View allAll Photos Tagged reciprocity
I recently returned from a four week long photography trip to such places as Montana, North Dakota, Nebraska and Wyoming. I shot around 270 sheets and 70 rolls of 120 film using mostly two cameras.
I have arranged my life in such a way that makes doing a trip like this possible. It's a bit of sacrifice, but it's worth it.
For this trip, I experimented with almost ever shot. This naturally means that I'll have many photos that simply didn't work out. For instance, out of the first eight sheets that I've developed only three or four are worth looking at. And maybe only two are worth sharing.
This is one of them.
The location was the Sink House in North Dakota. It was recommended to me by photographic friend, Taylor. I saw a photo that incorporated the sink and then wondered how I might do it differently.
Then I forgot what that photo looked like and did it this way.
I used a 90mm lens - my widest in 4x5 - to incorporate the sink and the tree, as well as the sky.
Wanting it to be dark and dramatic, I shot HP5 at 1600, but used a few ND filters to tamp it down. This brough reciprocity failure into the picture (literally) and darked up the edges of the frame. But it also allowed me to shoot it at f/64 AND get a long exposure (one second).
This allowed the still objects - the sink and the tree - to remain still, but to show how there is an endless amount of motion on the prairie. A faster shutter would represent the place as calm, and it really wasn't.
A deep yellow filter handled the sky, which was lovely, but not nearly as dramatic. I wanted drama.
This is a photo that should be seen in a larger version, but what can be done?
.
.
.
'Predicate'
Camera: Chamonix 45F-2
Lens: Schneider-Kreuznach Super-Angulon 8/90mm
Film: Ilford HP5+ at 1600iso
Exposure: f/64; 1sec; Yellow Filter
Process: HC-110B; 11min
North Dakota
July 2022
Twisting Light #21. Another experiment in colour.
For new viewers: these are analog images formed directly on to film without the use of a camera lens (in the same way as a photogram), of the refraction patterns of light passing through formed and shaped plastics. Normally a b/w image, colour has
been added directly into the plastic. The fine detail of the diffraction patterns can be seen when viewed large.
A slide film photo scanned in (the slide really is better, wish I had a decent scanner). This was taken at my sister Lynn's land in the Wet Mountains of Colorado and is her favorite. She recognizes every tree in the photo!
Please View Large On White
This is certainly an easier shot to pull of with film for me. But I have yet to try my new D70 out on some star trails and am curious how it will fare with noise levels. The yellow at the bottom of the photo is the light pollution from Colorado Springs, Pueblo and Fort Carson. The green is partially from reciprocity failure (some hate it, but I actually like the look it gives at times).
My sister still has a great night sky for star gazing!
Due to popular demand I am adding some helpful info on how to do this yourself. I used Fuji Provia 100F slide film for this photo and shot at either F5.6 or F8. I bracket exposures at 8, 15, 30 and 60 mins if I have enough time, sometimes I go for shorter and longer times as well, but that's a good starting place. I am not certain which exposure I used here (no EXIF data on my slide film, hah). I would fathom a guess my exposure was in the range of 30-60 mins though. Finally, for a one-stop for tutorials on how to do this from a master of star trails, click here.
18-Jan-2025 13:40
Ilford HP5+ 400 rated @ EI 200 (N-1)
Ebony 45SU
Rodenstock 150mm f/5.6 Apo-Sironar-S
Stearman Press SP645 Tank
Pre-wash : None
Developed : PyrocatHD 1+1+100 for 9 mins @ 20C
2 x Water Stop Bath
Eco Zone Alkali Fix. Clearing time 2 minutes
Total Fix time doubled to 4 minutes
Wash for 10 mins in frequent water changes
Ilfotol final rinse (1ml in about 500ml)
Movements : Front Rise 2cm up
Mid tone LV = 13
Highlight = 15
Shadow = 11
Filters : Red (-3)
Final LV=10
Reciprocity : None
1/4 sec @ f22
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.
en.wikipedia.org/wiki/Artichoke
The globe artichoke (Cynara cardunculus var. scolymus /ˈsɪnərə kɑːrˈdʌnkjʊləs ˈskɒlɪməs/),[1][2][3][4] also known by the names French artichoke and green artichoke in the United States,[5] is a variety of a species of thistle cultivated as food.
The edible portion of the plant consists of the flower buds before the flowers come into bloom. The budding artichoke flower-head is a cluster of many budding small flowers (an inflorescence), together with many bracts, on an edible base. Once the buds bloom, the structure changes to a coarse, barely edible form. Another variety of the same species is the cardoon, a perennial plant native to the Mediterranean region. Both wild forms and cultivated varieties (cultivars) exist.
