View allAll Photos Tagged reciprocity
29-Apr-2025 16:40
Ilford HP5+ 400 rated @ EI 400 (N)
Ebony 45SU
Rodenstock 210mm f/5.6 Apo-Sironar-S
Stearman Press SP445 Tank
Pre-wash : None
Developed : 510 Pyro 1+100 8¼ mins @ 20C
2 x Water Stop Bath
Alkali Fix. Clearing time 2½ minutes
Total Fix time doubled to 5 minutes
Wash for 10 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
Base Tilt : 30 deg forward
Front tilt : 7 deg forward
Mid tone LV = 3
Highlight = 6
Shadow = 0 (Darkest) 1 (general shadows)
Filters : None
Final LV=3
Reciprocity : 15 sec goes to 35 sec
35 sec @ f22
We've been rather busy over the last week or so winding up the gallery with a big sale and massive movement of all the printers and computers etc. As a consequence I have had little time to photograph but have managed to squeeze in the odd day here and there and am trying to make at least one image at the start or end of every day locally to keep my head in the right place.
The sun no longer has the strength to thaw the snow even on the shoreline with the midday temperatures staying well below zero. My local beach is spectacularly beautiful offering a wealth of new possibilities under its new white cloak.
This image was made with my last sheet of film at about 4.15pm last night (45 mins after sunset). Metering the snow I set my mid-tone 1 1/3 stops under to hold plenty of the blue reflecting from the sky. The exposure time was 1 minute extended to 2 to allow for reciprocity failure. A further 1 min 20secs were added as the light levels dropped by a stop during the original time allowed.
A privilege to be out in such wonderful conditions.
Leica M6 & Summicron 50mm & Ilford Delta 100 film.
Finally I got the reciprocity failure calculation about right. I have notes somwhere, but I recall it was f/8 and a few minutes with the ND10 filter.
No EXIF data because it's an analogue film camera.
01-Apr-2024 14:50
Ilford HP5+ rated @ EI 400
Developed in 510 Pyro for 9 mins @ 20C
Pre-Wash 5 mins
Inversions first 30 sec then every 30 sec
Two water Stop Baths - 1 min each
John Finch Alkali Fixer (1+4)
Clearing time 2 minutes. Total fix time 4 minutes
Initial wash to remove fixer : 1 min
Washing : 10 mins with frequent water changes
Ilfotol : 1 ml in 600ml for 2 minutes
Bronica SQAi + 80mm
Highlight = 5
Shadow = 2
Midpoint = 3
Filters : None
Final LV=3
Reciprocity : 4 sec goes to 7 sec
8 sec @ f11
This is a redo of yesterday's test of RPX100, with a more light-handed approach to reciprocity adjustments (far less exposure) and less time in the developer (I still used PMK, standard dilution)
I'm much happier with these negatives. Exposure/density is perfect and PMK delivered good density and a controlled tonal scale with excellent acutance. I'm pretty sure this is Kentmere 100 rebranded for Rollei, or a modified Kentmere variation. The film base is identical (as I can see) and the emulsion behaves very similarly. Maybe I oughtta do one roll of each and treat them the same, to see?
Made with the Hasselblad 500C/M, standard Planar lens. 8 seconds exposure at f16.
Date: 23th of april 2024, midnight/ full moon
Location: Alagoa, Flores, Açores.
Film: Ektar 100, Mamiya 7II, 80mm, f/5.6, exposure: 35 minutes,
including correction for reciprocity failure in Ektar 100 film.
Part of the homonymous album "Moonstruck"/ full moon shots.
www.flickr.com/photos/fransvanhoogstraten/albums/72177720...
11-Nov-2024 14:40
Ilford FP4+ 125 rated @ EI 100
Ebony 45SU
Rodenstock 150mm f/5.6 Apo-Sironar-S
Stearman Press SP445 Tank
Pre-wash : 5 mins @ 20C
Developed : Kodak XTOL 1+1 for 10 mins (N) @ 20C
2 x Water Stop Bath
Eco Zone Alkali Fix. Clearing time 1 minute
Total Fix time doubled to 2 minutes
Wash for 10 mins in frequent water changes
Ilfotol final rinse (1ml in about 500ml)
Bed Tilt : 5 deg back
Front Rise : 1 cm down
Front Tilt : 5 deg forward
Back Tilt : 10 deg back
Mid tone LV = 12
Highlight = 15
Shadow = 10
Filters : Orange 21 (-1½)
Final LV=10½
Reciprocity. 1 second goes to 2 seconds
2 sec @ f45
Iris van Herpen stands for a reciprocity between craftsmanship and innovation in technique and materials. She creates a modern view on Haute Couture that combines fine handwork techniques with digital technology .Van Herpen forces fashion to the extreme contradiction between beauty and regeneration. It is her unique way to reevaluate reality and so to express and underline individuality.
