View allAll Photos Tagged reciprocity
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)
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