The English word artichoke was borrowed in the sixteenth century from the northern Italian word articiocco (the standard modern Italian being carciofo). The Italian term was itself borrowed either from Spanish alcarchofa (today usually alcachofa) or directly from the source of the Spanish word—medieval Andalusi Arabic الخرشوفة (al-kharshūfa, including the Arabic definite article al). The Arabic form kharshūfa is still used in Maghrebi Arabic today, while other variants in Arabic include kharshafa, and Modern Standard Arabic khurshūfa. These Arabic forms themselves derive from classical Arabic حرشفة (harshafa) singular word of the plural حراشف (ḥarashef) meaning "scale".[6][7] Other languages which derive their word for the artichoke from Arabic include Israeli Hebrew, which has the word חֻרְשָׁף (khursháf). The original Hebrew name (see Hebrew: he:ארטישוק), predating the Arab conquest,[clarification needed] is קינרס kinars, which is found in the Mishna.[8]
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'm trying to figure out reciprocity for Fomapan 100. My reciprocity chart for Foma 100 suggests that 15 seconds becomes 2+ minutes, and that is obviously too much (this is a DENSE negative).
Does anyone know of a recent, more accurate reciprocity adjustment available? The one I use and most of the ones I've seen online are the same — they show that a 15 second exposure adjusts to 2 minutes and 44 seconds, which results in severe overexposure (at least 2.5 stops too much).
I'd rather not guess if I don't have to, so finding a more accurate reciprocity tool would be preferred.
But hey — I got an image out of it.
Intrepid 5x7 with the 8.5" Kodak Commercial Ektar lens.
Photogram #61
The light refraction pattern from a new glass piece. I'm sure you will be able to give me some interpretations. A Happy and Creative New Year to you all.
For new viewers: these are analog images of the refraction patterns of a beam of light passing through various glass objects. The image is captured directly on to 35mm film, no camera lens is used ( this is a photogram using film instead of photographic paper). No Photoshop is used only Picasa2 for alignment and cropping. The slide film was lab processed and a Cibachrome print scanned for uploading.
The fine detail and subtle rainbow colours can be seen in the large view.
Excerpt from www.hamilton.ca/sites/default/files/2022-10/publicart-loc...:
Haven - a safe place that offers favourable opportunities and conditions (Merriam-Webster), a lovely metaphor for the haven provided by the Kirkendall community.
This sculpture depicts the roosting of butterflies on a tree trunk. Just as these butterflies choose a collaborative grouping for protection, warmth, and to preserve resources for flight, the Locke Street area provides hospitality, inclusion, and opportunities for discovery and fun.
The wonder of butterflies inspires reflection on adaptability, cooperation, and diversity – key elements of this neighbourhood. Butterflies have long been symbols of beauty and hope, the efforts of the caterpillar to emerge from its cocoon exemplifying struggle, tenacity, and resilience - values that underpin Locke Street’s evolution. This transformation of oneself, or one’s haven, is captured in the words of Maya Angelou, “we delight in the beauty of the butterfly but rarely admit the struggles it has gone through to achieve that beauty”.
Just as the community is known for its collaboration and innovation, butterflies reveal the same qualities through flight – gliding on favourable currents but gathering closely together to deflect the power of strong winds. This sculpture portrays nature’s lessons of reciprocity and interdependence with each element valuable to the community and each element’s well-being dependent on the community. In this instance, every butterfly is unique and diverse, while still contributing to the common good – an inspiring and relevant wisdom for Locke Street. And as are the people in this haven, each of the 2000 butterflies on this
sculpture is distinct and one-of-a kind.
The butterfly colours mirror a temperature gradient reflecting a butterfly’s need for warmth before flight. The colours are also gently associated with those of the LGBTQ+ community symbolizing life, healing, sunlight, intimacy, nature, art, harmony, and spirit. Each colour results from a tempering process; the stainless-steel butterflies are exposed to high heat with different temperatures producing the variety of colours. Not only will Haven and its colours add interest and joy but will also enthusiastically represent the diversity of the neighbourhood and will serve as an attractive beacon and a welcoming, iconic landmark.
With over 100 species of butterflies in the Niagara Escarpment and Hamilton habitats, our understanding of butterflies can make a significant difference to their status. There is a sense of optimism associated with both the strength of this seemingly ephemeral life and the feeling that we can make a difference. This hopeful sentiment connects to the Kirkendall vision – a welcoming haven for gathering safely, with the provisions and support to help us ‘take flight’ when ready. The Locke Street residents and visitors mirror the butterfly’s principles of cooperation, respecting rights to exist and thrive, needing and welcoming multiplicity, and the ensuing joyful sharing of beauty and well-being.
In the spirit of this cooperation, several storefronts surrounding the intersection have keenly confirmed the hosting, on their walls, of a clump of butterflies who have symbolically left the roost, an engaging element of surprise and pleasure extending beyond the footprint of the Kyle Thornley Concept Statement Haven Locke Street Public Art 2 sculpture.
