View allAll Photos Tagged reciprocity
35mm Kodak Ektachrome slide film scan of the Seattle skyline from Gas Works Park. Reciprocity don't fail me now! :)
Image taken in Feb 1983.
"Reciprocity failure is what happens when, at longer exposures (generally shutter speeds of 1 second or more), the law of reciprocity (you guessed it!) fails! ... The longer the exposure, the less potent the emulsion becomes over time, and, therefore, the more compensation is needed in order to achieve a proper exposure."
Happy Children at 'Hijos de Praderas', one of the communities supported by Reciprocity NGO.
Here is a blog I have written about Reciprocity NGO
Reciprocity NGO are always looking for volunteers and donations. If you want to help, send them an email: ong.reciprocity@gmail.com.
If you would like to use any of my photos please contact me and ask permission first.
If you want to look at more of my photography you can check my website and social media links below:
www.facebook.com/geraintrowlandphotography
www.instagram.com/geraint_rowland_photography/
04-Aug-2022 13:49 - Rollei Retro S 80 @ EI 50 (IR, LV=6)
Developed in Rodinal 1+50 (Normal) 11 mins @ 20C
Bronica SQAi + 150mm
Highlight = 14
Shadow = 8
Midpoint = 10
R72 Filter
Final EV = 10
Exposure 4 sec - Adjust for reciprocity (9s)
8 sec @ f16
Pinhole/Camera Obscura /Lensfree/Loch camera/Lensless / Without Lens/Sténope/Estenopeica/Lyukkamera Photography
Author : IMRE BECSI
© All rights reserved
Location of shoot :
Pilisvörösvár,
Hungary,
Europe
Time of shoot :
2015.03.22.
Info of Shooting :
Film : Fuji Fp-100c (new)
Filter : Polar, W85c, Blue grad
Metered expo.: 14,75 EV (white wall)
Calculated expo.: 30 second
( I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 180 sec. (15° C)
Format: 3.25 x 4.25 in. (8.5 x 10.8 cm) "Regular Size" pack film
Image Area: 2.88 x 3.75 in. (7.3 x 9.5 cm)
The camera :
Body is a Film Back Adapter Plate from a Polaroid 203 camera
- focus : 33 mm
- pinhole : 0,25 mm (Lenox Laser)
- diaphragm : 132
Film back from my Polaroid 600se camera.
Shutter and Pinhole holder is a "pu(s)h" from Dr. Kai Fuhrmann with filter thread (homemade).
Picture from the camera :
www.flickr.com/photos/jonespointfilm/2837193476/in/set-72...
The parameters of camera :
(when I use 95x73 mm format instant film)
- Angle of view : 110°
- Light falloff at the corners [f/stops] : 1,8
- Resolution [lines/diagonal] : 959
Post work : (2015.03.23.)
Scanner : Epson Perfection 3200 Photo (400 dpi)
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected. No reproduction in any way,
no copies, no editing, no publishing, no screenshots, no posting,
no blogging, no transmitting downloading or uploading
without my written permission!
Thank you !
Thanks for looking !
Comments very much welcome !
B de T Rouge, No.08
f/204, Fl; 53mm, 0,26mm.
Photo location: Donnacona, Québec.
Delta 100 Pro cut at 4x4. (10,16 x 10,16 cm)
Exposure time 1 minute 10 secondes. (Reciprocity+)
Development; D-76 1+3, 24 minutes.
Test Sténopé pour le diptyque «Pleurer un souvenir».
Malheureusement, le film était voilé. Cette numérisation ne livre qu'une partie du négatif 4"x4", puisque c'est le maximum que mon scanner Epson 4490 peut me donner. Finalement, ne voulant pas faire revivre cette mise en scène à mon père, j'ai complété mon idée de diptyque en polaroid avec un transfert d'émulsion. (e-lift)
Mais plus je regarde cette image et plus je trouve que les défauts que je lui attribuais contribuent plutôt bien à exprimer cet effacement de la mémoire que cause l'Alzheimer.
000109150008_###
- Fujifilm Provia 100F
- Nikon FM3A
- Tripod on sand and the blurriness may have been caused by the tripod sinking into the sand a bit. Who knows ....
... and all those humans wandering around at night ... :)
Exposure:
What is on chrome is what one gets. I am a bit puzzled by the colour difference between this frame and the one shown below, shot on the same roll.. Does night time temperature affect reciprocity failure of film? Looking at the length of the star trails, the duration of exposure would have been a few hours. Though, the night time temperature difference would have only been a few degrees Celsius.
The above shot is on the same roll as this shot:
www.flickr.com/photos/30079014@N03/52990826906/in/album-7...
Once I find my diary again, or able to retrieve the location on my Garming eTrex30 (something has gone wrong there too,,,) I'll add the location.
25-Jan-2024 14:50
Rollei RPX25 rated @ EI 25
Developed in HC110 Dilution H (1+39) for 7 mins @ 20C
Pre-Wash : 3 mins
Inversions for first 30 sec
Two Inversions every 30 sec
Two water Stop Baths of 1 min
Ilford Rapid Fixer (1+4) : cleared in less than 1 minute
Fix time total : 2 Minutes
Initial Rinse to remove fixer : 1 minute
Inversion washes for 10 minutes, multiple water changes
Ilford Surfactant : 2 mins
Bronica SQAi + 80mm
Highlight = 12
Shadow = 9
Midpoint = 10
Filters : None
Reciprocity : 2 goes to 3 sec
Final LV=10
4 sec @ f22
Trying Svema Blue Sensitive for long exposures (ISO 6). This is one of the shorter exposures. Not sure if it’s a good film for long exposures. If I try again. I’ll need to figure out the reciprocity factor is. If anyone knows, let me know.
EOS 3
40mm F2
Svema Blue Sensitive
f16 @ 2 secs
15-Mar-2024 15:25
Ilford HP5+ rated @ EI 400
Ebony 45SU
0.3mm pinhole
Bellows measured at 90mm
Stearman SP-445 Tank
Developed in 510Pyro 1+100 mins (Normal) @ 20C 8min 15sec
Agitation 30 sec then twice every 30 sec
Pre-wash : 5 mins @ 20C
Two water Stop Baths for 1 min each
Ilford Fixer (1+4) : Clearing Time 60 sec. Total fix time 120 sec
Rinse : 1 minute
Wash : 10 minutes with several water changes
Surfactant : Ilfotol for 2 mins
Bed Tilt 7 deg forward
Back Tilt 7 deg back (upright)
Front Shift : 2 cm down
Mid tone LV = 12
Highlight = 14
Shadow = 10
Filters : None
Final LV=12
Reciprocity 2 seconds goes to 3 seconds
3 sec @ f222
22-Aug-2022 16:25 - Rollei Retro 80 S @ EI 50 (EI 6 for IR)
Developed in Rodinal R09 1+50 (Normal) 11 mins @ 20C
3 mins water pre-wash and 1 min post dev water wash
Tetenal SuperFix Plus 1+4 : 4 mins
Bronica SQAi + 80mm
Highlight = 12
Shadow = 7
Midpoint = 9
R72 Filter
Final EV = 9
15 sec requires reciprocity correction which is high on this film
60 seconds @ f22
An ongoing series of Alder Root studies, shot on 8X10 Bergger Pancro 400 (with Deardorff)
Technical:
- lens used was my Schneider Symmar-S 240
- as others have mentioned the base+fog is higher than most emulsions, but that isn't a problem for me.
