV (on the shadow face)
Calculated exposure : 7min. 12 sec. (reciprocity compensation value) I calculated -1EV underexposition
Dev. : 120 sec. (18C)
POST WORK :
Scanner : Epson Perfection 3200 Photo (3200 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 !
Fenghuang
Fenghuang (Chinese: 鳳凰; pinyin: fènghuáng) are mythological birds of East Asia that reign over all other birds. The males are called feng and the females huang. In modern times, however, such a distinction of gender is often no longer made and they are blurred into a single feminine entity so that the bird can be paired with the Chinese dragon, which is deemed male.
The fenghuang is also called the "August Rooster" (Chinese: 鶤雞; pinyin: kūnjī) since it sometimes takes the place of the Rooster in the Chinese zodiac[citation needed]. In the West, it is commonly referred to as the Chinese phoenix or simply Phoenix. Fenghuang Ancient City is an ancient community in Hunan Province.
Contents [hide]
1 Appearance
2 Origin
3 Meaning
4 Modern usage
5 See also
6 References
7 External links
Appearance[edit]
A common depiction of fenghuang was of it attacking snakes with its talons and its wings spread. According to the Erya's chapter 17 Shiniao, fenghuang is made up of the beak of a rooster, the face of a swallow, the forehead of a fowl, the neck of a snake, the breast of a goose, the back of a tortoise, the hindquarters of a stag and the tail of a fish.[1] Today, however, it is often described as a composite of many birds including the head of a golden pheasant, the body of a mandarin duck, the tail of a peacock, the legs of a crane, the mouth of a parrot, and the wings of a swallow.
Its body symbolizes the six celestial bodies. The head is the sky, the eyes are the sun, the back is the moon, the wings are the wind, the feet are the earth, and the tail is the planets. Its feathers contain the five fundamental colors: black, white, red, blue and yellow. It is also sometimes depicted as having three legs.[citation needed] It is believed that phoenix only appear in areas or places that are blessed with utmost peace and prosperity or happiness.
Chinese traditions cites it as living atop the Kunlun Mountains in northern China.[citation needed]
Origin[edit]
A vase with a phoenix-headed spout, gray sandstone with celadon coating, Song Dynasty, last half of 10th century.
Images of an ancient bird have appeared in China for over 8000 years, as earliest as the Hongshan neolithic period[citation needed], on jade and pottery motifs, then appearing decorating bronze as well as jade figurines. Some believe they may have been a good-luck totem among eastern tribes of ancient China[citation needed].
During the Han Dynasty (2,200 years ago) two phoenixes, one a male (feng, 鳳) and the other a female (huang, 凰) were often shown together facing one other. Later, during the Yuan Dynasty the two terms were merged to become the generally translated "phoenix", but the "King of Birds" came to symbolize the empress when paired with a dragon as a dragon represented the emperor. From the period of the Jiajing Emperor (1522–66) on, a pair of phoenixes was differentiated by the tail feathers of the two birds, typically together forming a closed circle pattern—the male identified by five serrated tail feathers (five being an odd, or yang number) and the female by what appears to be one, but is in fact, two (two being an even, or yin number) curling or tendrilled tail feathers. It was also in the Ming Dynasty that phoenixes first began to appear with combs, hence comb-less phoenixes are pre-Ming, and phoenixes depicted with combs, Ming or post-Ming.[2]
Also during this period, the fenghuang was used as a symbol representing the direction south. This was portrayed through a male and female facing each other. Their feathers were of the five fundamental colors: black, white, red, green, and yellow. These colors are said to represent the Confucius' five virtues:
Ren is the virtue of benevolence, charity, and humanity;
Yi: Honesty and uprightness; Yì may be broken down into zhong, doing one's best, conscientiousness, loyalty and shù: the virtue of reciprocity, altruism, consideration for others
Zhi: Knowledge
Xin: Faithfulness and integrity;
Li: Correct behavior, propriety, good manners, politeness, ceremony, worship.[3]
The phoenix represented power sent from the heavens to the Empress. If a phoenix was used to decorate a house it symbolized that loyalty and honesty were in the people that lived there. Or alternatively, phoenix only stays when the ruler is without darkness and corruption (政治清明).
