reciprocity photos on Flickr

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PINHOLE f/120 WOOD BOX // POLAROID 667 B+W FiLM EXPIRED 2007

PURPLE + BLACK + WHITE week

I really think this pinhole + polaroid thing could be my temporary obsession, b/c I realize I haven't even scratched the surface. This was more or less a test, my second attempt with my new pinhole camera. It was a calculated 1 minute and 52 second exposure at f/120, the 667 being 3000 ISO. I followed instructions and added 2 stops for reciprocity in the calculation, but it looks like i could have still been exposed a little longer. Check out the notes for the details.

Hawthorne Bridge, June 2011 by Gary L. Quay

11 9

I missed shielding the lens from a nearby light, but, you know, I think it looks interesting. I keep going back to this spot in hopes that someday I will get it right.

I've been experimenting with Fuji Acros for night shots because its reciprocity characteristics are top notch.

Camera: Sinar Alpina 4x5

Lens: 90mm Nikkor.

Film: Fuji Acros 100 Quickload, developed in Kodak HC-110 dilution H.

Somersby Falls on Velvia 50 Slide by Matt Lauder

3 5

Shooting slide film at the best of times can be difficult to nail the exposure. Go under the canopy and it can be even harder to perfect. Slow film, reciprocity failure of that film, center filter adding one stop and then a polariser adding two stops. All adds up to quite a long exposure. At least under the canopy the lighting it quite even.

From memory this would have been about 3 min at F16 on the Fuji GX617.

Main site: www.mattlauder.com.au

The Blog: www.mattlauder.wordpress.com

Kids on top of Oszoly-hill by jonespointfilm

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Taken with a homemade pinhole camera.

Shoot to 3x4 Polaroid Color instant film.

Author : IMRE BECSI

Location of shoot : Oszoly-hill, Csobánka, Hungary, Central-Europe

Time of shoot : 17.05.2008.

Shooting

Film : Polaroid Polacolor 690 gloss (expired : 06-2004)

Filters : Tiffen Cir.Polar and ND 0.9

Metered expo.:

Calculated expo.: 18 sec.

( I use my reciprocity compensation value chart to Polaroid color film)

The camera :

Body is a Film Back Adapter Plate from a Polaroid 203 camera

- focus : 34 mm

- pinhole : 0,25 mm (Lenox Laser)

- diaphragm : 136

Film back from my Polaroid 600se camera.

Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).

Post work

Scanner : Epson Perfection 3200 Photo (900 dpi)

Scanner software : SilverFast SE

Final work : PS

If interesting for you my other work please see my all pictures on one page :

www.flickrleech.net/user/jonespointfilm

Thanks for looking !

CWP Reciprocity Bill-H.3799 by South Carolina Governor Nikki R. Haley

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Gov. Nikki Haley at Ceremonial Bill Signing:CWP Reciprocity Bill-H.3799 (Official Governor's Office Photo by Camlin Moore)

151213-N-ZK021-007 by U.S. Pacific Fleet

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JOINT BASE PEARL HARBOR-HICKAM (Dec. 13, 2015) Senior Captain Wang Jianxum, deputy chief of staff of East Sea Fleet, People's Liberation Army (Navy) and Commander, Escort Task Group, CNS Jinan (DDG-152) gives Rear Adm. John Fuller, commander, Navy Region Hawaii and Naval Surface Group Middle Pacific a tour of the bridge of the CNS Jinan (DDG 152) during a routine port visit to Hawaii. The port visit demonstrates parity and reciprocity between two maritime nations. As part of a planned series of military-to-military exchanges between two nations, Chinese and U.S. naval officers will conduct dialogues to build confidence and mutual understanding. During the port visit American and Chinese sailors plan to engage in deckplate level events including touring each other's ships and participating in sporting events. (U.S. Navy photo by Mass Communication Specialist 1st Class Nardel Gervacio/Released)

Tunnel the forest on deep one's by jonespointfilm

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Taken with a homemade pinhole camera

AUTHOR : IMRE BECSI

Location of shoot : Csobánka, Hungary, Central-Europe

Time of shoot : 2007.05.01.

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 : Cambo Revolving Back Assembly

Grip : IKEA handle

Viewfinder : I made it myself from Super 8 mm Titel maker and HAMA flash holder

Focus : 85 mm

Pinhole : 0.35 mm (from Lenox laser)

Diaphragm : 243

Shutter : Compal Polaroid MP4

Matte Box : Arriflex 3X4 (from my Eclair s16 movie camera set)

Tripod & Head : Velbon

Quick release plates : Manfrotto

Film : Polaroid studiocolor (Expired !)

Filter : Enhancing, Diffus. 1.5, Orange

Light : Late afthernon sun

Calculated exposure : 1 min and 55 sec.

( I use my reciprocity compensation value chart )

Dev. : 120 sec.

POST WORK : (19.01.2008.)

Scanner : Epson Perfection 3200 Photo (720 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

Comments very much welcome !

Thanks for looking !

Too young to the long exposure by jonespointfilm

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View On Black

Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography

Author : IMRE BECSI

Modells : Two of my children and their friends

Location of shoot :

Pilisszentkereszt

Hungary,

Central-Europe

Latitude - 47°41'6.11"

Longitude -18°55'8.88"

Time of shoot :

06.09.2009.

Please see the test shoot here, what I made to this picture :

www.flickr.com/photos/jonespointfilm/3964000716/

Info of Shooting :

Film : FUJI FP-100b(expired : 2007-05)

Filters : Tiffen Cir.Polar

Metered expo.: 7.5 ev.

Calculated expo.: 6.5 ev = 240 sec.

( I use my reciprocity compensation value chart to FUJI B&W Instant film)

Dev.: 60 sec.

The camera :

Body is a Film Back Adapter Plate from a Polaroid 203 camera

- focus : 34 mm

- pinhole : 0,25 mm (Lenox Laser)

- diaphragm : 136

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 : (02.10.09)

Scanner : Epson Perfection 3200 Photo (1200 dpi)

Scanner software : SilverFast SE

Final work : PS

Thanks for looking !

Comments very much welcome !

Important note:

This images are copyright protected. No reproduction in any way,

no copies, no editing, no publishing, no screenshots, no posting,

no blogging, no transmitting downloading or uploading

without my written permission!

Thank you !

Wahkeena Falls, December 2011 by Gary L. Quay

11 6

Uploaded a sharper version 4/19/20. The description below is from 2012.

This is my first test shot from my new (old) Burke & James Rembrandt 5x7 camera, and it's venerable Jos. Schneider lens. When I was first looking at the camera at Knight Camera in Vancouver, Washington, I was intrigued by the creaminess of the bokeh. I bought the camera for portraits, but I couldn't resist driving it out to the Columbia Gorge and getting at least one picture before going home.

The Packard Shutter was not working, and neither was the iris in the lens. I used a lens cap as the shutter, and taped a red # 25 filter to the rear of the lens. The exposure was 8 seconds at F4.5, including 1.5 stops for reciprocity correction. The light was extremely dull, so I decided not to adjust development for the reciprocity, and still did an N+1 (but I subtracted 1 minute) expansion. Time in soup was 8 minutes in 510 pyro at 70 degrees. I have since repaired the lens and shutter.