16-Jun-2025 14:52
Kodak TMAX 400 rated @ EI 400 (N)
Ebony 45SU
Rodenstock 150mm f/5.6 Apo-Sironar-S
Stearman Press SP445 Tank
Pre-wash : None
Developed : FX-55 1+9 16 mins @ 21C
30 sec agitation then 5 every 30 sec
2 x Water Stop Bath
Alkali Fix. Clearing time 2 minutes
Total Fix time doubled to 4 minutes
Wash for 10 mins in (filtered) running water
Kodak Photo Flo + distilled water rinse (1ml in about 500ml) : 2 mins
Movements
Bed Tilt : 12 degrees forward
Front Drop : 1cm down
Back Tilt : 12 deg back
Mid tone LV = 11
Highlight = 16
Shadow = 9
Filters : Lee Orange 15 (-1) : 2 stops hard grad on sky
Final LV=10
Reciprocity : None
1/4 sec @ f32
The Independent Order of Odd Fellows (IOOF) is a non-political, non-sectarian international fraternal order of Odd Fellowship (because at the time it was considered odd to find people organized for the purpose of giving aid to those in need without recognition). It was founded in 1819 by Thomas Wildey in Baltimore, Maryland, United States. Like other fraternities, the Independent Order of Odd Fellows began by limiting their membership to white men only. On September 20, 1851, the IOOF became the first fraternity in the United States to include white women when it adopted the "Beautiful Rebekah Degree" by initiative of Schuyler Colfax, later Vice-President of the United States.
Beyond fraternal and recreational activities, the Independent Order of Odd Fellows promotes the ethic of reciprocity and charity, by implied inspiration of Judeo-Christian ethics.
Camera: Canon EOS-3
Lens: EF 50mm/1.8
Film: Kodak Gold 200
Scanned: Englewood Camera
© Web-Betty: digital heart, analog soul
Ker Chalon at moonlight
.
That day I was using my beloved film scanner, the Pentax k-5, for getting ideas of shots and framings for future shots and pictures for a theme of my camera club. As I needed 30 seconds of exposure and there was a lot of wind I didn't even try on analog. Strong wind and reciprocity failure doesn't mix well, I fear!
.
#iledyeu #unautreyeu #kerchalon #clairdelune #auclairdelalune #monamipierrot #pentaxk5
18-Jan-2025 14:35
Ilford HP5+ 400 rated @ EI 200 (N-1)
Ebony 45SU
Schneider 110mm f/5.6 Super-Symmar XL
Stearman Press SP645 Tank
Pre-wash : None
Developed : PyrocatHD 1+1+100 for 9 mins @ 20C
2 x Water Stop Bath
Eco Zone Alkali Fix. Clearing time 2 minutes
Total Fix time doubled to 4 minutes
Wash for 10 mins in frequent water changes
Ilfotol final rinse (1ml in about 500ml)
Movements : None
Mid tone LV = 11½
Highlight = 16
Shadow = 9
Filters : Red (-3)
Final LV=8½
Reciprocity : None
1 sec @ f28
I am finding Fomapan 100 a struggle in situations like this. Not much range here, but then this scene probably needed 'cooking' for longer. This one was a 1 second exposure, right on the point where reciprocity failure starts kicking in with Fomapan. I think this could have stood 2 seconds. There is always the potential to process a single sheet differently with large format, but that's not awfully economical when there are another 5 sheets waiting.
In all size is better!
or
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Location of shoot :
Cegléd,
Hungary,
Central-Europe
Latitude - 47°11'56.61"
Longitude - 19°43'58.12"
Time of shoot :
01.04.2010.
Info of Shooting :
Film : FUJI FP-100c Color Instant (expired : 2010-01)
Filter : Tiffen Cir.Polar and Tiffen Photar #16 (orange)
Metered expo.: 9 Ev - 38 sec.
Calculated expo.: 7,75 Ev - 150 sec.
( I use my reciprocity compensation value chart to FUJI Color Instant film)
Dev.: 180 sec. (15 C)
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 33 mm
- pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 132
Film back from my Polaroid 600se camera.
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).
Picture from the camera :
www.flickr.com/photos/jonespointfilm/2837193476/in/set-72...
The parameters of camera :
(when I use 95x73 mm format instant film)
- Angle of view : 119°24'26"
- Light falloff at the corners [f/stops] : 3,6
- Resolution [lines/diagonal] : 887
Post work : (02.04.2010)
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 !
I believe that this is a carpenter bee approaching a Myrtle flower. Any correction will be appreciated.
en.wikipedia.org/wiki/Carpenter_bee
"Carpenter bees are species in the genus Xylocopa of the subfamily Xylocopinae. The genus includes some 500 bees in 31 subgenera.[1] The common name "carpenter bee" derives from their nesting behavior; nearly all species burrow into hard plant material such as dead wood or bamboo. The main exceptions are species in the subgenus Proxylocopa, which dig nesting tunnels in suitable soil.
"Non-professionals commonly confuse carpenter bees with bumblebees;[3] the simplest rule of thumb for telling them apart is that most carpenter bees have a shiny abdomen, whereas bumblebee abdomens are completely covered with dense hair. Males of some species of carpenter bees have a white or yellow face, unlike bumblebees, while females lack the bare corbicula of bumblebees; the hind leg is entirely hairy.
