View allAll Photos Tagged reciprocity
Shooting the f/167 P6*6 3D printed pinhole camera in the netherlands; 3Dprint yer own:
www.thingiverse.com/thing:157844
Freely downloadable!
Most of these photos made with Ilford FP4, the first time I have shot this film. Reciprocity Failure data found on internet. Seems like good exposures, but very contrasty.
Location notes as individual comments.
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 : ND 0.9 (Tiffen Ser.9)
Metered expo.:
Calculated expo.: 180 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 72 mm 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!
I went back a few days later with a much more reciprocity failure friendly film. Rough scan from the proof sheet.
Still playing around at Aberthaw beach, I caught the peak of the tide and it seemed rude not to have a try at some long exposure stuff. Metered exposure was 4 minutes, but reciprocity failure pushed the time over 9 minutes.
Without trying I seem to have inverted convention for this type of image. Despite the 6.30 start, bright conditions have given me pale skies and the turbid waters of the Severn Estuary delivered something more like a strong brew of tea instead of the classic milky look that long exposures give. Still it's made for some interesting mid tones.
What did I learn? 10 stop ND filters are fun, and I'm definitely not Michael Kenna.
Wet darkroom print on Kentmere Fineprint VC, developed in Ilford Multigrade @ 1+9
Mamiya RB67 ProSD, Ilford Delta 100, Prescysol EF, partial stand.
First time trying the long exposure pinhole with colour slide film at a Flickr Folk outing.
Don't remember what it was metered at but exposed as f320 for 2 hours assuming reciprocity failure similar to tmax 100. Still pretty dark so just posting the results of the experiment.
expired Ektachrome E100G with regular E6 processing.
Intrepid 4x5
Voigtländer Heliar 12cm f/4.5
handmade gelatin dry plate
f/22 40sec
A couple of coating flaws on this one, so used it for another test. Reading a bit more about the behavior of traditional emulsions in the region of reciprocity failure in "Way Beyond Monochrome" gave me some clues about things to try. More exposure certainly seems to help, but I still need to do some more formal development time tests.
The other test plates had fewer coating flaws (this batch really is better) but had some issues that suggest something's going on with wide angle lenses on the Intrepid. Going to try one of my other cameras next to help debug the issue.
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.
Okay folks, it's almost the full moon. Good thing we decided to shoot last night, it's 100% fogged in and cloudy. I think I should quit my government job of stress and relax as a weather forecaster. We went out as a group of four this time, lacking Flickrless Doug and LaRizzoloCa so we replaced them with a newbie, Rizzolo and the usual skazama and threshold. Skazama already has some posted, and the newbie had a bad thing happen with technology and a card reader... hope the card is good.
I don't have my slides back yet but I broke form my usual Kodak Ektachrome 160T and shot Fuji 64T RTPII.
My times were drastically different, 360" rather than my comfortable 120" at f5.6. I shot the same frame for calculated time 360" and reciprocity failure time of 240". I still need to shoot 12 frames so we'll have to wait and see. We couldn't get inside the gates at night, it was locked up. So we went to the alternate location on the walkway after some bushwacking.
Get out there and have some fun! Oh I just remembered, we forgot to howl at the moon, it's the Full "Wolf" Moon afterall =)
Shot with New (used) F100 with Nikon 70-210mm.
Disused path near my home. Leaves from last Autumn have just been relieved of the snow of a long winter.
Pinhole shot, 30 seconds (10 seconds metered, used the Ilford FP4+ reciprocity chart as reference), f295
"EZStenope" - DIY 4x5 Pinhole, Shanghai 100, R09 1:50 13:30mins @ 20C
I stare at these speakers every day for work. I might as well shoot 'em. Natural light with some fancy tungsten augmentation (i.e. I had a desk lamp nearby). Exposure was 2:30 after allowing for reciprocity. I was going for high contrast, so I would have developed N+1 if the exposure hadn't been so long. As it was, I just left it at normal. Aperture was f/16...I perhaps should have chosen a smaller aperture, as I had a very shallow depth of field here. But two and a half minutes was already too long to wait!
Newton Wesley Rowell, PC, KC (November 1, 1867 – November 22, 1941) was a Canadian lawyer and politician and leading lay figure in the Methodist church. Rowell led the Ontario Liberal Party from 1911 to 1917 and put forward a platform advocating temperance. Rowell's Liberals failed to oppose the Whitney government's passage of Regulation 17 which restricted the teaching of the French language in schools alienating the province's French-Canadian minority.
