View allAll Photos Tagged reciprocity
Santa Clara 2015
tech info:
66/6 Instant Pinhole camera
Impossible SX-70 B&W film
0.12mm pinhole @ 14 minutes
via Tumblr ift.tt/1oUhpXv
PLEASE READ THIS ENTIRE ENTRY THROUGH AT LEAST ONCE.
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S-I joint pain teaches compulsory lessons in patience,
persistence, and diligence, as you do what it takes
to recover your comfort and freedom of movement.
Be patient — methodical — gentle with yourself.
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CONTENTS
* How to Use This Program/Preparation
* What to Expect
* Units of the Regimen
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This regimen consists of a series of somatic education exercises done in a specific order. Each exercise title (below) is followed by a link either to a freely-available YouTube video or to a purchase-page for the program containing the exercise. You can purchase either physical media or electronic download.
For downloads, you must use either Firefox or Internet Explorer.
To play downloaded files, you must use a player enabled to play MP4 and MP3 video — RealPlayer, Quicktime, or Microsoft Media Player, all freely available on-line.
You don’t do all the exercises in one sweep (which is why I divide the instructional into units of practice); you do them in units, as described, below.
Each exercise sets changes in motion that progress for some time after practice. Some release you so you can change; some initiate normalization of function; some integrate the changes that have occurred; and some flush up existing problems so you can deal with them by cycling through the regimen.
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As in a cake recipe, no one ingredient constitutes the entire recipe, and there are steps of preparation. A somatic education exercise may be viewed as an ingredient and the regimen is a recipe.
Gentle Spine Waves, given first in the regimen, is such an ingredient and a step of preparation. Do not expect it to relieve your symptoms by itself (although it works for simple back pain); it’s necessary preparation that addresses an element of the pain pattern: back tension.
This regimen came from solving my own problem. I had deep “gluteal” pain (which wasn’t gluteal pain, but referred nerve pain), sciatica-like pain in my right calf, deep waist pain and the other symptoms I describe in my entry on S-I Joint Pain / Pelvic Distress Syndrome.
I started with Gentle Spine Waves — done with respect for my own tolerance. Certain other movement patterns were key and exist in the regimen. The gist of it is to remove forces that simultaneously compress and twist the sacrum in the pelvis or twist the ilium (side-hip bone) in relation to the sacrum. Hence, the regimen’s extensive nature.
The regimen is good, it works, and it’s improving as I continue to develop it.
When I’m satisfied that it’s sufficiently optimized for my taste, I will publish it as a paid program. For now, significant portions of it are freely available.
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PLEASE VIEW THIS VIDEO:http://ift.tt/1kRK2DS
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I recommend this sequence for people who have groin pain that has persisted despite therapy for tight psoas muscles, for testicular pain, vulvar pain, deep pain in the pelvis, deep pain at the waist in back, and pain, numbness, or “lightning like” shooting/burning pain at the side or front of the thighs — symptoms I note in the write-up.
Each exercise produces specific effects, obvious after sufficient repetition and movement-learning, usually one or two practice sessions; you continue with practice until you’ve gotten the full result.. If you don’t feel changes that quickly, either you don’t particularly need that exercise or you were doing it differently than as described in the instructions. People often think they’re doing one thing, while they’re actually doing something different.
The exercises combine like the pieces of a jigsaw puzzle to produce the result. Don’t expect relief from any particular symptom from one exercise until you’ve discovered what changes that exercise produces; you’re dealing with a larger pattern that you must deconstruct and then reconstruct into a healthy pattern. However, you should feel changes in movement and balance from the beginning.
Here’s the regimen:
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PREPARATION:
How to do somatic exercises well.http://ift.tt/SE1QGL
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These tutorial videos are advance-notice, pre-publication versions that I’m making available to people in need. Please bear with any aesthetic or technical quality issues until I get the final versions into shape.
