View allAll Photos Tagged reciprocity
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.
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.
Film Photography Podcast Episode 45 / October 15, 2011
FPP Spooky Halloween Show! BW Film Photography! Filters for BW Photography! Ghosts in your image! Reciprocity fail! Polaroid Stuff! Classic Camera Giveaway and more! Hosted by Michael Raso & Mat Marrash.
After some constructive criticism of my previous effort at digitally processing this image of my wife's orchid plant concerning a slight halo around the plants petals and that the light area of slate in the bottom right hand corner was allowing the eye to be drawn out of the image. I have therefore taken these comments on board and had another go this time using Adobe Photoshop CS6 along with Silver Efex Pro 2 for some localised contrast control.
Description of capture and processing was as before and is repeated below:
Whilst the weather was a bit gloomy and I had little else to do I set myself an exercise to photograph my Wife's White and Lemon Orchids against some Cut Black Slate which I had had cut a while ago to use as a background.
The main aim of the exercise was to use the front swing and tilt of my Canham MQC 5x7 to enable me to bring most if not all the flower heads into focus. As these heads were stacked both right and left and up and down it seemed the perfect type of subject.
The image was shot on Adox CHS25 5x7 film using a Schneider 240mm f5.6 Symmar-S lens which was set at f29 (I had to lose 1/3 stop to allow for reciprocity failure). I also had to allow 2½ stops for the bellows extension which then gave me an exposure time of 60 seconds.
The film was rotary processed using a Jobo Print Drum with Pyrocat HD at 24° C for 8 minutes and then fixed using some home-made TF-3 Alkaline fixer before washing and drying.
When dried the film was scanned using my V750 scanner at 1200dpi.
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.
Paper negative (inverted) shot directly in Hasselblad 500c/m A12 back onto Ilford Multigrade IV paper
Developed in Rodinal 1:100 as paper developer
The paper was rated at ISO 2 as a guide but shot for 5-12 minutes to account for reciprocity failure.
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.
Tree of Souls :P
Tri-X developed for EI 6400, underexposed on top of 6400 by the looks of the negative, was already 2 minute (or more) exposure here at 6400 for the f-stop I chose and I didn't compensate for reciprocity (you'd use the 32 minute mark for calculating reciprocity seeing as its at 6400).
So this ends up being 2 and 2/3rds of a stop less exposure than 6400, therefore 38400.
Rodinal 1+100, 2 hours semi-stand, 2 inversions every 40 minutes
paint can pinhole camera, paper negative, 21 minute exposure, developed in homemade Caffenol CM developer.
It was the paint can cam's turn at the magnolia tree the other day. I got out there at sunrise, before the wind picked up. I metered the shot at 17 minutes, but let it go for 21 minutes to allow for reciprocity failure in the low light/long exposure. The camera was placed about 1 inch from the flower. Can you see the tripod there in the foreground, supporting the paint cam as it made the image? (-:
This was a timely image. Some time later that morning, a landscape crew came through and chopped off all the new growth from the main branches, including this lonely little cluster of blooms that flowered out this year. There are other buds higher up in the tree, but they may dry out before they open.
So I was especially happy to preserve this year's bloom before it was gone!
image made March 15, 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.
Confucius had a simple moral and political teaching: to love others; to honor one's parents; to do what is right instead of what is of advantage; to practice "reciprocity," i.e. "don't do to others what you would not want yourself"; to rule by moral example instead of by force and violence, and many other teachings of a similar theme.
I went with Angie, Cathy and Nancy (Chen Mei - a student) to visit the Confucius Museum at Wenchang City on the weekend. Here is a picture inside the walls of the museum, showing the girls about to explore the sights!
mamiya 645 1000s,45mm 2.8,tx pushed to 1600 developed in t-max for 8:30 (14 second exposure to account for reciprocity failure). Epson v550
“Array” is an interactive sculpture that explores the relationship between the mass and the void, intertwining this with audience interactivity.
Acting as a stylised beacon for Vivid Sydney, the work showcases elegant reflective posts that blend into the ground, the surroundings and the sky. By day, “Array” is a brilliantly reflective cluster of polished stainless steel posts; by night it comes to light with a large strip illuminating several faces on each post.
Sitting perfectly within its landscape and reflecting the very heart of Circular Quay, this towering linear sculpture uses LED technology and sensors to manipulate sensory data, translating this into light output. The 5m posts sport a highly polished stainless steel finish; one face of each post acts as a large diffuser light source. This light panel features control points at every 50mm of the 5m height, comprising points of RGB pixel lights that are both dynamic and highly energy efficient.
“Array” commands authority over the space it occupies, as its rapid light play invites you to interact with it and explore its themes of reciprocity through reflection.
Award-winning architects Alexandra Heaney and Angus Muir have been creating installations and public art for the past four years. They belong to Out of the Dark, a company that specialises in creative solutions and treatments of space through design, installation, and place-making. Based in Auckland, New Zealand, Out of the Dark has worked on a number of local and international projects, including “Field”, a sculpture featured in Sydney’s 2013 Art and About Festival.
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.