Life and career[edit]
He was born in London Township, Ontario. Rowell ran for the Canadian House of Commons in the 1900 federal election but was defeated in York East.
Returning to his law practice, he was made King's Counsel in 1902 and became senior partner in his law firm, Rowell, Reid, and Wood and had a prominent legal career.
He returned to politics in 1911. Though not a candidate, he was a prominent campaigner supporting the government of Sir Wilfrid Laurier during the 1911 federal election speaking across Ontario to promote both Laurier's plan for a Canadian navy and the trade reciprocity agreement negotiated between the federal government and the United States, against the opposition of prominent Liberal business leaders who feared free trade would be extended to manufacturing.
Later that year, he was chosen to lead the Ontario Liberal Party, despite not having a seat in the legislature, after incumbent leader Alexander Grant MacKay was forced to resign shortly before the beginning of that year's election campaign. He was elected to the legislature in the 1911 provincial election representing Oxford North and became Leader of the Opposition.
In 1917, Rowell, a supporter of conscription during World War I left the Ontario legislature and broke with Sir Wilfrid Laurier and the Liberal Party of Canada to join the national Unionist government of Sir Robert Borden as a result of the Conscription Crisis of 1917 and was appointed to Borden's government as President of the Privy Council of Canada in October 1917 and was also made vice-chairman of the government's War Committee giving him primary responsibility for organizing the war effort and enforcing conscription. He went on to win a seat in the House of Commons as the Unionist MP for Durham in the December 1917 federal election. Rowell attended meetings of the Imperial War Cabinet in London, England, along with other senior Canadian ministers. In 1919, he was given added responsibilities as Canada's first Minister of Health.
Rowell declined to join the government of Borden's successor, Arthur Meighen, in 1920, and did not run for re-election to parliament in 1921. After the war, Rowell served as a Canadian delegate to the League of Nations and became involved in international affairs. He also helped lead the Methodists into a merger with Presbyterians to form the United Church of Canada.
As a lawyer, he had one of the strongest litigation practices in Toronto, arguing many cases before the Supreme Court of Canada and the Judicial Committee of the Privy Council, including Edwards v. Canada (Attorney General), better known as the Persons' Case. In 1903, he had founded the firm that is now known as McMillan LLP. In 1929, he argued and won the Persons case, concerning whether women were eligible for appointment to the Senate of Canada. The Supreme Court of Canada said they were bot, but Rowell took the case to the Privy Council in London and won. It was a foundation case for female equality in Canada. He served as President of the Ontario Bar Association from 1927 to 1930,[1] and as national President of the Canadian Bar Association from 1932 to 1934.[2] In 1936, he was appointed Chief Justice of Ontario.
He is also noted for being the first chair of the 1937 Rowell–Sirois Commission into Dominion-Provincial economic relations and for being a founding leader of the United Church of Canada.
Asked how to say his name, he told The Literary Digest it had ow as in now: row-ELL. (Charles Earle Funk, What's the Name, Please?, Funk & Wagnalls, 1936.)
Rowell was the maternal grandfather of former Lieutenant Governor of Ontario Hal Jackman and current Senator Nancy Ruth. His daughter Mary wed Harry Jackman in 1930.
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.
4x5 pinhole, 2m 15s, fomapan 100
Zippos Circus at Swanshurst Park, 23 March 2010.
I think I am getting the hang of exposure and reciprocity, and here the focus is an improvement on the last one (tea break), did not sit the dark slide back on the slot. Now have to work on better framing. Tips welcome.
My first Nixon.
Lauryn Hill - Ex-factor
It could all be so simple
But you'd rather make it hard
Loving you is like a battle
And we both end up with scars
Tell me, who I have to be
To get some reciprocity
No one loves you more than me
And no one ever will
Is this just a silly game
That forces you to act this way
Forces you to scream my name
Then pretend that you can't stay
Tell me, who I have to be
To get some reciprocity
No one loves you more than me
And no one ever will
[Hook:]
No matter how I think we grow
You always seem to let me know
It ain't workin'
It ain't workin'
And when I try to walk away
You'd hurt yourself to make me stay
This is crazy
This is crazy
I keep letting you back in
How can I explain myself
As painful as this thing has been
I just can't be with no one else
See I know what we got to do
You let go and I'll let go too
'Cause no one's hurt me more than you
And no one ever will
[Repeat Hook]
Care for me, care for me
I know you care for me
There for me, there for me
Said you'd be there for me
Cry for me, cry for me
You said you'd die for me
Give to me, give to me
Why won't you live for me
[Repeat]
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.