I believe this is some variety of Myrtle. Google leads me to believe it is Campomanesia ilhoensis. Any correction will be appreciated.
en.wikipedia.org/wiki/Campomanesia_ilhoensis
Campomanesia ilhoensis (synonym Campomanesia viatoris) is a species of plant in the family Myrtaceae.[2]
"The plant is endemic to the Atlantic Forest ecoregion in southeastern Brazil. It is occasionally distributed on the banks of the Rio Sâo Francisco in coastal Alagoas state.[3]
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
Remember my popular image underneath the pier??
Well, this is what I took later on. I was a little farther back, which is really too bad because you can't see as well the way that the water is misty and earily flat.
The only light here is the sodium vapor lights and the moon. The colors are exactly the colors that appeared on the slide. I like the crisscorssing partial-shadows on the ground, the yellow-and-black of the sand, and everything.
This is on Velvia 100. Pinhole told me that Velvia is a horible long-exposure slide film. The thing is, I've discovered that I like daylight balancing at night, where the sodium vapor shows its true golden nature. Velvia 100 has incredibly good reciprocity behaviour, more or less the same as Provia 100F. I have a number of night shots taken on it and I really like how they look. The fact that exposure must be right on with Velvia 100 doesn't really bother me much, because metering exposure on the a95 is about as strict.
Which is really not to say that Pinhole is wrong, more that after gathering an understanding of the situation, the properties of film, and why everybody says that Velvia is awful for night, I find that, at least for me, I can safely ignore the advice.
I basicly metered this by taking a ISO 400 exposure on the a95 and extrapolated from there. It's about 9 or 10 minutes at somewhere between f/5.6 and f/8... I wasn't keeping too good of records on this roll. As all of my slide shots, pretty much, were shot, this was done on my old mechanical film SLR and a 50mm lens.
The nice thing is that I can blow this one up much bigger than a picture taken on the a95. I printed out a 16x20 and it's absolutely stunning.
Oh yes, and because it takes so long for each exposure, I only took one shot from this angle -- no bracketing!
25-Jan-2025 15:07
Rollei IR400 400 rated @ EI 200 (N-1)
Rated at EI=3 (N-1) for Infrared
Ebony 45SU
Schneider 72mm f/5.6 Super-Angulon XL
Stearman Press SP445 Tank
Pre-wash : None
Developed : Adox Rodinal 1+50 for 8½ mins @ 20C
2 x Water Stop Bath
Eco Zone Alkali Fix. Clearing time 2 minutes
Total Fix time doubled to 4 minutes
Wash for 10 mins in frequent water changes
Ilfotol final rinse (1ml in about 500ml)
Movements
Base Tilt : 3 degrees up
Mid tone LV = 11
Highlight = 16
Shadow = 9
Filters : Heliopan IR72 (95mm)
Final LV=11
Reciprocity : 8 sec goes to 25
25 sec @ f22
05-May-2025 16:40
Ilford FP4+ 125 rated @ EI 50 (N-1⅓)
Ebony 45SU
Rodenstock 135mm f/5.6 Apo-Sironar-S
Stearman Press SP445 Tank
Pre-wash : 5 minutes
Developed : PyrocatHD 1+1+100 13½ mins @ 20C
Semi-Stand : 30 sec agitation then 5 @ 4, 7, 10, 13 mins
2 x Water Stop Bath
Alkali Fix. Clearing time 1¼ minutes
Total Fix time doubled to 2½ minutes
Wash for 8 mins in frequent water changes
Wash for 2 mins in distilled water
Kodak Photo Flo + distilled water rinse (1ml in about 500ml) : 2 mins
Movements
Front fall : 1 cm down
Front Swing : 3 deg left
Mid tone LV = 11
Highlight = 15
Shadow = 9
Filters : Lee Orange (-1)
Final LV=10
Reciprocity : None
1 sec @ f22
4x5 Lomograflok back
110mm lens, f22, 70s (meter 15s)
Fujifilm Instax Wide film
The Lomography graflok back has finally arrived after a whole year's waiting. This is the first test, on various fronts:
- The back is light weight, sturdy, in-spec, easy to handle, with smooth ejection mechanism. Overall, it's well thought out and engineered.
- The insert for focusing and framing is well made, focus is spot-on for this shot at f22 but needs stringent tests at wide open.
- Reciprocity failure is severe. In this shot, the added +2EV looks about right. Issues like these could not be properly tested (with Fuji's toy cameras), until now.
- Highlight rendering is smooth. Curiously in long exposure there is no 'black sun' effect (known as solarization) on the light bulbs, they just got blown out. Shadow details are lacking as expected. Latitude is narrow, worse than color trannies.
- Color-wise, there is a shift to the blue, as also evident in other people's night-time exposures with the Instax.
Trying Svema Blue Sensitive for long exposures (ISO 6). Not sure if it’s a good film for long exposures. If I try again. I’ll need to figure out the reciprocity factor is. If anyone knows, let me know.
