View allAll Photos Tagged reciprocity
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.
1000 metres above sea level on the edge of the Rondane National Park . In winter the area is famous for skiing and hosted the 1994 Winter Olympics. Taken June 2005.
From my first roll of Kentmere 200. The negatives came from the lab quite thin but still seem to hold detail. A roll of PAN F in similar conditions was fine. These are all long exposures so that can have an influence, although the quoted reciprocity is the same as FP4. I am so tempted to have a play with developing this myself. Another thing is the thicker base. I was careful but still got a slightly fat roll. This happens sometimes with PAN F but never with thin and curly Rollei RPX25 / IR400.
f/242, Fl; 63mm, 0,26mm (Sténocaméra, Fr)
Photo location; Donnacona, Québec, Canada.
Negative Arista Edu ultra 200 ASA at 100 ASA.
8x10 sheet cut at 6,3 x 7,0 cm.
Exposure Time; 1 minutes 05 secondes.
No filter.
Reciprocity + Arista Edu 200 D. Aimone.
Development; Caffenol CM (+i) 11 minutes.
Too much time in development, but not bad finally.
Texture exploration during shooting. (No.02)
With this picture i completed the equivalent of a first 36 exposures for this pinhole. Lean harvest for this thirteen months of existence.
I took this at my camp site at LaManche Park. Just pointed the camera overhead - on a tripod. D300 ISO3200. 20mm lens, f2.8 60 sec exposure. Star trails are just beginning to show here. These are fun images, but still - I think you need a clock drive for any serious astro photography.
You'd likely never get this on film without one. Consider ISO400 would require 8 minutes plus whatever for reciprocity failure. For Fuji Vevia, that would be approximately 20 min exposure and you'd have to push 3 stops in processing - likely an ugly image.
Taken with Pre-anniversary Speed Graphic, using 135mm Tessar lens. Exposure time was 1 minute 20 seconds, ISO 100, f8 (30 seconds per exposure meter and additional 50 seconds to adjust for reciprocity failure). I got the adjustments from the excellent book "Night Photography" by Andrew Sanderson.
VIEW LARGE! Not a suggestion, a necessity. Tons of detail in here with the full frame camera.
"Do unto others as..."
I had this idea for awhile and it took alot of research to get it right.
Special thanks to Meagan Gordon and Taylor Keaton, models in the shoot who did a great job with the acting.
Also thanks to my Flickr favorite artists, Darien Chin whose lighting abilities and camera angles I really admire, and Steven Poff whose Photoshop skils got me up to speed with my editing. And thanks to Sean Duggan whose article in Photoshop User was helpful.
Nikon D700
Nikon 24-70 f/2.8
Pocket Wizard Plus II's
AB1600 7" reflector w/ 20deg grid
AB800 Medium softbox
AB800 7" relfector
SB800 speedlight w/ red gel
All photography, digital editing, layout, and textures by me. Original upload and RAW adjustments in Lightroom 2.0, editing in Photoshop CS3.
Composition of 3 main images, with 3 textures applied. Textures are one photo of a cardboard box, and two photos from my screenprinting press.
Thanks for looking, any comments much appreciated!
Pentax MX
Fuji Pro 400H
After trying to emulate this film in my previous Fuji x100S shots, I wanted to use the real thing. Out of 36 exposures, only a few shots were useable due to lazy composition (I rushed to get my first colour film developed) and an incorrect approach to long exposure for my last 16 shots. However, all of these shots, the bracketing of differing exposures and the use of my Fuji x100S as a light meter allowed me to learn from my mistakes, meaning I hope to be able to expose more accurately in future.
Because I learned Ansel Adams' Zone System through this process, I now know how to meter for shadows, mid-tones and highlights and which film I can fit a certain amount of dynamic range. For example, I can use the full 7 zones to capture shadow and highlight detail of a reasonably dynamic scene on colour negative. Theoretically, I also know how to capture a less dynamic scene on something like Velvia. My next project is to use Velvia to prove this. If I know to place shadows at -2 stops, middle tones at 0 to 1 stops and lights and highlights at 2 stops, I should be able to successfully measure a scene with my Fuji x100S (of course, the Fuji x100S can not meter for ISO 50, so I'll meter at ISO 200 and increase the MX's shutter speed by -2 stops). If anyone reads this, I could do with any corrections here.