Ilford Harman Titan pinhole. Shanghai GP3. Rodinal 100:1 stand 60minutes. 15 second exposure, but clearly needs an extra stop, possibly due to reciprocity failure of the film
These are two shots at the fifteen-second maximum that my Olympus XA has. I have had other XAs with a maximum shutter speed of about thirty seconds. What with reciprocity failure and jiggly surfaces, there's not much odds about the difference.
There were jets passing overhead leaving varying and dissipating contrails. The two pictures were taken with the camera on a gas barbecue cover, taken from slightly different angles a couple of minutes apart. Nice colours. Kodak ColorPlus 200 film.
Don't try to figure out the sky. Most of those star-like dots are dust on the negative.
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; 21 secondes.
Reciprocity + Arista EDU 100 / Fomapan. Official Data.
Development; D-76 1+3. 9 minutes. (-40%.)
Once I got the Sinar-mount pinhole board fit into the Intrepid, I decided I had to try it out.
The pinhole calculator at mrpinhole.com suggested that 140mm was a good focal length for a .5mm pinhole, so I set the standards to that, loaded up a holder with some Ektascan B/RA I have a small stash of, and gave it a try.
The pinhole assistant app I have suggested that 12m11s would be a good time for an f/280 pinhole (including a guess about reciprocity failure behavior of the Ektascan) so I went with that. While the exposure was running, I sat in the comfy chair and read my book.
Happy with the result! Pretty darn crisp for a pinhole shot...
© All rights reserved
Please don't use this photo
The important thing about a regime is not what it is called but how it acts. There are corrupt republican regimes and sound monarchies and vice versa. The only true criterion of a regime -- whether it be monarchical or republican -- is the degree of reciprocity between the ruler and ruled and the extent to which it symbolizes prosperity, progress and healthy initiative
King Faisal bin AbdulAziz - فيصل بن عبدالعزيز الله يرحمه
You have No Rights to use my photos for a personal, commercial or non-commercial purpose with out a clear permission personally from me.
ليس لديك الحق ان تستخدم صوري في اغراض شخصيه , تجاريه او غير تجاريه بدون تصريح واضح وشخصي مني.
Bukavu, DRC
Maman Bahati has been the head of her household for 15 years, after her husband fell ill and couldn’t work as a nurse any more. But she wasn’t always a trader; she spent 17 years as a school teacher: “My true calling is being a teacher, but when teachers were no longer paid, I had to stop.” Her husband gave her $150 to start trading and 15 years later her income still feeds the family.
Her education and skills have made her the voice of traders: she is the Vice-President of the Nguba market in Bukavu, defending the rights of both Rwandan and Congolese traders.
“There is real reciprocity between us. The Rwandan traders need us like we need them. When you have been clients for a long time, you become sisters. Over there in Rwanda they say ‘Turi kumwe’ – we are one.”
Maman Bahati, Congolese trader
© Carol Allen Storey for International Alert
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.
Breaking the laws of photography by shooting a photo at dusk. CSX cleans up a derailment as reciprocity failure takes effect or affect. effect - result of change. affect - feeling or emotion. Maybe reciprocity failure affect effect.
Evolved from the P6*6 camera, the terraPin shoots a 6x6 frame, has interchangeable extensions for playing with perspective, magnification, and angle of view. These were all shot using Velvia50 and a 50 mm extension, 0.30mm pinhole, f/167.The night shots were made on a pinhole MeetUp in downtown Seattle
In hindsight, shooting Velvia 50 was a tactical error. It's substantially slower than other films, especially in low light with reciprocity failure. I only got 5 images that night, but our group kept moving at least.
The focus of the conference was to develop a shared vision from cultural, scientific and political perspectives. We listened to an overview of current production programs. Information was shared about fisheries management and the legal context of hatchery success principles. We heard valuable information about the concept of reciprocity, where we “take care of the first foods that take care of us.” Conference attendees offered questions during Q&A after each presentation. We spent time envisioning what success would look like and heard a keynote presentation about the Columbia Basin Fish Accords.