I like the Bokeh. The water is a little burned out, but I like the tones as a whole.

Camera: B&J Rembrandt 5X7.

Lens: 24cm F4.5 Jos. Schneider Xenar (made in 1928).

Film: Efke PL 25 developed in 510 Pyro.

# #pnwexplored #wahkeenafalls #myoregon #oregonexplored #pacificnorthwest #garyquay #cascadiaexplored #outside #outdoors #oregon #onlyinoregon #viewfromhere #columbiagorge #largeformat #traveloregon #filmphotography #viewcamera #hoodgorge #efke

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Reciprocity Failure For Ektar by Ryan

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For Ektar

metered time -- adjusted time

1 ----------------- 1.4

2 ----------------- 2.9

4 ----------------- 6.3

8 ----------------- 14.1

15 ----------------- 29.7

30 ----------------- 68.4

60 ----------------- 159.0

90 ----------------- 261.2

120 ----------------- 371.7

240 ----------------- 871.5

Table came from astronomy people measured by their standards and where adapting exposure to account for reciprocity failure is important.

General for city light scene you can ignore reciprocity failure and expose at ISO 100 f8 or f11 to capture car light trails. These f stops work with almost any ISO 100 film when trying to capture slowly moving light trial. It does depend a bit on the lens and the angle and speed of motion. I usually use f8 for wider angle lenses and f11 for standard lenses.

Exposure time depends on whether or not you want to blow out street lights and how bright you want mid greys to be.

Without going into the The Gurney-Mott Theory or subsequent rewrites the standard characteristic curves can be used to accurately predict how much compensation is needed for what part of the image. Of course you have to do conversions to put it in terms that you can use it on the different zones of your image.. When you do long exposures you are effectively working in the lower part of the curve how much of the image and by how much depends on where each zone lies on the curve and where you want it to end up in terms of density.

Note that each colour curve (blue having lower failure) has a different shape hence explaining the inconsistent colour balance in the lower extremes of the chart.

To form a stable latent images multiple photons must impinge on the same area of the film within a very short time frame or the latent image doesn't form and the crystal site decays (relaxes) back to it's ground state. When the number of photons per second goes down to a low enough number the chances of the next photon hitting the crystal before it relaxes starts to decrease.

Poly-800 by Jellotron

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My pride and joy...1983 Korg Poly-800 Analog synthesizer. Don't let its relatively simple interface fool you...this baby has tons of hidden parameters and of course, BIG ANALOG SOUND. Figured I'd photograph it with BIG ANALOG 8x10. It has DCOs, so it's basically a hybrid-synth...but analog subtractive synthesis, nonetheless.

Fujicolor Crystal Archive type-C paper

ASA 12 + 1 EV for 85A filter

Normal RA4/Blix Time (1min. each)

Contrast is too high, of course, but colour balance isn't too off.

Oh, and this paper doesn't seem to have any reciprocity failure, even at exposures up to 16 minutes from my experience.

Can't say the same for Kodak Supra Endura.

2nd and Cascade, Hood River by Gary L. Quay

12 6

I had been trying to get out of Portland more for my night photographywhen I took this picture. Funny that I ended up moving there in 2015. Sadly, I had to move back to the Portland area 4 years later.

This is Cascade Ave. in Hood River.

Fuji Acros is excellent for night shots because its reciprocity characteristics are top notch.

Camera: Sinar Alpina 4x5

Lens: 150mm Fujinon.

Film: Fuji Acros 100 Quickload, developed in Kodak HC-110 dilution H.

# #pnwexplored #myoregon #oregonexplored #hoodgorge #pacificnorthwest #columbiagorge #garyquay #cascadiaexplored #sinar #oregon #onlyinoregon #viewfromhere #traveloregon #film #filmphotography #hoodriver #viewcamera #largeformat

My Website and Blog: Gary L. Quay Photography

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Branching Respiration Skin 38 | Atelier Yukio Minobe 美濃部幸郎アトリエ by ARCHITECTURALECOLOGIES

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Branching Respiration Skin (Yukio minobe, 美濃部幸郎, 2008-2009)

この研究プロジェクトはバイオミメティクスの観点をベースに、自然の形態システム（モーフォロジー）をアルゴリズムにより再現し、環境性能の高い建築を生成する方法を探求している。自然界の中で高い換気性能をもつシロアリ塚を参照し、そのモーフォロジーが流線形の外形と内部の導管のブランチング・システムの組み合わせとして解釈されている。さらにこのモーフォロジーをデジタルに再現構成するアルゴリズムと、このアルゴリズムをエンジンとするパラメトリック・デザインと流体解析シミュレーションをループさせたデザイン・プロセスが新たに開発された。この統合的デザイン・プロセスは、環境の外的条件とその建築形態による内的な環境性能を有機的に関係させ、建築を自然環境に最適に適応するものとして生成することを可能にしている。

This project investigates a computational design methodology with reconstructions of natural morphologies through computational algorithms based on Biomimetics whereby higher-performative architecture can be generated. Termite mounds as a representative reference of the highest performative system in nature in terms of its natural ventilation are interpreted as the combination between the streamlining external form and internal branching systems of air conduits. Furthermore, a computational algorithm, which can reconstruct termite mounds' morphologies, and a new design process looping between parametric designs driven by the algorithms and C.F.D. simulations are developed. This integral design process can make architectural forms adaptive to nature through the reciprocity between external conditions from environments and internal performances of architecture itself.

Darkness Falls by Chester Chen

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Darkness descends on the day and the car lights trail away.

Kripta by jonespointfilm

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Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography

Author : IMRE BECSI

Location of shoot :

National Pantheon,

Budapest,

Hungary,

Central-Europe

Time of shoot :

2010.

Info of Shooting :

Film : Fuji FP-100b Instant (expired)

Filter :

Metered expo.:

Calculated expo.:

( I use my reciprocity compensation value chart to Polaroid Color Instant film)

Dev.: (10° 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 : (19.12.2010)

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 !

Finca by I just ate a turtle

1

Reciprocity!

Tres Amigos - IR72 - Rollei 80S - Rodinal 1+50 by Pixelda

3 1

05-Jul-2024 16:25

Rollei Retro 80S @ EI 50 (Infra Red @ EI 3)

Rodinal 1+50 : 11 mins @ 20C

Pre-Wash 5 mins

Inversions first 60 sec then once at 10 mins

Two water Stop Baths - 1 min each

Alkali Fixer (1+4)

Clearing time 70 sec mins. Total fix time 140 sec

Initial wash to remove fixer : 1 min

Washing : 10 mins with frequent water changes

Ilfotol : 1 ml in 600ml for 2 minutes

Bronica SQAi + 80mm

Highlight = 14

Shadow = 9

Midpoint = 11

Filters : IR72

Final LV=8

Reciprocity : 8 sec goes to 25 sec

25 sec @ f22

Dead Pines on Angel Island by Rodney Johnson

9 10

Surprisingly enough, there wasn't much wind!