On my long exposure low light shots, I spot metered for the darkest shadows using my x100S. Of course, that meant those shadows were set at Zone V (0 stops, normal exposure), and when I transfered the x100S' aperture and shutter settings to the Pentax, the film was overexposed (shadows should sit at Zone III, -2 stops). I also decided to expose by another whole stop due to poor understanding of Fuji Pro's reciprocity curve. The x100S gave me a 4 second shutter speed, so I dialled in 8 seconds. It appears that Fuji Pro does not suffer reciprocity failure until much later (anyone know how long exactly?) So, I should have exposed for 1 second to pull those shadows to -2 stops (1 second is half of 2, 2 is half of 4 - two whole stops). I'm also writing this as clearly as I can in case any other beginners are reading. I am a total beginner with film but love the learning process!
Erykah Badu, toward the end of Andrew Shapter’s "Before the music dies" said:
"There are three kinds of artists.
The first kind of artist are the ones who hurt to do what they do. It hurts to write. There’s pain involved and there’s experience and there’s ... there’s blood.
The second kind of artist is the kind that imitates the ones in pain.
The third kind of artists are the kind that just do what someone tells them to do."
If I could
I’d like to be able to talk to you
you belonging to that first kind of artists that she describes in her interview
the kind that bleeds
If I could talk to you all at once
if I had this possibility
I would like to tell you
that
you are the ones
the
only
ones
who are getting out in the open
that light that makes us human
so deeply human
out of darkness
out of chaos
You are producing
the very food
that every soul in the world can feed on
and will
you are doing something wonderful
that so many people talk about
and
so very few do
You are doing this
at the price of your own blood
whichever art you practice
however big or little your creation is
maybe you are doing it out of sheer necessity
maybe you just couldn’t live any other way
maybe you do it for the love of the world
or just for plain fun
Regardless …
the world will feed on it
you are the starting point
of a long chain
a fountain
which ultimately calms down the world’s thirst for Light
Well ...
just ...
... well ...
but you may know that already
don’t expect reciprocity
oh they will come
and if they say anything to you
they will say it was nice
they might even say it was great and wonderful
and sometimes they will also say that they were touched oh so deeply
and moved and that they cried all the depth of their heart
and that they don’t have words
and ...
but
don’t expect them to understand
what it is like to do what you do
and
don’t expect them to stay here any longer than they need to
ok sure
maybe once in a blue moon
this will happen
sure
and it will be wonderful
and
once in a thousand blue moons
some of them will be so shaken that they will start doing it themselves
sure
and this will be wonderful
ok
but on the whole
they will come, get fed from what you are doing, and leave
they will come, get fed, and return to their real life
they will return to their serious life
calmed down
temporarily satisfied
having
taken just what they needed
to keep going
and maybe later they will come back
for a little more
another small dose
and leave again
And so on
Most don’t think they could stand the pain
The pain is not always there
but the risk of it
is
Most won’t stand such a risk
And some
with the best intentions in the world
will be disturbed that you may feel such pain
and they will try to soothe you
thinking that it would be best for you if calmed down
for your own sake
How
painfully
ironic
Of course
you know it
already
But please
please
please
regardless
regardless of the misunderstanding
regardless of the loneliness
regardless of the recurrent whatsthemeaningofitallness
regardless of the doubts
regardless of that void under your feet
I beg you
do not stop
keep going
keep bleeding
keep bringing the light out
in the open
out of chaos
out of darkness
for this is the only way the world can survive
Tachihara 4x5
Sironar-N 210mm lens @f/22
Ilford HP5 film @EI200
8 minute exposure
B+W ND1.8 (six stops) filter
+1 stop added for reciprocity compensation
Developed 16.5 minutes in D76 diluted 1:1
The rains came. It was 'pissing ropes' as the French say. The water sought an equilibrium. Gathering force as it ran down the side of the road it swept this unfortunate Wood Mouse (Apodemus sylvaticus) into its path.
As the rain let up, the Mouse stopped its journey to be crowned in death by a branch of Field Parsley Piert (Alchemilla arvensis)
These shots, though macabre, are a pair of my favourite shots.
Life can not exist without death. Reciprocity is the nature of life and death. If we could only live in a world where reciprocity guided our decisions - our lives rather than needy self-interest we might find a welcome balance.