There are many beautiful heritage homes located in downtown Oakville along the lakeshore.
Built in 1837, the two-storey white stucco James McDonald house is at 176 Front Street, beside Lakeside Park.
History of James McDonald taken from Oakville Historical Society meeting. He came from Scotland as a carpenter to Oakville to work on the construction of the piers at Oakville Harbour in 1829. In Oakville “he was to excel as a builder of graceful, well proportioned buildings, his own home exemplifying some of the finest Neo-Classic characteristics in all of Oakville” His home was one of elegance and prominence sitting high on
Front Street. The house also had an orchard to the rear adding to its pastoral setting by the lake. The original house that James McDonald built in 1837 was a timber frame, 2 storey dwelling.
James McDonald and his descendants lived in the original house until 1939 ( 102 years).
Metered at f45 @ 4 seconds and shot at f45 @ 21 seconds due to reciprocity failure of Arista (Fomapan) film).
Ansco 8x10 Universal View Camera + Kodak Wide Field Ektar 250mm [10"] F6.3 Lens+ Yellow Filter + Arista EDO 100 @ 25 iso + Kodak D76 1:1 @ 9 mins
Evolved from the P6*6 camera, the terraPin shoots a 6x6 frame, has interchangeable extensions for playing with perspective, magnification, and angle of view. These were all shot using Velvia50 and a 50 mm extension, 0.30mm pinhole, f/167.The night shots were made on a pinhole MeetUp in downtown Seattle
In hindsight, shooting Velvia 50 was a tactical error. It's substantially slower than other films, especially in low light with reciprocity failure. I only got 5 images that night, but our group kept moving at least.
Don't bother reading this description if you have no interest in the finer points of Caffenol-C. This description is for stubborn experimenters with enough obsessive-compulsive tendencies to spend hours combing the internet for quantitative comparisons of the caffeic acid contents of various edible developers.
Bracketed exposures of Kodak Tri-X with my trusty pinhole camera Terminator 3. The top row represents raw scans of increasing exposure times. The bottom row is a post-processed image of each of those scans. These were taken about 4:00 pm January 18, so maybe 45 minutes before sunset. Terminator 3 is f100. Tri-X has an ISO rating of 400.
I set up this still life to test both exposure and the tones that can be achieved with Caffenol-C. There is a white plastic bowl, a shiny black bottle, a flat black Fat Bastard camera, a couple pieces of fruit, and lots of other mid-tone stuff.
My Sekonic beginner's light meter advised an exposure time of 15 seconds for ASA 400. The first two shots, top and bottom, are 15 second exposures. The fog from developing is quite evident, but the tones overall are the nicest, I think.
The second two shots are 4 minute exposures. By this point, I was allowing quite a bit for reciprocity failure. The fog is less noticeable, but the range of tones is significantly less.
The third pair is an eight minute exposure. It is not too much different from 4 minutes, but there is continued degradation of tonal range.
Another pair to be posted with conclusions.
It could all be so simple
But you'd rather make it hard
Loving you is like a battle
And we both end up with scars
Tell me, who I have to be
To get some reciprocity
See, no one loves you more than me
And no one ever will ...
Todo podría ser tan simple
Pero te empeñas en hacerlo dificil
Amarte es como una lucha
Y los dos acabamos con cicatrices.
Dime, quién debería ser
Para tener un poco de reciprocidad?
Verás, nadie te quiere más que yo
Y nadie nunca lo hará ...
I keep letting you back in
How can I explain myself
As painful as this thing has been
I just can't be with no one else
See I know what we got to do
You let go and I'll let go too
'Cause no one's hurt me more than you
And no one ever will ...
Sigo dejándote volver
Como puedo explicarme
Que tan doloroso como esto ha sido
No pueda estar con otro.
Verás, sé lo que tenemos que hacer
Si tu cedes, cedo yo también
Porque nadie me ha herido tanto como tu
Y nadie nunca lo hará ...
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.
David Evan Harris paid it forward by getting me a beverage of my choice. I think he was disappointed that all I wanted was water, but I really wanted water, and I really appreciated it! The pineapple wedge was a nice touch.