So in all fairness, I didn't copy her work but was inspired by her work. To be me and understand her and interpret it the way I would in SL that is functional.
My mood effects my perception
and today has totally been a black swan kinda day for me.
Styling Card
Hat: Zibska Hella Noir ~ Hat
Sleeves: - ~Tableau Vivant~ Orestes shirt poofyCuff L upper
Shirt: *SoliDea Folies* Venusia - black
Pants *MUKA* Culolicious Bottom XXS
Skirt: Chrysalis - Unicorn - Skirt 1
Shoes: AZOURY - Agathe - Shoe Black (SLink)
Bag: AZOURY - Symphonie Bag
21-Mar-2025 12:45
Adox CMS20 II (Expired 3 years) rated @ EI 20
Zero Image 5x4 Pinhole
50mm focal length (2 sections)
0.28mm pinhole
Stearman Press SP445 Tank
Pre-wash : None
Developed : Adox Adotech IV (old) 1+14 for 11 mins @ 24C
No stop or wash
Ilford Rapid Fixer (old) (1+9) for 45 seconds then discarded
Wash for 5 mins in frequent water changes
Ilfotol final rinse (1ml in about 2000ml)
Filters : None, Reciprocity (doubled meter reading)
15 Minutes @ f176
Waterfall in Styvi in Sogn og Fjordane, Norway
Graflex Crown Graphic
Schneider-Kreuznach Angulon 90mm
f/16, 30 sec exposure*, 4 stop ND
Foma 100
Developed in Xtol
*Increased exposure time to account for reciprocity failure
Taken on a dropping tide, here's the scallop dragger "Reciprocity" resting on the bottom at the A. F. Theriault & Son boat yard. Built here in 1966 she was 23 years old when this pic was taken, and according to a maritime website her "disposition" is listed as closed. I'm not sure if that means she's out of service... no longer actively fishing, or scrapped. She and her sister vessels were a familiar sight on many of my trips to Nova Scotia and presented many photographic opportunities in various locations.
The view is northwest out the mouth of Meteghan River, the Route 1 bridge over the river is directly behind me. The huge tidal range here, the protected location and the nature of the bottom makes this an ideal spot for a boat yard. To the left out of the photo are tracks for hauling vessels ashore. This stern view shows the rudder (small light spots are Zinc anodes), with the propeller beyond surrounded by a cage.
The original image was taken with a Nikon F3-HP, Nikon 35mm f2.8 lens, on Kodak Gold 100 negative film. It was copied with a Nikon D3500 camera, Micro-Nikkor 55mm f/3.5 lens fitted with a Nikon 4T close-up lens, with a Sigma 1.6x achromatic close-up lens on the 4T. Lighting was provided by a 5000K LED bulb in a small goose-neck table lamp. A large ground glass screen was placed between the lamp and the film holder.
35-DSC-0125M
so...i haven't taken many pictures lately, and i've hardly been on flickr at all for like a month now. i thought it might be nice to upload a couple of shots, though. it's probably good to keep some kind of connection going, not just disappear completely.
sorry again for lack of reciprocity, everybody. i'm just not able to give as much attention to photography as i'd like at the moment. i hope this changes soon.
Taming Light #18
Many of you think that these light refraction patterns look like underwater creatures, particularly jellyfish - so I thought I'd try to create one in light. On the the other hand you could be forgiven for thinking it looks more like a three legged 'octopus' wearing a red hat. :)
New viewers; these are analogue images captured on film of light shining through transparent objects that I create in plastics. This is lensless photography - the object takes the place of the lens in the camera.
See also gallery2C.
From the archives; originally posted 5 Sep 2005.