Photo: ©2021 Phil Wahlbrink
Bain-de-Bretagne, France
I hate Ektar - awful hues mismatching, pathetic latitude, ugly overcasts, shitty reciprocity values.. the only type of shooting I find it great for is when it's really sunny. Fuck it, after 30 and something rolls of this film I can finally say I hope I'll never ever gonna have to buy this film again.
Starting at the top. Shuttle XPC SN41G (go here for specs) used as DVD player and streaming digital media player (controlled by VNC, iTunes/rTunes, and VLC), 1GB iPod Shuffle (technically not an input, but I use iTunes as my jukebox, so I sync to that machine), Emerson VCR (cheap, but it's stereo...and we don't use it much at all), MTS TV Motorola TV receiver (powered by VDSL from the phone company :) )
Remember reciprocity failure? Sometimes you just don't need Photoshop.
This is an actual unretouched photo of some unretouched structures in my nightly meanderings. No super-saturation or false-color IR. All I added was my name and copyright. How fair is that?
Oh, right: ©Llewellyn Lafford@Zapix
<nerdtext> All the weird color comes from the various monochromatic artificial light sources and of course the wonderful hues you can coax from the evening sky with a 4-second exposure.
I used to love to shoot out the apartment window in the middle of the night and let my Nikkormat EL, loaded with slide film, stretch towards 60 seconds to get the 'real' colors from the Upper West Side tenements, topped by urban nimbus streaks. Besides the amplified subtleties the results incorporated the non-linear sensitivities of the different color layers when exposed outside the roughly 1 to 1/1000 second range they were calibrated for, hence reciprocity failure.
Another note about this image is the lens: the little Nikkor 50mm 1.8 (effective 75mm in DX). The VR zooms are pretty amazing but if I want the sharpest of the sharp, I snap on this baby (and lock my vision into medium-telephoto for better or worse). It provides that extra kick I look for in the detail and undoubtedly adds to the overall subliminal effect on the viewer. (It makes me kinda yearn for one of the "Micro" Nikkors (macro lenses intended for scientists and bug freaks), except they are all longer and slower and bigger and cost 20 times as much.) </nerdtext>
A bit of a change of pace for my photostream, but I thought I'd share the results of a very unscientific test I did earlier today. As you other film shooters out there know, after a certain time (well, technically, at all exposures, but it just manifests itself as long exposures) film enters into reciprocity failure, meaning that you must expose for longer than the metered value in order to get a useable negative. Google it for a more scientific explanation. The problem is that it seems that each film is a bit different in terms of how much compensation you need. For example, Fuji Acros (a beautiful, modern film) has almost no reciprocity failure for up to 2 minutes and even then, you only need to expose a half stop or so more than the metered exposure. On the other hand, older emulsions like HP5 have very big compensations for exposures longer than a half second (doesn't really make a huge difference until 5 or so seconds). The problem is that there is no established formula for calculating and there are a few credible ones out there to boot. Ilford (maker of HP5) provides a rough compensation chart, which you see on the left frame gave a metered 32 second exposure (with a 10-stop neutral density filter) a compensated exposure time of 2 min. 30 seconds. Another reciprocity failure calculator I found online gave a time of only 55 seconds for the same conditions. I set up a timer and a scene with some contrast (and constant light) in order to test the two differing adjusted exposures. The results are above. The 150 second Ilford-recommended exposure seems a little better-exposed; the shadows of the Polaroid camera have a bit more detail and the iPad's screen is not blown out. Not bad. but the other frame isn't too underexposed either. Huh. I don't have the fancy densiometers (or whatever they're called) to measure the negative itself, but I scanned the two negatives at the same time, so for all unscientific purposes they should be pretty comparable. I guess I expected more difference between the two. The upside is that I'll be able to play around with exposures more than I thought---anything between 55 seconds and 150 seconds! The downside is that I still don't know what the "correct" reciprocity failure correction is, but perhaps it's better to err on the manufacturer's suggestion here.