EOS 3
40mm F2
Svema Blue Sensitive
f16 @17 mins
Ondu 6x6 Pocket Pinhole
Ultrafine Extreme 100 (defective film)
10 minute exposure
Rodinal 1:50 @13 minutes
It only took three rolls!
Shooting my birthday pinhole camera has been a truly humbling experience.
First roll was a painful lesson in displacement and not recognizing the crazy wide the angle of view (115°). I set the camera on surfaces that ended up dominating the frame with the intended subject barely visible in the background. In my defense, I thought I could manage easily without a tripod and was multi-tasking while walking Molly on my own. Surely one of my happy snapping shots would display some quirky pinhole appeal? Nope, nope and nope.
The second roll, with indoor shots, was an introduction to reciprocity failure. Exposures that metered at 46 secs at F/22, per the Ondu exposure card, actually needed 10 minutes. I also realized that I needed to get much, much closer to the subject. The outdoor shots on that roll had subjects that were just too busy. More lessons learned.
Roll on roll number three, and, by now, I'm definitely feeling the pressure to produce. Fortunately, I had discovered a reciprocity failure chart, with adjusted exposure times, and was ready to give those a whirl. This Sunday afternoon set-up was cobbled together with an old army blanket as a back drop, two bedside lamps, a copy of War and Peace, and a raccoon skull that we found a few years ago. I overcompensated in getting too close to the subject, but at least I can see the potential. And I can live with the mottling from the backing paper in this kind of naive image, which was Steve's cunning plan all along.
14-Sep-2022 16:25
Ilford FP4+ ISO 125 rated @ EI 100
Tachihara Hope 10x8 two-rail
Nikkor 450mm f9
Developed Rodinal R09 1+ 50 for 12 mins (N) @ 20C
Water Stop Bath
Tetenal Neutral Fixer (1+4) for 4 mins
Back Swing : Right 5 degrees back
Mid tone LV = 7
Highlight = 11
Shadow = 9
Filters : Orange 15 (-1)
LV=13
Requires reciprocity correction
8 Seconds goes to 14 seconds
14 sec @ f45
Outside,
the clouds are passing irreverent,
they float away
to paint over patches.
Reciprocity hasn’t woken anybody up
:We’re likely animals, I say.
:Blessed from magnanimous hurt, you murmur.
Finn / friel / gene
max richter / on the nature of daylight
I believe that this is Peruvian lily (Alstoemeria 'Fabiana') or a very similar cultivar maybe "Casablanca". Any correction will be appreciated.
www.sunset.com/garden/flowers-plants/alstroemeria
This low-growing alstroemeria hybrid from the ‘Princess’ line only reaches about 12 inches tall and is covered in creamy white flowers with flecked throats. Variegated green and white foliage provides interest when the plant is not in bloom. The lower habit and clumping form make ‘Fabiana’ a good choice for containers or the front of garden borders.
www.gardenia.net/plant/alstroemeria-princess-fabiana-peru...
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
24-Oct-2025 14:00
Ilford PanF+ 50 @ EI=50
Acutol-S [FX15] (Homemade) 1+1 : 7 mins @ 20C
Pre-Wash : None
Inversions first 30 sec then 5 each minute
Two water Stop Baths - 1 min each
Fixer : Ilford Rapid Fixer
Clearing time ¾ min. Total fix time 1½ mins
Initial wash to remove fixer : 1 min
Washing : 10 mins under tap (filtered)
Kodak Photo-Flo : 1 ml in 800ml Distilled Water for 2 mins
Bronica SQAi + 40mm
Highlight = 14
Shadow = 9
Midpoint = 11
Filters : Heliopan Yellow (-1)
Reciprocity 3 sec goes to 4 sec
Final LV=7
4 sec @ f11
In Explore, September 19th, 2020...
www.flickr.com/photos/43224475@N08/50355925836/in/explore...
The pictured harp was manufactured in Dublin, Ireland by John Egan and dates to 1825. It was brought to Tasmania from England by Mary Morton, in 1832.
Camera: Hasselblad 500C/M SLR.
Lens: Carl Zeiss 40mm Distagon f/4.
Film: Rollei 400 (Agfa Aviphot) 70 millimetre black & white negative (in Hasselblad Magazine 70).
Development: Agfa Rodinal 1 + 50 20C/13m.
This was a long exposure of around a minute from memory. That was something of an estimate. I had an incident meter with me, but not being able to access the same lighting as the subject, it was of limited assistance. I did a bracketed series of three exposures to allow for reciprocity. All were potentially usable but this had the least light leakage (now sorted), was the sharpest (by a hair) and the exposure was good. The Hasselblad was fitted with a cable release, the mirror pre-release was used, and it was supported on a Linhof tripod.
Copyright 2020 Brett Rogers
ALL RIGHTS RESERVED
Excerpt from www.mississauga.ca/arts-and-culture/arts/public-art/digit...:
“Timber Tectonics” demonstrates how the principle of reciprocity is applied to the creation of a reciprocal frame structure, where short wood members are interconnected to span large distances while remaining structurally sound. In a reciprocal frame structure, a minimum of three members support each other using the mechanism of resting one member on the other and/or on the ground. In addition, they support at least one other element at some intermediate point or points. If this condition is met, this elementary configuration will form a unified unit with a rightward or leftward orientation.