SELF-ASSESSMENT
Self-assessment is not optional. It’s required in order to know on which side to do which exercise. You assess yourself each time you do a practice session, and, if you are really meticulous, before and after each exercise.
If you can’t confidently assess yourself, get a therapist to teach you how and to confirm your accuracy; if you feel worse after practice, change sides.
Precede practice of UNIT 1 Spine Waves by Determining Sacral Position.Determining Sacral Position (self-assessment)
Determine which way (left or right/forward-backward) your sacrum is turned to determine which way to do the movements: Start with Leg Forward on the deeper side.Determining the Easier Direction of TwistingUNITS of PRACTICE
1. “Unit 1” (seven cycles, or so)
2. “Unit 1” + “Unit 2”
(subject to personal coaching recommendations)
3. “Unit 1” + “Unit 3”
In YouTube tutorials, read the Description section before proceeding.
Exercises not given in YouTube tutorials are available for purchase as part of a program available by clicking the adjacent link.UNIT 1 | Unlocking the Situation
From those preparatory exercises, expect relaxation and lengthening of the spine and of the whole side worked, feelable as you lie in repose after practice.
Follow the basic guideline: 7 cycles through this unit until you cease to get the improvement stated FOR THAT EXERCISE. Then, move on.A. Gentle Spine Waves
FREE: ift.tt/1kRK2U8
B. Sidelying Sacral Correction
FREE: ift.tt/SE1QGP
Video shows 3 repetitions. When you know the movement without guidance:
Leg forward on the deeper side. (5x)
Leg backward on the deeper side (5x)
Leg forward on the deeper side (5x)
C. Gentle Spine Waves (repeat)UNIT 2 | Normalizing Movement
Do one section (A, B, C, D, E, or F) in any ONE practice session.
Do the sections in sequence and do the number of practice sessions indicated for each section before moving to the next. Cycle through the sections.
If a movement is painful to do or produces an adverse effect (i.e., you’re not ready for it), switch to the next section of movements; you will return to the troublesome movements later, when you are more fit for them.SECTION A | two (2) practice sessionsA.1 - Walking into the Floor (from Free Your Psoas) | do the deeper side
PURCHASE: ift.tt/1kRK52r
A.2 - Lazy 8s (from Free Yourself from Back Pain) | do the shallower side
PURCHASE: ift.tt/1f4wp02
SECTION B | two (2) practice sessionsINSTRUCTIONS: Deeper side up, first, both movements, then shallower side up, both movements.B.1 - Nose in the Hole
FREE: ift.tt/1kRK2Uc
B.2 - Cat Stretch Lesson 5, sidelying
FREE: ift.tt/1kRK52s
SECTION C | two (2) practice sessions
C - The Twist that Untwists (from Get Free from that Back Pain)
PURCHASE: ift.tt/1f4wp02
SECTION D | one (1) practice session
IMPORTANT: Assess your condition before each practice session; start on the correct side. Do the seated assessment procedure shown in video. When you do, visually observe, as well as feel, which leg is easier to move forward and backward. Generally, whichever side of the sacrum was deeper, that leg and hip are more difficult to move backward. To go only by feel may give you inaccurate information, so assess visually, as well as by feel.D.1 - Reciprocity (Reciprocal Movements of the Pelvis and Shoulders)
The Reciprocity movements stir things up.
INSTRUCTIONS:
STARTING POSITION: Lying on the DEEPER side (MORE DIFFICULT to move that hip BACKWARD).
FREE:
sidelying | ift.tt/SE1QGZ
sitting | ift.tt/1kRK52u (same as self-assessment
Pay full attention to the sensations during movement. After doing the movement a few times, you may notice that it gets “sticky” when you reach a certain position. If you locate such a “sticky” or more painful place, move to the center of the “stickiness” and slowly relax. Begin the movement anew from that position and, EACH TIME, look for the first “sticky” or more painful place you encounter and relax in that position.D.2 - The Wheels of Synchrony (coordinating the pelvic and shoulder girdles)
FREE: ift.tt/1kRK52w
SECTION E | two (2) practice sessionsE.1 - Straight and Bent Leg Integation
INTRODUCTION:
FREE: ift.tt/1kRK52y
INSTRUCTION:
FREE: See clickable link at end of the INTRODUCTION video (bookmark/”favorite” the link).