- Exposure was calculated to be 1:45 @ f45 based on an initial estimate of 22 seconds, and I applied the reciprocity factor for HP5, which I find works well enough (we apparently don't have reciprocity information about Pancro 400) I consider this negative to be an ideal exposure, so HP5's reciprocity values are workable, in case you wondered.
- Processed in Rodinal 1:50 for 20 minutes (2 minutes less than Bergger's suggested starting point. I did this to limit contrast buildup from long exposure/reciprocity.
- minimal adjustments for contrast done in Lightroom, slight vignette applied
When Fujifilm’s Acros II was announced, I had mixed feelings. It reminded me of when I went to see the Cure on their farewell tour in the early 1990s. I cried throughout the show at the Wembley Arena, believing that I’d never again see the band that had just released what I thought to be the greatest record of all time, Disintegration.
When they returned a few years later, I never quite forgave them, and still think that they never made any music that was close to comparing to the magnificent gloominess of Disintegration. That may have been because I’d moved on, but it could well have been because of the emotions that they put me through by going away, and returning before my cheeks were dry.
You see, I’d had quite an attachment to Fujifilm’s Neopan Acros before it was discontinued. I’d taken many of my favourite pictures using it, often at night, taking advantage of the film’s unmatched abilities to handle long exposures.
While I was pretty disappointed when it was announced that it was to be discontinued (note: we shoot film in the 21st century and therefore cannot have any expectations that companies will continue to make what is barely even a niche product), I set about auditioning a new favourite and settled quickly on Ilford’s FP4+. I’d moved on.
Acros II was initially released in Japan, and a friend of a friend arranged to import a few rolls privately. We came to an arrangement that meant I would end up with two rolls of the film in 120 format. By way of an experiment, I headed out into last night’s fog and shot a few of what both Graeme on Sunny 16, and Mike on the Negative Positives refer to as my ‘signature image’, that is a lone LED street light in the dark.
I shot the roll at EI160 and mostly around f/5.6-f/8 and am delighted to report that the new formulation (which is made in the UK) does everything that the old version did. The detail is superb, with endless tones in the grey areas, lovely dark blacks and not a hint of grain.
It is exactly how I like my film to look…
On this occasion, I didn’t expose anything for more than about six seconds, so reciprocity wasn’t an issue. On the next roll, I’ll push things further and see how if performs when exposures get up towards a couple of minutes. If as I expect, it’s like the old stuff, it’ll be just fine.
Gubbins:
Mamiya C330f, Fujifilm Neopan Acros II exposed at EI160. Processed for 11 minutes in Ilford Ilfotec DD-X at 1:4 and scanned at home.
Home made pinhole 4x5 camera
Retropan 320
Dev: HC-110 1,5ml
Stones in Sikhjälma
As I shot this it was getting darker by the minute, and luckily 20 minutes was enough - for sure this film would not have been overexposed if we would have come back at dawn the next day :-D Foma for sure has silly reciprocity.
This album's name is dedicated to my favourite game of all time Elder Scrolls Online and race of all time, The Argonians (reptile humanoids). There's a story for you to read below about some of them towards the bottom.
What does Ku Vastei mean? Read below
By Lights-the-Way, Mystic of the Mages Guild
It is hard to describe the culture of my people. Often my tongue stumbles as I try to explain, but it is my hope that ink and quill will give me time enough to gather my thoughts. And perhaps, though such writing, I will finally connect the parts of me that now feel so divided; my homeland of Murkmire and my new life within the Mages Guild.
These journals are to become my ku-vastei. And, as I write that, I can think of no better topic to begin with.
Ku-vastei roughly translates to "the catalyst of needed change," though such a direct translation in no way does justice to the original meaning. Another translation could be "that which creates the needed pathway for change to occur" or even "the spark which ignites the flame which must come into being."
Perhaps a more direct analysis should be first presented. Ku-vastei is a noun, a thing or person. Vastei directly translates to change, an important part of my culture. Ku is harder to speak of. It is that which leads to change, though not that which creates change. An important role, as stagnation is a fate worse than death.
Take a boulder which sits atop a cliff, teetering in place. It must fall eventually. The ku-vastei does not push the boulder off the cliff; rather, it picks the pebble which holds the rock in place. And so it falls, not by a push, but by a pathway cleared.
Ku-vastei is revered, just as change itself is revered, for to look back at what was means to stumble as you move forward. Sometimes, a little push in the right direction is all someone needs to remember such wisdom. Other times, they may need to be shoved.
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Naka Desh Tribe
by Emmanubeth Hurrent, the Wayfarers' Society of Wayrest
My guide, Names-the-Orchids, took me deep into the swamp to meet a little-known tribe called the Naka-Desh, or Riverbacks. Few Imperials venture far enough into Black Marsh to meet the People of the River, and the Naka-Desh see little benefit in traveling beyond the boundaries of their Hist's roots. For that reason, most perceive them as a secretive and mysterious tribe. This misconception is made all the more amusing by the Riverbacks' boundless hospitality.
We approached the Riverbacks' territory via ferry boats. Our expedition encountered tribal sentries almost immediately. They floated to the surface of the water like turtles or crocodiles. I was struck by the wideness of their faces, the largeness of their eyes, and the broad webs adorning their forearms and throats. The Hist clearly provided the "right skin" for the locale. Riverback territory is more water than land—a drowned marsh navigable by small rafts, canoes, and little else.
Names-the-Orchids greeted them with a series of low croaks. They cheerfully repeated the sound before lifting themselves onto our boat. Neither of the sentries seemed familiar with Cyrodilic, so our guide had to interpret. She told us that the Riverbacks demanded tribute in the form of a riddle before they would grant passage. I detected no threat behind the demand. It seemed like more of an invitation than an order. I've no talent for wordplay, but I shared a children's riddle about doorknobs that practically every Imperial knows. As soon as Names-the-Orchids translated it, the two sentries clapped their hands. One of them pressed his forehead to mine, croaked twice, then both vanished into the water as suddenly as they appeared.
We spent four days among the Riverbacks—all but one of them on rafts fishing. Riverback fishing resembles traditional fishing in name only. Rather than hook and line, the Naka-Desh use large river fish called osheeja gars. Each osheeja is secured by a strange harness and bridle. When the Argonians find an abundant fishing spot, they release the predatory gars and let them snatch up the fish. As soon as an osheeja bites a fish, the Argonians pull their pets to the side of the boat and claim the fish for themselves. I asked Names-the-Orchids how it works. Apparently, the bridle prevents the gar from swallowing. She assured me that the osheejas are well-cared for, though. Until they grow too old, of course, whereupon they too are eaten.
Our time with the Riverbacks was not without frustration. Of all the Argonians I have met, the Naka-Desh were by far the least curious. Other than riddles, they had no appetite for anything we brought. They refused our food, took no particular interest in our tales, and did not even ask for our names. This disinterest combined with their boundless hospitality made most of the expedition uncomfortable. Names-the-Orchids chided us for thinking kindness demands reciprocity. As always, even these small disappointments teach us valuable lessons.
["the tribe is not currently in the game but in the world of the game"]
8x10 Pinhole Camera F’320
Impossible 8x10 Silver Shade Pioneer Test Film
Rated at ISO 800.
Metered at F’16 1/15 sec.
Converted to F’350 31 sec.
Time added for reciprocity failure.
Exposure time: 1 min. 2 sec.