Efke AURA INFRARED 820 - Xtol - (processed @ www.gammasf.com )

(Shot at 200ASA, Metered through the filter)

SEKONIC L-778 DUAL SPOT F METER

B+W 67mm INFRARED BLACK #093 (87C) FILTER

EV5 (+reciprocity compensation): 1min @ f16

2deg backward tilt, 5mm upward shift

Hasselblad Flexbody w/50mm f4 Zeiss Distagon CF T*

Epson PERFECTION V750-M PRO SCANNER

(20120429_EfkeIR820_Xtol_eml101001_50789_004comp)

A place where my father's grave is by jonespointfilm

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Taken with a homemade pinhole camera.

Shoot to 3x4 Polaroid Color instant film.

Author : IMRE BECSI

Location of shoot : Old cemetery of Csobánka, Hungary, Central-Europe

Time of shoot : 27.04.2008. (Worldwide Pinhole Day)

Shooting

Film : Polaroid 125i

Filters : Tiffen Cir.Polar

Metered expo.: (120 asa)

Calculated expo.: 54 sec.

( I use my reciprocity compensation value chart to Polaroid color film)

The camera :

Body is a Film Back Adapter Plate from a Polaroid 203 camera

- focus : 34 mm

- pinhole : 0,25 mm (Lenox Laser)

- diaphragm : 136

Film back from my Polaroid 600se camera.

Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).

Post work

Scanner : Epson Perfection 3200 Photo (900 dpi)

Scanner software : SilverFast SE

Final work : PS

If interesting for you my other work please see my all pictures on one page :

www.flickrleech.net/user/jonespointfilm

Thanks for looking !

Landscape with Blue Barrel...variant by ghostdog 17

1 19

I will be not capable to accomplish the reciprocity and if this thing it’s very important for you, I ask you don’t comment, fave, invite my photos because I don’t want to disappoint you!

God bless you!

Aach II [panoramic rehash] by FloatingLens

4

Bodenseekreis, Germany

11s exposure @ ISO800

Took the opportunity to capture a long exposure on sheet film on top of a rock in the middle of that creek.

As I did not account for any reciprocity factor at the time, I took the liberty of pushing this sheet of HP5 by one stop to compensate for the mishap after the fact. This way I ended up with a rather dense but still pleasantly toned negative.

For the lack of an appropriate roll film holder, this rehashed version of the image is a 6:17 aspect ratio crop (translating into approximately 4x12cm worth of negative or 12 worth of your megapixels).

Camera: Harman TiTAN 4x5

Lightmeter: Sekonic L-508

Film: Ilford HP5+

Developer: Ilfosol 3 1+9 24ºC 7m48s (normal time reduced by 20%, 5m pre-wash)

Stop Bath: Ilfostop

Fixer: Rapid Fixer 1+4 5m

Bourbon Fudge and Friendship by Eugene Kim

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Day 57 of 2015. In 2011, I was at a workshop on networks and philanthropy. I decided to share a meme inspired by Bill Traynor a few years earlier using green pipecleaners to represent reciprocity. I met a program officer named Kate Wing, who worked on oceans and happened to love improv. She took the meme to the next level and gifted me this pipe cleaner shark and remora, which has had a prized place on my desk ever since. How could I not become friends with her?

A year ago, Kate left the safe confines of philanthropy to venture out into new territory. I invited her to be my regular checkin partner as part of an experiment a small group of us have been participating in called colearning. As such, she's basically become my thinking partner, coach, therapist, and very good friend. Today, she gave me homemade bourbon fudge as an early birthday present. It was a Kate-like gesture that touched my soul and that will soon warm my stomach. I'm lucky to have friends and colleagues like her.

Glow - 2011 by Jamie Shoots

5 7

Silloth, Cumbria, England.

Bronica SQ-A, 80mm, Fuji 160S. Lovely purple colour courtesy of the natural reciprocity failure of the film.

locomotive boiler and valves by Mike Thomas

6

Arca Swiss F-Field

120mm Schneider Super-Symmar

Fomapan 400 @200

Rodinal 1+50, 10 minutes

50s @ f/32

Visited the Colorado Railroad Museum. Lots of interesting things to see and photograph.

Metered for shadow with my Minolta spot meter, and had to take into account bellows extension and reciprocity failure. Probably overexposed by a stop, though, because I forgot to account for the overall blackness/darkness of the subject.

Digitized with my Sony A7II and macro lens, using a 4-shot stitch.

SICILIA ARCHEOLOGIA e BENI CULTURALI: “Sicily: Art and Invention Between Greece and Rome” - Sicilian Protest Imperils Exhibition, THE NEW YORK TIMES (22/06/2013), p. C1. by Martin Conde

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SICILIA ARCHEOLOGIA e BENI CULTURALI: “Sicily: Art and Invention Between Greece and Rome” - Sicilian Protest Imperils Exhibition, THE NEW YORK TIMES (22/06/2013), p. C1.

Sicilian Protest Imperils Exhibition

When it began its tour at the J. Paul Getty Museum in April, “Sicily: Art and Invention Between Greece and Rome” was supposed to crown years of effort by some American museums to patch up relations with Italy over claims of looted antiquities.

Featuring dozens of antiquities from Sicilian collections, the exhibition at the Getty Villa in Malibu, Calif., was scheduled to go to the Cleveland Museum of Art this fall before a final showing in Palermo next winter.

________

s.v.,

-- ITALIA BENI CULTURALI: "OPINION - The Great Giveback," THE NEW YORK TIMES (03 February & 26 JANUARY 2013), p. SR12.

The news has become astonishingly routine: a major American museum announces it is relinquishing extraordinary antiquities because a foreign government claims they were looted and has threatened legal action or other sanctions if it doesn’t get them back.

rometheimperialfora19952010.wordpress.com/2013/02/05/ital...

________

But all has not gone smoothly.

Sicilian officials now say that two star attractions — a dramatic six-foot-tall statue of a charioteer and an immaculate gold libation bowl, or phiale — should not travel to Cleveland because their absence is depriving Sicily of tourist dollars. And in a letter sent to the Getty and Cleveland museums this week, Sicily’s highest cultural official, Mariarita Sgarlata, noted that the region — which enjoys broad autonomy from Rome to shape its cultural policy — never signed a contract authorizing the exhibition in the first place.

In fact, the items were shipped from Italy months ago while the contract was being negotiated by Sicilian cultural officials who are no longer in office.

In an e-mail response to questions on Friday, Ms. Sgarlata, who is the assessor of culture for the Region of Sicily, asked, “How would an American tourist react who, trusting his Frommer’s travel guide, has gone out of his way to visit the island of Mozia to admire this work of art in its original setting, only to discover that the statue is in Tokyo or St. Petersburg?”

It was not immediately clear how the museums would respond to the letter, which does not explicitly demand that the items be returned and leaves open the possibility that a compromise might be worked out. In a statement, David Franklin, the director of the Cleveland Museum of Art, said that he had “been in close contact” with the Getty to resolve the situation. He added that, “It would be a great disappointment not to share the significant objects this exhibition uniquely brings together with the people of Northeast Ohio.”

Getty officials said they are pursuing the matter through diplomatic channels with the Italian government but that it would be up to Cleveland to determine if it still wants to host the exhibition without the charioteer and the phiale. Ms. Sgarlata acknowledged that Cleveland would be unlikely to welcome the show without the two objects because they are the “focal point of the exhibition.”