E.2 - Three-Way Sidelying Integration (from Free Your Psoas)SECTION F | two (2) practice sessionsF.1 - 4-Way Walking Integration (from Free Your Psoas)F.2 - Freeing and Coordinating the Jaws (advanced jaw movements 1-5)
FREE: ift.tt/SE1OyH
After some cumulative/lasting improvement, or when your sacrum seems close to centered or changes position frequently, do the UNIT 3 Centering moves instead of UNIT 2.UNIT 3 | The Centering Moves
You may notice at some point that it becomes difficult to determine which side of the sacrum is deeper or which side moves more easily. This is not the result of lack of skill in self-assessment, but of changes of sacral position. (If you lack the skill to do self-assessment, see your chiropractor or other practitioner and work with him/her to develop that skill until you two agree consistently.)DO BOTH:
Centering the Sacrum
FREE: ift.tt/1kRK5iO
The Dog Stretch (from Get Free from that Back Pain)
PURCHASE: ift.tt/1f4wp02
AFTER EVERY UNIT 2 or UNIT 3 PRACTICE SESSION1. Gentle Spine Waves (5 minutes)2. Side Sway Balancing (one minute)
FREE: ift.tt/1kRK2Ug
3. Freeing Hamstrings, Standing Position (three minutes)
FREE: ift.tt/1kRK5iS
4. a 10-20 minute walk to integrate the changes
Most practice sessions take about 1/2 hour; some take longer. You may divide practice sessions into two (morning and evening) practice sessions daily.
Once you have been through all Units, you begin this regimen in sequence from the beginning and cycle through the Units until the trouble is entirely gone and you have superior functional freedom.
At that point, do all of Free Your Psoas from the beginning, following the standard practice guidelines. Then, do all of Get Free from That Back Pain from the beginning.
If you get stuck, don’t worry. You get 15 minutes free consultation for each program you purchase. Ongoing coaching or consultation (paid, with a satisfaction guarantee) is available. Please visit ift.tt/1kRK2Uk to schedule.
Lawrence Gold
The Institute for Somatic Study and Development
32 Herrada Road
Santa Fe, NM 87508
505 699-8284
You can end your own pain, and more.
Practice somatic education exercises.
You’ll soon feel, “Wow!
Look what I can do now!”
Twitter: @somatic_healing
Facebook (forthcoming)
Blog:
Full-Spectrum Somatics | ift.tt/1kRK5iU
YouTube channel: Lawrence9Gold | ift.tt/KE9yg7
Do it for yourself - ift.tt/1ejluPm
via Blogger ift.tt/SE1QXx
Lead a long exposure night walk for the Toronto Urban Photograph Festival TUPF
Metered at and shot at f8 for15 seconds. No Reciprocity correction applied
For tips on city night exposures www.flickr.com/photos/metrix_feet/8595345842/in/photostream
"Words Before All Else" refers to the Haudenosaunee Thanksgiving Address, also known as Ohén:ton Karihwatéhkwen in the Kanienʼkéha (Mohawk) language. It is a profound expression of gratitude and respect for the natural world, used to open gatherings and start the day. The address acknowledges and gives thanks to various elements of creation, including the people, the Earth, the waters, plants, animals, and more. The address is not just a formality but a way to foster a sense of respect, reciprocity, and harmony with nature.
Taken on World Pinhole Day; I thought I'd have a go at some pinhole portraits - just have to make sure that the subject stays still!
(Colour cast due to reciprocity of the film - FP100C isn't really designed for long exposures!)
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Film: Fuji FP100C
Exposure: 16 seconds
Camera: MPP with 0.6mm pinhole at 150mm
An experiment at Institute for the Future's 10-Year Forecast 2014. This was the intention I came up with.