Meaning[edit]
A fenghuang on the roof of Longshan Temple in Taipei
Drawing of a Fum Hoam (fenghuang) by a Dutchman, circa 1664.
The fenghuang has very positive connotations. It is a symbol of high virtue and grace. The fenghuang also symbolizes the union of yin and yang. Shan Hai Jing's 1st chapter “Nanshang Jing” records each part of fenghuang's body symbolizes a word, the head represents virtue (德), the wing represents duty (義), the back represents propriety (禮), the abdomen says belief (信) and the chest represents mercy (仁).[4]
In ancient and modern Chinese culture, they can often be found in the decorations for weddings or royalty, along with dragons. This is because the Chinese considered the dragon and phoenix symbolic of blissful relations between husband and wife, another common yin and yang metaphor.
In some traditions it appears in good times but hides during times of trouble, while in other traditions it appeared only to mark the beginning of a new era.[5] In China and Japan it was a symbol of the imperial house, and it represented "fire, the sun, justice, obedience, and fidelity".[5]
Modern usage[edit]
When describing chinoiserie or authentic Asian ceramics and other artworks, English-speaking art historians and antique collectors sometimes refer to it as hoho bird,[6] a name derived from hō-ō, with a second extraneous h added. Hō-ō is simply the Japanese pronunciation of fenghuang. The seemingly vast difference between hō-ō and fenghuang is due to Chinese vowels with ng usually being converted to ō in Go-on reading.
Phoenix talons (鳳爪) is a Chinese dish of chicken talons cooked in a black bean sauce. It can also refer to chicken claws in any Chinese dish cooked with them.
Fèng or Fènghuáng is a common element in given names of Chinese women (likewise, "Dragon" is used for men's names).
"Dragon-and-phoenix infants" (龍鳳胎) is an expression meaning a set of male and female fraternal twins.
Fenghuang is a county in western Hunan, southern China, formerly a sub-prefecture. Its name is written with the same Chinese characters as the mythological bird.
In Korea, it has been used for the royal emblem (especially for queens) and the current presidential emblem.[citation needed] North Jeolla's football club uses it as its symbol.
The Vermilion Bird of the South, one of the Four Symbols of Chinese myth, sometimes confused with the fenghuang, is a distinct entity.[citation needed]
History of the Phoenix
Chinese mythology refers to the Phoenix as the Feng-Huang (pronounced “F-uh-ng Wah-
ng”). This Chinese Phoenix first appeared to Hung Ti, a Chinese emperor,
approximately 2600 BCE and is one of four celestial beings that were contributed with
the creation of the world (the others being the dragon, the unicorn and the tortoise). The
Chinese name for the Phoenix is comprised of a male and female name; Feng is the male
name, and Huang is the female name. The male is yang and the female is yin and because
of this the Feng-Huang represents the union of yin and yang.
The Feng-Huang is comprised of several favored creatures such as the snake's neck, the
crane's forehead, the dragon's stripes, the fish's tail, the tortoise's shell, the swallow's
throat and the fowl's bill. The Feng-Huang is always carrying two scrolls (or a box)
containing sacred texts and the song of the Phoenix includes all five notes of the original
musical scale. The feathers of the Phoenix are the five fundamental colors (red, blue,
yellow, white and black) and it's body is the six celestial bodies: the head represents the
sky, the eyes represents the sun, the back represents the moon, the wings represent the
wind, the feet represent the earth, and the tail represents the planets. Traditionally the
Feng-Huang only appears in times of peace and prosperity and hides with the coming of
trouble.
The Phoenix is associated with resurrection, immortality, triumph over adversity. The
Phoenix is symbolic of rebirth, hope, purity, chastity, marriage, faith, constancy, summer,
eternity, immortality and light. The Chinese Phoenix is considered immortal but does not
exhibit the self-rejuvination cycle as the Western Phoenix does.
Meaning
The Fenghuang has very positive connotations. It is a symbol of high virtue and grace.
The Fenghuang also symbolizes the union of yin and yang. It appears in peaceful and
prosperous times but hides when trouble is near. Shan Hai Jing - chapter 1 Nanshan jing
records each part of Fenghuang's body symbolizes a word, the head represents virtue (德,)
the wing represents duty (義,) the back represents propriety (禮,) the abdomen says belief
(信) and the chest represents mercy (仁.)
