View allAll Photos Tagged reciprocity
25-Jan-2024 14:55
Rollei RPX25 rated @ EI 25
Developed in HC110 Dilution H (1+39) for 7 mins @ 20C
Pre-Wash : 3 mins
Inversions for first 30 sec
Two Inversions every 30 sec
Two water Stop Baths of 1 min
Ilford Rapid Fixer (1+4) : cleared in less than 1 minute
Fix time total : 2 Minutes
Initial Rinse to remove fixer : 1 minute
Inversion washes for 10 minutes, multiple water changes
Ilford Surfactant : 2 mins
Bronica SQAi + 80mm
Highlight = 11
Shadow = 9
Midpoint = 10
Filters : None
Reciprocity : 2 goes to 3 sec
Final LV=10
4 sec @ f22
I've been having a devil of a time getting good exposures with Washi S in my Reality So Subtle 6x6. I've had great luck with Washi S in 35mm format. Maybe it just needs more light (reciprocity factor?) than it gets with the pinhole. I dunno, the negatives were very thin if anything.
Washi S shot with Reality So Subtle 6x6f developed in Cinestill Df96.
I believe these are apricots in the small orchard at the San Diego Botanic Garden. Any correction will be appreciated.
en.wikipedia.org/wiki/Prunus_armeniaca
Prunus armeniaca is the most commonly cultivated apricot species. The native range is somewhat uncertain due to its extensive prehistoric cultivation. Genetic studies indicate Central Asia is the center of origin.[4][5] It is extensively cultivated in many countries and has escaped into the wild in many places.[6][7][8]
Prunus armeniaca is a small tree, 8–12 m (26–39 ft) tall, with a trunk up to 40 cm (16 in) in diameter and a dense, spreading canopy. The leaves are ovate, 5–9 cm (2.0–3.5 in) long and 4–8 cm (1.6–3.1 in) wide, with a rounded base, a pointed tip and a finely serrated margin. The flowers are 2–4.5 cm (0.8–1.8 in) in diameter, with five white to pinkish petals; they are produced singly or in pairs in early spring before the leaves. The fruit is a drupe similar to a small peach, 1.5–2.5 cm (0.6–1.0 in) diameter (larger in some modern cultivars), from yellow to orange, often tinged red on the side most exposed to the sun; its surface can be smooth (botanically described as: glabrous) or velvety with very short hairs (botanically: pubescent). The flesh (mesocarp) is succulent and its taste can range from sweet to tart. The single seed is enclosed in a hard, stony shell, often called a "stone", with a grainy, smooth texture except for three ridges running down one side.[10][11]
The San Diego Botanic Garden was a private garden before it was contributed to San Diego County.
en.wikipedia.org/wiki/San_Diego_Botanic_Garden
Until 1957, the gardens were the private estate of Ruth Baird Larabee, at which time she donated her house and grounds to the County of San Diego. The Quail Botanical Gardens Foundation was established in 1961. In March 1970, it opened as Quail Botanic Gardens. In 2009, the name was changed to San Diego Botanic Garden.
I took advantage of the reciprocity between Desert Botanical Garden and San Diego Botanic Garden for member admission. It is a relatively young and somewhat small botanic garden. It does have a lot of interesting specimina, especially for me coming from the desert.
300 Quail Gardens Drive (at Ecke Ranch Road), Encinitas, CA 92024
Welcome to our 37-acre urban oasis featuring 4 miles of meandering trails and ocean views, 5,000+ plant species and varieties, and 29 uniquely themed gardens that represent 15 different regions and many habitats of the world. Our natural wonderland is designed for children and adults, alike; explore your interests, learn about the plant world that surrounds us, and let nature fill you with a little wonder.
SDBG2024
When I went back to the Kodak #9 building, I took my Monorail because I had this shot in mind.
Sure enough I was able to gain entrance into the building, and got my shot lined up.
Here is the image I was able to take..
Calumet CC400
Kodak Ektar 127mm ƒ/4.7 @ ƒ/8 (Might have been ƒ/11 I can't remember)
Exposure Time = 4s (2s as per light meter +2s reciprocity compensation)
Slight tilt for straight lines
Ilford FP4+ 125 @EI125
Rodinal 1+50 Roll Developed
Scanned on Epson Perfection 4990
This is my favorite spot to take pictures on the Eastside waterfront. I especially like it on the wee hours of the morning when the water has flown undisturbed for hours, and lays below Portland like a mirror. This image was taken at around 4:00 AM. Tired yet?
I decided not to color correct this. Reciprocity characteristics of color film favor reds, and I like it for this image.
Uploaded sharper version 7/26/20.
Copyright 2007 Gary L. Quay.
Camera: Calumet 4x5, 150mm Fujinon,
Film: Fuji NPS 160
My Web Site and Blog: Gary L. Quay Photography
My portfolio on Shutterstock
My portfolio on iStock
My portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
This was taken on a dull Autumn day at f22 on Pan F. I applied a reciprocity factor, which seems to have worked; the exposure was around 20s. The softness in several areas of the shot are probably due to the fact that it was chucking it down.
Please see to the 4x5 Fuji version :
www.flickr.com/photos/jonespointfilm/2531414324/in/set-72...
Taken with a homemade 4x5 camera.
Shoot to expired 3x4 Polaroid Color instant film.
Color and soft focus manipulation with Tiffen lens filters.
Final work with PS.
AUTHOR : IMRE BECSI
Location of shoot : Csobánka, Hungary, Central-Europe
Time of shoot : 28.05.2008.
PICTURE MADE WITH :
( Home-made assembled pinhole camera be composed of
few original photography equipments )
Camera body : IKEA plant pot
Film back :3x4 Instant 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
Picture from the camera :
www.flickr.com/photos/jonespointfilm/2697851395/in/set-72...
and
www.flickr.com/photos/jonespointfilm/2836345529/in/set-72...
Film : Polaroid 125i (Expired !)
Filter : Enhancing, Ultra-Contrast 1/2, W85bND6
Light : Hard sun
Metered exposure : 12 EV (Minolta Light Meter III with diffusor)
Calculated exposure : 9 EV = 1 min and 55 sec.
( I use my reciprocity compensation value chart )
Dev. : normal
POST WORK : (30.01.2010.)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
Scanner software : SilverFast SE
Final work : PS
Comments very much welcome !
Thanks for looking !
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!
There is nothing like the intensity of true attraction. You know the feeling - a mere touch from that special person who has the ability to send chills up your spine and even down into your fingertips. An intense, deep attraction like this is rare, but to find it accompanied by love, affection, sincerity, and reciprocity is rarer yet. I believe it is out there... Taken 10/11/10. Please do not use my photos for any purpose without permission, thank you! View On Black
Sun comes up
and I know,
I want you.
Eat your mouth,
smell your sweat,
your breath.
Suddenly I realize:
What I miss,
lies in my arms.
Timeless.
Boundless.
I know nothing.
Timeless.
Boundless.
I hope one day,
I`ll understand this.
Sundown.
My feat is in your hand.
Like a cannibal,
you take me.
Take all of me!
Suddenly I understand:
What I have,
is what you miss.
Timeless.
Boundless.
I know nothing.
Timeless.
Boundless.
I hope one day,
I`ll understand this.
Like a Cannibal by Mila Mar
I find the color pencils are a lot like human beings. One can find various colors of pencils at the box set. Our society is more like a pencil box. In society, there live people of various colors and beliefs. Some are good, some are bad. Some are optimistic, some are pessimistic. Some are crooked. Some are not. The world is filled with people with these reciprocities.
Life is more like a box of colored pencils. You know different colored pencils will be there. Just like you know, you’ll come across all kinds of people on the way of living.
আমার কাছে রং পেন্সিলগুলোকে অনেকটা মানুষের মত মনে হয়। একটা বক্সে বহু ধরণের বহু বর্ণের কালার পেন্সিল থাকে। অনেকটা হিউম্যান সোসাইটির মত। এখানে মানুষ আছে নানা বর্ণের, নানা বৈশিষ্ট্যের, নানান মূল্যবোধের বৈপীরিত্যের।
মেডিকেল লাইফ পুরোদমে চলতে থাকলে একটানা লেকচার, টিউটোরিয়াল, আইটেম এক্সাম, ওয়ার্ডে ডিউটির চাপে ক্যামেরা হাতে নেয়ার সময় তেমন হয়ে ওঠে না। ফটোওয়াকে তো বের হওয়া হয়না বললেই চলে। তখন হাত নিশপিশ করে ছবি তোলার জন্য। বেশ কিছুদিন আগে ঠিক এরকম এক দিনে বাসায় বসে থাকতে থাকতে হঠাৎ ড্রয়ারের কোণায় পড়ে থাকা রঙ পেন্সিলের বক্সটা দেখে ছবি তোলার ভূত চাপল মাথায়। তুলে ফেললাম বেশ কিছু।
ছবিগুলো তুলতে ১৮-৫৫মিmm আর ৫০mm প্রাইম ইউজ করেছি।
এটা ছাড়াও আর কিছু ছবি আছে "Color pencils" সেটে। চেক আউট করলে ভালো লাগবে। লিঙ্কঃ
www.flickr.com/photos/abir_shaqran/sets/72157635231785655...