In a time of global supply chain issues and in an industry where efficiency and productivity are paramount, reciprocal frame structures provide the opportunity to achieve more with less. Material consumption can be reduced, accuracy can be increased, and costs can be reduced. Reciprocal frame structures facilitate faster assembly times, thereby reducing labour costs. This installation is the first robotically fabricated, doubly curved reciprocal frame structure on the American continent, and of only a handful around the world. Our research aims to create awareness and encourage more building professionals to expand on the work in this domain.
Decided to head out to the city since the morning light was good although it was hazy. Used the HnY 6-stop CPL for this long exposure to cut through the atmospheric haze and enhance the skies.
This is a large format film shot on a discontinued Fuji portrait film, turned out pretty okay even though I was guess-timating the exposure while accounting for reciprocity.
Fujifilm NPS 160
Schneider 75mm Super-Angulon, Horseman 45FA
HnY 6-stop CPL + Haida 6-stop filter on HnY magnetic holder
Tetenal Colortec C41
Epson v700 Perfection
Website | Facebook Page | 500px | Instagram
A burning love for God does imply and bring about a disappearance of self-centered clingings and egoisms, but it does not destroy the reciprocity of interpersonal human love. On the contrary, divine love intensifies human love. Reality, another name for sanctity, is an integrated whole: everything fits with and reinforces everything else. Truth is indeed symphonic.
-THOMAS DUBAY, S.M. FIRE WITHIN St. Teresa of Avila, St. John of the Cross, and the Gospel—on Prayer
29-Apr-2025 15:50
Ilford HP5+ 400 rated @ EI 400 (N)
Ebony 45SU
Schneider 110mm f/5.6 Super-Symmar XL
Stearman Press SP445 Tank
Pre-wash : None
Developed : 510 Pyro 1+100 8¼ mins @ 20C
2 x Water Stop Bath
Alkali Fix. Clearing time 2½ minutes
Total Fix time doubled to 5 minutes
Wash for 10 mins in frequent water changes
Wash for 2 mins in distilled water
Kodak Photo Flo + distilled water rinse (1ml in about 500ml) : 2 mins
Movements
Front fall : 1 cm down
Front shift : 3 cm right
Mid tone LV = 3
Highlight = 7
Shadow = 1
Filters : None
Final LV=3
Reciprocity : 15 sec goes to 35 sec
35 sec @ f22
1943 War Effort. Still relevant today in efforts to respect our shared Home! Photo posted in my complex’s lobby.
In the spirit of Recycle, Repurpose, & Regift, Richard Rohr in his daily meditations, quotes Potawatomi botanist and author Robin Wall Kimmerer [who] critiques our obsession with economic growth:
“The threat of real scarcity on the horizon is brought to us by unbridled capitalism. Extraction and consumption outstrip the capacity of the Earth to replenish what we have taken. An economy based on the impossibility of ever expanding growth leads us into nightmare scenarios. I cringe when I hear economic reports celebrating the accelerating pace of economic growth, as if that were a good thing. It might be good for [some in power], for the short term, but it is a dead end for others—it is an engine of extinction.”
Kimmerer learns about the benefits of a “gift economy” from a local farmer and businesswoman who occasionally offers surplus Serviceberries to her neighbors for free.
Paulie has a reputation to uphold for being no-nonsense in her approach to life …:
“It’s not really altruism,” she insists. “An investment in community always comes back to you in some way. Maybe people who come for Serviceberries will come back for Sunflowers and then for the Blueberries. Sure, it’s a gift, but it’s also good marketing. The gift builds relationships, and that’s always a good thing….” The currency of relationship can manifest itself as money down the road, because Paulie and Ed do have to pay the bills….
“Even when something is paid for as a commodity, the gift of relationship is still attached to it. The ongoing reciprocity in gifting stretches beyond the next customer, though, into a whole web of relations that are not transactional. Paulie and Ed are banking goodwill, so-called social capital….
“I cherish the notion of the gift economy, that we might back away from the grinding system, which reduces everything to a commodity and leaves most of us bereft of what we really want: a sense of belonging and relationship and purpose and beauty, which can never be commoditized. I want to be part of a system in which wealth means having enough to share, and where the gratification of meeting your family needs is not poisoned by destroying that possibility for someone else. I want to live in a society where the currency of exchange is gratitude and the infinitely renewable resource of kindness, which multiplies every time it is shared rather than depreciating with use….
“I don’t think market capitalism is going to vanish; the faceless institutions that benefit from it are too entrenched. The thieves are very powerful. But I don’t think it’s pie in the sky to imagine that we can create incentives to nurture a gift economy that runs right alongside the market economy. After all, what we crave is not trickle-down, faceless profits, but reciprocal, face-to-face relationships, which are naturally abundant but made scarce by the anonymity of large-scale economics. We have the power to change that, to develop the local, reciprocal economies that serve community rather than undermine it.”