Considered the first major survey of ancient Sicilian art in the United States, the exhibition makes a case for the importance of Sicily as a wellspring of artistic innovation in the classical world. Other works featured in the show, which is on view at the Getty through mid-August, include terra-cotta heads of Greek deities, a life-size statue of the fertility god Priapus, and five pieces of the Morgantina treasure — a hoard of silver-gilt bowls and utensils transferred to Sicily in 2006 by the Metropolitan Museum of Art in New York in an accord to resolve looted antiquities claims with the government of Italy.

The Getty said it has spent close to $1 million on the show and related costs. It has also built a $200,000 seismic isolator — an anti-earthquake display stand — for the charioteer, which will be used in its permanent home on the island of Mozia on the western coast of Sicily.

“The charioteer traveling to Cleveland was meant to be a celebration of what the Getty was able to do for this object,” said Timothy Potts, director of the Getty Museum.

But the conservation work on the statue in Los Angeles — following on an earlier loan of the work to the British Museum last summer — has kept it out of Sicily for more than a year, and that has made Sicilian officials impatient.

“We have a base for a statue that isn’t there,” Sergio Gelardi, the director of Sicily’s cultural heritage administration under Ms. Sgarlata, said in an interview with an Italian magazine this spring. In other comments to the Italian press in recent weeks, Ms. Sgarlata and Mr. Gelardi have said Sicily is considering charging foreign museums substantial fees for loans and is placing travel restrictions on masterpieces like the charioteer.

“I believe that these imbalanced exchanges” with American museums “have run their course,” Ms. Sgarlata said in her e-mail. “We are open to exchanges, if duly considered, and especially if they respect the concept of authentic reciprocity.”

The dispute is particularly awkward because the exhibition was supposed to bring closure to years of bruising conflicts with Italy over antiquities said to be looted. (The gold phiale itself was seized from a New York collection in 1995 by United States federal agents as a stolen object and, following litigation, returned to Sicily in 2000.)

The current exhibition grew out of a February 2010 memorandum of understanding between the museum and Sicily that followed the Getty’s decision to turn over dozens of ancient artworks to Italy and Sicily and that outlined a series of future collaborations.

Following that agreement, Getty officials said they paid for the conservation work and the anti-earthquake technology and agreed this year to relinquish to Sicily another work from its collection that is in the current exhibition, a terra-cotta head of Hades, because matching fragments were found at a Sicilian museum.

But in her letter to the museums this week, Ms. Sgarlata noted that the 2010 memorandum had expired in February and has not been renewed. And the separate, formal contract to authorize this particular exhibition ended up never being signed.

Those negotiations stalled, both sides agree, over terms requested this year by Antonino Zichichi, Ms. Sgarlata’s predecessor, who sought the museum’s help in promoting contemporary Sicilian art and asked them not to send the charioteer and the phiale to Cleveland. Nonetheless, the Sicilians did not withhold authorization to ship all the items to Los Angeles.

As it turned out, by the time the show opened, Ms. Sgarlata had succeeded Mr. Zichichi.

Mr. Potts, the director of the Getty, said that it was unusual but not unprecedented for an exhibition to open without a signed contract. But he acknowledged that fact has left the two museums with few options should the Sicilians press for the return for the two items.

“In my experience it’s a unique situation,” he said.

Fonte / source:

-- Sicilian Protest Imperils Exhibition, THE NEW YORK TIMES (22/06/2013), p.C1.

www.nytimes.com/2013/06/22/arts/design/sicilian-protest-i...

Memorial Prayer Garden by Nigel Clarke

5 3

My first time out with Acros in the camera - zero reciprocity up to 2 mins and these kind of results means it'll be getting more use in the future :-)

Polaroid 669 of "Island Transit Not In Service" by AvgeekJoe

With Island Transit's fiscal fiasco remaining a high order disaster, figured time to dig through the archives, apply some postprocessing and post here. Helps when there's a cool petition to help democratize the transit crisis in the commons by requesting folks watch the Washington State Auditor's Office brief the Island Transit Board on their findings - a matter normally kept behind closed doors.

--------------------

FYI: Polaroid 669 Film is balanced for average daylight (5500K) at 1/125 of a second (as well as for electronic flash units). The reciprocity characteristics of this film cause a color shift towards blue-cyan when the exposure time is increased and a color shift towards red-yellow when the exposure is decreased. (SOURCE)

Marble Statue Group of the Three Graces by Peter Roan

Marble Statue Group of the Three Graces

Period: Imperial

Date: 2nd century A.D.

Culture: Roman

Roman copy of a Greek work of the 2nd century B.C.

These young girls, linked in a dance-like pose, represent The Three Graces: Aglaia (Beauty), Euphrosyne (Mirth), and Thalia (Abundance). They bestow what is most pleasurable and beneficent in nature and society: fertility and growth, beauty in the arts, harmonious reciprocity between men. They enjoyed venerable cults in Greece and Asia Minor. In mythology, they play an attendant role, gracing festivals and organizing dances. Their closest connection is with Aphrodite, whom they serve as handmaidens.

This carefully calculated, frieze-like composition is typical of classicizing art of the second and first centuries B.C. Instantly recognizable, it soon became the canonic formula for representing the Graces, who appeared in every medium and on every kind of object, from mirrors to sarcophagi.

1941. Root system of Tree Number 2 washed out in September of 1941. 20 inches dbh. Class 3D, Risk 4. Klamath Basin near Bly, Oregon. by R6, State & Private Forestry, Forest Health Protection

Root system of Tree Number 2 washed out in September of 1941. 20 inches dbh. Class 3D, Risk 4. Klamath Basin near Bly, Oregon.

Photo by: W.D. Bedard

Date: October 15, 1941

Credit: USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection.

Collection: Bureau of Entomology and Portland Station Collections; La Grande, Oregon.

Image: BUR-8891 and PS-551

From Biology and Control of the Western Pine Beetle, pages 163-164:

In 1941 Bedard used hydraulic pressure to wash out the root systems of six ponderosa pines of known risk ratings in the Klamath Basin near Bly, Oregon. He summarized previous studies on ponderosa pine root systems and reviewed literature pertaining to root anatomy, morphology, and physiology. In connection with this review he stated:

"Root form is quite specific, and in addition there is considerable reciprocity between the crown and root system. Root development is of critical importance to continued plant growth. It is important that root development keep pace with crown development."

In the Klamath Basin study, Bedard selected three pairs of high-risk and low-risk mature ponderosa pines on a site where it was practical to wash out the root system. The results did little more than reveal some physical differences between high- and low-risk trees.

"In the low risk trees the roots branch out from the main axis deeper below the soil surface and penetrate the soil at a greater angle than the roots of high-risk trees. Additional slight differences were found, but they were not statistically significant. These differences were that high risk trees had fewer roots of smaller size, a greater percentage of dead roots, and fewer small feeding roots per lineal foot."

In summing up these studies, Bedard listed the following factors as essential to root development: Physical and chemical properties of the soil, soil moisture, mycorrhizae, soil gases, heat, toxic decomposition residues, competition, beneficial plant associates, and heredity.