In ancient China, they can often be found in the decorations for weddings or royalty,
along with dragons. This is because the Chinese considered the dragon and phoenix
symbolic of blissful relations between husband and wife, another common yin and yang
metaphor.
In some traditions it appears in good times but hides during times of trouble, while in
other traditions it appeared only to mark the beginning of a new era. In China and Japan it
was a symbol of the imperial house, and it represented "fire, the sun, justice, obedience,
and fidelity".
The House Aeon crest does not depict dominance above devotion, but a balance of equals within chosen roles. One crescent shelters while the other radiates; one sets direction while the other amplifies. The knot binds them, not only as Dominant and submissive, but also as partners who transform each other through trust, respect, and shared power.
It is the sigil of reciprocal strength: authority that listens, surrender that empowers, intimacy that thrives only because both halves are necessary. And beyond the pair, the crescents curve outward as a shield, declaring that all who stand under the protection of House Aeon share in its balance, dignity, and strength.
Twin Crescents
The crescents represent two presences in dialogue, completing one another without erasure.
Violet Crescent
The arc of authority, carrying dignity, elegance, and responsibility.
Violet conveys mystery, sovereignty, and care, a reminder that authority is a trust, not a possession.
The curve encircles, not confines — offering structure and protection.
Cyan Crescent
The arc of devotion, alive, vibrant, and openly expressive.
Cyan radiates clarity, communication, and vitality, the resonance of response and affirmation.
Its outward flow signals presence in the world, extending the bond outward rather than hiding it away.
Neither crescent dominates; each leans into the other. Together they show how authority and surrender are not opposites, but reflections — equal halves of a chosen circle.
The Binding Loop (Center Knot)
At the heart is the infinite knot — not a chain of constraint, but a weave of choice.
Endless Path: Each step taken by one returns through the other. The loop is not closed by force, but by consent renewed.
Interwoven Strands: The desire to guide and the willingness to yield interlace, forming a resilient harmony. What is strength for one becomes strength for both.
Unbreakable Cipher: Outsiders may see only complexity, but inside the pattern there is fluency — a private language of reciprocity.
Geometric Symmetry
The crest rests on a vertical axis, so neither side bends the other.
The balance is deliberate: authority only holds when devotion chooses it; devotion only shines when authority respects it.
Harmony is not static — the design suggests ongoing motion, like a dance in perfect time.
Practically speechless. In awe of the way the universe works.
These are shots of my mother, from the 60s.
I literally just finished uploading a photo restoration that I did for true2source of his deceased father. I walked outside to get the mail and found a package - out of the blue - from an old friend of my parent's that contained this. I've never seen these photos. My mother has been gone for 12 years.
Reciprocity. Random acts of kindness. Joy that has brought tears to my eyes.
Black & White Paintmarker lettering. Gift, diffuse, connect, expand Art , but also, Art gifts, diffuses, connects, expands...
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,
Hungary,
Central-Europe
Time of shoot :
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.: 11 Ev (face)
(Metered with Minolta Spotmeter)
Calculated expo.: 10,5 Ev
Shooting : 300 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 : (04.11.2013)
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 !
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"]
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; 46 minutes! No filter.
Reciprocity + Arista Edu 200 D. Aimone.
With homemade Daylab Pinhole Transfert.
Development; D-76, 1+3 à 22°C. 10 minutes 30 secondes.
Lyukkamera, Pinhole Camera, Appareil à sténopé , Cámara escura, Camera obscura, Estenopeica, Foro stenopeico, Hålkamera, Kамера опскура, Lochkamera, Otworek, Pinhole fotoğraf makinesi, Stenopeica, φωτογραφία, Пинхол Фотография
Author : © IMRE BECSI
© All rights reserved
Location of shoot :
Margit-Island,
Budapest,
Hungary,
Central-Europe
Time of shoot :
06.08.13.
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 + Soft Contrast 2
Metered expo.: 11,5 Ev
(Metered with Minolta Spotmeter)
Calculated expo.: 9,75 Ev
Shooting : 510 second (III.zone)
(I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 60 sec. (35° 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 : (07.08.2013)
Scanner : Epson Perfection 3200 Photo (480 dpi)
File Size : 266032 KB (TIF)
Pixel : 10677 X 8504
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 !