Quoted in Richard Rohr’s Daily Meditations,
Center for Action and Contemplation, October 9, 2025.
30-Dec-2024 13:30
Ilford FP4+ 125 @ EI 100
XTOL 1+1 : 10 mins @ 20C
Pre-Wash : None
Inversions first 30 sec then 5 sec every 30 sec
Two water Stop Baths - 1 min each
Zero Image Eco Alkali Fixer
Clearing time 1½ min. Total fix time 3 mins
Initial wash to remove fixer : 1 min
Washing : 10 mins with frequent water changes
Ilfotol : 1 ml in 800ml for 2 minutes
Bronica SQAi + 80mm
Highlight = 11
Shadow = 7
Midpoint = 9
Filters : Heliopan Red (-3)
Final LV=6
Reciprocity : 8 sec goes to 14
16 sec @ f22
05-May-2025 17:10
Ilford FP4+ 125 rated @ EI 50 (N-1⅓)
Ebony 45SU
Rodenstock 135mm f/5.6 Apo-Sironar-S
Stearman Press SP445 Tank
Pre-wash : 5 minutes
Developed : PyrocatHD 1+1+100 13½ mins @ 20C
Semi-Stand : 30 sec agitation then 5 @ 4, 7, 10, 13 mins
2 x Water Stop Bath
Alkali Fix. Clearing time 1¼ minutes
Total Fix time doubled to 2½ minutes
Wash for 8 mins in frequent water changes
Wash for 2 mins in distilled water
Kodak Photo Flo + distilled water rinse (1ml in about 500ml) : 2 mins
Movements
Front rise : 1 cm up
Mid tone LV = 11
Highlight = 15
Shadow = 9
Filters : Lee Orange (-1)
Final LV=10
Reciprocity : None
1 sec @ f22
Shot during the morning overcast fog which evened out the light in this heavy canopy near this creek which meanders through the small central coast town.
Fujicolor Pro160S - C41 - (processed @ www.lightwavesimaging.com )
(Shot at 160ASA, Processed Normally)
SEKONIC L-778 DUAL SPOT F METER
(no filter)
EV9 (+ reciprocity compensation):3s @ f22
Hasselblad 500C w/80mm f2.8 CF Zeiss Planar T*
Epson PERFECTION V750-M PRO SCANNER
(20110611_MarshallGraduation_FujiPro160S_02992_004)
I was once told I only get 'good' pictures because of the gear I use. Well here are the first colour shots from my 1930's box camera =P. Sadly, only 4 shots out of 11 came out due to a possible 'light leak' in the camera.
The limitations of box camera night photography are:
No tripod mount
No shutter cable
Mirrorred Viewfinder
No aperture control
No variable focal length
No focal distance
No test shots
No light meter
It costs you £2 everytime you take a picture.
Each film holds 11 pictures - that's like shooting with a 128mb card.
Reciprocity failure
No 'L Glass' - the lens is literally a circle to let light in.
Each film took me like 20 mins to load (compare that to putting in your 128mb card).
Light leaks - accidentally ruining all of your shots.
Despite all that - I'm sort of happy with the two shots I'm uploading for your critique.
I'd also like to take the opporunity, as I haven't uploaded much for a while, to thank all the viewers of my work. My all time views has just passed the Quarter Million mark - and I'm very grateful...and as always...down with the haters.
Hasselblad 500cm + Lee filters
Fuji Velvia RVP 50
Exposure time about 2 minutes incl reciprocity compensation
Developed at home in Tetenal Colortec E6
Welcome to visit my new gallery for my Velvia images from Isle of Harris -15
www.shimmeringgrains.com/galleries/isle-of-harris-outer-h....
or my new blogpost on Shimmering Grains www.shimmeringgrains.com/2016/09/18/what-happends-after-a....
Capturing sunsets with pinhole cameras can often be a bit touch-and-go for me. For one, I am really fond of keeping my pinhole cameras loaded with ISO 100 film, at the fastest. If you have a camera that is going to stretch out exposures no matter which speed of film you load in it, might as well embrace the slow nature and lean into it. But when the sun starts to drop around the curve of the Earth, those long exposures can rapidly stretch out. And if you are not on top of it, it is easy enough to get into a situation where you are losing light faster than the camera is collecting it. Your exposures run away from you, especially given reciprocity failure. Even if you have enough light, those same exposures will still take a minute, and likely several, meaning your tripod is tied up. It becomes a decision, invest in the pinhole exposure at the expense of all my other cameras, or forego the pinhole to make several other exposures on my Hasselblad, Holga or Pentax 67.
This sunset really wasn't all that bad though. I think my exposure on the pinhole was only about two minutes and the color lingered long enough that I was able to make this one pinhole exposure and then quickly switch over to my Hasselblad. Or maybe I did that the other way around... I cannot exactly recall. Anyway, I managed two photos of this sunset at least and this pinhole image was one of them.