Abir Shaqran Photography
Barisal, Bangladesh.
08-Jul-2024 18:05
Ilford FP4+ 125 @ EI=100
Ebony 45SU
Rodenstock 135mm f/5.6 Apo-Sironar-S
XTOL 1+1 for 10 mins (N) @ 20C
Stearman Press SP645 Tank
Pre-Wash 5 mins
Inversions first 30 sec then two every 60 sec
Two water Stop Baths - 1 min each
Alkali Fixer (1+4)
Clearing time 1 mins. Total fix time 2 minutes
Initial wash to remove fixer : 1 min
Washing : 10 mins with frequent water changes
Ilfotol : 1 ml in 500ml for 2 minutes
Front Shift : 4cm down
Front Tilt : 5 degrees forward
Mid tone LV = 6½
Highlight = 10
Shadow = 4
Filters : None
Final LV=6½
Reciprocity : 6 sec goes to 10 sec
10 sec @ f22
Clarke Quay is a happening night spot. You've got bars, restaurants, cafes so there's no shortage of things and people to see. There's even the water taxi if you want to cruise the Singapore river and Marina Bay. Lightmeter indicated a 10-12 minute exposure with reciprocity failure of 16minutes on the long side. However, fading light meant the exposure time should get longer which also meant longer exposure compensation for reciprocity. In the end I opted to expose for 20 minutes. That blew all the sky which was quite cloudy but I'm facing the setting sun.
08-Jul-2024 15:15
Rollei Infrared 400 @ EI 400 (EI 6 for IR)
Ebony 45SU
Nikon NIkkor M 300mm f9
XTOL 1+1 for 17 mins (N) @ 20C
Stearman Press SP445 Tank
Pre-Wash 5 mins
Inversions first 30 sec then two every 60 sec
Two water Stop Baths - 1 min each
Alkali Fixer (1+4)
Clearing time 1 mins. Total fix time 2 minutes
Initial wash to remove fixer : 1 min
Washing : 10 mins with frequent water changes
Ilfotol : 1 ml in 500ml for 2 minutes
Bed Tilt : 3 degrees up
Mid tone LV = 12
Highlight = 14
Shadow = 11
Filters : Red (-3)
Final LV=9
Reciprocity : None
1/4 sec @ f22
A slide scan from almost 20 years ago, taken on the balcony of where I lived in Miami. The sky is green because of reciprocity failure, the shifting of colors on film during long exposures.
One of the early graduates from the first 'studio glass' course in America, Sam Herman was instrumental in setting up the movement in Britain in the 1960's and later in Australia. In 1979 he returned to London to set up his own studio in Chelsea. He continued making new glass and teaching new graduates until 1992 when he moved to Spain to concentrate on painting, sculpture and large glass installations.
'Studio glass', refers to glass designed and usually made by an individual artist or in association with other artists from concept to final piece in small workshops. Mostly the pieces are unique or limited edition. This vase illustrates the freedom and flow of studio glass in the earlier style of asymetrical shapes. It has overlays of gold and silver foil and trailing and patterns of coloured glass.
Close up details are seen here
and here
Sam Herman: Chelsea Studio, London 1982 Height: 24cm. View large.
24-Oct-2021 15:52 - Ilford Delta 100 @ ISO 100
Developed in ID-11, 10 mins (pulled 1 min) @ 20C
Bronia SQAi + 80mm
Highlight = 10
Shadow = 8
Midpoint = 9
Yellow 12 Filter (-1 stop)
Final LV=8
Reciprocity, 8 sec goes to 13 sec
16 sec @ f16
Detail of large Studio Glass bowl made by Pawel Borowski (son of the International glass artist Stanislav Borowski) at the Borowski Glass Studio at Hennef in Germany. Two layers of colour have been used (red on black) and overlayed with clear glass on the outside surface. The pattern has been sand-blasted freehand and fine detail wheel cut or engraved on the inside of the bowl (usually cameo work is carried out on the outside surface). As one layer of colour is thinned away the other colour becomes more dominant and that is how the various colour shades are formed.
Alligatoren Bowl. Artist: Pawel Borowski, Germany 2005. Height: 15.5cm Diam: 26.0cm. Unique.
For more details ot the history and work of the studio see www.borowski-glas.de
Not the usual sort of cut glass, but random pattern wheel cutting used to decorate the surface of a tall blue vase by British Glass Artist Catherine Hough. The pattern was cut into the glass then the whole surface hand polished to give a satin sheen.
This is a macro of part of the surface.
More detail of her work can be found at www.catherinehough.com
From February 4 to February 8, 2009, I was on a trip through the American Southwest with Tyler Westcott, John Raviolo and Scott Jones.
I figured the Paula Abdul song title would be fitting because that's where I pointed the camera to take this photo in Lower Antelope Canyon. Like it's Upper brother, I often said that you can't take a bad photo here; wherever you point the camera, you'll have something breathtaking and interesting.
My challenge was to keep the dynamic range within control, because I was shooting slide film, which doesn't have the greatest tolerance for dark shadows and bright highlights. In fact, a lot of my photos ended up being too dark, or just with large shadowy areas with little detail. On top of that, Velvia 50 film, while famous for its beautifully saturated colors, is also infamous for very low tolerance for "reciprocity failure" - a characteristic of film where long exposures don't follow a linear exposure pattern, so you have to keep overexposing... This shot was overexposed by a full stop, which caused some of the highlights in the middle to come dangerously close to being blown, but I decided to share it because of the amazing color range.
See all our shots from this year's trip here, and places we visited last year.
Elan 7 film camera | 17-40mm @17mm | f/8 | 8 seconds | tripod | Velvia 50 film, processed and scanned by www.northcoastphoto.com
Hiking on foggy and windy autumn day on the Dipsea Trail near the Dear Park Fire Road, Muir Woods National Monument, Marin County, California. We stopped to have lunch here and I stayed awhile longer and set up my flexbody.
Kodak Plus-X (expired 6/2003?) - Xtol (processed @ www.gammasf.com)
(Pull Processed 2 stops)
SEKONIC L-778 DUAL SPOT F METER
EV4 (+reciprocity failure compensation) : 60s @ f11 (spot-metered shadows @ 100ASA and placed them at Zone 4)
camera on side. 4deg swing
Hasselblad Flexbody w/80mm CF Zeiss Planar T*
Epson PERFECTION V750-M PRO SCANNER
(20110924_PlusX_old_Pull2Xtol_49467_001)
28-Feb-2024 15:25
Ilford Delta 100 rated @ EI 100
Ebony 45SU
Schneider 120mm f/5.6 Makro-Symmar HM
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 : 5 degrees forward
Mid tone LV = 6
Highlight = 7
Shadow = 5
Filters : None
Bellows : 160mm - 1.7 times more light required (1 stop)
Final LV=5
Reciprocity : 15 sec goes to 31 sec
31 sec @ f22
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Model : Bence (my son)
Location of shoot :
Csobánka,
Hungary,
Central-Europe
Time of shoot :
2010.11.
Info of Shooting :
Film : Polaroid 690 Color Instant (expired)
Filter : Wratten 85b Nd6(3x3 Tiffen), ND6 Soft Grad (3x4 Tiffen) & Warm Soft FX No.2 (82mm Tiffen)
Metered expo.:
Calculated expo.:
( I use my reciprocity compensation value chart to Polaroid Color Instant film)
Dev.: 120 sec. (20° C)
PICTURE MADE WITH :
Home-made assembled pinhole camera be composed of
few original photography equipments.
www.flickr.com/photos/jonespointfilm/2704150673/in/set-72...
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 Cambo)
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 : f183
Angular field (horiz) : 86°
Light falloff at the corners [f/stops] : 2,5
Resolution [lines/diagonal] : 799
Post work : (20.11.2010)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected. No reproduction in any way,
no copies, no editing, no publishing, no screenshots, no posting,
no blogging, no transmitting downloading or uploading
without my written permission!
Thank you !
Thanks for looking !
Comments very much welcome !
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
"She is the daughter of Polonius, sister of Laertes, and sweetheart of Prince Hamlet."
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Taken with a homemade 4x5 camera.
Designed and fabricated by myself.
Shoot to expired 3x4 Polaroid Color instant film.
Color and soft focus manipulation with Tiffen lens filters.
Final work with PS.
Please see to the cropped & coloured version :
bighugelabs.com/onblack.php?id=4262655366&size=large
AUTHOR : IMRE BECSI
© All rights reserved
Modell : Alexa
I prepared this picture two years ago lightworkshop (FÉNYMŰHELY) photo camp.
Location of shoot :
L'Huillier-Coburg Palace
Edelény,
Hungary,
Central-Europe
Latitude - 48°17'34.92"N
Longitude - 20°44'23.84"E
Time of shoot :
30.05.2008.