Canon AE1, Fujifilm Pro400H. The aperture was at f22; I opened it and ran over there, stood still for 10 seconds, then dodged back out of picture and closed the shutter. The tones were way out of whack from reciprocity, so I greyscaled it. It was totally experimentral, but it didn't turn out too bad.
Ya just never know!
pagoda buckwheat, Eriogonum rixfordii
My first photo taken with a Packard shutter. My first still life with 8x10.
Agfa Ansco C-1 8x10 link also shows the studio setup for this photo.
Graphic-Kowa ƒ9 360mm
Packard Shutter
Hoya HMC Y [K2] yellow filter
Fomapan 400 @200
Meter said 4 seconds for an aperture of ƒ64; reciprocity said that needed to be 18 seconds.
HC-110G per MDC and adjusted for the 25.3°C temperature of the developer - it’s summer in the desert and the house AC is set to 78°F.
Developed as a single sheet in a Paterson 5-reel tank with a piece of a large pool noodle stuffed over the center column - it reduces the required fluid by half.
Scanned in multiple strips on my Epson Perfection V550 Photo that were then stitched together with PanoramaStitcher for Mac.
I drilled a hole in the rock with a concrete drill bit. The dead/dried plant's stems are stuffed into the hole.
The low for the day was 80°F/27°C, so was in the low 80's when I photographed this in the morning; it went on to reach 110°F/43°C by 4:00 pm; then came thunder, flickering lights, wind and several rounds of rain. What a 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.
-------------------------------------------------------------------------------------------
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"]
12-Mar-2024 14:25
Ilford FP4+ rated @ EI 100
Ebony 45SU
0.3mm Pinhole
Bellows at 90mm (pinhole to film)
Equivalent to 23mm on Full Frame
Stearman SP-645 Tank
Developed in HC110 1+31 mins (Normal) @ 20C
Agitation 30 sec then twice every 30 sec
Pre-wash : 3 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
No Movements
No Filters
iPhone Meter (ground) 6 sec @ f256 (nearest on meter)
Added a stop for extra exposure
Reciprocity (used power factor of 1.4 instead of 1.2)
30 seconds @ f222
Added for reference. Scanned on the Epson V600 at 6400 dpi using the Epson software. Scanning at lower resolutions resulted in much more visible grain. The original (huge) tif file isn't quite as sharp at the jpg scans from the photo lab. It's possible the Betterscanning film holder I ordered, which has glass to keep the film flat, and can be adjusted for focus, will be better - it shipped today. Super bright highlights - like the light in the 2nd floor room - seem much more nicely rendered on film. But digital is quicker (no reciprocity failure) and cleaner (no dust spots). Going to pick up a fourth roll at the lab in a few minutes....
A while ago someone (who claims to be a photography teacher) raised the issue of not knowing how long to expose a shot for during blue hour using an ND10 stop filter as the light is always changing, claiming it is a little hit and miss. No actually it isn’t! Shot just as Twilight / Blue hour started this 37 minute exposure I think proves you can get your exposure right in changing light conditions if you know how to work it out. Using manual colour balance in camera you can also have greater control over the colours in the image.
This is straight out of the camera.
Shot using the SRB Photographic ND1000 filter.
Top tip - the longer the exposure the easier the math - and the exposure will be more forgiving and you can be more accurate - however there is always the risk of noise and deterioration with such a long digital exposure - bring back film however reciprocity failure.....
If you use my photo; please credit my Facebook Page Thank you.
Taken in August, 1989, here are "Simon D". and "Rafatam" resting on the bottom mud as the tide continues to drop. The dragger visible beyond the dock on the left is "Reciprocity". Reciprocity is very close to home in this pic. The place it was built (in 1966), A.F. Theriault & Son boat yard, is just out of sight to the left of this photo. Rafatam was built in 1964 by Wagstaff & Hatfield, LTD, Port Greville, NS. The tidal range here averages around 15-18 feet, not as much as in the upper Bay of Fundy, but still significant, allowing for interesting "bottomed out" boat photography at times.
The original image was taken with a Nikon F3-HP, Nikon 35mm f2.8 lens, on Kodak Gold 100 negative film. It was copied with a Nikon D3500 camera, Micro-Nikkor 55mm f/3.5 lens fitted with a Nikon 4T close-up lens, with a Sigma 1.6x achromatic close-up lens on the 4T. Lighting was provided by a 5000K LED bulb in a small goose-neck table lamp. A large ground glass screen was placed between the lamp and the film holder.