Nov. 18, 2017
Graflex Super Graphic 4X5
Fujinon W 150mm.f.5.6 lens
Arista EDU100 - HC-110 (B) - 6 min.
HC-110 dilution B is not recommended for Arista EDU100 film so this was a test to see how rules can be broken since many forums I looked at claimed the development time would be 4 minutes and that would be too short and the recommended dilution is dilution H (1:63) for 10 min. I tried that with flat and thin negs. as a result. I am OK with the outcome using B for 6min. From experience with 4X5 film I find the large negs need more exposure than the meter reads and more development with long exposures and reciprocity.. So after this long and drawn out explanation I will continue to breake the rules and use HC-110 (B) at 6 minutes.:-)
I thought you might like to see the sunken boat shot without the use of the polarizing filter. This is to compare with the earlier shot seen here. I would be interested in your comments as to which you prefer and whether this generates the same feelings as the other image.
I also think it also acts an effective demonstration of the use of a polarizing filter for those of you who haven't used one before to cut down reflections.
Experimenting with some close-up work using a Magnolia pod from our tree. The closest one (this one) is as close as I can get using my 50mm Distagon and 10mm spacer, and it's cropped quite a bit, too.
the film is Arista EDU 400, which I use when I want to test something but don't care about the results because it's a crap film. I rated it at EI 200 based on a pretty iffy metering using an old analog spot meter, and I bracketed over three stops. To give credit where credit is due, the best exposures were the ones recommended by the spot meter and were 8 seconds at f/11 including reciprocity compensation.
Developer was my Eco Portrait Developer which is probably due for an actual name. It was diluted 1+9 and developed 10:00, 20C, with 10 seconds agitation/ minute.
Taken with a homemade pinhole camera.
Shoot to Polaroid Color instant film.
Author : IMRE BECSI
Location of shoot : Pomáz, Hungary, Central-Europe
Time of shoot : 28.05.2007.
PICTURE MADE WITH :
( Home-made assembled pinhole camera be composed of
few original photography equipments )
Camera body : IKEA plant pot
Film back : 405 (Pack film holder to 4x5 back)
Film back holder : Graflock
Viewfinder : Door peephole lens
Focus : 42 mm
Pinhole : 0.275 mm (from Lenox laser)
Diaphragm : 153
Shutter : "pu(s)h" (from Dr. Kai Fuhrmann)
Matte Box : Cokin
Filter : Circ.Polar (Cokin)
Tripod : Velbon
Head : Manfrotto
Quick release plates : Manfrotto
Film : Polaroid Studiocolor (Expired : 06/03)
Dev. : 90 sec. ( normal )
Light : Hazy sunlight (Late afthernoon)
Metered exposure : 13 EV (Minolta Light Meter III with diffusor)
Calculated exposure : 10 EV / 27 sec.
( I use my reciprocity compensation value chart )
POST WORK :
Scanner : Epson Perfection 3200 Photo (600 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 !
Taken with a homemade pinhole camera
Author : IMRE BECSI
Location of shoot : Isle of Szentendre, Tahi, Hungary, Central-Europe
Time of shoot : 28.05.2007.
PICTURE MADE WITH :
( Home-made assembled pinhole camera be composed of
few original photography equipments )
Camera body : IKEA plant pot
Film back : 405 (Pack film holder to 4x5 back)
Film back holder : Graflock
Viewfinder :
Focus : 42 mm
Pinhole : 0.275 mm (from Lenox laser)
Diaphragm : 153
Shutter : "pu(s)h" (from Dr. Kai Fuhrmann)
Matte Box : Cokin
Filter : Cokin Circular Polar
Tripod : Velbon
Head : Manfrotto
Quick release plates : Manfrotto
Film : Polaroid Studiocolor (Expired : 06/03)
Light : Hard sunlight
Metered exposure : 14,5 EV (Minolta Light Meter III with diffusor)
Calculated exposure : 12,25 EV / 5 sec.
( I use my reciprocity compensation value chart )
Dev. : 90 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 !