PICTURE MADE WITH :
( Home-made assembled pinhole camera be composed of
few original photography equipments )
Camera body : IKEA plant pot
Film back : 450 (Pack film holder to 4x5 back)
Film back holder : Cambo Revolving Back Assembly
Grip : IKEA handle
Viewfinder : 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
Picture from the camera :
www.flickr.com/photos/jonespointfilm/2697851395/in/set-72...
and
www.flickr.com/photos/jonespointfilm/2836345529/in/set-72...
Film : Polaroid 125i (Expired !)
Filter : Red Enhancing, Black Promist 2, Wratten 85b ND6 (is all Tiffen)
Metered exposure : 15 EV (Minolta Light Meter III with diffusor)
Calculated exposure : 1 min
( I use my reciprocity compensation value chart )
Dev. : 90 sec.
POST WORK : (10.01.2010.)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected. No reproduction in any way,
no copies, no editing, no publishing, no screenshots, no posting,
no blogging, no transmitting downloading or uploading
without my written permission!
Thanks for looking !
Comments very much welcome !
Thank you !
The little golden dot is a Gulf Fritillary butterfly egg.
I took advantage of the reciprocity between Desert Botanical Garden and San Diego Botanic Garden for member admission. It is a relatively young and somewhat small botanic garden. It does have a lot of interesting specimina, especially for me coming from the desert.
I met up with a naturalist led butterfly walk at the San Diego Botanic Garden. Several very knowledgeable docents in the group. Someone noticed these little goldish eggs on these passion flower plant leaves. This was confirmed as a Gulf Fritillary butterfly egg. I probably would have never seen this and definitely would not have known what it was.
en.wikipedia.org/wiki/Gulf_fritillary
The Gulf fritillary or passion butterfly (Dione vanillae) is a bright orange butterfly in the subfamily Heliconiinae of the family Nymphalidae. That subfamily was formerly set apart as a separate family, the Heliconiidae. The Heliconiinae are "longwing butterflies", which have long, narrow wings compared to other butterflies.
The caterpillar food plants--also called the host plants--for gulf fritillaries are members of the genus Passiflora. The adult butterflies use nectar from many flowers, including Lantana plants. The Passiflora host plants are frequently called passion vines; in some Texan counties where this butterfly's population is high, gulf fritillaries will feed on specific species such as Passiflora lutea and Passiflora affinis. These passion vine plants are suitable host plants as they provide a good structure for larval host habitats which enables young populations of gulf fritillaries to be sufficiently nurtured and protected. The role of host plants is also integral to the oviposition of gulf fritillaries, as the female butterflies lay their eggs on or near the host plant.[8][9]
Eggs are small and spherically shaped; the female gulf fritillary lays the eggs individually one by one on or near the host plant. Typical host plants include several species of the genus Passiflora. The eggs are initially yellow in color after deposition by the female, and they gradually turn a brownish red color over the course of the next 24 hours. The average duration of the egg stage in the life cycle for gulf fritillaries is roughly between three and five days depending on the temperature of the environment. Eggs are usually found on the upper surfaces of the leaves of the host plant, but some can be found on the underside of leaves as well.[2][7]
300 Quail Gardens Drive (at Ecke Ranch Road), Encinitas, CA 92024
Welcome to our 37-acre urban oasis featuring 4 miles of meandering trails and ocean views, 5,000+ plant species and varieties, and 29 uniquely themed gardens that represent 15 different regions and many habitats of the world. Our natural wonderland is designed for children and adults, alike; explore your interests, learn about the plant world that surrounds us, and let nature fill you with a little wonder.
SDBG2024
I tried to capture this image on pinhole, but the thorns were too blurry and lacked the menacing appearance that I wanted. Cloudy skies set the reciprocity failure time to 15-20 minutes. My rule is nothing longer than a 5 minutes exposure for most images, as I like to shoot a few bracketed images for optimal exposure.
Camera: Pinhead 4X5 camera (Printed on my Makerbot 3D printer) with .40 mm pinhole, and at 90mm that makes it about f225.
Ilford Delta 100 exposed at 64 ASA and Ilford Reciprocity added. Film was processed in Rodinal 1:25 for 9 minutes.
I metered for the bright side of the left column and then added another half stop of exposure, which - as it turned out - wasn't needed at all (the neg is a bit dense) And yet, the highlight details are in reasonable shape and there's loads of detail in the shadows.
The skyscraper in Rijeka lighten by city lights.
Long exposure 45sec with Reciprocity Failure for HP5+ 5:40min. Using digital camera to get right exposure.
Mamiya RZ67 ProII - Z 180mm f/4.5 W-N (#8 Yellow filter)
Ilford HP5+ 400 @ 800
Development:
Ilford ID-11 (1+1) @ 20°C 17:00 min
Agitation: 10 sec at start, then 10 sec each minute, usually 4 gentle inverts. On 10th min and until end 2 super gentle inversion every min.
Stop bath: Ilford Ilfostop 1 min with 4 inverts at start.
Fixer:
Kodak TMax Fixer 4 min. Agitation 30 sec at start, then 5 sec each 30 sec.
Hypo Clear Agent:
Formulary's Hypo Clear Agent with 30 sec pre soaking, then 2 min with agent.
Washing/Wetting Agent: 5 min rinse then Kodak PhotoFlo wetting agent.
Scanner: Canon CanoScan 9000F
Digitally processed. A bit of sharpening and vertical alignment.
☝️ Judge Napolitano: Ban TikTok? Not!
Former U.S WMD Inspector Scott Ritter on U.S. Tour of Duty Channel on Ask the Inspector, Episode 31
scheerpost.com/2022/12/19/scott-ritter-a-lexicon-for-disa...
Scott Ritter: A Lexicon for Disaster
Russia seeks arms control agreements to prevent dangerous escalation. But the U.S. seeks only unilateral advantage. This risks all out conflict unless this changes.
Dec. 8 marked the 35th anniversary of the signing of the intermediate nuclear forces (INF) treaty. This landmark arms control event was the byproduct of years of hard-nose negotiations capped off by the political courage of U.S. President Ronald Reagan and Soviet General Secretary Mikhail Gorbachev who together signed the treaty and oversaw its ratification by their respective legislatures.
The first inspectors went to work on July 1, 1988. I was fortunate to count myself among them.
In August 2019, former President Donald Trump withdrew the U.S. from the INF treaty; Russia followed shortly thereafter, and this foundational arms control agreement was no more.
The Decline of Arms Control
The termination of the INF treaty is part and parcel of an overall trend which has seen arms control as an institution — and a concept — decline in the eyes of policy makers in both Washington and Moscow. This point was driven home during a two-day period where I marked the INF anniversary with veteran arms control professionals from both the U.S. and Russia.
These experts, drawn from the ranks of the diplomatic corps who negotiated the treaty, the military and civilian personnel who implemented the treaty others from all walks of life who were affiliated with the treaty in one shape or another, all had something to say about the current state of U.S.-Russian arms control.
One thing that struck me was the importance of language in defining arms control expectations amongst the different players. Words have meaning, and one of the critical aspects of any arms control negotiation is to ensure that the treaty text means the same thing in both languages.
When the INF treaty was negotiated, U.S. and Soviet negotiators had the benefit of decades of negotiating history regarding the anti-ballistic missiles (ABM) treaty, the strategic arms limitation talks (SALT), and START, from which a common lexicon of agreed-upon arms control terminology was created.
Over the years, this lexicon helped streamline both the negotiation and implementation of various arms control agreements, ensuring that everyone was on the same page when it came to defining what had been committed to.
Today, however, after having listened to these veteran arms control professionals, it was clear to me that a common lexicon of arms control terminology no longer existed — words that once had a shared definition now meant different things to different people, and this definition gap could— and indeed would — further devolve as each side pursued their respective vision of arms control devoid of any meaningful contact with the other.
The U.S. Lexicon
Disarmament. Apparently, disarmament doesn’t mean what it once did to the U.S.—the actual verifiable elimination of designated weapons and capability. In fact, disarmament and its corollary, reduction, are no longer in vogue amongst the U.S. arms control community. Instead, there is an arms control process designed to promote the national security interest. And by arms control, we mean arms increase.
America, it seems, is no longer in the arms reduction business. We did away with the ABM and INF treaties, and as a result we are deploying a new generation of ballistic missile defense systems and intermediate-range weapons. While this is disconcerting enough, the real threat comes if and when the only remaining arms control agreement between the U.S. and Russia — the New START treaty — expires in February 2026.
If there is not a replacement treaty of similar capacity negotiated, ratified and ready for implementation at that time, then the notion of strategic arms control will be completely untethered from any controlling mechanism. The U.S. would then be free to modernize and expand its strategic nuclear weapons arsenal. Disarmament, it seems, means the exact opposite — rearmament. George Orwell would be proud.