An oak tree at the Windy Hill OSP with a rotting heart. Good exercise for textures.
Front tilt used to maximize the depth of field as the tree is leaning away from the camera.
Fomapan 200 with exposure 1 second at F11. Exposure was rated at .5 seconds and I used the full second for reciprocity failure.
Developed in Xtol 1+1 for 8:30 minutes.
This picture was taken on Oct 31, 2022. I wonder how this tree is faring with the recent heavy rains. I look forward to seeing it again.
olympic cauldron, jack poole plaza
i had a nice weekend rental with a CF 50mm FLE, and really miss having, owning, a wide angle lens. i may have an early birthday gift lined up for myself.
also, after figuring out the colour correction due to the non-neutral density filter, portra 400 really takes to long exposures well. runs about the same reciprocity characteristics as tri-x, but with much finer grain.
I've never done any real night photography before, but a few weeks ago the Toronto Photography Meet-up Group organized an outing and managed to get us permission to shoot inside Commerce Court. Shooting on film is especially challenging at night, where due to many factors (film reciprocity among them) exposure is a crapshoot to a night-shooting amateur like myself. That being said, I am very happy with the resulting pictures and I'll be posting them over the next few weeks.
In case anyone's wondering, this is a 10 second exposure at f/16 on Kodak Ultracolor 100 film, shot with my Nikon 24-85 at 24mm with very minor corrections to colour in Photoshop.
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.
A 5x7 contact print of a still life I arranged. I had a very challenging time lining the paper and the negative up in the frame to get a straight border. Notice the scanner goof on the third bean pod.
I had the subject sitting on a large white poster board which I angled somewhere between 20-30 degrees. Subject was lit with one tungsten bulb which was overhead and a bit behind the subject.
I faced the camera down at a fair angle and applied a fairly heavy front tilt to get the entire thing in focus. My meter gave me a reading of 400iso...f8...1/8.
After stopping the lens down to f32-45...and factoring light loss for bellow draw...I was left with an exposure of 8 seconds. I consulted my reciprocity failure sheet and determined I needed to expose for 48 seconds. I developed the film normally...not subtracting any time for the reciprocity...and I think it turned out pretty good. I am going to run more tests with this film to decide if development needs to be altered when extending an exposure for reciprocity.
Camera - Burke & James Watson 5x7
Lens - Fuji 210mm f5.6
Film - Arista EDU 400
Film Developer - Kodak D-76 (1:1)
Paper - Multigrade Resin Coated Adorama 5x7 (Glossy)
Paper Developer - Kodak Dektol (1:2)
Contrast Filter - 2
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.
Behind The Royal and a little to the South was the Reciprocity Brewery run by Thomas Rimmer to 1906, when it was bought by Thoroughgood's
Breweries of Liverpool.
It seems it was closed down soon after this date.
Today the old building is part of the Mayflower Industrial Esate.
In 2008 work started on building houses on the land at the rear of the Royal and these were completed by 2011.
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.
- Anniversary Speed Graphic Circa 1943
- Optar 135mm f4.7
- Exposure approx 30 mins @ f16, Ilford FP4 (Expired 5 years ago, March 2008) - Estimated 4 minutes based off 40D metering + reciprocity
- 50% resize of scanned resolution (2400dpi, 4x5)
- XTOL 1:1 tray developed, 23 degrees as per Massive Dev Chart app (never done it before, seems easy enough...)
The final piece arrived today - 6 cut film holders. One septum cracked, so 11 frames only. FP4 was leftover from Uni days, so made a logical test. Camera is somewhat of an acquisition after finishing Photomedia Masters...
Shot is simply the view from one balcony at home, over the zoo etc. Nearby features, even in the corners show promising detail, which isn't bad for expired film etc. So far, so good....
Didn't intend to get the railing - need to get used to the ground glass in the dark!
No major dust spotting either - test shot!