DSC-0128
16-Apr-2024 16:05
Rollei RPX25 rated @ EI 25
Developed in 510 Pyro for 8 mins 45 sec @ 20C
Pre-Wash 5 mins
Inversions first 60 sec then every 60 sec
Two water Stop Baths - 1 min each
John Finch Alkali Fixer (1+4)
Clearing time 90 sec. Total fix time 180 sec
Initial wash to remove fixer : 1 min
Washing : 10 mins with frequent water changes
Ilfotol : 1 ml in 600ml for 2 minutes
Bronica SQAi + 50mm
Highlight = 13
Shadow = 3
Midpoint = 7
Filters : None
Reciprocity : 4 sec goes to 7 sec
Final LV=7
8 sec @ f11
Getting ready for World Pinhole Camera day.
It took a little bit of experimenting to get the exposure right. To my chagrin, Instax film suffers significantly from reciprocity failure.
Camera: Wild Berry Drops pinhole camera
Diameter: 0.32mm
Focal length: 28mm, f/88
Film: Instax mini - ISO800
Expired: 07-2021
Exposure time: 70sec plus 3x bounce flash
Long exposure (about 8 minutes with reciprocity correction) on FP4, using a Lee big stopper. I took it with my Mamiya 645 Super, and I believe my Sekor C 45mm f/2.8 N.
Photo was shot on my solitairy 2016 roadtrip though Iceland, on the Jökulsárlon (aka Diamond) Beach.
I am currently rescanning a lot of older work with my "new" scanner, as I'm curating my portfolio and updating my website. The image has been digitally enhanced (contrast, sharpness and dust removal) in Lightroom and/or Photoshop.
"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 ..." Roman, 2nd century CE (Copy of a Greek work of the 2nd century BCE) www.metmuseum.org/art/collection/search/256403
Graflex Crown Graphic with Schneider-Kreuznach 150mm lens-
Green Hoya X-1 filter
2 minutes at f45
Fp4+ expired 4x5 film
Adonal 1+50 for 15 minutes.
Negative scan.
The filter factor, reciprocity failure and my own haste to beat the waning light
sadly caused a very under exposed and thin negative.
Oh well, we learn by doing.
11 min integration star align
Vixen VSD 100 mm astrograph Nikon Z8 iso 1600
Photo acquired in my backyard in Tucson AZ with onset of dark. The Vixen VSD astrograph is a less common telescope, it did not sell well before its production ended, but as a fast wide field scope it is a great performer for comets (see comet album link here).
This image has been edited to a Fuji film color profile (eterna) (Ted Forbes preset) with the underlying idea to try to capture the comet as it might have been with the hypered film - before digital film was soaked hydrogen and nitrogen gas to limit reciprocity failure to allow for longer exposures (shows the photographer's age) - such treatment improves faint feature capture- so this image was edited to simulate this.
This comet was discovered by the Mt Lemmon observatory outside Tucson, so it is quite nice to be able to capture it in all its glory in Tucson.
This a quite nice comet, in the telescope it is putting on a good show, but even with a camera and lens very nice photos can be acquired. The best comet of 2025, that has had a comet drought, and it is unlikely anything better will top 2025 A6 Lemmon this year.
f/235, Fl; 75mm + ou -, 0,32mm
Photo location; Donnacona, Québec, Canada.
Fuji FP-100C at 80 ASA..
Exposure Time; 8 hours 24 minutes! No filter.
With homemade «Daylab Polaroid/Pinhole Transfert».
Reciprocity + ... WO lens.
Polaroid week, day 3.
30-Jan-2025 12:50
Ilford FP4+ 125 rated @ EI 50 (N-1⅓)
Ebony 45SU
Rodenstock 150mm f/5.6 Apo-Sironar-S
Stearman Press SP445 Tank
Pre-wash : None
Developed : Bergger PMK 1+2+100 for 9 mins @ 20C
2 x Water Stop Bath
Eco Zone Alkali Fix. Clearing time 2 minutes
Total Fix time doubled to 4 minutes
Wash for 10 mins in frequent water changes
Ilfotol final rinse (1ml in about 500ml)
Movements
Front Fall : 1cm down
Mid tone LV = 12
Highlight = 16
Shadow = 10
Filters : Orange (-2)
Final LV=10
Reciprocity : 2 sec goes to 3
3 sec @ f32
(Image taken with a roll film camera). Click on the image to watch the details. Testing long exposure on Ektar 100 roll film. This is a 30 seconds exposure in twilight, it came out OK. But on other test were it was a darker situation, have to double the exposure time, do to long exposure reciprocity failure.