Which brings me to my next point. Since I'm shooting HP5 on sheet film that I have to develop on my knees (painful) in a blacked out bathroom (painfully boring) and because I'm using a shutter with unreliable speeds AND because I'm shooting long exposures with aforementioned adventures in reciprocity failure, I decided to try out the 35mm test film using Diafine, that wonderful, sometimes vexing, 2-bath compensating developer. The entire development process takes about 8 minutes. The compensating part is important here since it fully develops the shadows without blowing out the highlights. Again, a more scientific explanation is available elsewhere, but I wanted to make sure (1) that my old Diafine was still good (yup, it is); and (2) that it dealt with long exposures well (yup). Diafine is known for giving flat negatives, again due to the compensating nature of the developer. This works in my favor, however, as reciprocity failure can (though I haven't experienced it), give you a more contrasty negative. That plus the flat diafine should give me a useable negative that falls somewhere in the middle. That's all I need. I work on it in the computer, where shadow detail is important even if the starting negative is flat. And looking at this straight scan, which I almost never finish with, I have a good amount of contrast here to begin with.
So I guess what I'm trying to say is that sometimes photography isn't about exploring new places but knowing your equipment well enough to be able to use it without thinking when the time comes. That, or I'm getting really good a procrastinating for finals!
Domesticated Reciprocal Marcel.
Why an Ironing Board? Why not?
Because somewhere in passing ‘creativity’ down we stripped it of all meaning and reduced it to what is saleable. We, the universal marketplace, sentimentalised genius because we recognised this would make it more accessible, more commercial, after all everyone loves a tortured genius.
Pragmatically, the heart sells and the head doesn't. 'Pragma' is, perhaps, overrated.
Along comes Mr. Duchamp. He laughs gloriously at the notion of the suffering artist, realising that head and heart are inseparable. They are essentially complementary parts of a ‘whole’, made of the same basic matter, that romanticised, Carl Sagan described, star-stuff.
Marcel stated that he wanted "to grasp an idea the way the penis is grasped by the vagina".
He knew, better than most, that there was an infinite space between despair and joy, between all polarities even, and that this space is what he termed ‘infrathin’ (that is the infinite space between both sides of the same sheet of paper). These opposites, and the space between them, being thus infinite, suggests a reciprocity, that one was the other curved back on itself, Ouroboros-like.
He knew what absolute equality meant, and he laughed. He suggested that we "use a Rembrandt as an ironing board". It being reciprocal suggests that we also see the Ironing board in the same way we see a Rembrandt, a Van Gogh, and a Vermeer (that list would be extendable infinitely). He knew that his own name would be added eventually. It was inevitable.
There is no idea simpler than this. The artist, being equal to every Joe, or Jane, Schmo, realises that every Joe or Jane, or Dolly the sheep, will get it.
We intuit it.
George Bernard Shaw called it simply ‘The Life Force’. Joyce manifested it in 'Ulysses' and 'Finnegans Wake'.
Strangely, the supposedly impenetrable conceptual artist is probably the most universally accessible.
Apollinaire was remarkably prescient in his appraisal when he suggested that Marcel Duchamp might “reconcile Art and the People”.
Duchamp transcends 'Humanism', and ushers us, and everything, into that region of absolute universal equality.
reciprocal
/rɪˈsɪprəkl/
adjective
1.
given, felt, or done in return.
"she was hoping for some reciprocal comment or gesture"
Similar:
given/felt in return
corresponding
requited
returned
reciprocated
2.
(of an agreement or obligation) bearing on or binding each of two parties equally.
"the treaty is a bilateral commitment with reciprocal rights and duties"
Similar:
mutual
common
shared
joint
corresponding
correlative
give-and-take
exchanged
complementary
reciprocatory
reciprocative
commutual
noun
1.
MATHEMATICS
an expression or function so related to another that their product is unity; the quantity obtained by dividing the number one by a given quantity.
"the compressibility is the reciprocal of the bulk modulus"
2.
GRAMMAR
a pronoun or verb expressing mutual action or relationship, e.g. each other, fight.
Photographer unknown (Presumed Dead).
Pinhole (Camera Obscura/Lensless / Without Lens) Photography to 6x9 B&W Photographic Paper
Author : IMRE BECSI
© All rights reserved
Location of shoot :
Leányfalu,
Hungary,
Central-Europe
Latitude : 47°42'57.05"N
Longitude : 19° 5'29.07"E
Time of shoot : 27.02.2009.
Shooting
Film : FORTE Fortespeed 3 FPN-2 Resin Coated Photographic Paper
Filters : Circ.Polar (Tiffen Ser.9)
Metered expo.: 10 EV (5 ASA)
Calculated expo.: 60 sec.
( I use my reciprocity compensation value chart )
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 35 mm
- pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 140
Film back : Graflex Graphic 23
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).
