View allAll Photos Tagged reciprocity
As we come to the stormy season, this is one of such days on our lake. It was very cold and windy there, but not enough to shake the camera. After looking on the image I think I will prefer lower camera point, so pier will be more flat.
Intrepid 4x5 with Fujinon 180mm f/5.6 @ F32, ND8 + Yellow filters, shutter speed 2s (1s + reciprocity), Ilford FP4+ 125 @ 100 (expired). Rodinal 1:100 @ 20min semi-stand.
Taming Light #28
I've developed a new technique that 'frays' the ends of the light rays but I'm not saying how. :)
For new viewers: These are light refraction patterns or 'caustics' formed by a light beam passing through a shaped and textured plastic form. The pattern is captured directly on to 35mm film by removing the camera lens and putting the transparent object in its place. The processed film is digitally scanned for uploading. Please note these are not computer generated images but a true analogue of the way light is refracted by the objects I create.
I'll leave the why of long exposures for another day and another story. I got a comment on one of my recent posts essentially asking how. So I figured I would put some thoughts down on that. I have done so many of these long exposures that the process is routine and reflexive for me, and doesn't seem all that extraordinary. But then it is easy to forget that there are those that don't share that level of experience or technical knowledge of the how. What for me is routine may not be for another photographer. So I will help make it a bit more so.
Typically I am working with one of three ND filter set-ups. I have two 8.5 stop NDs and one 15 stop ND. I can either use one of the 8.5s on its own, use the 15, or stack the two 8.5s to turn them into a 17 stopper. I have not yet felt the need to stack an 8.5 and a 15, but maybe someday. Anyhow, those three configurations cover all my bases at this time. It is not often I work with only a single 8.5 stop. That will typically get me exposures anywhere from 1/2 second to 1 minute exposures depending on my film and aperture. But while a minute is getting close to the area of time I like to work in, it generally also requires an aperture of f22 and I don't always want to do that (like when I am using the Flexbody tilted and want that shallow plane of focus). Typically I use the 15 stop since my exposures can range anywhere from a few seconds to a few minutes depending on aperture. The two 8.5s get stacked when I am pointing into the sun (and stopping down to f22). I have written before about my struggles with UV overexposure when stacking more than one ND filter. So if I am shooting color film and want to avoid a bluish color cast, then I might try to stick with one ND, but with b&w film, I'll use whatever combo I need to get out to the exposure I want.
With those set-ups in my bag, the first step is to look at the light. Bright days are going to require heavier filter work. Overcast days mean less so. Or if what I am photographing has a lot of movement, like clouds on a really windy day moving fast, then I might go lighter as well. There have been scenes where the clouds are moving so fast that the 2-4 minutes exposures I did rendered all that movement into a featureless blur. But light is almost always a good place for a photographer's mind to start. You cannot do much without light, so having a good grasp on the light in front of you is important.
Then I'll get the composition set up. Since that has less to do with ND filtration I will let the lessons on how I compose be communicated solely by the image itself.
And then it is math time. Yes, there are apps for this and if you don't like math then get one of them. I don't mind math and I happen to be good at it, so I just calculate it in my head and on my fingers to double check myself. I start with a basic meter reading at the aperture I plan to use. Let's say this scene here gave me 1/500 at f16. From there I look at the ND filters I intend to use. If I was going to use the 15 stopper for this, then I need to adjust my exposure by that many stops. Exposure doubles every stop. So 1/500 to 1/250 is one stop. 1/125 makes a second stop. And so on. Eventually you get to 1 minute, which in this case is 15 stops over 1/500. Count it out on your fingers and see for yourself. Tip: you go from 1/15th to 1/8th and 8 seconds to 15 seconds for easier math. Because then 15 seconds doubles to 30 and that to 1 minute. Otherwise 1/15th would double to 1/7.5th and that would double to 1/3.75th and so forth. My current method may be less accurate but it involves cleaner numbers.