50% resize uploaded - may offer pixel peeping
The complex figure eight cleat knot of a flagpole. Ceremony and tradition, as well as military decorum, requires that the cleat knot of the halyard be tied 'properly', with respect and dignity. This example serves its goals as continuing a tradition as well as providing a fascinating example of simplicity and complexity. A great image, visually interesting, and with a contradiction between simplicity and complexity - which simply begged for a B&W treatment. And so this first image using Adobe LightRoom 4 is an attempt to achieve, in digital form, the fine zone system results we once realized on fine photographic papers - and in real, rather than virtual, darkrooms.
Thanks to my friend Wayne! LightRoom4 is a fabulous tool for converting color images to B&W. My previous attempts at 'fine art' B&W in PhotoShop never quite made the mark. LR4 on the other hand is an incredible tool for B&W purists of the past. When names like Ansel Adams, Minor White, Edward Weston, Fred Picker, W Eugene Smith, Jousef Karsh, Imogen Cunningham... pioneers of photography... were sharing their visions, and occasionally... some of their darkroom 'secrets'. And those of us lucky to recall Illford Pan-F... two-bath developers... reciprocity... differential development... D-max... cold light heads... Componon-S lenses... selenium toning... fine retouching... and dry mounting on fine archival museum board... and often overmatting with the same..........
*** Please view large ***
Pulsatilla Vulgaris also known as the Pasque Flower because of its flowering time around Easter or Passover.
However danger lurks within this beauty. The plant is poisonous and if eaten causes severe vomiting, also the sap is a skin irritant. In the Middle Ages beggars would treat their arms and legs with sap to cause inflamation and gain more pity.
The hairs help insulation and prevent frost damage in the sub freezing nights which are common around Easter time. They also help the plant to retain water creating a little micro-climate around itself.
In the wild in the UK it is also known as the Meadow Anemone and if seen in grasslands is an indicator that the meadow is at least 100 years old.
An earlier shot of the bud and young shoots can be seen here.
8x10 century field camera, Darlot barrel lens.
FP4 PLus: Exposure 1.38 SECS @ F6.5. [bellows factor and reciprocity extended the exposure time]
Developed: Patterson hand rotary tray in 510 Pyro 1:500 Dilution- stand method. 3 agitations over 52 minutes in waterbath @ 20c.
Contact printed on Kentmere VC select Ilford Filter Grade 4 for 6.5 secs.
Streaking [i love the effect but it was not intentional!] at either side of the shot is caused by the gentle rocking during the 60 sec[ x3] agitation in the tray over the 52 minutes.
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
f/242, Fl; 63mm, 0,26mm (Sténocaméra, Fr)
Photo location; Donnacona, Québec.
Negative Arista Edu ultra 200 ASA at 100 ASA.
8x10 sheet cut at 6,3 x 6,5 cm.
Exposure Time; 17 minutes 33 secondes.
Reciprocity + Arista EDU 100 / Fomapan. Official Data.
Development; D-76 1+3. 18 minutes. +20%.
18-Jan-2025 14:15
Rollei IR400 rated @ EI 200 (N-1)
Rated at IE=3 (N-1) for Infrared
Ebony 45SU
Nikon Nikkor-SW 90mm f4.5
Stearman Press SP445 Tank
Pre-wash : None
Developed : Adox Rodinal 1+50 for 8½ mins @ 20C
2 x Water Stop Bath
Eco Zone Alkali Fix. Clearing time 2 minutes
Total Fix time doubled to 4 minutes
Wash for 10 mins in frequent water changes
Ilfotol final rinse (1ml in about 500ml)
Movements : Front Fall - 2cm down
Mid tone LV = 11
Highlight = 15
Shadow = 9
Filters : Heliopan IR72), Centre Filter -1½
Final LV=11
Reciprocity : 12 sec goes to 44
44 sec @ f22
Harman Titan 5x4 pinhole camera. Ilford Delta 100 @ 100 asa. Meter reading of 1/250th @f4 converted to 12 sec at f206 using pinhole exposure calculator. Factoring the reciprocity failure compensation as given by the Ilford technical data for Delta 100 increased this to a total exposure of 40 secs. Developed in Rodinal 1+50 for 14mins, using the taco method in a Paterson tank.