Picture from this camera here :
www.flickr.com/photos/jonespointfilm/2837193476/
POST WORK ( I.) : (27.02.2009.)
Developer : FOMA
Post work (II.) : (28.02.2009.)
Scanner : Epson Perfection 3200 Photo (1600 dpi)
Scanner software : SilverFast SE - "Transparency mode"
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!
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.
President Tsai thanks Wyoming Governor Matt Mead for supporting Taiwan’s international participation, and the signing of a “Driver’s License Reciprocity Agreement between Taiwan and Wyoming.” The president also expresses hope that the two sides will continue to enhance cooperation in a variety of areas. (2017/10/02)
授權方式及範圍：中華民國總統府│政府網站資料開放宣告
Authorization Method & Scope:
The bar shot is sharp all over. I took it at a two stop smaller f stop setting (f22, vs f11). These are still relatively large apertures in large format terms but the longer the exposures went the more trouble I was going to have with reciprocity failure.
This is another detail from the centre of the "Hobos Bar Large Format" picture above
www.flickr.com/photos/samagnew/6091154378
Not only the writing but even the fine textures of the different materials is clearly evident even in this extreme crop.
I present you, The Pinholaroid(tm), a quick and (very) dirty pinhole camera with a polaroid back that I finished building last weekend. The hole is a 0.4mm laser drilled skink hole, the body is made of sturdy foam core and the "focal length" is 90mm which gives a f/225 aperture.
Oh yes, It looks ugly. But it works. Photos made with it are coming up.
In case someone out there is building something similar and needs a table of f/225 exposure times corrected for reciprocity failure on fuji instant film, here's the one I came up with. The RF formulas are the one I linearly derived from the few datapoints in the films datasheets, so they're probably not accurate for very long exposures. My guess is that the film completely loses sensitivity well under the highest times I've put in there anyway... I've only tested "reasonable" values so far, so keep in mind, your mileage may vary.
I do not think that skies and meadows are
Moral, or that the fixture of a star
Comes of a quiet spirit, or that trees
Have wisdom in their windless silences.
Yet these are things invested in my mood
With constancy, and peace, and fortitude,
That in my troubled season I can cry
Upon the wide composure of the sky,
And envy fields, and wish that I might be
As little daunted as a star or tree.
The new sill is put in place - made from oak traded with our friends Ant and Gina in return for a pruning session of their very overgrown forest garden. In beautiful reciprocity, two neglected projects are sorted out in one moneyless exchange!
Bending Light #29
Refraction patterns of light through glass objects.
Friends, I need your feedback and help in directing the course of these images. We've settled on both B/W and also colour images. Now I'm a bit undecided on the colour. Are the colours too strong and glaring in this one or do you prefer them toned down a bit . Remember the colours are not done with Photoshop but it's the colour of the light as it enters the glass and reaches the film. I'm about to try out some new colour filters and a different film so your help would be appreciated.
Now the next question is ; can you offer any other interpretations of this one?
The ring tower is a striking high-rise building in a prominent location in Vienna, where is located the headquarters of the Vienna Insurance Group. It was built in 1953-1955 after designs of Erich Boltenstern at Schottenring inside the Viennese Ringstrasse and is located at the stop Schottenring of the Wiener Linien (Vienna Public Transport). The 73 meter (93 meter height including the weather light column) high ring tower was deemed as innovative project for the reconstruction of the city.
The building, which previously stood on this plot, was the only one of the entire Scots ring which was destroyed in the Second World War. The ring tower with its 23 floors and its 20-meter high weather lighthouse is the second highest building inside Vienna's Ringstrasse. Higher is only the Gothic-style St. Stephen's Cathedral. In addition to the central office of the Vienna Insurance Group are now also offices of Wiener Stadtwerke (public utility company) in the ring tower. In the office building a total of 12,000 square meters of effective surface is available. The facade and parts of the ring tower were renovated in 1996.
Name
In a contest, a name was sought for the then very modern office skyscraper. Among 6,502 entries the name "ring tower" was chosen. There were, among other proposals, such as City House, Gutwill-house (goodwill-house), house of reciprocity, high-corner, new tower, Sonnblick-house, insurance high-rise, Vindobona-house or vision-house (farsightedness-house) of the creative population after the war. One of the submitters of the name "ring tower" was rewarded with an honorarium of 2,000 shillings.