The Interagency. Back when the INF treaty was negotiated and implemented, the United States was graced with a single point of contact for arms control matters —the Arms Control and Disarmament Agency, or ACDA. Formed by President John F. Kennedy in the early 1960’s, ACDA provided the foundation for continuity and consistency for U.S. arms control policy, even as the White House changed hands.
While there were numerous bureaucratic stakeholders involved in formulating and executing U.S. arms control policy, ACDA helped ride herd over their often-competing visions through what was known as the interagency process—a system of coordinating groups and committees that brought the various players around one table to hammer out a unified vision for disarmament and arms control. The interagency was, however, a process, not a standalone entity.
How times have changed. Today, ACDA is gone. In its place is what is referred to as The Interagency. More than a simple process, The Interagency has morphed into a standalone policy making entity that is more than simply the combined power of its constituent components, but rather a looming reality that dominates arms control policy decision making.
The Interagency has moved away from being a process designed to streamline policy making, and instead transformed into a singular entity whose mission is to resist change and preserve existing power structures.
Whereas previously the various departments and agencies that make up the U.S. national security enterprise could shape and mold the interagency process in a manner which facilitated policy formulation and implementation, today The Interagency serves as a permanent brake on progress, a mechanism where new policy initiatives disappear into, never to be seen again.
Sole Purpose. Sole Purpose is a doctrinal concept which holds that the sole purpose of America’s nuclear arsenal is deterrence, and that American nuclear weapons exist only to respond to any nuclear attack against the United States in such a manner that the effective elimination of the nation or nations that attacked the U.S. would be guaranteed.
Sole Purpose was linked to the notion of mutually assured destruction, or MAD. Sole purpose/MAD was the cornerstone philosophy behind successive American presidential administrations. In 2002, however, the administration of President George W. Bush did away with the Sole Purpose doctrine, and instead adopted a nuclear posture which held that the U.S. could use nuclear weapons preemptively, even in certain non-nuclear scenarios.
Barack Obama, upon winning the presidency, promised to do away with the Bush-era policy of preemption but, when his eight-year tenure as the American commander in chief was complete, the policy of nuclear preemption remained in place. Obama’s successor, Donald Trump, not only retained the policy of nuclear preemption, but expanded it to create even more possibilities for the use of U.S. nuclear weapons.
Joe Biden, the current occupant of the White House, campaigned on a promise to restore Sole Purpose to its original intent. However, upon assuming office, Biden’s Sole Purpose policy ran headfirst into The Interagency which, according to someone in the know, was not ready for such a change.
Instead, Sole Purpose has been re-purposed to the extent that it now reflects a policy posture of nuclear pre-emption. You got that right—thanks to The Interagency, the sole purpose of American nuclear weapons today is to be prepared to carry out preemptive attacks against looming or imminent threats. This, The Interagency believes, represents the best deterrent model available to promote the general welfare and greater good of the American people.
The Russian Lexicon
Reciprocity. Reciprocity is the Golden Rule of arms control — do unto others as you would have others do unto you. It was the heart and sole on the INF treaty — what was good for the Goose was always good for the Gander. In short, if the Americans mistreated the Soviet inspectors, one could guarantee that, in short order, American inspectors were certain to encounter precisely the same mistreatment.
Reciprocity was the concept which prevented the treaty from getting bogged down in petty matters and allowed the treaty to accomplish the enormous successes it enjoyed.
Under the terms of the New START treaty, each side is permitted to conduct up to 18 inspections per year. Before being halted in 2020 because of the pandemic, a total of 328 inspections had been carried out by both sides with the rules of reciprocity firmly in place and adhered to.
However, in early 2021, when both sides agreed that inspections could resume, the U.S. demonstrated the reality that the concept of reciprocity was little more than a propaganda ploy to make Russia feel “equal” in the eyes of the treaty.
When the Russians attempted to carry out an inspection in July, the aircraft carrying the inspection team was denied permission to fly through the airspace of European countries due to sanctions banning commercial flights to and from Russia in the aftermath of the Russian invasion of Ukraine. The Russians cancelled the inspection.
Later, in August, the U.S. tried to dispatch its own inspection team to Russia. The Russians, however, denied the team permission to enter, citing issues of reciprocity — if Russian inspectors could not carry out their inspection tasks, then the U.S. would be similarly denied.
For Russia, the definition of reciprocity is quite clear — equal treatment under the terms of a treaty. For the U.S., however, reciprocity is just another concept which it can use to shape and sustain the unilateral advantages it has accrued over the years when it came to implementing the New Start treaty.
Predictability. Historically, the primary purpose of arms control agreements was to reach a common understanding of mutual objectives and the means to achieve them so that over the agreed upon timeframe there would exist an element of stability from the predictability of the agreement.
This, of course, required agreement on definitions and intent accompanied by a mutual understanding of the four corners of the deal, especially on quantifiable subjects such as treaty-limited items.
Under the INF treaty, the goals and objectives for both parties were absolute in nature: total elimination of the involved weapons which existed in a class covered by the treaty. One couldn’t get much clearer than that and by mid-1991, all weapons covered by the treaty had been destroyed by both the U.S. and Soviet Union.
Subsequent inspections were focused on ensuring both sides continued to comply with their obligation to permanently destroy the weapons systems designated for elimination and not to produce or deploy new weapons systems whose capabilities would be prohibited by the terms of the treaty.
Under New START, the goals and objectives are far more nebulous. Take, by way of example, the issue of decommissioning nuclear-capable bombers and submarine-launched ballistic missile launch tubes. The goal is to arrive at a hard number that meets the letter and intent of the treaty.
But the U.S. has undertaken to decommission both the B-52H and Trident missile launch tubes onboard Ohio-class submarines in a manner which allows for reversal, meaning that the hard caps envisioned by the treaty, and around which strategic planning and posture is derived, are not absolute, but flexible.
As such, Russian strategic planners must not only plan for a world where the treaty-imposed caps are in effect, but also the possibility of a U.S. “break out” scenario where the B-52H bombers and Trident missiles launch tubes are brought back to operational status.
This scenario is literally the textbook definition of unpredictability and is why Russia looks askance at the idea of negotiating a new arms control treaty with the U.S. As long as the U.S. favors treaty language which produces such unpredictability, Russia will more than likely opt out.
Accountability. One of the most oft-quoted sayings that emerged from the INF treaty is “trust but verify.” This aphorism helped guide that treaty through the unprecedented success of its 13-year period of mandated inspections (from 1988 until 2001.) However, once the inspections ended, the “verify” aspect of the treaty became more nebulous in nature, opening the door for the erosion of trust between the U.S. and Russia.
A key aspect of any arms control agreement is its continued relevance to the national security postures of the participating nations. At the same time the INF inspections came to an end, the administration of President George W. Bush withdrew from the landmark 1972 anti-ballistic missile (ABM) treaty.
In doing so, the United States propelled itself into a trajectory where the principles that had underpinned arms control for decades—the de-escalation of nuclear tensions through the adherence to principles of disarmament set forth in mutually-reinforcing agreements intended to be of a lasting nature, no longer applied.
By unilaterally disposing of the ABM treaty, the U.S. opened the door for the deployment of ABM systems in Europe. Two Mk. 41 Aegis Ashore anti-missile defense systems, normally deployed as part of a ship’s Aegis-capable cruisers and destroyers, were instead installed on the ground in Romania and Poland. The issue of the Mk. 41 system is that the launch pods are capable of firing either the SM-3 missile as an interceptor, or the sea-launched cruise missile (Tomahawk.)
Russia objected to the Mk. 41 potentially offense system being employed on the ground, arguing that in doing so the U.S. was violating the INF treat by deploying a ground-launched cruise missile.
The U.S. rejected the Russian allegations, declaring that the Aegis Ashore launch configuration was solely for the firing of surfacre-to-air missiles. However, the U.S. balked at providing Russia the kind of access that would be necessary to ascertain the actual science behind the U.S. claim that the missile batteries were configured to operate only in a surface-to-air mode.
The U.S. also claimed it was impossible for the Mk. 41 to incorporate the Tomahawk cruise missile or a follow-on variant of the SM-3 or the SM-6 Typhoon, which are surface-to-surface missiles at ranges (reaching Moscos) that would violate the INF treaty.
(Removal of these missiles from Poland and Romania was one demand Russia made in draft treaty proposals to the U.S. last December. After the U.S. rejected it, Russia intervened in Ukraine.)
As had been the case with the ABM treaty, the U.S. had grown tired of the restrictions imposed by the INF treaty. U.S. military planners were anxious to field a new generation of INF weapons to counter what they perceived to be the growing threat from China, whose ballistic missile arsenals were not constrained by the treaty.
The ABM and INF treaties had become inconvenient to the U.S. not because of any actions undertaken by their treaty partners, the Russians, but rather due to an aggressive, expansive notion of U.S. power projection that mooted the purpose of the treaties altogether.
Arms control treaties are not meant to facilitate the expansion of military power, but rather restrict it. By viewing treaty obligations as disposable, the U.S. was eschewing the entire philosophy behind arms control.