- the decaying beauty, the beauty of decay
4x5 | Schneider 150mm | f45 8s
Fujifilm Instax Wide | Lomograflok back
"-----------------------"
Danilo Dolci: Verso un mondo nuovo
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A story of Sicily: the Sicilian Gandhi (but he was not Sicilian ...).
This photographic story is connected, at least in part, with the previous one, whose link is represented by the nephew of the painter Robert Kitson, Miss Daphne Phelps: in life she was a psychiatric social worker (she collaborated with Anna Freud, daughter by Sigmund Freud), on the death of his uncle in 1948 he moved to Sicily to take care of Casa Cuseni, having inherited it: initially he wanted to sell it and then return to England, instead he ended up falling in love with Taormina and Sicily, deciding to stay there for the rest of his life. Daphne ran Casa Cuseni welcoming paying guests, there are many illustrious names of artists, writers, well-known personalities who have stayed there: Danilo Dolci was one of these guests, and it is precisely about him that I wish to speak. He was born in 1924 in Sesana (Trieste), after a somewhat eventful life, in 1952 he moved to Trappeto (between Palermo and Trapani), a country among the poorest and most disadvantaged in Italy: that same year the first of numerous fasts, going to bed and fasting in the bed of a child who died of malnutrition, a protest that will end only when the authorities undertake to build a sewer. Danilo Dolci continues with numerous initiatives, from the publication of a book ("Banditi a Partinico", which makes public opinion aware of the poor living conditions of western Sicily, to this book and many others will follow), to the "strike at reverses ”, when the workers went on strike, hundreds of unemployed began to work to reactivate an abandoned municipal road, an initiative that was then stopped by the police; Dolci also initiates an activity of denunciation of the mafia phenomenon and its relations with politics. There are numerous certificates of esteem and solidarity that he receives from important personalities from Italy and abroad, but despite this, for others Danilo Dolci is a dangerous subversive, to be hindered, denigrated, locked up in prison. Yet Dolci does not pose as a guru, boss, or teacher, his working method is based on the conviction that change is based on the involvement and direct participation of those concerned, his idea of progress enhances local culture and skills; he tries, working closely with the people and the most disadvantaged and oppressed groups of western Sicily, to free the dormant creativity in every person, calling this research "maieutic", a term coming from philosophy, precisely from Socratic maieutics: it is "the 'art of the midwife ", every educational act is to bring to light all the inner potentialities of the one who wants to learn, like a mother who wants to give birth to her own child from her womb, so no to notions imparted a priori, yes to help the student to bring their knowledge to light, using dialogue as a tool; however, Socratic maieutics is unidirectional, while in Danilo Dolci's "reciprocal maieutics", knowledge comes out of experience and its sharing, therefore it presupposes the reciprocity of communication. During meetings with farmers and fishermen, the idea was born to build the dam on the Jato River, which is important for the economic development of the area, but also to remove a powerful weapon in the hands of the mafia, an instrument of power which controlled the few available water resources; however the request for "water for all" will be heavily hindered, popular mobilizations and long fasts will be necessary to finally see the project realized: now the dam exists, and others have been built, thus modifying the lives of thousands of people, with the development of numerous companies and cooperatives. Among the many activities of Dolci, thanks to the contribution of international experts, the experience of the Mirto Educational Center, attended by hundreds of children, should be mentioned. Returning to Daphne Phelps and Casa Cuseni, here is a lithograph by Tono Zancanaro, dedicated to the birth of one of Danilo Dolci's daughters, but, among the most important, there is a correspondence between the pacifist philosopher Bertrand Russel and Daphne Phelps, in which the English thinker invited Robert Kitson's niece to participate in the gatherings of progressive intellectuals and literary and scientific personalities of the time, among them, besides Albert Camus, Jean-Paul Sartre and Carlo Levi, there was Danilo Dolci, sociologist, educator, still recognized today as one of the most important figures of nonviolence worldwide.
post Scriptum:
- the images with Danilo Dolci come from the Casa Cuseni archive: they are cuttings from original periodicals, often full pages, from English newspapers, carefully preserved by Miss Daphne Phelp; these images were also taken by photographing some pages of James McNeish's book, "Fire under the ashes - The life of Danilo Dolci";
- the photographs taken in various countries of Sicily, are prior to the covid-19 pandemic;
- thanks to the surgeon colleague dr. Franco Spadaro and his kind wife, Mrs. Mimma Cundari, owners of Casa Cuseni (declared in 1998, Italian National Monument), for their hospitality and availability, having made the Danilo Dolci archive available to me.
Una storia di Sicilia: il Gandhi siciliano (ma siciliano non era…).
Questo racconto fotografico, è connesso, almeno in parte, con quello precedente, il cui anello di congiunzione è rappresentato dalla nipote del pittore Robert Kitson, la signorina Daphne Phelps: lei nella vita era una assistente sociale psichiatrica (lei collaborava con Anna Freud, figlia di Sigmund Freud), alla morte dello zio nel 1948 si trasferì in Sicilia per occuparsi di Casa Cuseni, avendola ereditata: inizialmente la voleva vendere per poi ritornarsene in Inghilterra, invece finì con l’innamorarsi di Taormina e della Sicilia, decidendo di restarvi per il resto della sua vita. Daphne gestiva Casa Cuseni accogliendo ospiti paganti, numerosi sono i nomi illustri di artisti, scrittori, note personalità che vi hanno alloggiato: Danilo Dolci è stato uno di questi ospiti, ed è proprio di lui che desidero parlare. Egli nasce nel 1924 a Sesana (Trieste), dopo una vita un po’ movimentata, nel 1952 si trasferisce a Trappeto (tra Palermo e Trapani), un paese tra i più poveri e disagiati d’Italia: quello stesso anno inizia il primo di numerosi digiuni, coricandosi e digiunando nel letto di un bimbo morto per denutrizione, protesta che terminerà solo quando le autorità si impegneranno a costruire una fogna. Danilo Dolci prosegue con numerose iniziative, dalla pubblicazione di un libro (“Banditi a Partinico”, che mette a conoscenza dell’opinione pubblica delle misere condizioni di vita della Sicilia occidentale, a questo libro poi ne seguiranno molti altri), allo “sciopero alla rovescia”, quando i lavoratori fecero sciopero, centinaia di disoccupati si misero a lavorare per riattivare una strada comunale abbandonata, iniziativa però poi fermata dalla polizia; Dolci avvia anche una attività di denuncia del fenomeno mafioso e dei suoi rapporti con la politica. Numerosi sono gli attestati di stima e solidarietà che egli riceve da importanti personalità provenienti dall’Italia e dall’estero, ma nonostante ciò per altri Danilo Dolci è un pericoloso sovversivo, da ostacolare, denigrare, chiudere in prigione. Eppure Dolci non si atteggia né a santone, capo, od un maestro, il suo metodo di lavoro è basato sulla convinzione che il cambiamento è basato sul coinvolgimento e diretta partecipazione degli interessati, la sua idea di progresso valorizza la cultura e le competenze locali; egli cerca, lavorando a stretto contatto con la gente e le fasce più disagiate ed oppresse della Sicilia occidentale, di liberare la creatività sopita in ogni persona, chiamando tale ricerca “maieutica”, termine proveniente dalla filosofia, precisamente dalla maieutica socratica: è “l’arte della levatrice”, ogni atto educativo è far venire alla luce tutte le potenzialità interiori di colui che vuole imparare, al pari di una madre che vuol far nascere la propria creatura dal suo grembo, quindi no a nozioni impartite a priori, si ad aiutare lo studente a portare alla luce la propria conoscenza, usando il dialogo come strumento; però, la maieutica socratica è unidirezionale, mentre nella “maieutica reciproca” di Danilo Dolci, la conoscenza viene fuori dall’esperienza e dalla sua condivisione, quindi presuppone la reciprocità della comunicazione. Nel corso di riunioni con contadini e pescatori, nasce l’idea di costruire la diga sul fiume Jato, importante per lo sviluppo economico della zona, ma anche togliere un’arma potente in mano alla mafia, che faceva del controllo delle poche risorse idriche disponibili uno strumento di potere, però la richiesta di “acqua per tutti” verrà pesantemente ostacolata, saranno necessarie le mobilitazioni popolari, lunghi digiuni, per vedere infine realizzato il progetto: ora la diga esiste, ed altre sono state poi realizzate, modificando in tal modo la vita di migliaia di persone, con lo svilupparsi di numerose aziende e cooperative. Da menzionare, tra le tante attività di Dolci, grazie al contributo di esperti internazionali, l’esperienza del Centro Educativo di Mirto, frequentato da centinaia di bambini. Ritornando a Daphne Phelps e Casa Cuseni, qui è presente una litografia di Tono Zancanaro, dedicata alla nascita di una delle figlie di Danilo Dolci, ma, cosa tra le più importanti, esiste un carteggio tra il filosofo pacifista Bertrand Russel e Daphne Phelps, nel quale il pensatore inglese invitava la nipote di Robert Kitson a partecipare ai raduni di intellettuali progressisti e personalità letterarie e scientifiche dell’epoca, tra di loro, oltre Albert Camus, Jean-Paul Sartre e Carlo Levi, c’era Danilo Dolci, sociologo, educatore, ancora oggi riconosciuto tra le figure di massimo rilievo della nonviolenza a livello mondiale.