For more, see: archive.org/stream/biologycontrolof800mill#page/162/mode/2up

To learn more about this photo collection see:

Wickman, B.E., Torgersen, T.R. and Furniss, M.M. 2002. Photographic images and history of forest insect investigations on the Pacific Slope, 1903-1953. Part 2. Oregon and Washington. American Entomologist, 48(3), p. 178-185.

For additional historical forest entomology photos, stories, and resources see the Western Forest Insect Work Conference site: wfiwc.org/content/history-and-resources

Image provided by USDA Forest Service, Pacific Northwest Region, State and Private Forestry, Forest Health Protection: www.fs.usda.gov/main/r6/forest-grasslandhealth

Morocco - Oases System in Atlas Mountains by Globally Important Agricultural Heritage Systems (FAO -GIAHS) Food and Agriculture Organization of the UN

In this mountain oasis, the Amazigh people developed their own ingenious and practical solutions for managing natural resources which are still in place today.

Their reliance on local biodiversity for subsistence and health (aromatic and medicinal plant species) has promoted the conservation and maintenance of diverse plant genetic resources, in complex and stratified landscapes in the green pockets of the oases and through associated knowledge and practices.

Improved soil fertility contributes to conservation, which in turn contributes to the maintenance and regeneration of the crop. Reciprocity between the two elements is variable. Both contribute to groundwater recharge, which is the basis for system sustainability and preservation of natural resources essential to the balance of nature and the basic cycles.

Photo credit must be given: © FAO/Jean Gault

More information:

Oases System in Atlas Mountains, Kingdom of Morocco

Morocco - Oases System in Atlas Mountains by Globally Important Agricultural Heritage Systems (FAO -GIAHS) Food and Agriculture Organization of the UN

1

In this mountain oasis, the Amazigh people developed their own ingenious and practical solutions for managing natural resources which are still in place today.

Their reliance on local biodiversity for subsistence and health (aromatic and medicinal plant species) has promoted the conservation and maintenance of diverse plant genetic resources, in complex and stratified landscapes in the green pockets of the oases and through associated knowledge and practices.

The practice of mixed farming (crop and tree association) and crop rotation contribute to the improvement of soil fertility and soil conservation.

Improved soil fertility contributes to conservation, which in turn contributes to the maintenance and regeneration of the crop. Reciprocity between the two elements is variable. Both contribute to groundwater recharge, which is the basis for system sustainability and preservation of natural resources essential to the balance of nature and the basic cycles.

Photo credit must be given: © FAO/Jean Gault

More information:

Oases System in Atlas Mountains, Kingdom of Morocco

Something's Brewing at St. Peter's by Dougson

7 12

I've been trying to get a long exposure with my view camera. I haven't got it yet. This is an 8 minute exposure with 400 ISO film and it's still too dark. I'm really in uncharted reciprocity territory here. I finally did get some cloud motion though.

I've always loved the neon cross atop St Peter's. It seems to say "Can't find your way to God? Here, let us help you a little."

Reciprocity by David Filibuster

7

Maison Reciprocity - Team Réciprocité by SDEurope

©Solar Decathlon Europe

by Valeria Anzolin

and Jason Flakes

www.valeriaanzolin.com

www.jflakes.com

Worldwide Pinhole Photography Day in Amsterdam! by Todd Schlemmer

5 2

Shooting the f/167 P6*6 3D printed pinhole camera in the netherlands; 3Dprint yer own:

www.thingiverse.com/thing:157844

Freely downloadable!

Most of these photos made with Ilford FP4, the first time I have shot this film. Reciprocity Failure data found on internet. Seems like good exposures, but very contrasty.

Location notes as individual comments.

Away for the winter FP4+ (5x4) Film by Pixelda

2 1

Ebony 45SU

Ilford FP4+ ISO125 rated @ EI 100

Schneider 110mm f5.6 Super-Symmar XL

Developed in Ilford Perceptol 1:1 for 15 mins @ 20C

07-Feb-2022 15:20

Front Shift - 1cm up

Front Swing - 5 deg left

Mid tone LV = 9

Highlight = 15

Shadow = 8

Filters : Yellow 12 (-1)

LV=8

Reciprocity (add 0.3 seconds)

Shutter speed 2.5s @ f22

52.24 Darkness Falls by Alistair Hamill

2

It’s a well known fact that photographers are geeks. In fact, we wear that name as a badge of honour. Like all geeks, we have a lingo all our own: we talk of our f-stops, our dofs, our exposure comp and povs, not to mention the law of reciprocity. Oh yes, we’re geeks, and proud of it.

But what happens when a photo-geek meets another kind of geek? Do they combine to produce a form of uber-geekness? Or do they face off until one geek has triumphed over the other in a flurry of nerdishness?

This week, I found out.

The irony of having the theme ‘Darkness Falls’ in the week before the summer solstice has already been well documented by my fellows in Project 52. Suffice for me to say, at first I struggled with this theme. Still operating under the ‘Thou shalt not use Photoshop’ commandment governing this month’s photo shoots, I ventured out a few nights (well past my normal bed time, I hasten to add), set up my tripod, adjusted a few settings and … produced total rubbish. Shot after shot.

I was close to giving up and opening up Photoshop (ah, my old friend Photoshop, how I have been missing you…), when an idea struck. There was a full lunar eclipse forecast for Wednesday night, the kind that produces a blood red moon, lit only by the refraction of sunlight through the atmosphere of the earth. A moon, plunged into shadow, in a week when ‘Darkness Falls’ is the theme? Too good to pass up. So off I set to Knockagh Monument, with clear skies overhead, hoping to grab a photo or two of this amazing sight.

And that’s when I met the other geeks.

Knockagh, of course, provided an excellent view to the south east, from where the moon was due to rise. So, it was the natural place to gather for photographers – and for amateur astronomers too.

And so began Round 1, the official setting up of gear. The photographic geeks opening up their tripods, stuck on their zoom lenses, and stood back to wait for the cloud bank to clear over Bangor. But the astronomers pulled out their tripods, only to attach large and very impressive looking telescopes on top, devices that dwarfed the mere DSLRs scattered around. Round 1 to the astro-geeks.

And so we waited for moon-rise. As it came to 10.00pm, when the moon was due to burst over the horizon behind Bangor, a pesky cloud bank stayed resolutely stuck over north-west County Down. Oh, we said to each other that it might break up soon; but deep inside we pretty much knew that there would be no photos of the moon in eclipse to be had that night. So us photographers, disappointed but undeterred, set about making our own entertainment, taking a variety of fun shots in the gathering darkness of Knockagh. That’s when I grabbed this shot, messing about with a good mate’s fish eye lens, and with my eldest daughter providing the ghostly presence. Meantime, the astro-geeks stood and waited. Round 2 to the photo-geeks!

But just when we were having a laugh with long exposures and running round the monument setting off multiple flashes (oh, we were living it, we were), one astro-geek came over to us an uttered a few simple words: ‘Would you like to see Saturn?’ His telescope was turned to towards what looked like a star. But as I came closer, and placed my eye to the eyepiece, there it was. The gaseous giant appeared before my very eyes, complete with rings sweeping majestically around it. I was a boy once again, lost in the wonder and amazement of my imagination, swept up and captivated by this image before me. I was looking at Saturn.