Once I see that I will be at a minute exposure, I decide if that is long enough. I could stack my two 8.5 filters and double and double that 1 minute exposure again to arrive at 4 minutes if I wanted. But we'll settle with the 1 minute exposure on the 15 stopper for now. At this point, since I am using film, I need to account for reciprocity failure. All film slows down at long exposures (technically the film is slowing down as a factor of the reduced light, not the increased time) and off the top of my head, I don't know a film that doesn't benefit from a bit of compensation at a 1 minute exposure. My easy math here is to just add another stop, doubling that 1 minute exposure to 2 minutes. If I am shooting Kodak Ektar, which I know from experience to slow down a bit more than most films, I might double that time again to 4 minutes to compensate. But typically I am adjusting my semi-final calculations double or quadruple to help with that loss of speed. When metering, if my shutter speed is in between two set speeds (like 1/400th) I will also round down to the nearest common shutter speed, which also helps add a bit more light. Especially with negative film it is hard to over-expose and with these long, ND filtered exposures, easy to under-expose. So when in doubt, always add more light, not less. On a couple of occasions I have set up a shot with the intention of using that 8.5 stop ND filter, set my exposure, fired off a long exposure and then realized I forgot to put the filter on the lens. Even on those occasions, while the negatives looked far from great, I still got usable images even 8.5-9 stops over-exposed. Seriously, film is forgiving stuff in that sense.
And that is about it. Really. Most of it comes down to being able to meter and then count. There is certainly an aspect of knowing how which scenes will react to which duration of exposure, but that is more the art of it and less the science.
Anyway, that is my method. Just wanted to share that.
Hasselblad 500C
Kodak TMAX 100
Hasselblad 500cm + Lee filters
Fuji Velvia RVP 50
Exposure time about 2 minutes incl reciprocity compensation
Developed at home in Tetenal Colortec E6
Welcome to visit my new gallery for my Velvia images from Isle of Harris -15
www.shimmeringgrains.com/galleries/isle-of-harris-outer-h....
or my new blogpost on Shimmering Grains www.shimmeringgrains.com/2016/09/18/what-happends-after-a....
08-Jul-2024 13:45
Ilford FP4+ 125 @ EI=100
Ebony 45SU
Rodenstock 150mm f/5.6 Apo-Sironar-S
XTOL 1+1 for 10 mins (N) @ 20C
Stearman Press SP645 Tank
Pre-Wash 5 mins
Inversions first 30 sec then two every 60 sec
Two water Stop Baths - 1 min each
Alkali Fixer (1+4)
Clearing time 1 mins. Total fix time 2 minutes
Initial wash to remove fixer : 1 min
Washing : 10 mins with frequent water changes
Ilfotol : 1 ml in 500ml for 2 minutes
Front Tilt : 3 degrees forward
Mid tone LV = 16⅔
Highlight = 13⅔
Shadow = 11⅔
Filters : Orange (-2)
Final LV=11⅔
Reciprocity : None
¼ sec @ f22
'Taming Light' #15
Another experiment with plastics looking at ways of creating different patterns and effects. For this I embedded a pattern of small pieces of green plastic into the layers of clear. There's some nice refraction 'rainbows' and diffraction bands when viewed large.
For new viewers: These are light refraction patterns or 'caustics' formed by a light beam passing through a shaped and textured plastic form. The pattern is captured directly on to 35mm film by removing the camera lens and putting the transparent object in its place. The processed film is digitally scanned for uploading. Please note these are not computer generated images but a true analogue of the way light is refracted by the objects I create.
Lone Fir Cemetery, Portland Oregon. 8x10 pinhole photograph on Fomapan 400 developed in Rodinal 1+25 for 5.5 minutes. This was a 17.5 minute exposure due to reciprocity
The dried-out bed of the Alme under the Wewelsburg
Shen Hao PTB 45B, Schneider Kreuznach Super Angulon 8/90, red filter, Fomapan 100 developed in HC-110 1+31 using the SP-445 developing tank, scanned on an Epson V800. The negatiive is overexposed owing to a miscalculation of the reciprocity factor.