In Greek mythology, Medusa's power is based on the reciprocity of the look: she petrifies the one who looks at her, but also the one she looks at. To see is also to be seen.
In the myth, Perseus chooses to defend himself with a mirror shield. For us, this myth represents the struggle of an artist with what he sees.
Every artist is like Perseus, he represents the real. But in fact, it is no longer the real, it is the image that the artist have of it.
..seeds++ 'in-out T-space' my architectural design conceptual image
The deficiency inherent in the physical and conceptual dichotomy between architecture
and landscape is that the structure of human perception is not composed of a series of
discrete experiences, rather a continuous and overlapping one. This alludes to the fact
that the relationship between architecture and landscape should not be one of mutual
exclusivity and separation but an intimate one that comes together to form the totality
of the designed environment.
Reciprocity, threshold, materiality, ritual, insertion, infrastructure, context ethos...are
part of this interface. Still more to explore!
I am starting my thematic study on this idea today with 'reciprocity'.
This study is extension of my architectural thesis (Seeds++)...which is journey of my
design life.
Taken with only the light of a full moon, plus some wobbly tripod trails and a smidge of reciprocity failure colourshift.
These pictures are Adox Scala 50. I generally exposed either on the meter or underexposed a click or two, to ensure I didn't overexpose and blow out the highlights. The film shows good dynamic range and excellent resolution. ISO 50 does make it challenging to shoot in reduced light, but if you do underexpose to ensure you avoid blowouts, you will open a bit of space for yourself. The film also seems to respond well enough to longer exposures (Image 33) although it seems like I was beginning to approach the need for reciprocity adjustments.
Taken on Efke 820ir Aura film for 4x5, using MPP large format camera and Lee 87 polyester filter. Exposure was metered ISO 3 at 4 seconds, but gave 8 for reciprocity. Developed in D76 1:1 for 14 mins. Negative looked really thin.
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.
Shot in house left behind over 30 years ago.
Mamiya M645, 80mm at f/8 for 21 seconds
Fomapan 100
XTOL 1+1, 8mins, 20C
Water night. Starless. Shutter open for about 12 minutes as the night falls. Success of the film reciprocity failure :)
Golden Rule
From Wikipedia, the free encyclopedia
Not to be confused with the Golden Law or the Golden ratio.
For other uses, see Golden Rule (disambiguation).
Book with "Dieu, la Loi, et le Roi" on one page and the golden rule on the other, by Bernard d'Agesci (fr).
The Golden Rule or ethic of reciprocity is a maxim,[1] ethical code or morality[2] that essentially states either of the following:
(Positive form of Golden Rule): One should treat others as one would like others to treat oneself.[1]
(Negative form of Golden Rule): One should not treat others in ways that one would not like to be treated (also known as the Silver Rule).
This concept describes a "reciprocal", or "two-way", relationship between one's self and others that involves both sides equally, and in a mutual fashion.[3][4]
This concept can be explained from the perspective of psychology, philosophy, sociology and religion. Psychologically, it involves a person empathizing with others. Philosophically, it involves a person perceiving their neighbor as also "an I" or "self."[3][4] Sociologically, this principle is applicable between individuals, between groups, and also between individuals and groups. (For example, a person living by this rule treats all people with consideration, not just members of his or her in-group). Religion is an integral part of the history of this concept.[1][5]
As a concept, the Golden Rule has a history that long predates the term "Golden Rule", or "Golden law", as it was called from the 1670s.[1][6] As a concept of "the ethic of reciprocity," it has its roots in a wide range of world cultures, and is a standard way that different cultures use to resolve conflicts.[1][5] It has a long history, and a great number of prominent religious figures and philosophers have restated its reciprocal, "two-way" nature in various ways (not limited to the above forms).[1]
Rushworth Kidder notes that the Golden Rule can be found in the early contributions of Confucianism (551–479 BC). Kidder notes that this concept's framework appears prominently in many religions, including "Hinduism, Buddhism, Taoism, Zoroastrianism, and the rest of the world's major religions".[7] According to Greg M. Epstein, " 'do unto others' ... is a concept that essentially no religion misses entirely."[8] Simon Blackburn also states that the Golden Rule can be "found in some form in almost every ethical tradition".[9] All versions and forms of the proverbial Golden Rule have one aspect in common: they all demand that people treat others in a manner in which they themselves would like to be treated.