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Biocultural Heritage – Reciprocity, Equilibrium and Duality
Indigenous communities sharing potatoes in the Potato Park, near Cusco, Peru
Credit: Asociacion ANDES, 2006
More information: biocultural.iied.org
Taken on World Pinhole Day; I thought I'd have a go at some pinhole portraits - just have to make sure that the subject stays still!
(Colour cast due to reciprocity of the film - FP100C isn't really designed for long exposures!)
--
Film: Fuji FP100C
Exposure: 16 seconds
Camera: MPP with 0.6mm pinhole at 150mm
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Lyukkamera Photography to 3x4 B&W instant Film
Author : IMRE BECSI
© All rights reserved
Location of shoot : Tatabánya, Hungary, Central-Europe
Time of shoot : 24.04.2009.
Shooting
Film : Fuji FP-100b
Filters : Cir.Polar and ND6 (Tiffen)
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 camera :
www.flickr.com/photos/jonespointfilm/2837193476/in/set-72...
Camera details :
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 : (25.04.2009.)
Scanner : Epson Perfection 3200 Photo (1200 dpi)
Scanner software : SilverFast SE
Final work : PS
Thanks for looking !
Comments very much welcome !
Important note:
all images are copyright protected © All rights reserved. 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!
Taken on World Pinhole Day; I thought I'd have a go at some pinhole portraits - just have to make sure that the subject stays still!
(Colour cast due to reciprocity of the film - FP100C isn't really designed for long exposures!)
--
Film: Fuji FP100C
Exposure: 16 seconds
Camera: MPP with 0.6mm pinhole at 150mm
A U.S. Army Special Forces Team Leader accompanied by Afghan National Security Force commanders break ground at a checkpoint being established during Operation Reciprocity in the village of Lower Doan in the Uruzgan Province of Afghanistan, April 7, 2011. The purpose of the mission was to confirm or deny the presence of insurgents in order to facilitate the re-establishment of the Lower Doan police checkpoint and further legitimize the Afghan Government and Afghan Security Forces in the eyes of the populace. (U.S. Army Photo by Staff Sgt. Kaily Brown)
I saw one evening that the smoke of this chimney was illuminated in a beautiful orangey/yellow light and I couldn't resist returning to try and take one of my first long exposures with a proper SLR.
I guessed EV value 0 from a table I found on the Internet, chose an aperture F-stop I thought would fit, and then used a formula that gave me the exposure time with respect to EV, ISO and F-stop. I compensated for reciprocity using the formula Tc = Tm ^ 1,3. I saw a YouTuber who mentioned that he uses this formula when he doesn't know the reciprocity behavior of a film roll.
Very happy that this came out good on the first try!
35 mm, Kodak Gold 200
EV 0, F/8, Exposure time 91s including reciprocity compensation.
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.
Shanghai gp3,9 minutes in rodinal 1-50@20c
75mm pinhole camera,I think F166. Pleasantly pleased with how these turned out,the app pinhole assist gave good readings with reciprocity included.
Taken with a homemade 4x5 Pinhole camera.
Shoot to BW rollfilm.
Author : IMRE BECSI
Location of shoot :
Népsziget
(Shipyard Island of Angyalföld)
Budapest,
Hungary,
Central-Europe
Latitude : 47°32'59.25"N
Longitude : 19° 3'54.71"E
Time of shoot : 05.04.2008.