Moreover, the tactics employed by the U.S. to undermine the credibility of the INF treaty revolved around fabricating a case of alleged Russian violations built around “intelligence” about the development of a new Russian ground-launched cruise missile, the 9M729, which the U.S. claimed proved that the new missile was in violation of the INF treaty.
That the intelligence was never shared with the Russians, further eroded the viability of the U.S. as a treaty partner. When the Russians offered up the actual 9M729 missile for physical inspection to convince the U.S. to remain in the INF treaty, the U.S. balked, preventing not only U.S. officials from participating, but also any of its NATO allies.
In the end, the U.S. withdrew from the INF treaty in August 2019. Less than a month later, the U.S. carried out a test launch of the Tomahawk cruise missile from a Mk. 41 launch tube. The Russians had been right all along — the U.S., in abandoning the ABM treaty, had used the deployment of so-called new ABM sites as a cover for the emplacement of INF-capable ground-launched missiles on Russia’s doorstep.
And yet the U.S. pays no price — there is no accountability for such duplicity. Arms control, once a bastion of national integrity and honor, had been reduced to the status of a joke by the actions of the U.S.
No Trust Left
With no common language, there can be no common vision, no common purpose. Russia continues to seek arms control agreements which serve to restrict the arsenals of the involved parties to prevent dangerous escalatory actions while imposing a modicum of predictable stability on relations.
The U.S. seeks only unilateral advantage.
Until this is changed, there can be no meaningful arms control interaction between the U.S. and Russia. Not only will the New START treaty expire in February 2026, but it is also unlikely the major verification component of the treaty — on site inspections — will be revived between now and then.
Moreover, it is impossible to see how a new arms control agreement to replace the expired New START treaty could be negotiated, ratified, and implemented in the short time remaining to do so. There is no trust between Russia and the U.S. when it comes to arms control.
With no treaties, there is no verification of reality. Both the U.S. and Russian arsenals will become untethered from treaty-based constraint, leading to a new arms race for which there can be only one finishing line — total nuclear war.
There is a long list of things that must happen if meaningful arms control is ever to resume its place in the diplomatic arsenals of either the U.S. or Russia. Before either side can resume talking to one another, however, they must first re-learn the common language of disarmament.
Because the current semantics of arms control is little more than a lexicon for disaster.
www.foxnews.com/opinion/fbi-twitter-formed-censorship-all...
FBI and Twitter formed a censorship alliance and they can't be allowed to get away with it
Congress must get answers on Twitter censorship carried out in conjunction with the FBI
"They are probing & pushing everywhere." That line sums up an increasingly alarming element in the seventh installment of the so-called "Twitter files." "They" were the agents of Federal Bureau of Investigation, and they were pushing for the censorship of citizens in an array of stories.
Writer Michael Shellenberger added critical details on how the FBI was directly engaged in censorship at the company. However, this batch of documents contains a particularly menacing element to the FBI-Twitter censorship alliance. The documents show what writer Shellenberger described as a concentrated effort "to discredit leaked information about Hunter Biden before and after it was published."
Twitter has admitted that it made a mistake in blocking the Hunter laptop story. After roughly two years, even media that pushed the false "Russian disinformation" claims have acknowledged that the laptop is authentic.
Yet, those same networks and newspapers are now imposing a new de facto blackout on covering the details of the Twitter files on the systemic blacklisting, shadow-banning, and censorship carried out in conjunction with the government.
The references to the new Hunter Biden evidence were also notable in the dates of these back-channel communications. On October 13, weeks before the election, FBI Special Agent Elvis Chan sent 10 documents to Twitter’s then-Head of "Trust & Safety" Yoel Roth related to the Biden story. It was the next day that New York Post ran its story on the laptop and its incriminating content. The United States government played a key role trying to bury a story damaging to the Democrats before the election.
The Twitter files now substantiate the earlier allegations of "censorship for surrogate" or proxy. While the First Amendment applies to the government, it can also apply to agents of the government. Twitter itself now admits that it acted as an agent in these efforts.
The current media blackout on the Twitter files story only deepens these concerns. For years, media figures have denied Twitter was engaging in censorship, blacklisting, shadow-banning and other techniques targeting conservatives. The release of the files have shattered those denials. There is simply no further room for censorship apologists.
In a city that relies on "plausible deniability," there is no longer a plausible space left in the wake of the releases. All that remains is silence -- the simple refusal to acknowledge the government-corporate alliance in this massive censorship system.
To cover the story is to admit that the media also followed the same course as Twitter in hampering any discussion of this influence peddling scandal. Indeed, while media is now forced to admit that the laptop is authentic, it cannot get itself to address the authentic emails contained in that laptop. Those emails detail millions of dollars in influence peddling by the Biden family. They also detail the knowledge and involvement of Joe Biden despite his repeated denial of any knowledge of the deals.
Those files also raise potential criminal acts that some of us have been writing about for two years. The emails are potentially incriminating on crimes ranging from tax violations to gun violations. In the very least, it is a target rich environment for investigators or prosecutors.
Yet, earlier disclosures showed that key FBI figures tamped down any investigation into the laptop. The latest documents now show the FBI also actively pressured the media to kill the story. That raises deeply troubling questions of the FBI politicalization. After Watergate, the Congress moved aggressively to pursue the use of the bureau by a president for political purposes. There is little call from the media for such an investigation today when the bureau is accused of working for Democrat rather than Republican interests.
The record of such bias extends beyond the Twitter files. The prior years, FBI agents were found to have shown overt political bias in the handling of FBI investigation. The agency continued to rely on sources like the Steele dossier despite warnings that the Clinton-funded report was likely Russian disinformation. Yet, when it came to Hunter Biden, the FBI reportedly was not interested in aggressively pursuing an investigation while calling on social media companies to censor any discussion of the scandal before the election. It continued to do so despite Twitter executives "repeatedly" indicating there was "very little" Russian activity on the platform.
In January 2020, Twitter’s then director of policy and philanthropy, Carlos Monje Jr., expressed unease on the pressure coming from the FBI and said "They are probing & pushing everywhere they can (including by whispering to congressional staff)."
The question is why the FBI would be "probing & pushing everywhere" despite the fact that the Russian investigation had exposed prior bias related to the 2016 election. That was no deterrent to killing a story viewed as damaging to the Biden campaign.
In the end, the government-corporate alliance failed. Despite the refusal of many in the media to cover the Twitter files, nearly two-thirds of voters believe Twitter shadow-banned users and engaged in political censorship during the 2020 election. Seventy percent of voters want new national laws protecting users from corporate censorship.
It is clear that any such reforms should include a full investigation of the FBI and its involvement in censorship efforts. As many as 80 agents reportedly were committed to this effort. It is clear now that, if we are to end censorship by surrogate, the House will have to "probe and push everywhere" in the FBI for answers.
Jonathan Turley is the Shapiro professor of public interest law at George Washington University and a practicing criminal defense attorney. He is a Fox News contributor.
This is the lower quarter section of Buttermilk Falls in Sussex County, New Jersey. The waterfall is found in a remote region of the New Jersey side of the Delaware Water Gap. To get to the falls you need to go down a series of dirt and gravel roads that weave their way through forest and a patchwork of farms that were all abandoned when the canceled Tocks Island dam project claimed the land in the late 1960s through early 1970s. GPS Location: 41.137201, -74.888441. At an estimated 200 feet high, the falls are said to be the tallest ones in New Jersey. A parking lot is found directly across the road from the falls and no hiking is required to get to them though a steep set of steps can be found that lead up to an observation platform that overlook the falls from above.
This image marks a number of firsts for me including the first time shooting Ilford FP4+ and the first time shooting a full size waterfall with a large format film camera. Composing a waterfall as viewed upside down and backwards turned out to be a lot harder than the same type of composition with a building or person.
4x5 for 365 Project details: greggobst.com/4x5-for-365/
Technical details:
Busch Pressman Model D 4x5 LF press camera.
150mm Caltar-S II F 5.6 lens in Copal BT shutter.
Tiffen 0.6/ND4 2 stop neutral density filter.
Ilford FP4+ B&W Negative Film, shot at ISO 125.
Metered with Minolta one degree digital spot meter.
Metered exposure was 4 seconds @ F22 with zone III placed on shadowed mossy area. Compensation for the ND filter boosted the calculated exposure to 16 seconds at F22 and film reciprocity compensation for the Ilford FP4+ gave a final calculated exposure of 2 minutes and 9 seconds @ F22.
Semi-stand development in Rodinal 1:100 for 15 minutes in Mod54 daylight tank.
Negative scanned with Epson V600.
... but this bike was still waiting.
Found in the waters of the Irish Sea at Barrow-in-Furness, UK in the late 1960's.