Weather lighthouse
Weather lighthouse, seen from the ring road
On the roof there is the 20-meter high weather lighthouse with 117 lights in differently colored light signals the weather for the next day displaying (each 39 white, red and green lights as well as 2 additional air traffic control lights).
This light column is directly connected to the ZAMG (Central Institute for Meteorology and Geodynamics) on the Hohenwarte in Vienna.
Meaning of the signals:
red ascending = temperature rising
red descending = temperature falling
green ascending = weather conditions will be better
green descending = weather will be worse
Flashing red = warning lightning or storms
Flashing white = snow or ice
Ringturm 2013
Ringturm disguising
Since 2006, the ring tower is changed every year into an "art tower " by covering the building with printed webs. The covering consists of 30 printed network paths with about 3 meters wide and 63 or 36 meters in length , and the resulting area is approximately 4,000 square meters.
The previous art projects:
2006 "Don Giovianni" by Christian Ludwig Attersee (on the occasion of the Mozart Year)
2007 "Tower of Life" by Robert Hammerstiel
2008 "Tower in Bloom" by Hubert Schmalix (Blumenstillleben)
2011 "Sense of family" Xenia Hausner
2012 "Society" by Hungarian artist László Fehér
2013 "Connectedness" of the Slovak artist Dorota Sadovská
Lt. Governor Rutherford Signs MOU Granting Reciprocity for Drivers Licenses between Japan and Maryland by Joe Andrucyk at Governor’s Reception Room, State House, 100 State Circle, Annapolis, MD 21401
"Mr. Williker's story time nights were always a favorite for the village kids. They would come from miles around to hear his tales of his years of service with the Peace Corps and the C.I.A. and they loved when he would frequently get them confused."
I think I got lazy on this one by relying on only the ambient light in the room and a longer exposure. I should have hauled a gridded beauty dish out from downstairs and put it on a boom arm directly over the moose shining straight down then killed the ambient lights in the room to give it more of a dark story time feel. I should probably have used some of the camera movements available to fix the vertical lines on the wall too. All notes for next time...
4x5 for 365 Project details: greggobst.com/4x5-for-365/
Camera: Calumet 45NX 4x5 large format monorail view camera.
Lens: Fujinon-W 210mm F5.6 lens in a Copal B shutter.
Film: Ilford HP5+ 400 ISO Negative Film, shot at 200 ISO.
Exposure: 8 second exposure @ F22 based upon an original reading of 4 seconds and compensated for reciprocity and bellows extension.
Development: Self Developed in Kodak Xtol 1+2 dilution in Paterson Universal Tank using the Taco Method. 13 minutes @ 20 degrees Celsius. Tap water stop bath. Ilford Rapid Fixer. Photo-Flo rinse.
Scanning: Negative scanned with Epson V600 in two scans and merged back together in PhotoShop since the V600 doesn't natively support 4x5 scans in one pass.
This is part of a set of photos experimenting with a new YONGNUO YN 50mm F1.8 lens.
www.flickr.com/photos/dominicspics/albums/72157694661082464
The much larger aperture available - compared to the kit zoom lens I normally use - enabled a faster shutter, a lower (less "noisy") ISO, and also a shallower depth of field.
The lighting colour was often a terrible mix of direct sunshine, blue sky and the very orange colour reflected from wooden table tops. The "colour balance" adjustment tool in a photo editor editor - selectively adjusting highlight, mid-tone and shadow colours was useful in reducing the effects of the sometimes very blue shadows. (Traditionally this type of tool is used to "fix" issues relating to colour film, where the colour of light and dark areas could vary. This is for lots of reasons for relating to the processing and chemistry of film; and also to the physics of photons exposing film grains - for example reciprocity failure en.wikipedia.org/wiki/Reciprocity_(photography) where darker areas for each of the colours present in the shadows may not be recorded proportionately. Presenting the same images in Black and White is another way of "dealing with" [avoiding!] the issue.
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 first and second centuries BC. 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.
Text from the Metropolitan Museum of Art label
Lubitel 2 with T-22 f4.5/75mm, Fomapan 200 in Barry Thornton's two bath developer, 4.5 minutes in each bath at 21C.
I decided to use the last two frames of this roll trying long exposures at home, Foma 200 is not exactly known for its good reciprocity but here and in the Thornton's two bath developer it seems to be OK.
The exposure was aprox 7 minutes at f22, it doesn't look in the photo but it was quite a dark night.
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.