post scriptum:
- le immagini con Danilo Dolci provengono dall'archivio di Casa Cuseni: sono ritagli di giornali originali dell'epoca, spesso pagine intere, provenienti da quotidiani inglesi, accuratamente conservati dalla signorina Daphne Phelp; tali immagini sono state realizzate fotografando anche alcune pagine del libro di James McNeish, "Fire under the ashes - The life of Danilo Dolci";
- le fotografie realizzate in diversi paesi della Sicilia, sono antecedenti alla pandemia da covid-19;
- si ringrazia il collega chirurgo dott. Franco Spadaro e la sua gentile consorte, signora Mimma Cundari, proprietari di Casa Cuseni (dichiarata nel 1998, Monumento Nazionale Italiano), per la loro ospitalità e disponibilità, avendo messo a mia disposizione l'archivio relativo a Danilo Dolci.
©2022 Gary L. Quay
The film holder I used has a light leak. I lost a little of the negative, and it will never be printable in the darkroom, but the my first attempt at stand development in 8 years was a success. The scene was dark, and I had to compensate for reciprocity. Rather than cutting development time, I used stand development with Rodinal 1:100. Iw ould be a very usable negative if it weren't for the light leak.
Camera: Deardorff 8x10
Lens: 12" Goerz Dagor
Film: Efke PL 50 stand developed in Adox Rodinal 1:00 for 1 hour
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05-May-2025 17:45
Ilford FP4+ 125 rated @ EI 50 (N-1⅓)
Ebony 45SU
Rodenstock 210mm f/5.6 Apo-Sironar-S
Stearman Press SP445 Tank
Pre-wash : 5 minutes
Developed : PyrocatHD 1+1+100 13½ mins @ 20C
Semi-Stand : 30 sec agitation then 5 @ 4, 7, 10, 13 mins
2 x Water Stop Bath
Alkali Fix. Clearing time 1¼ minutes
Total Fix time doubled to 2½ minutes
Wash for 8 mins in frequent water changes
Wash for 2 mins in distilled water
Kodak Photo Flo + distilled water rinse (1ml in about 500ml) : 2 mins
Movements
Front rise : 1 cm up
Mid tone LV = 12
Highlight = 15
Shadow = 11
Filters : Lee Orange (-1)
Final LV=11
Reciprocity : None
1/2 sec @ f22
Photograph shot on Ilford FP4, processed in D-76 1:1
Camera: Intrepid 8x10
Lens: Gundlach Turner-Reich 12" convertible (in 12" config) at f11, exposure 12 seconds, compensating for bellows extension and reciprocity.
Blue Hour. A six second exposure at f16 allowing for reciprocity failure. Developed in my home darkroom using a Tetenal C41 kit. I continue to be very impressed with the sharpness and general quality of this 90mm Fujinon lens.
One of the lovely families we met yesterday at 'Hijos de Praderas', one of the communities supported by Reciprocity NGO.
Here is a blog I have written about Reciprocity NGO
These communities live in extreme poverty in San Juan de Miraflores, Lima without access to running water or electricity. Reciprocity NGO are always looking for volunteers and donations. If you want to help, send them an email: ong.reciprocity@gmail.com.
Una de las familias que conocimos ayer en "Hijos de Praderas", una de las comunidades que apoya la ONG Reciprocity.
Estas comunidades viven en condición de extrema pobreza en el distrito de San Juan de Miraflores, en Lima, sin acceso a agua y electricidad. La ONG Reciprocity siempre busca voluntarios y donaciones. Si deseas ayudar, envíanos un email: ong.reciprocity@gmail.com.
the caption, at the bottom right of the left photo, reads:
"Partinico, September. Ignazio Buttitta recites "Portella delle ginestre" and "Turiddu Carnevale" at Castellaccio, the promontory overlooking Partinico. Among those who listen to him there is also Danilo Dolci, with his son Cielo. Bertrand Russel, La Pira, Abbot Pierre, and Guttuso sent Danilo Dolci messages of solidarity";
in the photo on the right, Danilo Dolci.
(Two original newspaper sheets of the time, preserved by Daphne Phelps, who hosted Danilo Dolci in Taormina; Cuseni House archive).
Danilo Dolci: Verso un mondo nuovo
la didascalia, in basso a destra della foto di sinistra recita:
“Partinico, settembre. Ignazio Buttitta recita "Portella delle ginestre" e "Turiddu Carnevale" al Castellaccio, il promontorio che sovrasta Partinico. Tra coloro che l'ascoltano c'è anche Danilo Dolci, con suo figlio Cielo. Bertrand Russel, La Pira, l'abate Pierre, e Guttuso hanno inviato a Danilo Dolci messaggi di solidarietà”;
nella foto di destra, Danilo Dolci.
(Due fogli di giornale originali dell'epoca, conservati da Daphne Phelps, che ospitò a Taormina Danilo Dolci; archivio Casa Cuseni).
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clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
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A story of Sicily: the Sicilian Gandhi (but he was not Sicilian ...).