(Spanish: Probando una larga exposición en Ektar 100, me gusto como resulto el agua y los colores. No use filtros. En estas largas exposiciones en la obscuridad, hay que casi doblar la duración).
Technical Info: Mamiya RB67, Sekor C 50mm (like a 24mm lens on a full frame), f/22, 30 sec, ISO: 100, Kodak Ektar 100, no filters, tripod: Manfrotto 190XPROB with 496RC2 Head, Process: Scan on Epson V600 then edit in Lightroom 5 and Topaz Adjust. Location: Sanford Riverwalk, Sanford, Florida
Olympus OM2n, 28mm F3.5. Autoexposure at F5.6 on Portra 160.
It's official - the Oly OTF metering system is The Best at night. I used the film at its rated speed, with either 0 or plus 1 stop of exposure compensation. (There's reciprocity failure of at least one stop, but on the other hand the meter is going to overexpose it anyway, as though it were a daylight shot) The entire roll is pretty consistent exposure-wise, and there are no weird color shifts.
The battery died right at the end of the roll, and the replacement (which had been used in another body) died while loading the new roll. Off to Rite Aid tomorrow, before the snow comes.
---
In a perfect world I shoot the night shots on Ektachrome 64T; grain is clearly the limiting factor with my 35mm scanner (A Canon Canoscan F4000us)
February 17th, 2018. TIL: Gaussian blur on the sky gets rid of film grain. Filed for future reference.
ETA:
It turned out the OM-2n is toast. I'm now using a Nikon FM and a Luna Pro F light meter. It took some experimentation. I compared metered values with those given by my D600. In daylight they almost always matched, but at night the D600 consistently called for +1 stop more than the Luna Pro, so now I compensate.
There are two other factors:
1. Color balance. If you balance for Tungsten light you're going to loose two stops. Doesn't matter whether you use a blue filter in front of the lens, or compensate afterwards when scanning/Lightrooming. You're going to loose two stops.
2. Reciprocity. Unlike digital sensors, film doesn't respond linearly as light decreases.
That said, the Luna Pro (with +1 stop)/D600 suggested exposures usually work pretty well. The reason is that meters are calibrated against an 18% grey card. At night, that's usually too bright. When shooting digitally, I typically have to underexpose by one or two stops to get a properly "nocturnal" reading (and not burn out highlights).
With color print film, reciprocity failure is going to be a stop or so in the ranges from a few seconds to a minute.
So it all comes out in the wash. In theory the light meter will lead to overexposure, but reciprocity and color balance issues get you back to what you wanted.
I used to shoot tungsten-balanced E6 at night, and if it were still available would probably try again. In that case I shortened the first development time one or two stops to avoid burning out highlights. (This only works with Ektachrome, BTW - Fuji would just fall apart) It also made it more forgiving, overall. But with slide film I typically bracketed. (Never shot 4x5 Chromes at night. That ... would be challenge)
22-Apr-2025 15:45
Ilford Ortho Plus rated @ EI 80
Zero Image 5x4 Pinhole
50mm focal length (2 sections)
0.28mm pinhole
Stearman Press SP445 Tank
Pre-wash : None
Developed : 510 Pyro 1+100 : 9 mins @ 20C
2 x Water Stop Bath
Alkali Fix. Clearing time 2½ minutes
Total Fix time doubled to 5 minutes
Wash for 10 mins in frequent water changes
Wash for 1 min in distilled water
Kodak Photo Flo + distilled water rinse (1ml in about 500ml) : 2 mins
Filters : None
Reciprocity : 3 sec goes to 4 sec
4 seconds @ f176
A puddle was all that remained of the previous night's torrential rainstorm. Remnants of Autumn floated in the water, while some fallen leaves remained encased in ice which was gradually melting into a slushy nature collage, a seasonal offering of Fall memories, soon to fade, mixed with visions of a Winter not yet realized. A transition of sorts, the change of seasons occurs in an orderly fashion, like the changing of the guard or the circle of life...as life is bittersweet in its cyclical nature of birth and death, so is the familiar passing of time according to nature's clock a repetitive pattern of reciprocity, by which a season of wither becomes all but forgotten once the excited anticipation of Spring renewal peeps its first sign of new life. ~ ©️December 5, 2018 Lisa Pearlman
1975, New York City, U.S.A.