Zero Image 2000
Kodak Ektar 100
05-May-2025 17:45
Ilford FP4+ 125 rated @ EI 50 (N-1⅓)
Ebony 45SU
Rodenstock 135mm f/5.6 Apo-Sironar-S
Stearman Press SP445 Tank
Pre-wash : 5 minutes
Developed : PyrocatHD 1+1+100 13½ mins @ 20C
Semi-Stand : 30 sec agitation then 5 @ 4, 7, 10, 13 mins
2 x Water Stop Bath
Alkali Fix. Clearing time 1¼ minutes
Total Fix time doubled to 2½ minutes
Wash for 8 mins in frequent water changes
Wash for 2 mins in distilled water
Kodak Photo Flo + distilled water rinse (1ml in about 500ml) : 2 mins
Movements
Front fall : 1 cm down
Mid tone LV = 12
Highlight = 15
Shadow = 11
Filters : Lee Orange (-1)
Final LV=11
Reciprocity : None
1/2 sec @ f22
Best of two test shots of using Kodak Vision 3 500T for the first time at night.
Shot at 500iso. Didn't want to push it to 800iso. I am personally not so keen on how this film looks pushed.
No Filter, No Crop, No Post Production.
Camera: Pentax MX SLR
Lens: SMC Pentax-A 1:1.4 50mm
Light meter: Weston Master 5 with Invercone.
Metering point: Just in the shadows forming across the tower building on the left.
Meter reading: Light meter indicated f8 so bumped it up a stop to let a bit more light in so wouldn't be so dark. f5.6 and 1 second.
I have read different peoples' thoughts about the reciprocity of this film and decided I wouldn't go past 1 second for long exposures. Please let me know if you've had longer exposures with this 500T at 500iso and it was still decent :/ Would appreciate it. Thanks in advance :)
Tripod with shutter release cable.
Manual Focus.
No Crop, No Post Production, No filter because lighting condition under complete darkness by artificial street light and car lights.
Developed in Bellini C41 Kit
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 believe that this is Peruvian lily (Alstoemeria pelegrina) or a very similar cultivar. Any correction will be appreciated.
en.wikipedia.org/wiki/Alstroemeria_pelegrina
Alstroemeria pelegrina, the Peruvian lily, is a species of flowering plant in the large genus Alstroemeria of the family Alstroemeriaceae (Inca-lilies), part of the monocot order Liliales. It is the type-species of that genus, originally described by Linnaeus in 1762 as one of three species of Alstroemeria. It is a herbaceous rhizomatous perennial endemic to Chile.
The plant stems reach 20 to 60 cm in height, glabrous (smooth) in the upper part and scaly in the lower. The rhizomes are cylindrical, branched and elongated with roots that are long and thin. From the upper third of the stem arise leaves that are a vivid green in colour and arranged spirally and twisted so that their tips are on the side. The flowers are large and showy, the tepals being 4.5–5.5 cm in length, being an intense pink color with a purple centre. The stamens have purplish anthers. The ovary is glabrous, with 6 prominent ribs. The seeds are brow and spherical.[2][3]
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've spent the past few months working my way through a couple rolls of the new Fuji Acros II attempting to answer the questions I have about the film. Questions like, "How similar to the original Acros is it?" "What about it's reciprocity failure?" "Is it as fine of grain?" Then yesterday I compiled all those thoughts, images and notes and wrote something for Blue Moon Camera that is halfway between first impression and review. You can read it if you'd like at the Codex section of the Blue Moon Camera website. Suffice it to say, that for all intents and purposes, Acros II is as close to the original as you could ever want it to be. There is a slight change in contrast, a slight change in spectral sensitivity, it might actually be a little finer grained if that is even possible, and no change in terms of how it handles long exposures. This was a 30 minute exposure with only 1 extra stop of reciprocity compensation added.
So I am excited to have access to this film again (we just got a couple hundred rolls at the shop). I have been going back through pages of old b&w negatives over the last month on the hunt for any film stocks that weren't Tri-X and I was surprised by how much Acros I have shot over the years. I knew I liked the film, but had forgotten how much of it I have used. So now I am looking forward to using this second iteration of that excellent film. If only we could get Fuji to bring back Neopan 400 and 1600 now.
Hasselblad 500C
Fuji Acros II
30 minute exposure with 1 stop reciprocity compensation.
Exposure time, 4min (30s indicated + 3 fstops reciprocity)
- Mamiya C33 / Lens 55mm TLR
- Fomapan100 + B&W ND3.0
- Self dev. in Atomal49, 1+1, 13:30min
Moving on from the July/August Roots Study, I've started doing new 8x10 work using a couple of the Petzval lenses in conjunction with film.
This morning I set up the Deardorff with the Darlot Petzval, and using Bergger's Pancro 400 film. I metered for 160 ASA and doubled the time for possible reciprocity and got 2 seconds. Film processed in Xtol stock.
I like it.