PICTURE MADE WITH :
( Home-made assembled pinhole camera be composed of
few original photography equipments )
Camera body : IKEA plant pot
Film back : 6x6 Graflex to 4x5 back
Film back holder : Graflock
Viewfinder : Door peeping (from OBI store)
Focus : 42 mm
Pinhole : 0.275 mm (from Lenox laser)
Diaphragm : 153
Shutter : "pu(s)h" (from Dr. Kai Fuhrmann)
Matte Box : Cokin
Tripod : Velbon
Head : Manfrotto
Quick release plates : Manfrotto
Film : Ilford Fp4 plus
Filter : Cokin Circular Polar
Light : Soft sunlight
Calculated exposure : 40 sec.
( I use my reciprocity compensation value chart )
POST WORK I. : (01.07.2008.)
Developer : Agfa Rodinal
Developing dilution : 1:100
Developing time : 7 min.
Developing temperature : 20 C
Developing agitation : Continuously for the first 60 second, and then tilt every 60 second (5 second)
POST WORK II. : (01.07.2008.)
Scanner : Epson Perfection 3200 Photo (2400 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 !
Ubicado a pasos de la Plaza Baquedano se encuentra el edificio de la Embajada de la República Argentina. El predio, donde se encuentra, fue donado por el gobierno de Chile en 1912 como un gesto de amistad y reciprocidad, ya que el gobierno argentino había otorgado una propiedad con iguales fines en Buenos Aires.
Luego que un incendio destruyera casi la totalidad del edificio en 1943, el gobierno chileno decidió hacerse cargo de su reconstrucción a través de la Dirección de Arquitectura del Ministerio de Obras Públicas. El proyecto elegido fue el de los arquitectos Alfredo Johnson y Carlos Feureisen y fue llevado a cabo entre los años 1944 y 1945.
El edificio se inspira en el estilo neoclásico de la Escuela de Beaux Arts de Paris y presenta un volumen de tres plantas, aislado y ubicado al centro del terreno diseñado con un parque. Posee un gran salón de 20 metros de largo por 6 metros de ancho, con cinco puertas de acceso al cual se llega por una galería en cuyo extremo sur se encuentra el comedor, mientras que en el extremo norte se encuentra el Salón San Martín. Contiguo al comedor hay una gran terraza con sus barandas, jarrones floridos y escaleras dobles como reminiscencias de Roma y Versailles.
La fachada poniente destaca por los ventanales de la galería y el jardín de invierno que hacen de espejo de los árboles y del cielo.
El patio trasero tiene también un hermoso parque con palmeras, acacias y algunas coníferas, además de senderos de piedra que llevan al garaje y zona de vestuarios de la piscina, antigua casa de cuidadores.
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Located steps from Plaza Baquedano is the building of the Embassy of the Argentine Republic. The property, where it is located, was donated by the Chilean government in 1912 as a gesture of friendship and reciprocity, since the Argentine government had granted a property for the same purposes in Buenos Aires.
After a fire destroyed almost the entire building in 1943, the Chilean government decided to take charge of its reconstruction through the Architecture Directorate of the Ministry of Public Works. The chosen project was that of the architects Alfredo Johnson and Carlos Feureisen and was carried out between 1944 and 1945.
The building is inspired by the neoclassical style of the School of Beaux Arts of Paris and presents a three-story volume, isolated and located in the center of the land designed with a park. It has a large room 20 meters long by 6 meters wide, with five access doors which is reached through a gallery at the south end of which is the dining room, while at the north end is the San Martín Room. Adjacent to the dining room is a large terrace with its railings, flower vases and double stairs reminiscent of Rome and Versailles.
The west façade stands out for the windows of the gallery and the winter garden that act as a mirror of the trees and the sky.
The backyard also has a beautiful park with palm trees, acacias and some conifers, as well as stone paths that lead to the garage and pool changing area, a former caretaker's house.
Ubicado a pasos de la Plaza Baquedano se encuentra el edificio de la Embajada de la República Argentina. El predio, donde se encuentra, fue donado por el gobierno de Chile en 1912 como un gesto de amistad y reciprocidad, ya que el gobierno argentino había otorgado una propiedad con iguales fines en Buenos Aires.