This photographic story is connected, at least in part, with the previous one, whose link is represented by the nephew of the painter Robert Kitson, Miss Daphne Phelps: in life she was a psychiatric social worker (she collaborated with Anna Freud, daughter by Sigmund Freud), on the death of his uncle in 1948 he moved to Sicily to take care of Casa Cuseni, having inherited it: initially he wanted to sell it and then return to England, instead he ended up falling in love with Taormina and Sicily, deciding to stay there for the rest of his life. Daphne ran Casa Cuseni welcoming paying guests, there are many illustrious names of artists, writers, well-known personalities who have stayed there: Danilo Dolci was one of these guests, and it is precisely about him that I wish to speak. He was born in 1924 in Sesana (Trieste), after a somewhat eventful life, in 1952 he moved to Trappeto (between Palermo and Trapani), a country among the poorest and most disadvantaged in Italy: that same year the first of numerous fasts, going to bed and fasting in the bed of a child who died of malnutrition, a protest that will end only when the authorities undertake to build a sewer. Danilo Dolci continues with numerous initiatives, from the publication of a book ("Banditi a Partinico", which makes public opinion aware of the poor living conditions of western Sicily, to this book and many others will follow), to the "strike at reverses ”, when the workers went on strike, hundreds of unemployed began to work to reactivate an abandoned municipal road, an initiative that was then stopped by the police; Dolci also initiates an activity of denunciation of the mafia phenomenon and its relations with politics. There are numerous certificates of esteem and solidarity that he receives from important personalities from Italy and abroad, but despite this, for others Danilo Dolci is a dangerous subversive, to be hindered, denigrated, locked up in prison. Yet Dolci does not pose as a guru, boss, or teacher, his working method is based on the conviction that change is based on the involvement and direct participation of those concerned, his idea of progress enhances local culture and skills; he tries, working closely with the people and the most disadvantaged and oppressed groups of western Sicily, to free the dormant creativity in every person, calling this research "maieutic", a term coming from philosophy, precisely from Socratic maieutics: it is "the 'art of the midwife ", every educational act is to bring to light all the inner potentialities of the one who wants to learn, like a mother who wants to give birth to her own child from her womb, so no to notions imparted a priori, yes to help the student to bring their knowledge to light, using dialogue as a tool; however, Socratic maieutics is unidirectional, while in Danilo Dolci's "reciprocal maieutics", knowledge comes out of experience and its sharing, therefore it presupposes the reciprocity of communication. During meetings with farmers and fishermen, the idea was born to build the dam on the Jato River, which is important for the economic development of the area, but also to remove a powerful weapon in the hands of the mafia, an instrument of power which controlled the few available water resources; however the request for "water for all" will be heavily hindered, popular mobilizations and long fasts will be necessary to finally see the project realized: now the dam exists, and others have been built, thus modifying the lives of thousands of people, with the development of numerous companies and cooperatives. Among the many activities of Dolci, thanks to the contribution of international experts, the experience of the Mirto Educational Center, attended by hundreds of children, should be mentioned. Returning to Daphne Phelps and Casa Cuseni, here is a lithograph by Tono Zancanaro, dedicated to the birth of one of Danilo Dolci's daughters, but, among the most important, there is a correspondence between the pacifist philosopher Bertrand Russel and Daphne Phelps, in which the English thinker invited Robert Kitson's niece to participate in the gatherings of progressive intellectuals and literary and scientific personalities of the time, among them, besides Albert Camus, Jean-Paul Sartre and Carlo Levi, there was Danilo Dolci, sociologist, educator, still recognized today as one of the most important figures of nonviolence worldwide.
post Scriptum:
- the images with Danilo Dolci come from the Casa Cuseni archive: they are cuttings from original periodicals, often full pages, from English newspapers, carefully preserved by Miss Daphne Phelp; these images were also taken by photographing some pages of James McNeish's book, "Fire under the ashes - The life of Danilo Dolci";
- the photographs taken in various countries of Sicily, are prior to the covid-19 pandemic;
- thanks to the surgeon colleague dr. Franco Spadaro and his kind wife, Mrs. Mimma Cundari, owners of Casa Cuseni (declared in 1998, Italian National Monument), for their hospitality and availability, having made the Danilo Dolci archive available to me.
Una storia di Sicilia: il Gandhi siciliano (ma siciliano non era…).
Questo racconto fotografico, è connesso, almeno in parte, con quello precedente, il cui anello di congiunzione è rappresentato dalla nipote del pittore Robert Kitson, la signorina Daphne Phelps: lei nella vita era una assistente sociale psichiatrica (lei collaborava con Anna Freud, figlia di Sigmund Freud), alla morte dello zio nel 1948 si trasferì in Sicilia per occuparsi di Casa Cuseni, avendola ereditata: inizialmente la voleva vendere per poi ritornarsene in Inghilterra, invece finì con l’innamorarsi di Taormina e della Sicilia, decidendo di restarvi per il resto della sua vita. Daphne gestiva Casa Cuseni accogliendo ospiti paganti, numerosi sono i nomi illustri di artisti, scrittori, note personalità che vi hanno alloggiato: Danilo Dolci è stato uno di questi ospiti, ed è proprio di lui che desidero parlare. Egli nasce nel 1924 a Sesana (Trieste), dopo una vita un po’ movimentata, nel 1952 si trasferisce a Trappeto (tra Palermo e Trapani), un paese tra i più poveri e disagiati d’Italia: quello stesso anno inizia il primo di numerosi digiuni, coricandosi e digiunando nel letto di un bimbo morto per denutrizione, protesta che terminerà solo quando le autorità si impegneranno a costruire una fogna. Danilo Dolci prosegue con numerose iniziative, dalla pubblicazione di un libro (“Banditi a Partinico”, che mette a conoscenza dell’opinione pubblica delle misere condizioni di vita della Sicilia occidentale, a questo libro poi ne seguiranno molti altri), allo “sciopero alla rovescia”, quando i lavoratori fecero sciopero, centinaia di disoccupati si misero a lavorare per riattivare una strada comunale abbandonata, iniziativa però poi fermata dalla polizia; Dolci avvia anche una attività di denuncia del fenomeno mafioso e dei suoi rapporti con la politica. Numerosi sono gli attestati di stima e solidarietà che egli riceve da importanti personalità provenienti dall’Italia e dall’estero, ma nonostante ciò per altri Danilo Dolci è un pericoloso sovversivo, da ostacolare, denigrare, chiudere in prigione. Eppure Dolci non si atteggia né a santone, capo, od un maestro, il suo metodo di lavoro è basato sulla convinzione che il cambiamento è basato sul coinvolgimento e diretta partecipazione degli interessati, la sua idea di progresso valorizza la cultura e le competenze locali; egli cerca, lavorando a stretto contatto con la gente e le fasce più disagiate ed oppresse della Sicilia occidentale, di liberare la creatività sopita in ogni persona, chiamando tale ricerca “maieutica”, termine proveniente dalla filosofia, precisamente dalla maieutica socratica: è “l’arte della levatrice”, ogni atto educativo è far venire alla luce tutte le potenzialità interiori di colui che vuole imparare, al pari di una madre che vuol far nascere la propria creatura dal suo grembo, quindi no a nozioni impartite a priori, si ad aiutare lo studente a portare alla luce la propria conoscenza, usando il dialogo come strumento; però, la maieutica socratica è unidirezionale, mentre nella “maieutica reciproca” di Danilo Dolci, la conoscenza viene fuori dall’esperienza e dalla sua condivisione, quindi presuppone la reciprocità della comunicazione. Nel corso di riunioni con contadini e pescatori, nasce l’idea di costruire la diga sul fiume Jato, importante per lo sviluppo economico della zona, ma anche togliere un’arma potente in mano alla mafia, che faceva del controllo delle poche risorse idriche disponibili uno strumento di potere, però la richiesta di “acqua per tutti” verrà pesantemente ostacolata, saranno necessarie le mobilitazioni popolari, lunghi digiuni, per vedere infine realizzato il progetto: ora la diga esiste, ed altre sono state poi realizzate, modificando in tal modo la vita di migliaia di persone, con lo svilupparsi di numerose aziende e cooperative. Da menzionare, tra le tante attività di Dolci, grazie al contributo di esperti internazionali, l’esperienza del Centro Educativo di Mirto, frequentato da centinaia di bambini. Ritornando a Daphne Phelps e Casa Cuseni, qui è presente una litografia di Tono Zancanaro, dedicata alla nascita di una delle figlie di Danilo Dolci, ma, cosa tra le più importanti, esiste un carteggio tra il filosofo pacifista Bertrand Russel e Daphne Phelps, nel quale il pensatore inglese invitava la nipote di Robert Kitson a partecipare ai raduni di intellettuali progressisti e personalità letterarie e scientifiche dell’epoca, tra di loro, oltre Albert Camus, Jean-Paul Sartre e Carlo Levi, c’era Danilo Dolci, sociologo, educatore, ancora oggi riconosciuto tra le figure di massimo rilievo della nonviolenza a livello mondiale.