Ebony 45SU
Ilford FP4+ ISO125 rated @ EI 100
Rodenstock 210mm f5.6 Apo Sironar S
Developed in Ilford Perceptol 1:1 for 15 mins @ 20C
07-Feb-2022 16:25
Front Shift - 1cm down
Front Tilt - 2 deg forward
Mid tone LV = 9
Highlight = 12
Shadow = 8
Filters : Yellow 12 (-1)
LV=8
Reciprocity (add 0.3 seconds)
Shutter speed 2.5s @ f22
I find the color pencils are a lot like human beings. One can find various colors of pencils at the box set. Our society is more like a pencil box. In society, there live people of various colors and beliefs. Some are good, some are bad. Some are optimistic, some are pessimistic. Some are crooked. Some are not. The world is filled with people with these reciprocities.
Life is more like a box of colored pencils. You know different colored pencils will be there. Just like you know, you’ll come across all kinds of people on the way of living.
আমার কাছে রং পেন্সিলগুলোকে অনেকটা মানুষের মত মনে হয়। একটা বক্সে বহু ধরণের বহু বর্ণের কালার পেন্সিল থাকে। অনেকটা হিউম্যান সোসাইটির মত। এখানে মানুষ আছে নানা বর্ণের, নানা বৈশিষ্ট্যের, নানান মূল্যবোধের বৈপীরিত্যের।
মেডিকেল লাইফ পুরোদমে চলতে থাকলে একটানা লেকচার, টিউটোরিয়াল, আইটেম এক্সাম, ওয়ার্ডে ডিউটির চাপে ক্যামেরা হাতে নেয়ার সময় তেমন হয়ে ওঠে না। ফটোওয়াকে তো বের হওয়া হয়না বললেই চলে। তখন হাত নিশপিশ করে ছবি তোলার জন্য। বেশ কিছুদিন আগে ঠিক এরকম এক দিনে বাসায় বসে থাকতে থাকতে হঠাৎ ড্রয়ারের কোণায় পড়ে থাকা রঙ পেন্সিলের বক্সটা দেখে ছবি তোলার ভূত চাপল মাথায়। তুলে ফেললাম বেশ কিছু।
ছবিগুলো তুলতে ১৮-৫৫মিmm আর ৫০mm প্রাইম ইউজ করেছি।
এটা ছাড়াও আর কিছু ছবি আছে "Color pencils" সেটে। চেক আউট করলে ভালো লাগবে। লিঙ্কঃ
www.flickr.com/photos/abir_shaqran/sets/72157635231785655...
Abir Shaqran Photography
Barisal, Bangladesh.
For the folks in Clubsnap!
Sorry, no puppy this time.
1: Darkbag as darkcloth
2: Benro TA 269m8 with Markins Q3
3: Notebook for notes, also for reciprocity charts
4: Screw-in filters in pouch
5: Lee Filter Kit - Soft/Hard GND, B&W Polyester Color filters, Big Stopper
6: Sony PSP for those long exposures
7: Fuji PA145
8: Black and white film in pink pouch
9: Velvia 50 in green pouch
10: Misc pouch with toolkit, insect repellent, toothbrush, spare baseplate, Lenspen
11: Raincoat and umbrella
12: Pouches for lens and lightmeter etc.
13: Fenix TK35 Flashlight
14: Panasonic LX3 in Pouch
15: Minolta IVF
16: Earphones for music
17: Cheap loupe
18: Cable release
19: Self timer release
20: Speed Graphic 4x5 with 75mm f/8 Fujinon
21: 150mm f/2.8 Schneider Xenotar
22: 75mm f/4.5 Nikkor
23: 135 f/4.7 Graflex Optar
24: TT SWP
Bergger Print film 11x14” (28X35 cm). Exposed in camera. Artificial light 5500°K.
EI 3 ISO. Voigtländler Euryscope landscape n°4 (focal lenght 364 mm, f/6,1, stopped down @ f/30 with original waterhouse stop). Exposure Reading: 15”, real exposure (having in mind bellow extension and reciprocity) 2’15”.
Developed HC-110 Dilution D (1+39), 5’31”@20°C (in my darkroom 3’24”@26°C). Agitation 1’ first then 10” every 30”. Acid stop bath and rapid fixer.
DR: 2.0-2.1 .
The price of one sheet according to the actual market in Italy is something less than 8€. Worth doing.
Another refraction pattern of sunlight through a church stained glass window. This was taken at the church in the village ( 130 inhabitants) of Granges-sur-Baume, Jura, France.
Tombstone of Sir Byron Edmund Walker (October 14, 1848 - March 27, 1924) and family. He was a banker and philanthropist. Mount Pleasant Cemetery. Toronto, Canada. Spring morning, 2021. Pentax K1 II.
The weather-worn inscription on tombstone, which is hard to make out, reads:
In Memory of
Sir Edmund Walker
Born Oct-14-1848
Died Mar-27-1924
And of his wife
Mary Alexander
Born June-8-1851
Died July-19-1928
And of her sister
Elizabeth Alexander
Born March-4-1844
Died July-9-1924
Only the actions
Of the just
Smell sweet and
Blossom in the
Dust
en.wikipedia.org/wiki/Byron_Edmund_Walker
Sir Byron Edmund Walker, CVO (14 October 1848 – 27 March 1924) was a Canadian banker. He was the president of the Canadian Bank of Commerce from 1907 to 1924, and a generous patron of the arts, helping to found and nurture many of Canada's cultural and educational institutions, including the University of Toronto, National Gallery of Canada, the Champlain Society, Appleby College, Art Gallery of Ontario and Royal Ontario Museum.
In 1910, King George V knighted Walker for his contributions to business and the arts.
Early years
Byron Edmund Walker was born on 14 October 1848 on the outskirts of Caledonia in Seneca Township, Haldimand County, Canada West.
His grandfather, Thomas Walker, had been a manufacturer of watchcases in London, England. He arrived in Upper Canada (now Ontario) in 1834 with four of his children, some books and some pictures. The loss of his wife and four of his children contributed heavily to his decision to leave London for Canada. The third youngest child was Alfred Edmund Walker, Sir Edmund's father, a farmer who became a clerk. He was also an amateur naturalist, paleontologist and watercolour painter. Alfred Edmund married Fanny Murton of Hamilton in 1845. Fanny's parents also were immigrants from England, having arrived in 1832. Her father, William Murton, was college educated and her mother spoke Italian and French and played the harpsichord. She also ran a private junior school in Hamilton.
The Walkers had nine children of which Byron Edmund (or Edmund, as he preferred to be called) was the second oldest. The family moved from their farm near Caledonia, to Hamilton in 1852. There, at the age of four, Edmund began studies at his grandmother's school and then at the Hamilton Central School where he completed all six grades. He hoped to pursue a teaching career but poor health curtailed his enrollment in the Toronto Normal School, the teacher's college founded by Egerton Ryerson in 1851. At the age of 12, Walker entered the service of his uncle, John Walter Murton, who had a currency exchange business in Hamilton.
Banking career
While working at his uncle's bureau de change, Walker became an expert in recognizing counterfeit bills being circulated during the American Civil War. After seven years at his uncle's firm, he spent a few months in Montreal but poor health forced him to return to Hamilton in 1868 where he began work as a discount clerk in the newly opened Canadian Bank of Commerce.
The Canadian Bank of Commerce was established by industrialist William McMaster in 1867. McMaster would serve as a guiding light to the young Edmund, who quickly rose through the ranks. In 1872, he was appointed chief accountant at the bank's head office in Toronto. In May 1873, Walker was sent to New York City as junior agent for the bank. Charged with responsibility for loans of gold against currency, he successfully maintained proper margins in spite of his clients' many sudden bankruptcies. The enterprising Walker was then sent to the bank's Windsor branch in 1875. In 1878, he was appointed manager of the London, Ontario branch, a year later was made inspector of the bank, and in 1880 he returned to Hamilton as manager.
Walker married Mary Alexander in 1874 while living in New York. Together they had four sons and three daughters. She was the daughter of Alexander Alexander, a carpenter who emigrated from Scotland to Lockport, New York, in 1834. That year, he married Isabella Buchan and moved to Hamilton, Ontario, where he became a green grocer. Together they had five children.
From 1881 to 1886, Edmund was again in New York as the bank's joint agent, giving him the opportunity to increase his talents in foreign exchange and to conduct international banking on a much larger scale. There he could expand his cultural interests, visiting galleries and museums, and beginning, in earnest, his art collection. In 1886, at age 38, Walker was recalled to Toronto as general manager of the Canadian Bank of Commerce. By then there were 30 branches in Ontario and agencies in Toronto, Montreal and New York. The bank's assets at its inception were $2,997,081; 50 years later, these were $440,310,703 with branches across the country, largely attributable to Walker's strong leadership.
Walker is known for developing the first set of written regulations for dividing a bank into a complex array of departments and is widely credited for the Canadian government's 1881/82 revision of the Canada Banking Act that gave Canada a centralized, panic-proof banking system. Walker was also professionally respected internationally. As vice-president of the American Bankers Association he was invited by a U.S. congressional committee to advise on the drafting of the Federal Reserve legislation. He held many key national and international positions; chairman of the bankers' section of the Toronto Board of Trade from 1891 to 1892; vice-president of the Canadian Bankers Association (which he helped found in 1891) in 1893 and its president from 1894 to 1895; chairman of the 1899 Royal Commission on the financial position of the province of Ontario; and chairman of the Section of Money and Credit for the 1904 Universal Exposition in St. Louis. He was a fellow of the Institute of Bankers of England and fellow of the Royal Economic Society of England.