Luego que un incendio destruyera casi la totalidad del edificio en 1943, el gobierno chileno decidió hacerse cargo de su reconstrucción a través de la Dirección de Arquitectura del Ministerio de Obras Públicas. El proyecto elegido fue el de los arquitectos Alfredo Johnson y Carlos Feureisen y fue llevado a cabo entre los años 1944 y 1945.
El edificio se inspira en el estilo neoclásico de la Escuela de Beaux Arts de Paris y presenta un volumen de tres plantas, aislado y ubicado al centro del terreno diseñado con un parque. Posee un gran salón de 20 metros de largo por 6 metros de ancho, con cinco puertas de acceso al cual se llega por una galería en cuyo extremo sur se encuentra el comedor, mientras que en el extremo norte se encuentra el Salón San Martín. Contiguo al comedor hay una gran terraza con sus barandas, jarrones floridos y escaleras dobles como reminiscencias de Roma y Versailles.
La fachada poniente destaca por los ventanales de la galería y el jardín de invierno que hacen de espejo de los árboles y del cielo.
El patio trasero tiene también un hermoso parque con palmeras, acacias y algunas coníferas, además de senderos de piedra que llevan al garaje y zona de vestuarios de la piscina, antigua casa de cuidadores.
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Located steps from Plaza Baquedano is the building of the Embassy of the Argentine Republic. The property, where it is located, was donated by the Chilean government in 1912 as a gesture of friendship and reciprocity, since the Argentine government had granted a property for the same purposes in Buenos Aires.
After a fire destroyed almost the entire building in 1943, the Chilean government decided to take charge of its reconstruction through the Architecture Directorate of the Ministry of Public Works. The chosen project was that of the architects Alfredo Johnson and Carlos Feureisen and was carried out between 1944 and 1945.
The building is inspired by the neoclassical style of the School of Beaux Arts of Paris and presents a three-story volume, isolated and located in the center of the land designed with a park. It has a large room 20 meters long by 6 meters wide, with five access doors which is reached through a gallery at the south end of which is the dining room, while at the north end is the San Martín Room. Adjacent to the dining room is a large terrace with its railings, flower vases and double stairs reminiscent of Rome and Versailles.
The west façade stands out for the windows of the gallery and the winter garden that act as a mirror of the trees and the sky.
The backyard also has a beautiful park with palm trees, acacias and some conifers, as well as stone paths that lead to the garage and pool changing area, a former caretaker's house.
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.
Snow and more snow. Pulled out the Nicca 5L early and a roll of probably inadequate speed Arista Ultra. I do like the f2 Nikkor, but in the dimness of light there is alot of reciprocity failure, notwithstanding asking a EI100 speed film for low light, even with a tripod. Good experience seeing the limits of the film. Stay same, inspirational flickeranians.
R.M. Schahfer Generating Station and a gypsom plant in Wheatfield, IN.
NIght photograph on Fuji Neopan 100 Acros 120 film developed in HC-110 B. Photographed using a Horeman VH-R with an 180mm lens. This film has no reciprocity correction for up to 2 min and is great for night shots such as this. The lens was wide open to cut exposure time and to minimise star bursts at lights.
Remarks by Commissioner Avramopoulos at the press conference on terrorism financing, the Schengen Information System and visa reciprocity, Brussels 21/12/2016
Gustavo ALVAREZ (Chihuahua - Mexico)
« OFRENDA »
Give for balance, patra ensure that the cosmos that governs us be calm, in reciprocity of life it offers, between nature and man must have blood that over and help your stay.
@ Château de Chevigny - Millery 21140
« Art Performance 17 »
Lars Berglund, MD, PhD, is Senior Associate Dean for Research and Director of the Clinical and Translational Science Center at UC Davis. He leads the UC Braid IRB working group: improving reciprocity procedures of Institutional Review Boards (IRBs). Read the article at www.ucsf.edu/news/2011/09/10680/uc-program-accelerate-tra...
Photo by Paul R. Kennedy