Taken : 19:30 30-Aug-2017
Ebony 45SU + Rodenstock Sironar 210 S f 5.6
Front Shift : 1cm down
Front tilt : 3 deg forward
Mid Tone : 11 ( 1 stop above seaweed)
Highlight : 12 1/3 - sky, castle
Shadows : 10 seaweed
Filters : none
Reciprocity : none
Final EV : 11
Exposure
1/15 sec @ f22
Mamiya RB67 body
Mamiya 90mm f/3.8 normal lens (mounted on body) for general subjects, full-length portraits, small group portraits, and tabletop close-ups
Mamiya 180mm f/4.5 telephoto lens for head & shoulder portraits (lens on left)
Mamiya 50mm f/4.5 wide-angle for landscape, architecture, large group portraits, and tight interiors (lens on right)
Mamiya 250mm f/4.5 telephoto lens (not shown in photo) for head shots and tight face shots
Mamiya 150mm f/4 telephoto lens (not shown in photo) with three soft focus discs for head & shoulder portraits
Mamiya 140mm f/4.5 telephoto macro lens with 45mm and 82mm extension tube (not shown in photo) for macro and close-ups
Film back loaded with Ilford HP5 Plus (ISO 400) (x3)
Film back loaded with FomaPan (ISO 100) (x2)
Film back loaded with Ilford Delta Pro (ISO 3200) (x2)
Film back (reserved for parts)
Polarizing filter (77mm)
Zomei Metal Cokin-type Filter Holder
Zomei P adapter for 77mm lenses
2-stop graduated neutral density filter (Cokin-type)
3-stop graduated neutral density filter (Cokin-type)
Gossen Luna-Pro light meter
Sunny 16 Guidelines
Cable release
Depth-of-Field chart
Film reciprocity chart
Spirit Level
Small flash light
Black cardboard mask to cover lens to protect from unwanted light
Plastic bags to protect equipment from condensation and unexpected rain
Writing Pen x2
Business cards
14 x 19 x 8 inches (h w d) Case
The figures are not the united bankers, that much is certain.
Unlike Hercules, who finds himself (and his twin) forever trapped doing structural work on facades, these fellows are resting on the building rather than holding it up. Still, lounging comes with a price tag, namely the willingness to be stuck with spikes meant to keep pigeons off the building. But hygiene carries a price, too. No longer will these men have the cooing of pigeons to sooth them during rough times.
The symbol on the exaggerated keystone is the caduceus, but if you thought that means this is a medical-dental building, you'd be an American, where the caduceus has been misused as a symbol of the healing professions.
Wikipedia also says that, as a symbolic object, the caduceus represents Hermes (or the Roman Mercury), and by extension trades, occupations, or undertakings associated with the god. I wonder if that refers to intellectual activities or hard manual labor.
In later Antiquity, the caduceus provided the basis for the astrological symbol representing the planet Mercury.
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.
This association is ancient, and consistent from the Classical period to modern times.
The caduceus is also used as a symbol representing printing, again by extension of the attributes of Mercury (in this case associated with writing and eloquence).
The caduceus is often incorrectly used as a symbol of healthcare organizations and medical practice, particularly in North America, due to confusion with the traditional medical symbol, the Rod of Asclepius, which has only one snake and is never depicted with wings.
en.wikipedia.org/wiki/Caduceus
Back to the guys who lounge, the one on the right is a mason depicted in the act of wielding a tool while building an arch.
I'm baffled when it comes to the muscle guy on the left. I'm going to guess he's a blacksmith because the objects behind him look more like bellows than anything else I can recognize.
I think they're telling a story about industry and about the nineteenth century building boom in Helsinki.
I'd like to see one of the United Bankers try his hand at either of those occupations.
Helsinki, Finland.
Snow and more snow. Pulled out the Nicca 5L early and a roll of probably inadequate speed Arista Ultra. I do like the f2 Nikkor, but in the dimness of light there is alot of reciprocity failure, notwithstanding asking a EI100 speed film for low light, even with a tripod. Good experience seeing the limits of the film. Stay same, inspirational flickeranians.
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"]
There are times I wonder whether I am wholly paranoid to what I think ails me. I had for a time thought myself unworthy of so many things. I may have inadvertantly pushed away so many people who tried to get close to me simply by clouding my personality with false identities or simply by blatantly apprearing disinterested in things that they could offer me.