24-Mar-2025 12:05
Ilford FP4+ 125 rated @ EI 100 (N-⅓)
Ebony 45SU
Rodenstock 150mm f/5.6 Apo-Sironar-S
Stearman Press SP445 Tank
Pre-wash : None
Developed : FX55 [50A + 10B + 440 distilled water] 9½ mins @ 20C
2 x Water Stop Bath
Alkali Fix. Clearing time 1½ minutes
Total Fix time doubled to 3 minutes
Wash for 8 mins in frequent water changes
Wash for 2 mins in distilled water
Ilfotol + distilled water rinse (1ml in about 500ml) : 2 mins
Movements
Bed Tilt : 7 degrees forward
Front fall : 2 cm down
Back Tilt : 5 degrees back
Mid tone LV = 11
Highlight = 14
Shadow = 9
Filters : Yellow (-1)
Final LV=10
Reciprocity : None
1/2 sec @ f22
This is the first photo I've ever shot with my new toy - a RealitySoSubtle 6x17 pinhole camera. I shot the photo on expired Portra 400NC that bought with no wrapper from a grab-bag (I save it for test rolls like this, where I'm not even sure if I know how to thread the film into the camera). The exposure is about 75 seconds, calculated via a lot of guesswork concerning how damaged the film is, what its long exposure reciprocity profile is, how dark it was, what the camera was pointing at, and my mood at the time (it was "zesty").
This is a highway overpass near my office, which I picked to photography because it was the most interesting subject I could think of that was close enough I could reach before sunset.
My favorite film lab can't scan 6x17, so after they developed it, I scanned this using my Fujifilm digital camera with the negative taped to a lightbox tracing panel, and color corrected in Lightroom.
I went back to this site to reshoot it, for several reasons. For one, the original had a light leak around the lensboard (garbage lensboard provided by Intrepid), which I wanted to fix. I also wanted to vary my process a little bit, so I shot this on Ilford HP5+ and processed it in Rodinal.
Now, I want to say this about how I used the Rodinal: I did a "stand" process of the neg, using Rodinal 1:100 dilution and allowing a slow process of an hour, with only one agitation cycle at the 30 minute mark (plus a 1 minute agitation at the start). I don't usually use the Stand Development process because it almost always introduces artifacts (uneven areas), but that is more an issue with roll film than sheet film, so I felt it was worth risking one sheet of film to try for this shot.
What did I get? Well, the negative is a bit less contrasty overall, with better shadow information and less blocking of the highlight areas. I knew that the reciprocity effect would increase contrast of this scene, as the bare wood (horizontal wedged in the roots) was considerably brighter than most other areas. I expected the stand process would help restrain the bright regions while allowing the shadows to develop more fully, and it seems this is what happened. As I say, I do NOT advocate for this approach to film processing in most circumstances (the mythology of the process is grossly exaggerated, IMO) but with sheet film, it sometimes has benefits. I wouldn't expect to develop a shot that had large expanses of a single value (blue sky?) because some unevenness would likely become apparent.
I've done this with HP5+ in the past and it seems this Ilford emulsion behaves very well in dilute Rodinal and minimal agitation.
Camera: Intrepid 8x10
Lens: Turner-Reich 12" convertible, exposure 25 seconds @ f22
cross processed tungsten balanced slide film again. its good cos not much reciprocity failure apparently
Phoenixville, Pennsylvania
Body: Hasselblad 500 C/M
Lens: Zeiss 50mm Distagon f/4 T*
Film: Kodak Portra 160
Exposure: f/5.6 for 10 minutes (EV100 = -4.9, including reciprocity correction)
Developed & Scanned by NCPS
Hasselblad 500cm + Lee filters
Fuji Velvia RVP 50
Exposure time about 2 minutes incl reciprocity compensation
Developed at home in Tetenal Colortec E6
Welcome to visit my new gallery for my Velvia images from Isle of Harris -15 shimmeringgrains.com/galleries/isle-of-harris-outer-hebri...
or my new blogpost on Shimmering Grains shimmeringgrains.com/2016/09/18/what-happends-after-a-cou...