3nd exposure of the Second scene of my own private IR shoot out. Botanical Gardens, Golden Gate Park, San Francisco. I panned the tripod to the left to get rid of that tree-support-pole next to the steps in the previous two images. Again Plenty of film sensitivity (in fact the neg seemed a little dense, but about 1 stop less dense than the previous two.
Efke AURA INFRARED 820c - D76
SEKONIC L-778 DUAL SPOT F METER
Tiffen 67mm INFRA-RED #87 FILTER
(Shot at 50ASA, Metered through the filter)
EV3 (+reciprocity compensation): 6min @ f22
Hasselblad 500 C/M w/80mm CF Zeiss Planar T*
Epson PERFECTION V750-M PRO SCANNER
(20110116_EFKE_IR820_AURA_47614_007)
So, I wake up at 1:00 to get some water, and see what looks like an interesting scene out my window (you'd never know by looking at the photo).
I go back upstairs, think about whether I really want to go do it as it will no doubt mean trouble getting back to sleep.
Against my better judgement, I decide to do it and start getting dressed to go out. Jana wakes up and I tell her I'm going outside to take a photo. In her half-awake state, she shakes her head and mutters.
I pack down the RZ67 to take it out, and bring the R-D1 for a quick shot. I open the door and it's drizzling. I figure, no way am I hauling out the RZ67, so I'll just shoot the R-D1.
I take a couple of exposures, the first with ~six seconds exposure, which is still too dark (at ISO200). I crank the exposure up +2EV and get an eight-second exposure. I suppose it must have capped out at eight seconds (although it didn't seem that long and the manual seems to indicate that one second is the longest non-bulb shutter speed).
At any rate, it took a shot and once I got back inside, figured I could handle that on the RZ67.
So, I swap out bodies on the tripod and walk back out into the cold and rain. I check the light with my meter and it reads ~eight minutes at ISO100 a f/8.
At this point, I am doubting my ability to read the meter and wondering if the meter handles reciprocity compensation and if the FP-100C is even subject to reciprocity failure and, if so, would it be the same as normal film? Looking at the shutter speed scale on it now, I don't think it does. The spacing is linear and the values are logarithmic, and to handle reciprocity failure the spacing would also need to be logarithmic. But at 1:00 in the cold and rain, one does not think so well.
So, the R-D1 exposure was, at least apparently, eight seconds at ISO200, so I figured something like thirty seconds would be fine at ISO100.
Of course, the first polaroid barely exposed, although the van was coming in a little so I figured I'd up the time a little and then it should come out about right. Gave it about a four-minute exposure and this was the result. At that point I called it quits and also decided to not shoot negative film either.
In hind-sight, I should have opened up the aperture and tried the longer exposure, but even then, I think I would have probably had to double or quadruple the resulting exposure time.
Sigmund Stern Grove, San Francisco, CA
I had walked much of the perimeter of both parks that afternoon and was starting to get a bit tired of lugging all my gear around (Backpack full of Hasselblad gear and a tripod in a sling bag). I took a short rest near this retaining wall and stood there for awhile, staring in this direction. The next thing I knew I was setting up the tripod and viewing the focusing screen and composing. Not sure which I liked better the high-contrast Scala or the lower contrast and glowy Efke IR image.
Agfa Scala 200 (expired 1998?) - Xtol - (processed @ www.gammasf.com )
(Shot at 125ASA, Processed Normally)
SEKONIC L-778 DUAL SPOT F METER
B+W (MC) RED-ORANGE #041 (22) FILTER
EV6 (+reciprocity compensation): 3s @ f22
3 deg backward tilt, 9mm downward shift
Hasselblad Flexbody w/80mm CF Zeiss Planar T*
Epson PERFECTION V750-M PRO SCANNER
(20110501_SternGrove_Scala200_exp1998_48436_007)
"The United States consider powerful navies and large standing armies as permanent establishments to be detrimental to national prosperity and dangerous to civil liberty.
The expense of keeping them up is burdensome to the people; they are in some degree a menace to peace among nations. A large force ever ready to be devoted to the purposes of war is a temptation to rush into it.
The policy of the United States has ever been, and never more than now, adverse to such establishments, and they can never be brought to acquiesce in any change in International Law which may render it necessary for them to maintain a powerful navy or large standing army in time of peace."
~ William Marcy
William Learned Marcy (December 12, 1786 – July 4, 1857) was an American statesman, who served as U.S. Senator and the 11th Governor of New York, and as the U.S. Secretary of War and U.S. Secretary of State.
Marcy was born in Southbridge, Massachusetts. He graduated from Brown University in 1808, taught school in Dedham, Massachusetts[1] and in Newport, Rhode Island, studied law, was admitted to the bar in 1811, and commenced practice in Troy, New York.
Marcy served in the War of 1812. Afterwards he was recorder of Troy for several years, but as he sided with the Anti-Clinton faction of the Democratic-Republican Party, known as the Bucktails, he was removed from office in 1818 by his political opponents. He was the editor of the Troy Budget.
On April 28, 1824, he married Cornelia Knower (1801–1889, daughter of Benjamin Knower) at the Knower House in Guilderland, New York, and their children were Edmund Marcy (b. ca. 1833) and Cornelia Marcy (1834–1888).