In 1906, he was elected director of the Canadian Bank of Commerce. He served as president from 1907 until his death in 1924.
Political ties
The Liberal Party government of Sir Wilfrid Laurier appointed Walker to the National Battlefields Commission in 1908. The commission was charged with the recovery of non-Crown land for a "Battlefields Park" in Quebec City where the Battle of the Plains of Abraham was fought between French and British forces. The commission was also charged with supervision of the expenditures of the Tercentenary Celebration of Samuel de Champlain founding Quebec in 1608. Later, Walker was made chairman of the Canadian committee of the Peace Centenary, an event planned by the Canadian, American and British governments to commemorate 100 years of peace between Canada and the United States following the War of 1812-14.
Although Walker tried to stay out of active politics all his life and never joined a political party, he decided to take a pivotal role in the political arena with a group of 18 prominent businessmen who opposed the Reciprocity Agreement with the United States proposed by the Laurier government. Walker feared that the giant American trusts, once allowed into Canada, would paralyze the Canadian market. Furthermore, as an ardent patriot and staunch imperialist, he feared it would weaken Canada's ties with Britain and lead to annexation by the United States. The anti-reciprocity forces led to the defeat of Laurier's government in 1911. Walker was among those who advised the new Conservative Party prime minister, Sir Robert Borden, on preserving the financial stability of Canada during the First World War.
Interests in education
Walker credited his father for developing his broad interests and love for learning, and always regretted that poor health prevented him from getting a formal education. He believed that the basis of a civilized society was its educational system and that a nation's universities were its most treasured institutions. Throughout his life he took an active interest in educational institutions. One of the first and most lasting of his interests was the University of Toronto. In 1887, the denominational institutions of Victoria College (Methodist), Knox College (Presbyterian), Wycliffe College (Anglican theological school), and St. Michael's College (Roman Catholic) had entered into a federation with the secular University College, the only one funded by the government. After fire destroyed the eastern portion of University College in 1890, Walker was instrumental in persuading the Ontario government to make its first grant to the amalgamated University of Toronto.
He was also responsible for leading the last denominational college - Trinity College, affiliated with the Church of England - into the federation in 1904. Trinity awarded him a Doctor of Civil Law (D.C.L.) that same year. In 1905, he was a member of the Royal Commission on the reorganization of the university, which was responsible for securing annual government grants thereafter. Over the course of his 32-year involvement with the university, Walker served as trustee (1892–1906), senator (1893–1901), member of the Board of Governors (1906–10), chairman (1910–23) and chancellor (1923–24).
The Toronto Conservatory of Music also joined the university through his efforts. He served as a member of its Board of Governors, and later as president (1917–24). His support for music also included the Mendelssohn Choir, for which he was honorary president (1900–24).
With a lasting commitment to education and the importance of Canadian history in nurturing patriotism and a Canadian identity, he founded the Champlain Society in 1905. Established as a non-profit organization, its mandate was to publish important documents relating to Canadian history, projects that commercial publishers would consider unprofitable. He believed that this Society was his finest achievement. He served as its president until his death.
As an author of articles on a variety of subjects - banking, Robert Browning, Italian and Japanese art - it is not surprising that Walker would be one of the founders of the Canadian Society of Authors, established to promote Canadian literature and protect authors with copyright laws. Walker served as president from 1904 to 1909.
In 1911, Walker established Appleby School, a boys' private boarding school, for which he purchased the initial 32-acre (130,000 m2) property in Oakville. The first headmaster of the school was Walker's son-in-law John Guest.
A love of art
Through his years in New York City and early trips to Europe - including to London in 1887 and Italy in 1892 - Walker developed skills as an art connoisseur and collector, often lecturing on the subject. His collection of art was housed in his Toronto residence - "Long Garth" at 99 St. George Street. The Victorian brick structure had fine wood interiors, Art Nouveau ceiling decorations by Gustav Hahn, and allegorical murals by George Agnew Reid. "Long Garth" became a treasure trove of etchings, prints, embroideries and oriental carpets, bronzes, brass and ivory work, porcelain china, not to mention his fossil collection and his extensive library. Walker had a particular fascination with printmaking and it was said that his expert eye for detail in detecting counterfeit banknotes aided his connoisseurship. Walker also was a member of the Japan Society of America and the most notable part of his collection, 1,070 Japanese woodblock prints, were bequeathed to the Royal Ontario Museum on his death. Equally of note is the collection of over 400 works of graphic art, ranging from the 15th to the 9th centuries, which he assembled between 1880 and 1924, including works by Albrecht Dürer and Rembrandt. His children gave the collection to the Art Gallery of Ontario in 1926.
Beyond purchasing some pictures by Canadian artists, Walker's first real connection with the Canadian art world began when he was approached by a number of prominent Toronto artists to help them organize a guild. With these like-minded laymen and artists who shared his ideals he formed the Toronto Guild of Civic Art. Spearheaded by George Agnew Reid, the guild pressed for civic improvements in the city. Walker served as its first president in 1897. As the Guild's representative on the committee to select the artist for the monument to Lieutenant Governor John Graves Simcoe at Queen's Park, Walker was largely responsible for the commission being awarded to sculptor Walter Seymour Allward. Later, Walker was responsible for Allward's commissions to design the South African War Memorial on University Avenue in Toronto, as well as the Bell Telephone Memorial in Brantford.
The Art Gallery of Ontario
Walker's relationship with George Agnew Reid led to the founding of the Art Gallery of Ontario. On 15 March 1900, Reid, then president of the Ontario Society of Artists, brought a group of citizens together to consider the formation of an art gallery for Toronto. At that meeting, a Provisional Art Museum Board was set in place with Walker as chairman and Reid as secretary. Through effective lobbying and fundraising ($5,000 each from 10 benefactors), the Ontario Legislature later that year passed a bill incorporating the Art Museum of Toronto. Walker became president of its board of trustees and served until his death.
The initial challenge was to find a home for the new institution. It was Walker who convinced his friends, writer Dr. Goldwin Smith and his wife, the former Mrs. William Henry Boulton, to leave their historic house, "The Grange," to the new museum. Before the news became public, Walker bought surrounding land so that the museum would have space for future expansion. The Art Museum of Toronto (later renamed the Art Gallery of Toronto and then the Art Gallery of Ontario) officially opened its first galleries in The Grange in April 1913. In 1926, two years after his death, when the gallery was expanding, the Canadian Bank of Commerce donated the funds to build the magnificent room that bears his name, the Walker Court.
The Royal Ontario Museum
The campaign for a world-class public museum for Toronto was led by Walker, philanthropist Sir Edmund Boyd Osler, then director of the Canadian Pacific Railway and president of The Dominion Bank, and Dr. Charles Trick Currelly, the first curator of the Royal Ontario Museum of Archaeology. An archaeologist, Currelly had been doing fieldwork in Egypt, Crete and Asia Minor for the purpose of collecting artifacts as a core collection for the small museum he established at Victoria College in 1907. But he wanted a larger museum for the university and others soon became involved. Walker, Osler and others provided funds and solicited financial support from the government.
Together, Osler and Walker created an organizational structure for the museum, including how funding was to be shared between the university and the government. In 1912, the Royal Ontario Museum Act was passed. A Board of Trustees was created, with appointments shared equally by university and government. Walker was its first chairman.
The Royal Ontario Museum opened on 19 March 1914. Currelly became director in 1914 until his retirement in 1946 and Walker remained chairman of the Board of Trustees until his death. In the ensuing years he contributed financially, and assisted through generous lines of credit from the Canadian Bank of Commerce, notably for Currelly's substantial acquisitions of Chinese artifacts. Walker's fossil collection became the nucleus of the museum's paleontology collection, and resulted in a dinosaur, Parasaurolophus walkeri, being named after him in 1922. His interest and support of paleontology had led to an earlier association with the Royal Canadian Institute, another scientific institution of which he was president from 1898 to 1900.
The National Gallery of Canada
At the first official exhibition of the Royal Canadian Academy of Arts on 6 March 1880, Canada's Governor General, the Marquis of Lorne, established the National Gallery of Canada at the Clarendon Hotel in Ottawa. An Advisory Arts Council was formed in 1907 and consisted of Sir George Drummond, president of the Bank of Montreal, as chairman; the senator from Montreal, Arthur Boyer, as secretary; and Sir Edmund Walker, then just newly appointed president of the Canadian Bank of Commerce, as member. The council was charged with advising the government on architecture and decoration of public buildings and public monuments. It was responsible for selecting and purchasing artworks for the collection. Drummond favoured the acquisition of European works while Walker was adamant that Canadian art be included. On Drummond's death in 1909, Walker became chairman of the council. Walker's influence as a print collector was crucial in launching the gallery's Prints and Drawings Department, which opened in 1911.