post scriptum:
- le immagini con Danilo Dolci provengono dall'archivio di Casa Cuseni: sono ritagli di giornali originali dell'epoca, spesso pagine intere, provenienti da quotidiani inglesi, accuratamente conservati dalla signorina Daphne Phelp; tali immagini sono state realizzate fotografando anche alcune pagine del libro di James McNeish, "Fire under the ashes - The life of Danilo Dolci";
- le fotografie realizzate in diversi paesi della Sicilia, sono antecedenti alla pandemia da covid-19;
- si ringrazia il collega chirurgo dott. Franco Spadaro e la sua gentile consorte, signora Mimma Cundari, proprietari di Casa Cuseni (dichiarata nel 1998, Monumento Nazionale Italiano), per la loro ospitalità e disponibilità, avendo messo a mia disposizione l'archivio relativo a Danilo Dolci.
Taming Light #1
The next phase in the quest to control light refraction patterns. Working with plastics in the same way as the 'Twisting Light' Set, I try to make a complete composition working within the confines of a 35mm film frame size by carefully placing and positioning the various elements and components into the plastic as it is hardening.
I thought this looked like a shoal of 'puffer fish' hiding in green coral, but you may see other things. :-)
For new viewers: these are analog images formed directly on to film without the use of a camera lens (in the same way as a photogram), of the refraction patterns of light passing through formed and shaped plastics. Normally a b/w image, colour has
been added directly into the plastic. The fine detail of the diffraction patterns and the rainbow colours can be seen when viewed large.
Zero Image 6x9 camera with Rollei RPX 100, developed in Rodinal. I took great pains to work out exposure, including for reciprocity failure. In hindsight, I now understand why Rollei don't provide details of the reciprocity characteristics of this film, as it doesn't appear to suffer from reciprocity and all of the frames were overexposed... lesson learned for next time.
One advantage of working in a camera shop - you sometimes get access to film before it is released. That is how I came into possession of two rolls of the new Kentmere Pan 200. I shot one roll in 35mm through my Olympus XA and then a roll of 120 through my Hasselblad. I must say I came away with different impressions from each. Overall I like the film. It has a certain FP4 vibe to it. There is some nice contrast and the shadows get deep quickly. I have only worked with the 100 and 400 speeds a bit and have been slow to warm up to them, but the 200 has gotten my interest right from the start.
The 35mm was surprisingly grainy. I was caught off guard by how much grit those images had. So when my 120 finally got developed I was equally surprised by how clean and smooth it looked. Yes, I know, this is a difference between 35mm and 120. That negative size really does matter. But my 120 shots are even smoother than I guessed they were going to be going from what I saw of the 35mm extrapolated up to 6x6cm.
My second initial takeaway is that this stuff doesn't do all that bad with long exposure work. I was in a real long exposure mindset with this roll and had no clue to its reciprocity, so I figured I would just give it the standard +1 for 15-60 second exposures and see how I did. Turns out I did fairly well. Or rather, the film did. Having reviewed the data sheet since then I can see that this film has pretty normal reciprocity failure rates, so that +1 was pretty much in line.
But this is mostly technical gobbledygook. And that is only because I did not have much to say about Heceta Head tonight. You know, in all my years along the Oregon coast I cannot remember the last time I actually visited this light house. I have stopped at the distant viewpoint many times, but the parking fee for going to the lighthouse has always somewhat discouraged me. I guess I prefer the free features of the Oregon coast. But we made an exception with this visit and walked the path up to and behind the lighthouse itself. There is a spot where you are eyelevel with the light and since it was slowly spinning (its signature is one flash every ten seconds) I thought it would make an interesting long exposure. In all I think this one was about a minute in length. Kind of interesting how it doesn't look like the lens of the light was moving at all, but that is the unpredictable nature of making long exposures of moving subjects for ya.
Hasselblad 500C/M
Kentmere Pan 200
There's nothing fantastic about this subject; I've photographed this bridge probably 50 different times. What's different this time is that it marks a somewhat successful test. Maybe it does look like an iPhone Hipstamatic shot, but this photograph was actually made with a $30 Holga 120N medium format film camera, using Kodak Portra 100 film (converted to B/W using Silver Efex). And it's a long exposure (about 60 seconds), using a Lee Big Stopper. I'm pretty impressed at the result of adding the Big Stopper and a cable release, though calculating for reciprocity failure isn't something I miss, shooting with digital most of the time. Anywho, I bought a couple dozen rolls of film, and I think I'm going to hit the streets and see if I can spark up some ideas. It's always fun to experiment...
When Fujifilm’s Acros II was announced, I had mixed feelings. It reminded me of when I went to see the Cure on their farewell tour in the early 1990s. I cried throughout the show at the Wembley Arena, believing that I’d never again see the band that had just released what I thought to be the greatest record of all time, Disintegration.
When they returned a few years later, I never quite forgave them, and still think that they never made any music that was close to comparing to the magnificent gloominess of Disintegration. That may have been because I’d moved on, but it could well have been because of the emotions that they put me through by going away, and returning before my cheeks were dry.
You see, I’d had quite an attachment to Fujifilm’s Neopan Acros before it was discontinued. I’d taken many of my favourite pictures using it, often at night, taking advantage of the film’s unmatched abilities to handle long exposures.
While I was pretty disappointed when it was announced that it was to be discontinued (note: we shoot film in the 21st century and therefore cannot have any expectations that companies will continue to make what is barely even a niche product), I set about auditioning a new favourite and settled quickly on Ilford’s FP4+. I’d moved on.
Acros II was initially released in Japan, and a friend of a friend arranged to import a few rolls privately. We came to an arrangement that meant I would end up with two rolls of the film in 120 format. By way of an experiment, I headed out into last night’s fog and shot a few of what both Graeme on Sunny 16, and Mike on the Negative Positives refer to as my ‘signature image’, that is a lone LED street light in the dark.
I shot the roll at EI160 and mostly around f/5.6-f/8 and am delighted to report that the new formulation (which is made in the UK) does everything that the old version did. The detail is superb, with endless tones in the grey areas, lovely dark blacks and not a hint of grain.
It is exactly how I like my film to look…
On this occasion, I didn’t expose anything for more than about six seconds, so reciprocity wasn’t an issue. On the next roll, I’ll push things further and see how if performs when exposures get up towards a couple of minutes. If as I expect, it’s like the old stuff, it’ll be just fine.