Either way, it would be a self-fulfilling prophecy. The kind that says 'I hate myself, no-one should love me ...' And by thinking that people can do better than mixing with me, I turn all nasty and assume that its their fault for not accepting me in the first place.
The thing is, I know this already. I always thought that the first step was to accept myself and to love everything about me. I had simply thought that I lacked this ability and projected it outwards towards everyone else.
This is why I empirically look at myself all the time. I look at myself through someone else's eyes. I assume that this imaginary third person would not like me and hence I won't allow my subconcious to ... er ... like me.
Complicated? You bet. Sometimes I struggle to understand it myself. As a result, I never let anyone in my private space and empirically justify it.
But the funny thing is, despite my apparent self-hatred, I have the capability to love and have frequently showed that side of me to others. In the past, I have harboured deep crushes towards others, never once expected anything to come out of it. Only in the private moments in DreamTime I can profess a relationship with someone, with the added house, car, and two kids called Francesca and Theadora. In short, my love life is imaginary and does not exist in any shape or form in RealTime. Why? Because I don't deserve to be loved.
But I have tried. One several occassions actually. I have tried to form relationship with people. Relationship where I shared practically everything. But often its never enough. And when it fails, the self-resentment fuels the already broken heart into something more damaging and I end up more bitter and screwed-up than before.
A couple of days ago I got told that I don't have empathy for anything. This was told to be by someone I have tried my level best to get him to love me. This was someone I cared deeply about and I felt that I gave everything I got. It wasn't enough and I came away with the familial feeling of being incapable of being loved.
So what do I do? A huge part of me teels me to give up. Accept the fact that I have to forget the notions of ever feeling a passionate kiss or be the recipient of a bouquet. I am perhaps just tired of constantly giving bits of myself to everyone and hoping for some sort of reciprocity.
In the end, perhaps, living out my fantasies in DeamTime. Heck, I can even be beautiful in there ...
29-Feb-2024 14:40
Ilford Delta 100 rated @ EI 100
Ebony 45SU
Nikon Nikkor 300 M f9
PyrocatHD 1+1+100 semi-stand - 16 mins (N) @ 20C
Stearman Press SP445 Tank
Pre-Wash 3 mins
Inversions first 60 sec then at 4, 7, 10, 13 mins
Two water Stop Baths - 1 min each
John Finch Alkali Fixer (1+4)
Clearing time 60 seconds. Total fix time 120 seconds
Initial wash to remove fixer : 1 min
Washing : 10 mins with frequent water changes
Ilfotol : 1 ml in 500ml for 2 minutes
Bed Tilt : 35 deg forward
Front Tilt : 3 deg forward
Mid tone LV = 9
Highlight = 11
Shadow = 8
Filters : None
Bellows : 360mm - 1.45 times more light required (1/3 stop)
With the small brightness range, 1 stop added
Final LV=9
Reciprocity : 2 sec goes to 3 sec
3 sec @ f32
Spring 2017 Polaroid Week. Day 4, 2/2.
Polapinhole 4e film No.04.
Polaroid EE66 Pinhole modification.
f/235, Fl; 75mm, 0,32mm
Photo location; Brossard, Québec, Canada.
Fuji FP-100C at 80 ASA.
Reciprocity + WO lens.
Exposure Time; 5 hours 02 minutes!
With Homemade «Daylab Polaroid/Pinhole Transfert».
No filter.
Finalement, j'aime ce bleu original du cliché.
Ebony 45SU
Adox CHS 100 II @ ISO 100
Schneider Super Symmar XL 110 f5.6
31-Oct-2021 14:00
Developed in Ilford ID11 1+1 @ 20C for 8 minutes
Bed tilt 5 degrees forward
Mid tone LV = 7
Highlight = 10
Shadow = 6
No Filters
Final LV=7
Reciprocity - 4 sec goes to 7 sec
Shutter speed 7 sec @ f22
Fomapan 100 in 510-PYRO 1:100 semi-stand for 8 mins @ 20 deg. C.
Agitate first 60 seconds then 10 secs every 2 minutes.
First attempt ever with 8x10, need to use a cable release next time, allow much more time for the reciprocity failure and be more careful loading the dark slide to avoid scratching the film edges.