Of course, by then, the geeky battle was already over. But he capped off his victory by talking at knowledgeable length of how he had bought and adapted a webcam to take video of the planets, and how he had adapted his DSLR to take photos, which he then proceeded to show us on his iPhone. Rounds 3, 4, and most probably 5, to the astro-geeks.

So the photo-geeks lost. But I don’t care. I still got to mess around with some of my mate’s cool lenses. I had good craic with friends and my daughter (out on her first night-time photo shoot with me). And I got to see Saturn’s rings. A pretty good result for a self-confessed geek, don’t you think?

Liverpool Rd No 059-063 1950c Royal Hotel Reciprocity Brewery and Whippet Races At Rear Lillian Rushton Tapestry by Formby Civic Society

1

Little is known about the Reciprocity Brewery, which was located behind The Royal, other than it was shown as disused on a 1906 map and some notes from Muriel Sibley states "H Marshallsay says the Royal Hotel was built by Tom (Chelse) Rimmer who also built the brewery behind it". In addition the 1885 voters list shows Thomas Rimmer at the Royal Hotel Liverpool Road.

Job Done for the year - Rollei 80 S by Pixelda

2 1

01-Nov-2022 14:00 - Rollei Retro 80S 80 @ EI 50 (EI=6 IR)

Developed in Rodinal R09 11.5 mins (N-2/3) @ 20C

1 min post dev water wash

Tetenal SuperFix Plus 1+4 : 4 mins

Bronica SQAi + 80mm

Highlight = 15

Shadow = 8

Midpoint = 10

Filter : R72 Infra Red

2 sec goes to 4 sec (reciprocity)

Final EV = 12 at EI=6

4 sec @ f11

The midday Angelus (The Angel of the Lord) by jonespointfilm

12 8

Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Lyukkamera Photography

Author : IMRE BECSI

Modell : Bence (my son)

Location of shoot :

Epöl,

Hungary,

Central-Europe

Latitude - 47°38'33.58"N

Longitude - 18°39'13.58"E

Time of shoot : 24.04.2009.

Please see to the coloured version :

www.flickr.com/photos/jonespointfilm/3507022996/

Info of Shooting :

Film : Fuji FP-100b

Filters : Cir.Polar filter for a dramatic sky

and

ND6 filter for a longer exposuretime (both from Tiffen)

Info of Exposure :

Metered expo.: 12 Ev / 5 sec. (with Minolta Spot Meter)

Calculated expo.: 11 Ev / 20 sec.

( I use my reciprocity compensation value chart to Fuji B&W film)

Developing time : 40 sec. /+20 C°

The details of camera :

Body is a Film Back Adapter Plate from a Polaroid 203 camera

Film back : Polaroid Land Pack Film Holder to medium format type pack film (from my Polaroid 600 SE set)

Viewfinder : Door peeping (from OBI store) calibrated to the Polaroid pack film size

Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann

with filter thread for series 9 and 4 1/2 size tiffen filters (homemade).

The camera name is : "LONG-HANDY"

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)

- focus : 60 mm

- angle of view (width): 77°

- pinhole : 0,25 mm (Lenox Laser)

- diaphragm (f/stop) : 240

- light falloff at the corners [f/stops] : 2

- film diagonal : 120 mm

- resolution (lines/diagonal) : 959 (8 lines/mm)

Post work : (05.05.2009.)

Scanner : Epson Perfection 3200 Photo (1200 dpi)

Scanner software : SilverFast SE

Final work : PS

Thanks for looking !

Comments very much welcome !

Important note:

This images are copyright protected . No reproduction in any way, no copies, no editing, no publishing, no screenshots, no posting, no blogging, no transmitting downloading or uploading without my written permission!

Tea tin pinhole No. 17 by Daniel Guy

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f/242, Fl; 63mm, 0,26mm

Photo location; Donnacona, Québec.

Negative test with Arista Edu ultra 200 ASA at 100 ASA.

8x10 sheet cut at 6,3 x 6,3 cm.

Exposure Time; 13 minutes 32 secondes.

Reciprocity + Arista EDU 100 / Fomapan. Official Data.

Development; D-76 1+3. 15 minutes.

Thierry Godinec de www.stenocamera.fr a perçé le sténopé (0,26mm) au foret.

Flauberto artist Berlin germany my artwork and my studio in Berlin by Flauberto Artist Berlin Germany

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Flauberto Artist / Berlin Germany

10 September 2008

Flauberto ist in der kleinen Stadt Juazeirinhio, Paraiba geboren. Er lebt seit fünf

Jahren in Berlin und nahm bereits an bedeutenden Gemeinschaftsaustellungen

u.a. in Brasilien, USA, Deutschland und de Schweiz teil.

„Flauberto findet seine Inspiration in der überfüllten Welt unserer Alltäglichen

und aus Wortfetzen bestehenden, von Hektik geprägten Umwelt. In den

Straßen der Großstadt, den Korridoren von U-Bahnhöfen oder den tausendfach

überklebten Outdoors an den Häuserwänden finden sich die grafischen

Elemente seiner Bilder wieder. Die Leinwand scheint den gestalterischen

Gestus von Flauberto nur vorübergehend festzuhalten, denn die Intention des

Striches und der Farbkombinantionen weisen weit aus dem verschlossenen,

geordneten Innenleben eines Raumes in die Unbegrenztheit einer ungewissen

Außenwelt unter freiem Himmel.“

Flauberto“ ist einer der herausragenden Künstler der brasilianischen Kunstszene in Deutschland. Seine Werke, das sind Gemälde, Fotos und Zeichnungen zeigen einen einzigartigen Stil und befinden sich in ständigen Sammlungen der brasilianischen Botschaft, dem „Museu de Arte Contemporânea Assis Chateaubriand“ und Privatsammlungen in Russland, Schweiz, Deutschland und den USA. Außerdem wird er von den brasilianischen Medien zu den wichtigsten fünf aktuellen bildenden Künstlern des Bundesstaates Paraíba in Brasilien gezählt.

Der Künstler präsentierte seine Werke unter anderem im Jahr 2003 auf der Bienale von Novosibirsk in Russland und in einer Ausstellung in der Akademie der Künste in Berlin, erhielt im Jahr 2002 den Preis des Museums in Berlin-Dahlem als „ausgezeichneter Künstler der brasilianischen Kunstszene Deutschland“.

2002 realisierter er ebenfalls eine Retrospektive in den ehemaligen Räumen des brasilianischen Kulturinstituts (ICBRA) aber auch weitere Ausstellungen in Deutschland und im Ausland, wie die Teilnahme als Repräsentant Brasiliens am Projekt „United-Buddy-Bears“ in Berlin, Tokio, Sidney, Istambul, Shangai und Peking. 1998 wurde er in einer Galerie in Zürich und auch in Basel gehandelt. 1995 wurden seine Werke in einem Workshop in Minneapolis (USA) vorgestellt und besprochen.