In 1831, he was elected as a Jacksonian Democrat a U.S. Senator from New York, and served from March 4, 1831, to January 1, 1833, when he resigned upon taking office as Governor. He sat on the U.S. Senate Committee on the Judiciary in the 22nd Congress. Defending Jackson's nomination of Martin Van Buren as minister to the United Kingdom in 1832, Marcy used the phrase "'to the victor belong the spoils," from which the term spoils system is derived.
He was Governor of New York for three terms, from 1833 until 1838. In 1838, he was defeated by Whig William H. Seward, which led to a radical change in State politics and ended the Regency.
He was a member of the Mexican Claims Commission from 1839 to 1842. Later he was recognized as one of the leaders of the Hunkers, the conservative, office-seeking, and pro-compromise-on-slavery faction of the Democratic Party in New York.
Marcy served as United States Secretary of War in the Cabinet of President James K. Polk from 1845 until 1849, at which time he resumed the practice of law. After 1849, Marcy led the "Soft" faction of the Hunkers that supported reconciliation with the Barnburners, and in this role sought the Democratic presidential nomination in 1852, but was unsuccessful, in part due to "Hard" opposition led by Daniel S. Dickinson.
Marcy returned to public life in 1853 to serve as United States Secretary of State under President Franklin Pierce. On June 1 of that year, he issued a circular to American diplomatic agents abroad, recommending that, whenever practicable, they should appear in the simple dress of an American citizen. This directive created much discussion in Europe, and in 1867 his recommendation was enacted into a law of Congress.
Marcy also resolved the Koszta Affair and negotiated the Gadsden Purchase. Other affairs which demanded his attention were a Canadian reciprocity treaty, Commodore Matthew C. Perry's negotiations with Japan, a British fishery dispute, and the Ostend Conference.
He died at Ballston Spa, New York, and was buried at the Rural Cemetery in Albany, New York.
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.
While working on creating some reciprocity tables for the new Impossible Project, I ended up with some night shots I was pleased enough to show around.
This is 6 minutes in an SLR-680 with the new Impossible Project Color Protection Formula film.
Fern.
My supply of Adox film has dried up, So I,m experimenting with Forma 100.
Quite excited about experimenting with this film, particularly the extraordinary reciprocity characteristics.
First roll from Fujica GW690
I learned 2 things.
1/ I need to tape a spirit level on the top of that thing to keep the horizon straight. I completely understand why the newest model has it built-in.
2/ Fomapan has horrible reciprocity failure, don't use for long exposures!
Bronica SQAi, 50mm F3.5 on Ilford FP4
Ilford PF4 has very rarely let me down, except for maybe this roll. Many of them are just bad exposures (this was a long one, so I can blame reciprocity!) and I got little dots all over it (has happened to me once before on some Foma).
But, I kinda like the grainyness when I pushed it around in PS. It kinda works I suppose!
161/132
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
An arduino uno and adafruit's lux sensor that are going to be a meter for my laser box pinhole camera. Just as soon as I get my head round coding the reciprocity maths..
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.
Local Afghan villagers help unload barrels that will be used to build up a checkpoint 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 Afghani Local 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/Not Reviewed)
Speaking of indulgences...
I shot a roll of film through it on Saturday...too underexposed. I ignored the instruction's directive to consider reciprocity failure...live and learn. What a crazy experience...no viewfinder! Although I didn't do too badly with framing my shots...the most difficult part was knowing how much of where I aimed camera would get into the frame. The "lens" is 28mm, aperture of f/138. I knew that 28mm is wide angle, but without the viewfinder it was hard to tell just how wide. It's amazing how you rely on things without really knowing how much. Good times!
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.
Another go with film for the pinhole. after investigation I found my calculations were correct as was the Hasselblad light meter. It was the film. i had allowed for reciprocity failure but not at the heroic level the GP3 displays. About the same as FP4, dramatic. I won't be using it on any night shoots even on the shortest day it could see the sun rise first.
This the new 0.2mm hole.
The edge marking on the GP3 is annoying it creeps onto the image area, top RHS.
Title: Yvonne and James II
Artist: Jordan Casteel (American, born Denver 1989)
Date: 2021
Medium: Oil on canvas
On view at The Met Fifth Avenue in Gallery 915
Jordan Casteel has rooted her practice in community engagement, painting from her own photographs of people she encounters. Posing her subjects within their natural environments, her oversized portraits and cropped compositions chronicle personal observations of the human experience. Yvonne and James II is a testament to the evolving relationships of respect, dignity, and reciprocity that fuel Casteel’s work. This complex composition conveys different iterations of images of the same subject, the generational passing of time, and a personal story embedded in a scene. Seated in the midst of his kitchen, James props a frame that memorializes the union decades ago to his much loved and recently deceased wife Yvonne. Behind him, stuck on his refrigerator door, is an image James cut from a poster of an earlier portrait of him by Casteel. This is her third portrait of James, who was a street vendor in Harlem when she first met, photographed, and painted him in 2015.
(Description from The Metropolitan Museum of Art)