Another responsibility of the council was to advise on the Victoria Memorial Museum (Ottawa's present Natural History Museum), which opened in 1913. The same year the National Gallery of Canada Act was passed with an independent Board of Trustees constituted; Walker was appointed chairman and served until his death. Its trustees were charged, among other duties, with the development, encouragement and cultivation of "correct artistic taste in the fine arts." By 1924, this collection had over 4,000 items.
Canada's "war pictures"
Walker was key in the creation of what today is the collection of First World War "war pictures" now housed in the Canadian War Museum in Ottawa. In 1915, the Canadian financier and expatriate, William Maxwell Aitken (later Baron Beaverbrook), was appointed the Canadian force's official records officer in England. Beaverbrook established the Canadian War Memorials Fund to record for posterity the events of that war. As both a member of the fund's committee and chairman of the Board of Trustees of the National Gallery, Walker insisted that the commissioned artists include Canadians, as well as the British artists Beaverbook proposed. By 1918, a large number of Canadian artists, among them A.Y. Jackson and Frederick Varley, were in Europe sketching munitions factories and various theatres of operations where Canadians were active. Other artists, C.W. Jefferys among them, recorded the war effort at home in Canada. In 1921, the Beaverbrook-funded war collection was deposited with the National Gallery.
Walker also served on both the Canadian and British Commissions on War Records and Trophies, formed in 1918. In the Canadian plan, a gallery for the war pictures and a hall of trophies was to be built on Sussex Drive in Ottawa. Efforts to complete the building in 1922 and 1923 were unsuccessful and the paintings and trophies were loaned out. In 1971, the paintings were transferred from the National Gallery to the Canadian War Museum and now are displayed.
Innisfree
For weekend retreats, Walker began to purchase land in 1890 at De Grassi Point in Innisfil Township, Simcoe County. "Innisfree," as his wife named it, became the centre of Walker's family life. There, he built "Broadeaves" designed by leading Canadian architect Frank Darling. Darling was the architect of the University of Toronto and designed many buildings associated with Walker such as Convocation Hall and Trinity College at the University of Toronto and the Canadian Bank of Commerce (now Commerce Court North) on King Street West in Toronto. In 1913–14, Walker built "Innisfree Farm" to further his interest in livestock husbandry. Innisfree was left in trust to his descendants as a private land trust. Managed today with the assistance of the Ontario Ministry of Natural Resources, Innisfree is designated an Area of Natural and Scientific Interest for its prairie grassland and remnants of an old growth forest ecosystem.
Last years
Sir Byron Edmund Walker left his imprint on the financial, artistic, and intellectual development of Canada. A wizard of finance, skilled in the intricacies of exchange and international business, he molded a tiny bank into a national institution and was largely responsible for overhauling the Canadian banking system. Simultaneously he established a wide range of cultural icons - the National Gallery of Canada, the collection of "war pictures" forming the nucleus of the Canadian War Museum, the Art Gallery of Ontario, the Royal Ontario Museum, the Champlain Society, the federation of colleges that became the University of Toronto - and many more. An amateur paleontologist, he was also an author of note. He was knighted by King George V, was a Knight of Grace of the Order of the Hospital of St. John of Jerusalem, and Japan appointed him Honorary Japanese Consul-General. Walker died at the age of 75, on 27 March 1924. After his death, The Globe and Mail wrote this description of Walker: "Possibly no more versatile Canadian existed in his day and age; probably few others have done so much for Canada."
Legacy
Plaque installed at Innisfil, Ontario
An Ontario Historical Plaque was erected by the province to commemorate Sir Byron Edmund Walker, C.V.O., LL.D., D.C.L. 1848-1924's role in Ontario's heritage.
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
The picture was making in the course of the "Instart" group's pilgrimage.
When the group's four members looked at it Westlicht gallery Polaroid's exhibition in Vienna.
Author : IMRE BECSI
© All rights reserved
Location of shoot :
Vienna,
Europe
Time of shoot :
11.07..2011.
Info of Shooting :
Film : Polaroid 690 Color Instant (expired)
Filter : Wratten 85b (Tiffen)
Metered expo.:
Calculated expo.: 8,5 Ev - 60 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 : (10.07.2011)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected. No reproduction in any way,
no copies, no editing, no publishing, no screenshots, no posting,
no blogging, no transmitting downloading or uploading
without my written permission!
Thank you !
Thanks for looking !
Comments very much welcome !
Pinhole
(Camera Obscura/Spazio Stenopeico/Lensless/ Lensfree/Without Lens)
Photography to 3x4 Instant Film
----------------------------------------------------
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Taken with a homemade 4x5 Pinhole camera.
Shoot to expired 3x4 Polaroid Color instant film.
----------------------------------------------------
Author : IMRE BECSI
----------------------------------------------------
Location of shoot : Roman-coast, Budapest , Hungary, Central-Europe
Width : N 47° 34' 24,37"
Longitude : E 19° 03' 56,48"
Time of shoot : 08.08.2008.
----------------------------------------------------
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 peeping (from OBI store)
Pinhole Diameter : 0.275 mm (from Lenox laser)
Shutter : "pu(s)h" (from Dr. Kai Fuhrmann)
Matte Box : Cokin
Tripod : Velbon
Head : Manfrotto
Quick release plates : Manfrotto
-----------------------------
Diaphragm : f 154
Focal Length : 42 mm
Angle of view : 109°55'47"
Light falloff at the corners [f/stops] : 3,2
Resolution [lines/diagonal] : 872
----------------------------------------------------
If interests, how this camera looks, click then here :
www.flickr.com/photos/jonespointfilm/2702304110/
----------------------------------------------------
Film : Polaroid 690 (Expired)
Filter : Cokin Circular Polar
Light : Hard sunlight
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Metered exposure :
8,5 EV measured in a shadow
(Light Meter : Minolta III with diffusor)
Calculated exposure :
60 sec.
( I use my reciprocity compensation value chart for Polaroid film)
Dev. : 120 sec. (Instead of 90 seconds)
----------------------------------------------------
POST WORK : (17.08.2008.)
Scanner : Epson Perfection 3200 Photo (1200 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 !
28-Jun-2022 13:10
Ilford FP4+ ISO125 rated @ EI 100
Tachihara Hope 10x8 two-rail
Rodenstock 240mm f/5.6 Apo-Sironar-N (33mm equivalent in 35mm)
Developed in 510 Pyro 1:100 - 10 mins @ 20C
Water Stop Bath
Tetenal Neutral Fixer (1+4) for 4 mins
Bed tilt : 2 deg forward
Front Shift : 35mm down
Back Swing : 2cm back on left
Mid tone LV = 10
Highlight = 12
Shadow = 8
Filter : none
LV=10, 4sec goes to 6 sec for reciprocity
Shutter speed 6s @ f64
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
The CAMERA OBSCURA
(Latin; “camera” is a “vaulted chamber/room” + “obscura” means “dark”= “darkened chamber/room”)
is an optical device that projects an image of its surroundings on a screen.
Author : © IMRE BECSI
© All rights reserved
I create this picture in "Light-Workshop" photo camp.
Thanks for the help : Attila Hupján, Ervin Murvai & Boros Zoltán
Location of shoot :
Síkfőkút,
Noszvaj,
Hungary,
Central-Europe
Time of shoot :
05.17.12.
Info of Shooting :
Film : Fuji FP-100b B&W 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 : Circular Polar (Tiffen 4,5 round)
Metered expo.: 10,5 ev (tree)
(Metered with Minolta Spotmeter)
Calculated expo.: 11,5 ev - 8 second
(I use my reciprocity compensation value chart to Fuji B&W Instant film)
Dev.: 60 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 : (20.07.2012)
Scanner : Epson Perfection 3200 Photo (600 dpi)
File Size : MB (TIF)
Pixel :
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected.
Use without permission is illegal!
No reproduction in any way,
no copies,
no editing,
no publishing,
no screenshots,
no posting,
no blogging,
no transmitting downloading
or uploading without my written permission!
Thank you !
Thanks for looking !
Comments very much welcome !
17-Mar-2024 17:40
Ilford FP4+ (Expired 14 years) rated @ EI 100
Tachihara Hope 10x8 two-rail
0.4mm Pinhole (Approx 81mm focal length)
Bellows at 100mm
Approx f/200
Patterson Orbital Tank
Prewash @ 20C : 5 minutes
Developed in Rodinal 1+50 for 12 mins (N) @ 20C
2 x Water Stop Bath for 1 minute
Ilford Rapid Fixer (1+4)
Cleared in under 90 sec. Fixed for for 3 mins
No Movements
Metered with iPhone meter
Added 1 stop extra for bellows, approx 3 minute exposure
Filters : none
For Reciprocity, exposed for 20 minutes
20 Minutesc @ f200