Eine sich aufweitende Kunst -

Oder vielleicht eine Unordnung, die aus dem dunkeln der Rohmaterie seiner Kunst entnommen ist

Die ersten Aufzeichnungen des künstlerischen Schaffens von Flauberto stammen aus seiner Kindheit in Juazeirinho, einer kleinen und armen Stadt, die durch die Bundesstrasse BR-230 in der Mitte durchschnitten wird, eingewachsen in der gühenden Hitze in der desolaten Region von Cariri im Bundesstaat Paraiba. Seine Unruhe verschonte nicht die Wände der Häuser, die Mauern des Klassenzimmers, die grossen Türen der Lagerhäuser, die Banken und die Wände der Schule.

Es ist dieses weit zurückliegende Gedächtnis, welches sich in der emotionalen Fracht seiner aktuellen Arbeit verfasst, wenn die Welt und das Leben in Reichtweite ist, auf diesem Weg der seine Geschichte in der Mitte zerschneidet.

Das Ziel seiner Kunst ist mehr als die Bewusstheit, es ist die Besessenheit an Grenzüberschreitungen. Seine Arbeiten schreien nach Dringlichkeiten, sie beben wie die eigene Zeit und verlangen nach der Kolektivität.

“Ich habe ab 1994 angefangen intensiv Kunst zu machen, so dass Leben und Kunst in einem gemeinsamen Weg meinen künstlerischen Prozess begleitet haben. Bei der künstlerischen Tätigkeit habe ich sehr früh eine besessene, systematische und impulsive Form entwickelt . In den letzten 19 Jahren meines Schaffens habe ich mich besonders mit Zeichnungen und Malerei beschäftigt, habe aber auch Projekte mit Skulptur und Instalationen entwickelt. Die Themen meines Lebens waren immer die meines Lebens, wie Sex, Macht, Geld, und Religion, die immer verwirrende und festigende Elemente meiner Existenz waren.

Ich wusste nie zu erklären wie sich diese Dinge von einer Form in die andere (im Leben und in der Kunst) wandelten, jedoch bin ich ein autodidaktischer Künstler mit Intension und Selbstbildung. Sehr früh habe ich eine Art von Aversion zum Model der schulischen Bildung entwickelt , als ich das Studium an der Universität verlassen habe.

Seit Juazeirinho, die Stadt in der ich geboren bin und gelebt habe, fühle ich mich wie ein impulsives, obzesives und ängstliches Individuum, welches sich aus der Dunkelheit mit seinem eigenen Licht entzieht.

Ich will Fragen beantworten: Wer bin ich? zu wem gehöre ich? oder warum meine Kunst in meiner Kondition und meinem kreativen Prozess nachhallen wird ?

Ich und meine Kunst gehören zusammen, von den vorhandenen Händen mit der verzweifelten Lust am Fleisch.

Ich schaffe es nicht aufzuhören meinen Umkreis zu observieren, sei es in João Pessoa, Salvador, Rio de Janeiro, Basel, in der Schweiz, oder in Berlin.Städte die die Tragig meines Lebens darstellen.

Ab 2002 begann ich einen Prozess zu entwickeln der Fotografie mit Techniken wie Kollage, Foto-Kollage und digitale Manipulation, als Mittel oder Unterstützung aufweist. Ich habe in der Fotogafie ein Mittel gefunden, der persönlichen und pofessionellen Verwirklichung so klar und Transparent wie anderen Unterstützungen die ich schon genutzt habe, und die ich noch nutze. Ich setze in meine Fotografien die Unnachgiebigkeit und die Obzession der Grenzen von meiner Lust. Alles was ich mache ist ein Teil einer extrem persönlichen Entschlossenheit. Als ich mich entschloss die Fotografie in meinen Prozess der Produktion und Kreation einzubinden, machte ich dies, um an eine Objektivität und Tranzperenz des Mittels zu glauben um meine Ideen zu transportieren. Das erste Projekt von Fotos, dass ich 2002 begonnen hatte, versammelt 500 Fotografien die meine privaten Wünsche des Lebens und meine Augen vor der Welt ausdrücken. Um das Projekt zu realisieren, griff ich zum Universum der Informationen, wie Zeitungen, Jornale, Bücher, Fotos und Bilder die von anderen Künstlern gemacht wurden, also letztendlich alles was ich mit meinem lüsternden Blick erreichen konnte. Auf dem Weg der Hin- und Rückfahrt nach Hause werde ich Stücke des Lebens gesammelt haben, die meine Wünschen berühren. »

Die Perversion der Farben.

Es gab keinen anderen Weg für Flauberto wenn nicht die Kunst. Die Natur hat ihm eine Art der Perversation der Farben bereitgestellt. Als Kind seine Ziele am Abend in Juazeirinho, Paraibanischen Cariri, waren unfreiwilligerweise einfallen durch eine Leuchtende Kraft des “in den Augenen stechenden Grüns”.

Als Regen fiel füllte sich die Vegetation mit Blättern, und der Blick Flaubertos verlohr sich im kräftigen Grün des Juazeiro-Baumes, des Umbu-Baumes und des Catinga-Baumes.

Der Blick Flaubertos ist so - unterschiedlich, verzerrt und trügerisch. Aber in einer semantischen Frage, waren die Farben für Ihn immer eine Herausforderung, denn er muss nicht nur seine Namen lernen, denn auch mit einer Art bösen Magie leben, die mit einigen Farben, prinzipiell mit Grün, erscheint, die in Zusammenhang mit dem Kontext in welchem die gleichen eingefügt waren hervorstechen.

Aktuell hat Flauberto eine Sicht dieser Situation: die Fraben sehen wie kodiert aus, dominiert um zu malen.

Er entwickelte eine quasi machanisiert Technik, wo es für jede Farbe einen vorbestimmten Platz gibt. Jede Farbe hält eine bestimmte Distanz zur anderen und jede Farbe ist vorbereitet und nur einmal anwendbar, niemals aber in vielen Töpfen zur gleichen Zeit.

Ich lernte die Malerei von Flauberto kennen bevor ich Ihn persönlich kennengelernt habe, als ich an etwas anderes denkend eine Bank betrat, an jenem Platz der für Ausstellungen vorgesehen war, die mir immer ein Lächeln in meinen

Mundwinkeln hervorrief. An diesem Tag hielt ich verblüfft vor einer ausgestellten Zusammenstellung an.

Vom Nahen stellte ich die Unvollkommenheit in der Vorbeitung der Farben und der Leinwände des Künstlers fest und blieb verwirrt im Akzeptieren der primitiven Kunst oder einer bewussten oder gelehrten Manifestation von einem jungen Künstler.

Ich ging heraus mit Assoziationen von Grafiken von Keith Hering, und mit den unbearbeiteten Figuren von A.R. Penk, und mit den infantilen Malereien von Donald Baechler, ohne zu wissen was sozusagen der noch unbekannte Anfänger Flauberto mit der Produktion dieser Künstler gemeinsam hatte.

Die vigorosen Grafiken Flaubertos sind Übungen der Dichotomie, schwingen wie ein taumelnder und aus den Fugen tretender Tanz zwischen einer kartesische Organisation und einem unkontrolliertem und rudimentären Kaos.

Es sind Variiationen zwischen ausschweifenden Pinselstrichen des Malers bis hin zu den feinen Linien und Strichen die sich in den etwas grosseren Kompositionen verlieren. Seine Farben gehen von der Künstlichkeit von einem fluesziereneden Orange die Übelkeit hervorrufen, bis zu friedlichen Pasteltönen.