I recently acquired a Turner-Reich Gundlack 12" convertible lens in a Betax shutter, which in fact, I bought mainly for the shutter, so I could mount my other 12" Gundlach lens to make it more usable. The lens that came with the shutter is quite damaged: a wide margin of balsam separation round the edges of BOTH front and rear groups, and one of the center adhesive layers in the front group is a network of separation squiggles and lines. You'd look at this lens and think 'Poor thing, you aren't much use anymore, are you?!"
Well, I decided to mount in in the Betax shutter and see just how compromised it is. This photograph is the result. Yes, the negative has suffered some loss of contrast (light dispersion) and maybe softened a bit, but it was a perfectly usable negative!
Click to zoom way in and see the details.
I used a medium yellow filter, so adjusted to give an extra 2 stops: 1/2 second became 4 seconds (reciprocity) exposure at f11.5, using 8x10 inch Ilford HP5+. Negative developed in Pyrocat HD, 10 minutes standard dilution.
Bending Light #67
This is another 'double refraction' . The refraction pattern of light formed through one of my glass objects is passed through one of my coloured plastic shapes. The result,as you can see, is quite complicated. There is still the basic shape of the glass refraction pattern but this is now broken down again by the second refraction.
For new viewers: these are analog images of the refraction patterns of a beam of light passing through various transparent objects. The image is captured directly on to 35mm film, no camera lens is used ( this is a photogram using film instead of photographic paper). No Photoshop is used only Picasa2 for alignment and cropping. The slide film was lab processed and scanned for uploading.
When viewed large the fine bands of diffraction patterns and also some refraction 'rainbows' can be seen.
Camera: Toyo Field 45A
Lens: Rodenstock Sironar-N 150mm f:5.6 (orange filter)
Exposure: 8" @ F/32
Film: Fomapan 200 Creative 4x5" hand developed in Xtol Replenished
I was perhaps a bit heavy-handed with the reciprocity failure compensation, hence the washed out sky.
Twisting Light #17. Like a strange life form tied with fine threads of light. Well, that's what I can see in this hybrid refraction pattern of glass and plastic - you may have different ideas.
Sorry I've not been around much lately.
Lyukkamera, Pinhole Camera, Appareil à sténopé , Cámara escura, Camera obscura, Estenopeica, Foro stenopeico, Hålkamera, Kамера опскура, Lochkamera, Otworek, Pinhole fotoğraf makinesi, Stenopeica, φωτογραφία, Пинхол Фотография
Author : © IMRE BECSI
© All rights reserved
Location of shoot :
Dera-canyon,
Pilisszentkereszt,
Hungary,
Central-Europe
Time of shoot :
2018.08.08.
Film : Fuji FP-100C Color Instant
Format: 3.25 x 4.25 in. (8.5 x 10.8 cm) "Regular Size" pack film
Image Area: 2.88 x 3.75 in. (7.3 x 9.5 cm)
Metered : 8 Ev
Calculated expo.: 1200 second (20 min.)
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Filters : Orange
Dev. time : 120 second (25° C)
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 33 mm
- pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 132
Film back from my Polaroid 600se camera.
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).
Picture from the camera :
www.flickr.com/photos/jonespointfilm/2837193476/in/set-72...
The parameters of camera :
(when I use 95x73 mm format instant film)
- Angle of view : 110°
- Light falloff at the corners [f/stops] : 1,8
- Resolution [lines/diagonal] : 959
Post work : (2018.08.09.)
Scanner : Epson Perfection 3200 Photo (60x50 cm/300 dpi)
Original File Size : 157379 KB (TIF)
Pixel : 6496 x 8268
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected.
Use without permission is illegal!
No reproduction in any way,
no copies,
no editing,
no publishing,
no screenshots,
no posting,
no blogging,
no transmitting downloading
or uploading without my written permission!