Gubbins:
Mamiya C330f, Fujifilm Neopan Acros II exposed at EI160. Processed for 11 minutes in Ilford Ilfotec DD-X at 1:4 and scanned at home.
I don't believe in reciprocity failure as when I compensate for such, it seems to overexposed and has a large color shift
Taming Light #34
At absolute zero, light waves slow down and begin to freeze in a regular array - a crystal lattice of frozen light (it may be true).
Four years ago scientists at Harvard University managed to slow light down to 38 mph using a Bose-Einstein condensate and even stop it for a very short period.
Perhaps if they were able to see it in close up, this is what they might have seen. ;)
For new viewers: These are light refraction patterns or 'caustics' formed by a white light beam passing through shaped and textured transparent forms. The pattern is captured directly on to 35mm film by removing the camera lens and putting the transparent object(s) in its place. Colours are introduced by placing complex coloured optical filters directly in the light beam.
The processed film is digitally scanned for uploading. Please note these are not computer generated images but a true analogue of the way light is refracted by the objects I create.
See also gallery2C.
Taming Light #22
On a distant planet the strange creatures of light gather in awe to watch the first rising of the new red star.
For new viewers: These are light refraction patterns or 'caustics' formed by a light beam passing through a shaped and textured plastic form. Colour is added into the clear plastic which modifies the way the plastic hardens further enhancing the patterns.The pattern is captured directly on to 35mm film by removing the camera lens and putting the transparent object in its place. The processed film is digitally scanned for uploading. Please note these are not computer generated images but a true analogue of the way light is refracted by the objects I create.
A water splash falling on to a glass plate. Taken about 1968 using dark field illumination and a microsecond flash unit. Image scanned from old b/w print.
February 10: 2014: Kite Hill
The early part of this year got hard for me with the limited day light and long work hours. Many days, all I had time for after work was a quick shot somewhere, which tended to be a long exposure from a hilltop, mostly as a matter of convenience. Kite Hill is far from my favorite view of the skyline at night, but it is close to the place that I sleep, so it has that going for it.
I was hoping for some good rolling fog here, but it ended up fairly muddy. Can’t control the weather, I suppose.
(Kodak Portra 400 in the Canon 650, over-exposed to deal with the reciprocity failure)
Taming Light #31
After gently washing in rainwater all rainbows should be laid flat to dry. Tumble drying can cause the light rays to filamentise and the colours to mix; frayed ends and tangling are common.
This is another one of my refraction patterns where I've managed to get the light beam to form coloured threads of pure light.
For new viewers: These are light refraction patterns or 'caustics' formed by a light beam passing through a shaped and textured plastic form. The pattern is captured directly on to 35mm film by removing the camera lens and putting the transparent object in its place. The processed film is digitally scanned for uploading. Please note these are not computer generated images but a true analogue of the way light is refracted by the objects I create.
Roman copy of a Greek work of the 2nd century B.C.
These young girls, linked in a dance-like pose, represent The Three Graces: Aglaia (Beauty), Euphrosyne (Mirth), and Thalia (Abundance). They bestow what is most pleasurable and beneficent in nature and society: fertility and growth, beauty in the arts, harmonious reciprocity between men. They enjoyed venerable cults in Greece and Asia Minor. In mythology, they play an attendant role, gracing festivals and organizing dances. Their closest connection is with Aphrodite, whom they serve as handmaidens.
This carefully calculated, frieze-like composition is typical of classicizing art of the second and first centuries B.C. Instantly recognizable, it soon became the canonic formula for representing the Graces, who appeared in every medium and on every kind of object, from mirrors to sarcophag
Osaka VW45FC, Kodak 8.5" Commercial Ektar f/6.3, Ilford Delta 100. F/8, 3 mins 30 secs. Velvia 50 has better reciprocity than this stuff!
Legacy Eco Pro (Xtol) 1:1, 10:30
This album's name is dedicated to my favourite game of all time Elder Scrolls Online and race of all time, The Argonians (reptile humanoids). There's a story for you to read below about some of them towards the bottom.
What does Ku Vastei mean? Read below
By Lights-the-Way, Mystic of the Mages Guild
It is hard to describe the culture of my people. Often my tongue stumbles as I try to explain, but it is my hope that ink and quill will give me time enough to gather my thoughts. And perhaps, though such writing, I will finally connect the parts of me that now feel so divided; my homeland of Murkmire and my new life within the Mages Guild.
These journals are to become my ku-vastei. And, as I write that, I can think of no better topic to begin with.
Ku-vastei roughly translates to "the catalyst of needed change," though such a direct translation in no way does justice to the original meaning. Another translation could be "that which creates the needed pathway for change to occur" or even "the spark which ignites the flame which must come into being."
Perhaps a more direct analysis should be first presented. Ku-vastei is a noun, a thing or person. Vastei directly translates to change, an important part of my culture. Ku is harder to speak of. It is that which leads to change, though not that which creates change. An important role, as stagnation is a fate worse than death.
Take a boulder which sits atop a cliff, teetering in place. It must fall eventually. The ku-vastei does not push the boulder off the cliff; rather, it picks the pebble which holds the rock in place. And so it falls, not by a push, but by a pathway cleared.
Ku-vastei is revered, just as change itself is revered, for to look back at what was means to stumble as you move forward. Sometimes, a little push in the right direction is all someone needs to remember such wisdom. Other times, they may need to be shoved.
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Naka Desh Tribe
by Emmanubeth Hurrent, the Wayfarers' Society of Wayrest
My guide, Names-the-Orchids, took me deep into the swamp to meet a little-known tribe called the Naka-Desh, or Riverbacks. Few Imperials venture far enough into Black Marsh to meet the People of the River, and the Naka-Desh see little benefit in traveling beyond the boundaries of their Hist's roots. For that reason, most perceive them as a secretive and mysterious tribe. This misconception is made all the more amusing by the Riverbacks' boundless hospitality.
We approached the Riverbacks' territory via ferry boats. Our expedition encountered tribal sentries almost immediately. They floated to the surface of the water like turtles or crocodiles. I was struck by the wideness of their faces, the largeness of their eyes, and the broad webs adorning their forearms and throats. The Hist clearly provided the "right skin" for the locale. Riverback territory is more water than land—a drowned marsh navigable by small rafts, canoes, and little else.
Names-the-Orchids greeted them with a series of low croaks. They cheerfully repeated the sound before lifting themselves onto our boat. Neither of the sentries seemed familiar with Cyrodilic, so our guide had to interpret. She told us that the Riverbacks demanded tribute in the form of a riddle before they would grant passage. I detected no threat behind the demand. It seemed like more of an invitation than an order. I've no talent for wordplay, but I shared a children's riddle about doorknobs that practically every Imperial knows. As soon as Names-the-Orchids translated it, the two sentries clapped their hands. One of them pressed his forehead to mine, croaked twice, then both vanished into the water as suddenly as they appeared.
We spent four days among the Riverbacks—all but one of them on rafts fishing. Riverback fishing resembles traditional fishing in name only. Rather than hook and line, the Naka-Desh use large river fish called osheeja gars. Each osheeja is secured by a strange harness and bridle. When the Argonians find an abundant fishing spot, they release the predatory gars and let them snatch up the fish. As soon as an osheeja bites a fish, the Argonians pull their pets to the side of the boat and claim the fish for themselves. I asked Names-the-Orchids how it works. Apparently, the bridle prevents the gar from swallowing. She assured me that the osheejas are well-cared for, though. Until they grow too old, of course, whereupon they too are eaten.