Persönlichkeit und Malerei wechseln sich zwischen lebhaft und trüb, grob und fein, populär und gelehrt, klever und naiv, bewusst und verwirt ab. Die letzten Malereien von Flauberto zeigen schon eine Annäherung mit einigen Konzepten, die im Wiebelwind von Aufnahmen der zeitgenossischen Kunst gelernt wurden in der der Künstler sich in den letzten Jahren befand.

Es scheint aber, dass er alles mit viel Personalität behandelt. Akademische Konzepte wie Gleichgewicht und Einigkeit die bei den meisten Künstlern aus unser Generation noch zu finden sind werden meistens missachtet. Die Organisation von Flaubertos Arbeitsmaterial wirkt in den Augen zu aller erst trostlos. Schwere Figuren werden auf leichte gelegt, senkrechte Bäume schweben aus den Seiten und harte Figuren drängeln sich in außergewöhnlicher und störender Masse durch.

Seine Malerei ändert sich als ob er sie aufgrund der brasilianischen Musik und Rock geschaffen hat. Ich selber kenne keinen anderen Maler der für sich selbst eine Art von chronologischen Aktionen, die von der technischen Verbesserung bis hin zu Marketing-Aktionen gehen und sich in Stars der brasilianische Musik hineinversetzt. Er hat sich selbst vorgenommen Sachen zu schaffen, die sich jüngere Maler gar nicht trauen.

Wenn ich mit Ihnen über einige seiner Malereien spreche, scheint es als ob er immer schon einen fertige Antwort zu meinen Fragen hat. Ich muss zugeben, dass ich einige Zeit benötige um die Ergebnisse verarbeiten zu können und will meistens auch schon mal sagen z.B. dass ich nie solch ein Rot oder Lila benutzen würde. Seine Malereien überschreiten immer den Punkt bis zu dem ich kommen würde.

An diesem Punkt könnte ich Jean Dubuffet mit seinem Art Brut Konzept erwähnen, oder andererseits in diesen wirren Zeiten der Multikulturalität die Diskussionen der Kritiker der modernen Kunst durchgehen, um zu versuchen die Arbeit von Flauberto zu verstehen, aber ich verbleibe lieber auf dem Feld der Zweifel, offen für die unerwarteten Schläge der Malerei von Flauberto aus Cariri

Flauberto Bildender Künstler Aus Brasilien

Lebt und arbeitet in Berlin Deutschland

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Kontakt:

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flaubertocontato@yahoo.com

----------------------------------------------

www.flickr.com/photos/flaubertoplasticartist/

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The first records of Flauberto´s plastic espression starts already

in his childhood in Juazeirinho, a poor and small town two halves by the BR-230 motorway, stuck in the scalding and desolate region of Paraiba`s cariri.

His unrest behaviour did neither spare the walls of the houses and school, nor the huge doors of the stores, not to mention the schools´ chairs and rooms. It is this remote memory that builds the emotional face for his work today, being the world and life at his reach, it this road that cuts his history by the half.

More than consciousness, the object of his art is the obsession with limits. He vindicates his own condition. Flauberto´s works cry for urgency. They vibrante with his own time.

Flauberto is living his life and woking with art without a particular self knowledge. His restless thoughts are registered in any kind of material.

And with no strict definition, the artist believes that what he does comes from the answers to thes questions: Who am I? Where am I? Where am going to? In this way he captures spontaneous artistic expressions from his innerself transforming them into old and rudimentary paintings.

Later, he turns ideas to material, in various languages: painting, object, sculpture, site-specific, photografy, and new medias. And repeat the process all over again.

I am an autodidactic artist. My personal life and art flow parallel on to another. About my art have to say that I don´t belong to any art school, my painting is developed in a very personal base. I don´t need and I don´t have any attraction to academics of the art history. My paintings are very open and free. My inspiration comes from darkness. My ideas are materialized spontaneously, i am don´t plan my painting, that means i only need to have the art materials in my hands and than I start to paint what comes in my head at that moment. If I plan my work, I can not make it. I am a compulsive artist, obsessive. In reality I make an artwork, whenever I need to say something. Sometimes I think I take part of the time of the cavern man, spontaneous, primitive, as the ideas come as vocanoes and eartrquake inside myself that have to be expelled and than to be materialized in any kind of art suport. I don´t have a daily timetable in my art, my art does not care about art that way. I am not worried if my work grows or if am included in certain art systems. This kind of decision from critics who decide what is art does not make part of my personal universe. Art as I see, must be free. The artist ought to be free in any circunstance. For me it is important the quality of art, the material quality too. The art has a good message to the society, the message could be good or bad, but it is important that generations after mine could see and admire and also that part of my ideas in my art works.

For me the reciprocity and the distance between the public and private world are something questionable.

For me the real art and the truly function from art is somethings unknown; my real vision of art is ART IS ATTITUDE. I am not different from the mostly artist, I elaborate my art production alone, the art is something very individual and unilateral. So I have the relation artist and art production. I have no notion of the effect or impact on public after my art production is finished. At my vernissages, through 10 years as artist, I have heard a lot about what the people feel: some people do not understand, some think whatever they want, some understad in a frame of their knowledge. I enjoy and have fun watching the people: I like the public interaction, artist and art, it is like a party for me . I do not support the intellectual side of art.

The interaction makes public take part of the creation process of the artist and I like it very much; and it is natural. In reality anyone can be an artist, it dependes on if one develops its art abilities or not.

The idea of actuality is my everyday routine. I live the present and my paintings register exactly my life at present, but my artistc know-know and inspiration come from the darkness, I do not ask the present as artist. I know that I have to say and do something that comes from inside myself: So is my art present at the actuality of the world and all its diferences and problems: They come as positive signal to me, the actuality does not bother my creative process. I can not have a daly routine as artist. This would be a torture for me, but I don´t have nothing against. My mind works very fast and spontaneous and that happens in my art process too. My daily project begins with the ideas that come in my mind. This is my first priority, then begin timeless work of putting my ideas on the canvas on as an artists everyday.

The artist Flauberto live and work 7 years in Berlin.

Flauberto is one of the outstanding artists of the Brazilian art scene in Germany. His works, which are paintings, photographs and drawings showing a unique style and are in permanent collections in the Brazilian Embassy, and the Museu de Arte Contemporânea Assis Chateaubriand, and private collections Russia,and Switzerland, Germany and the USA. Moreover, it is taken by the Brazilian media on the main current five visual artists of the State of Paraíba important in Brazil.

The artist presented their works among others in 2003 at the Bienal of Novosibirsk in Russia and an exhibition at the Academy of Arts in Berlin, in 2002, the prize of the museum in Berlin-Dahlem asexcellent artists of the Brazilian art scene Germany.

2002 Exhibition the Brazilian Cultural Institute (ICBRA), but also other exhibitions in Germany and abroad, how to participate as a representative of Brazil in the project, United Buddy Bears" in Berlin, Tokyo, Sydney, Istanbul, Shanghai and Beijing. In 1998 Exhibition gallery in Zurich and Basel. In 1995 workshop in Minneapolis (USA) presented and discussed.

Contact:

Flaubertocontato@yahoo.com

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