Thank you !
Thanks for looking !
Comments very much welcome !
30-Jun-2024 20:40
Ilford PanF+ 50 @ EI 32
510 Pyro Semi-Stand : 11.5 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 90 sec mins. Total fix time 180 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 = 8
Shadow = 4
Midpoint = 5½
Filters : None
Final LV=5½
Reciprocity : 30 sec goes to 93 sec
93 sec @ f22
In the Jura region of France there is a marked driving route around the region's lakes,both small and large. In the search for photographs of water and reeds among the smaller lakes not only did I find the reeds but water lilies AND a sunken boat!
Best viewed large for underwater detail.
For the version without the polarizing filter see here.
Twisting Light #24
Another refraction pattern of light passing through one of my shaped plastics.
For new viewers: these are analog images formed directly on to film without the use of a camera lens (in the same way as a photogram), of the refraction patterns of light passing through formed and shaped plastics. Normally a b/w image, colour has
been added directly into the plastic. The fine detail of the diffraction patterns can be seen when viewed large.
Twisting Light #20.
Another in the series of the refraction patterns of light through shaped plastic. Here I've been trying to control the resultant pattern and finished up with something which, to me, looks like an exotic optical version of a 'porcupine fish' (you may see something else). In this one I have not used any coloured filters in the light beam, the rainbow patterns (seen large) are formed naturally.
For new viewers: these are analog images formed directly on to film without the use of a camera lens (in the same way as a photogram), of the refraction patterns of light passing through formed and shaped plastics. The fine detail of the diffraction patterns can be seen when viewed large. I do not use Photoshop, only Picasa for minor adjustments.
Looking upstream of Borsdane Brook in the eponymous wood. The long exposure caused by the combo of a slow film and it's 'interesting' reciprocity meant this had a nice long 21 second exposure.
Intrepid Camera 4x5 Mk5 | Schneider-Kreuznach 150mm F5.6 Symmar S | Fomapan 100 100
Digitized with Nikon Z7 / 24-70mm f4S Nikkor | Raleno LED Light Panel | Glass Sheets
Home developed in Rodinal 1:50 | 7m at 21c | AGO Film Processor, Compensated Rotary Processing
Negative Lab Pro v2.4.2 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: Auto-Neutral | LUT: Frontier
Night time street. Yokosuka, Japan.
Night time shot of a Yokosuka street. Shot before I had a Booster-T Finder and could account for the reciprocity - note the greenish tint of the white markings on the street. Shot using a Canon F-1 and using Ektachrome 64 film.
I forgot how much I liked long exposures with Ektar. Reciprocity stands up to about 8-10 seconds of exposure with no need for adjustments, according to my non scientific analysis, that is.
Berlin, Germany
Leica M2
Kodak Ektar
Pinhole (Camera Obscura/Lensfree/Lensless / Without Lens) Photography to 3x4 Instant Film
Author : IMRE BECSI
Location of shoot :
Lovran,
Istria,
Croatia,
Europe
Latitude : 45°17'33.23"N
Longitude : 14°16'39.23"E
Time of shoot :
08.07.2008.
Shooting
Film : Polaroid 125i (expired : )
Filters : Tiffen Cir.Polar (4 1/2) and ND.6 (ser.9)
Metered expo.: 13 EV (with Minolta Auto Meter III + spherical diffuser head)
Calculated expo.: 25 sec. ( EV)
( I use my reciprocity compensation value chart to Polaroid film)
Developing time : 120 sec. /+25 C°
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 35 mm
- angle of view : 119°24'26"
- light falloff at the corners [f/stops] : 3,6
Pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 140
- resolution [lines/diagonal] : 887
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).
Post work : (03.08.2008.)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
Scanner software : SilverFast SE
Final work : PS
If interesting for you my other work please see my all pictures on one page :
www.flickrleech.net/user/jonespointfilm
Thanks for looking !