Our time with the Riverbacks was not without frustration. Of all the Argonians I have met, the Naka-Desh were by far the least curious. Other than riddles, they had no appetite for anything we brought. They refused our food, took no particular interest in our tales, and did not even ask for our names. This disinterest combined with their boundless hospitality made most of the expedition uncomfortable. Names-the-Orchids chided us for thinking kindness demands reciprocity. As always, even these small disappointments teach us valuable lessons.
["the tribe is not currently in the game but in the world of the game"]
Taming Light #8
I'm trying experiments now to 'isolate' particular refraction patterns against a dark background.
For new viewers: These are light refraction patterns or 'caustics' formed by a beam of light passing through a shaped and textured plastic form. Various coloured dyes were added to the clear plastic as it hardened adding further distortions to the shapes. The light pattern is captured directly on to 35mm film by removing the camera lens and putting the transparent object in its place. Please note these are not computer generated images but a true analogue of the way light is refracted by the objects I create.
Memories.
Back in the 1970's I was a permanent resident of New York City, USA.
1975. Me working in the Photo Studio of Macy's Advertising Dept.
Product and still life table top photography we used to shoot with a view camera on 8 x 10 inch (20X25 cm) sheet film and 3200 Kelvin lights (time exposures and bracketing, watch out for reciprocity failure!!!). Fashion photography was shot on 6 x 6 cm sq film and studio flashes, 5500 Kelvin. (35 mm film was used mainly by Press and Sports photographers in those days).
I just scanned the old worn out original print and using current technology, this is the final product!
(June 3, 2020)
Thanassis Fournarakos - Θανάσης Φουρναράκος
Professional Photographer, Athens, Greece
(retired in 2011, born in 1946).
© ALL RIGHTS RESERVED
None of my images may be downloaded, copied, reproduced, manipulated or used on websites, blogs or other media without my explicit written permission. THANK YOU!
IN ENGLISH BELOW THE LINE
Foto presa amb una càmera Linhof Technika II, fabricada entorn 1947; objectiu Schneider-Kreutzag Angulon f6.8 / 120mm; pel·licula Fomapan 100, f22 durant 14 minuts, compensant la fallada de reciprocitat
Primeres ocasions per a fer una mica d'urbex.
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Picture taken with a Linhof Technika II 13x18 cm. camera made c.1947; Schneider-Kreutznach Angulon f6.8 / 120mm lens; Fomapan 100 film, 14 min. of exposure, at f22 compensating for the large reciprocity failure (the photo meter indicated only 1 minute).
First trials at urbex.There was a large machine here. I recall the day...
This album's name is dedicated to my favourite game of all time Elder Scrolls Online and race of all time, The Argonians (reptile humanoids). There's a story for you to read below about some of them towards the bottom.
What does Ku Vastei mean? Read below
By Lights-the-Way, Mystic of the Mages Guild
It is hard to describe the culture of my people. Often my tongue stumbles as I try to explain, but it is my hope that ink and quill will give me time enough to gather my thoughts. And perhaps, though such writing, I will finally connect the parts of me that now feel so divided; my homeland of Murkmire and my new life within the Mages Guild.
These journals are to become my ku-vastei. And, as I write that, I can think of no better topic to begin with.
Ku-vastei roughly translates to "the catalyst of needed change," though such a direct translation in no way does justice to the original meaning. Another translation could be "that which creates the needed pathway for change to occur" or even "the spark which ignites the flame which must come into being."
Perhaps a more direct analysis should be first presented. Ku-vastei is a noun, a thing or person. Vastei directly translates to change, an important part of my culture. Ku is harder to speak of. It is that which leads to change, though not that which creates change. An important role, as stagnation is a fate worse than death.
Take a boulder which sits atop a cliff, teetering in place. It must fall eventually. The ku-vastei does not push the boulder off the cliff; rather, it picks the pebble which holds the rock in place. And so it falls, not by a push, but by a pathway cleared.
Ku-vastei is revered, just as change itself is revered, for to look back at what was means to stumble as you move forward. Sometimes, a little push in the right direction is all someone needs to remember such wisdom. Other times, they may need to be shoved.
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Naka Desh Tribe
by Emmanubeth Hurrent, the Wayfarers' Society of Wayrest
My guide, Names-the-Orchids, took me deep into the swamp to meet a little-known tribe called the Naka-Desh, or Riverbacks. Few Imperials venture far enough into Black Marsh to meet the People of the River, and the Naka-Desh see little benefit in traveling beyond the boundaries of their Hist's roots. For that reason, most perceive them as a secretive and mysterious tribe. This misconception is made all the more amusing by the Riverbacks' boundless hospitality.
We approached the Riverbacks' territory via ferry boats. Our expedition encountered tribal sentries almost immediately. They floated to the surface of the water like turtles or crocodiles. I was struck by the wideness of their faces, the largeness of their eyes, and the broad webs adorning their forearms and throats. The Hist clearly provided the "right skin" for the locale. Riverback territory is more water than land—a drowned marsh navigable by small rafts, canoes, and little else.
Names-the-Orchids greeted them with a series of low croaks. They cheerfully repeated the sound before lifting themselves onto our boat. Neither of the sentries seemed familiar with Cyrodilic, so our guide had to interpret. She told us that the Riverbacks demanded tribute in the form of a riddle before they would grant passage. I detected no threat behind the demand. It seemed like more of an invitation than an order. I've no talent for wordplay, but I shared a children's riddle about doorknobs that practically every Imperial knows. As soon as Names-the-Orchids translated it, the two sentries clapped their hands. One of them pressed his forehead to mine, croaked twice, then both vanished into the water as suddenly as they appeared.
We spent four days among the Riverbacks—all but one of them on rafts fishing. Riverback fishing resembles traditional fishing in name only. Rather than hook and line, the Naka-Desh use large river fish called osheeja gars. Each osheeja is secured by a strange harness and bridle. When the Argonians find an abundant fishing spot, they release the predatory gars and let them snatch up the fish. As soon as an osheeja bites a fish, the Argonians pull their pets to the side of the boat and claim the fish for themselves. I asked Names-the-Orchids how it works. Apparently, the bridle prevents the gar from swallowing. She assured me that the osheejas are well-cared for, though. Until they grow too old, of course, whereupon they too are eaten.
Our time with the Riverbacks was not without frustration. Of all the Argonians I have met, the Naka-Desh were by far the least curious. Other than riddles, they had no appetite for anything we brought. They refused our food, took no particular interest in our tales, and did not even ask for our names. This disinterest combined with their boundless hospitality made most of the expedition uncomfortable. Names-the-Orchids chided us for thinking kindness demands reciprocity. As always, even these small disappointments teach us valuable lessons.
["the tribe is not currently in the game but in the world of the game"]
Long exposure on Ilford Delta 100 film, using my Leica M6 with a 10 stop ND filter. About three minutes, from memory, including an extra minute to deal with reciprocity failure. Timings for Delta 100 calculated with a iPhone app called Reciprocity Timer.
View from the Montreux Palace Hotel, overlooking the Montreaux waterfront and Lake Geneva.
Vermeer 6x17 pinhole camera, f/300.
Washi V (120)
Approx. 12s (2x indicated time, for reciprocity failure)
Adox Silvermax developer, 1+24, 8' @ 20C, Ilford Rapidfix
Nikon Coolscan 9000ED
Hey Hermann, I finally did it !! Thanks for the moral support!