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) slide film and 3200 Kelvin lights (time exposures and bracketing, watch out for reciprocity failure!!!). Fashion photography was shot on 6 x 6 cm sq slide 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!
(February 27, 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!
first month of the year 2018 around "Deutzer Hafen" und "Südbrücke" cologne
loaded in the 6x6 an ilford fp4+
a clear and cold january evening
with beautiful reflections on the surface of the water
thanks for the flooding on the river rhine
500cm
ilford fp4
sonar4-150c
55 seconds
Measurement 15 seconds at f8 with ISO100...
the same setting like the picture "beautiful two" then minutes before...
the addition of 40 seconds to account for the *Schwarzschild effect resulted in the 55 seconds for the final image
*reciprocity failure is really important to understand, but in the end not as complicated as it might sound!
no filter
a cable remote release
closed WLF...
...yes the WLF should always be closed at longer exposure
of course, the film was selv-developed
this time in Ilfosol3 for 4min.30 seconds @20°C
here is the recipe:
I edit and archive my pictures with ps-lightroom
the black and white pictures especially this additionally with Silver Efex Pro
However, I do not use any defaults that can be found too often in Efex Pro! At least for my few night shots I use SilverEfex Pro to emphasize certain areas in the picture more.
Fujifilm NPS 160
Schneider 58mm Super-Angulon XL, Gaoersi 4x5
HnY CPL + Haida 10-stop filter on HnY magnetic holder
Tetenal Colortec C41
Epson v700 Perfection
Website | Facebook Page | 500px | Instagram
Calumet 4x5
Nikon Nikkor-M 300mm ƒ9
Arista EDU Ultra 400 @200
HC-110G 18 minutes 20°C
Hoya yellow filter
Natural light, meter reading said 13" of exposure, reciprocity failure required bumping that up to 83"
The cutting was donated by my Japanese Flowering Crabapple tree.
Peru's future football stars taking a break from the game in San Juan de Miraflores, Lima, Peru.
Here is a blog I have written about Reciprocity NGO
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
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Cambo CS 5x7" view camera, fully extended, with 240mm Rodenstock Eurynar lens on very expired (<1970) Agfa Gevapan 33 film.
Exposed for 40 minutes (!) at f32, due to compensation for extension, age (+40Y) and reciprocity failure (in total +8 stops!). Developed in Xtol 1+1 for 9:00 minutes
Lyukkamera, Pinhole Camera, Appareil à sténopé , Cámara escura, Camera obscura, Estenopeica, Foro stenopeico, Hålkamera, Kамера опскура, Lochkamera, Otworek, Pinhole fotoğraf makinesi, Stenopeica, φωτογραφία, Пинхол Фотография
Author : © IMRE BECSI
© All rights reserved
Location of shoot :
Esztergom,
Hungary,
Europe
Time of shoot :
2017.04.17.
Info of Shooting :
Film : Fuji FP-100C Color Instant (expired)
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)
Filter : Yellow, Green, Red
Metered expo.: 15.5 EV (grey cloud)
(Metered with Minolta Spotmeter)
Calculated expo.: 15 sec.
Shooting 1. without filter : 3 sec.
Shooting 2. with Green filter : 5 sec.
Shooting 3. with Red filter : 7 sec.
(I use my reciprocity compensation value chart to Fuji Color Instant film)
Dev.: 120 sec.
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 : 90°
- Light falloff at the corners [f/stops] : 1,8
- Resolution [lines/diagonal] : 959
Post work : (2019.05.10.)
Scanner : Epson Perfection 3200 Photo (300 dpi)
File Size : 160847MB (TIF)
Pixel : 8302 x 6612
Scanner software : SilverFast SE
Final work : PS
Important note:
This images are copyright protected.
Use without permission is illegal!
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 !
"
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.
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, f13 durant 6:15 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, 6:15 min. of exposure, at f13 compensating for the large reciprocity failure (the photo meter indicated only 30s., at EV 2).
First trials at urbex.
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"]