This image was made with the ZeroImage45 at the 75mm focal length, f/216. the film used was Rollei IR400 and with the R72 filter. 3 minute exposure including reciprocity correction.
I believe this is variegated Panache Tiger Fig (Ficus carica 'Panache'). Any correction will be appreciated.
The fig is the edible fruit of Ficus carica, a species of small tree in the flowering plant family Moraceae, native to the Mediterranean region, together with western and southern Asia. It has been cultivated since ancient times and is now widely grown throughout the world.[3][4] Ficus carica is the type species of the genus Ficus, containing over 800 tropical and subtropical plant species.
A fig plant is a small deciduous tree or large shrub growing up to 7–10 m (23–33 ft) tall, with smooth white bark. Its large leaves have three to five deep lobes. Its fruit (referred to as syconium, a type of multiple fruit) is tear-shaped, 3–5 cm (1–2 in) long, with a green skin that may ripen toward purple or brown, and sweet soft reddish flesh containing numerous crunchy seeds. The milky sap of the green parts is an irritant to human skin. In the Northern Hemisphere, fresh figs are in season from late summer to early autumn. They tolerate moderate seasonal frost and can be grown even in hot-summer continental climates.
Figs can be eaten fresh or dried, or processed into jam, rolls, biscuits and other types of desserts. Since ripe fruit does not transport and keep well, most commercial production is in dried and processed forms. Raw figs contain roughly 80% water and 20% carbohydrates, with negligible protein, fat and micronutrient content. They are a moderate source of dietary fiber.
minnetonkaorchards.com/panache-tiger-fig/
Named for its striking stripes, the variegated Panache Tiger fig is a fun cousin of the more common Black Mission fig. It’s easy to grow, highly productive, and is sure to make your garden stand out!
I took advantage of the reciprocity between Desert Botanical Garden and San Diego Botanic Garden for member admission. It is a relatively young and somewhat small botanic garden. It does have a lot of interesting specimina, especially for me coming from the desert.
300 Quail Gardens Drive (at Ecke Ranch Road), Encinitas, CA 92024
Welcome to our 37-acre urban oasis featuring 4 miles of meandering trails and ocean views, 5,000+ plant species and varieties, and 29 uniquely themed gardens that represent 15 different regions and many habitats of the world. Our natural wonderland is designed for children and adults, alike; explore your interests, learn about the plant world that surrounds us, and let nature fill you with a little wonder.
SDBG2024
Twisting Light #1
The first in a new series of experiments looking at the refraction patterns of light. With the 'Bending Light' set (which will continue) I formed refraction patterns from 'found' transparent objects - vases, tumblers, dishes, bowls etc. In this set I am making my own objects from plastic which I hope will give me eventually more control over the final pattern. I am not using any additional colour filters in the light beam at the moment as I want to see the structure of the refraction patterns in detail and study how I can control them. To separate the two series I am calling these 'refractographs', however the image is formed direct in the 35mm camera straight on to colour film as in the 'photograms' of the other set. Although they look nominally B/W if you look in detail you should be able to see subtle rainbow colours.
I welcome your comments. btw I thinks there are still some recognizable shapes in there somewhere. ;-)
Twisting Light #19
Continuing the experiments of incorporating colour into the plastic shapes as they form. I'm trying to keep some clear parts to give white highlights and the dark areas to give depth.
For new viewers: these are analog images formed directly on to film without the use of a camera lens (in the same way as a photogram), of the refraction patterns of light passing through formed and shaped plastics. Normally a b/w image, colour has
been added directly into the plastic. The fine detail of the diffraction patterns can be seen when viewed large.
While we are all locked indoors, shall we give some time to think about life?
Bro chatted about this with me, and I invite you to reflect together: Are you in a healthy relationship?
1. Are you able to be yourself in the relationship? Or there is a lot of grievance and compromise?
2. Is there trust and honesty?
3. Are you able to communicate needs and problems? Or there is a lot of grievance and compromise?
4. Are you the only who contribute? Or is there reciprocity?
5. Is there a reasonable amount of care and attention shared?
6. Are you able to be yourself, love/like/lust freely? Or there is a lot of grievance and compromise? Yes, same as point 1, as it is of highest importance.
7. ___________________________________(Your opinion)
01-Apr-2024 15:00
Ilford HP5+ rated @ EI 400
Developed in 510 Pyro for 9 mins @ 20C
Pre-Wash 5 mins
Inversions first 30 sec then every 30 sec
Two water Stop Baths - 1 min each
John Finch Alkali Fixer (1+4)
Clearing time 2 minutes. Total fix time 4 minutes
Initial wash to remove fixer : 1 min
Washing : 10 mins with frequent water changes
Ilfotol : 1 ml in 600ml for 2 minutes
Bronica SQAi + 80mm
Highlight = 6
Shadow = 1
Midpoint = 3
Filters : None
Final LV=3
Reciprocity : 15 sec goes to 35 sec
45 sec @ f22
If you're wondering if your meter is working, attempt a shot like this. I metered everything I could. The ceiling, the sky outside (which I knew would have to be blown out), the walls, the flood - everything.
I wanted the plantlife outside to be exposed well, but really wanted the beam of light inside to be bright, but not blown out. I also wanted to see the square on the floor.
And lastly, I wanted a long ass exposure. But I didn't know the reciprocity failure of Arista Edu Ultra 200 (Fomapan 200).
Looking now, the charts for Foma 200 say that if my meter told me to expose it for 60 seconds, I should have done it for about 17 minutes. That seems a bit odd, especially since the exposure is exactly what I was hoping it would be.
So what gives? I adjusted for reciprocity failure not at all. Would exposing for 16 additional minutes have given me the same results? No. It would have blown out a lot of everything. But you'd have more shadow detail.
Now 16 minutes seems like a lot. But keep in mind (mathematically), it's just four stops away from 1 minute. That's a jump, but it's not like a crazy bonkers sort of thing.
.
.
.
'Conversation Will Suffice'
Camera: Intrepid Mk3 4×5 (2018)
Lens: Schneider-Kreuznach Super-Angulon 8/90mm
Film: Arista Edu Ultra 200
Exposure: f/16; 60sec
Process: Rodinal; 1+50; 9min
Fort Ebey, Washington
February 2020
From the film stash, July 2023, comes the next to last image I made with my Bronica S2A.
Paddys Head and the foreshore rocks at Bicheno, Tasmania.
Probably a little reciprocity fail in the film given it's TMAX 400 with a 15 stop ND in front of it and an exposure time of 126 seconds...
Some things you just have to try for yourself to find out what happens! The camera leaked a lot of light in the lower right (upper left of the film chamber) and many of the sparkles are mush. Much creativity in PS and Nik to get it to work.
Some radial blur and a little noise has been applied to the sky as it was just clumpy and displeasing.
I sold the camera before the film was developed. While it was a beautiful thing in and of itself (as most well-made cameras are), it was from another time. Only one other frame from that roll of 12 is worth doing anything with - for another day.
Bronica S2A, Nikkor-P 75mm f/2.8, 126 seconds at f/16, Kodak TMAX 400.
After being bottled up for a few days with the weather I took the chance to go for a walk and check out the ocean.
I find the constantly changing patterns and flow are quite mesmerizing and could cheerfully spend a day in my own 'rain man' moment.
Hope you like this little tableau of air and water as much as I do
35mm Kodak Ektachrome slide film scan of the Seattle skyline from Gas Works Park. Reciprocity don't fail me now! :)
Image taken in Feb 1983.
"Reciprocity failure is what happens when, at longer exposures (generally shutter speeds of 1 second or more), the law of reciprocity (you guessed it!) fails! ... The longer the exposure, the less potent the emulsion becomes over time, and, therefore, the more compensation is needed in order to achieve a proper exposure."
09-Sep-2022 17:56 - Fuji Acros II 100 @ EI 100
Film has no reciprocity below a few minutes
Developed in 510Pyro 1+100 (Normal) 7.75 mins @ 20C
1 min post dev water wash
Tetenal SuperFix Plus 1+4 : 4 mins
Bronica SQAi + 50mm
Highlight = 15 (-2=13)
Shadow = 9
Midpoint = 11
Filter : 2 Stops hard grad : sky
Final EV = 11
1/15 sec @ f11
Happy Children at 'Hijos de Praderas', one of the communities supported by Reciprocity NGO.
Here is a blog I have written about Reciprocity NGO
Reciprocity NGO are always looking for volunteers and donations. If you want to help, send them an email: ong.reciprocity@gmail.com.
If you would like to use any of my photos please contact me and ask permission first.
If you want to look at more of my photography you can check my website and social media links below:
www.facebook.com/geraintrowlandphotography
www.instagram.com/geraint_rowland_photography/
04-Aug-2022 13:49 - Rollei Retro S 80 @ EI 50 (IR, LV=6)
Developed in Rodinal 1+50 (Normal) 11 mins @ 20C
Bronica SQAi + 150mm
Highlight = 14
Shadow = 8
Midpoint = 10
R72 Filter
Final EV = 10
Exposure 4 sec - Adjust for reciprocity (9s)
8 sec @ f16
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Location of shoot :
Pilisvörösvár,
Hungary,
Europe
Time of shoot :
2015.03.22.
Info of Shooting :
Film : Fuji Fp-100c (new)
Filter : Polar, W85c, Blue grad
Metered expo.: 14,75 EV (white wall)
Calculated expo.: 30 second
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 180 sec. (15° C)
Format: 3.25 x 4.25 in. (8.5 x 10.8 cm) "Regular Size" pack film
Image Area: 2.88 x 3.75 in. (7.3 x 9.5 cm)
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 33 mm
- pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 132
Film back from my Polaroid 600se camera.
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).
Picture from the camera :
www.flickr.com/photos/jonespointfilm/2837193476/in/set-72...
The parameters of camera :
(when I use 95x73 mm format instant film)
- Angle of view : 110°
- Light falloff at the corners [f/stops] : 1,8
- Resolution [lines/diagonal] : 959
Post work : (2015.03.23.)
Scanner : Epson Perfection 3200 Photo (400 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 !
B de T Rouge, No.08
f/204, Fl; 53mm, 0,26mm.
Photo location: Donnacona, Québec.
Delta 100 Pro cut at 4x4. (10,16 x 10,16 cm)
Exposure time 1 minute 10 secondes. (Reciprocity+)
Development; D-76 1+3, 24 minutes.
Test Sténopé pour le diptyque «Pleurer un souvenir».
Malheureusement, le film était voilé. Cette numérisation ne livre qu'une partie du négatif 4"x4", puisque c'est le maximum que mon scanner Epson 4490 peut me donner. Finalement, ne voulant pas faire revivre cette mise en scène à mon père, j'ai complété mon idée de diptyque en polaroid avec un transfert d'émulsion. (e-lift)
Mais plus je regarde cette image et plus je trouve que les défauts que je lui attribuais contribuent plutôt bien à exprimer cet effacement de la mémoire que cause l'Alzheimer.
000109150008_###
- Fujifilm Provia 100F
- Nikon FM3A
- Tripod on sand and the blurriness may have been caused by the tripod sinking into the sand a bit. Who knows ....
... and all those humans wandering around at night ... :)
Exposure:
What is on chrome is what one gets. I am a bit puzzled by the colour difference between this frame and the one shown below, shot on the same roll.. Does night time temperature affect reciprocity failure of film? Looking at the length of the star trails, the duration of exposure would have been a few hours. Though, the night time temperature difference would have only been a few degrees Celsius.
The above shot is on the same roll as this shot:
www.flickr.com/photos/30079014@N03/52990826906/in/album-7...
Once I find my diary again, or able to retrieve the location on my Garming eTrex30 (something has gone wrong there too,,,) I'll add the location.