情報の河。 Інформаційний потік
情報は海で有り、海は情報で有る。
Інформація – це море, а море – це інформація.
https://www.pixiv.net/novel/show.php?id=26208854
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#ＡＩ生成 #some #fancy #answer #yourself #get #second #friend #school #report #daily #news #other #explain #word #possibility #malice #information #flow #rapid #pace #ourselve #crossroad #think #type #keyword #accept #optimal
情報の河。 Інформаційний потік
情報は海で有り、海は情報で有る。
Інформація – це море, а море – це інформація.
https://note.com/poison_raika/n/n43b0587fef5a
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#ＡＩ生成 #some #fancy #answer #yourself #get #second #friend #school #report #daily #news #other #explain #word #possibility #malice #information #flow #rapid #pace #ourselve #crossroad #think #type #keyword #accept #optimal
何処かの誰かさんが用意した格好良い答えに依存するな。 己の頭で考えて答えを導き出せ。 スマートフォンをタップすれば、数秒で「答え」が手に入る。友人との会話、学校のレポート、日々のニュース。我々の周りには、誰かが用意した格好良い答えが溢れている。だが、その答えを、君は自分の言葉で説明できるか。その情報の裏に、悪意が潜んでいる可能性を考えたことはあるだろうか。 情報が奔流と化す現代、我々は思考の岐路に立たされている。検索窓にキーワードを打ち込み、アルゴリズムが提示した最適解を、疑いもせず受け入れる。SNSで「いいね」が多い意見を、世論そのものだと錯覚する。この行為は、楽ではあるが、
Diane Keaton death: Friend reveals Keaton’s rapid health decline before sudden death
“It was so unexpected, especially for someone with such strength and spirit.” Veteran actress Diane Keaton died in…
#NewsBeep #News #Headlines #actress #before #Death #decline #diane #friend #Health #keaton #keatons #late #leadup #NewZealand #NZ #rapid #revealed #reveals #star #sudden #took #turn #worse
https://www.newsbeep.com/180067/
Filling The Gaps: The Bencini Comet Rapid Half-frame Camera
Back in the early 1960s, in response to Kodak’s introduction of its instamatic film system, the European film and camera company Agfa launched the Rapid system. Actually, it’s more accurate to say that they reintroduced their 1940s Karat film system under a new name. Instead of a sealed plastic cassette, the Agfa Rapid system used metal canisters, which contained a length of 35mm film. Inside the camera, the film would be fed from a full canister to an empty one. When exposed, the now filled canister was sent to the lab for development and the once full canister became the empty one for the next film.
When Agfa launched its Rapid film system, it produced dedicated cameras, but it also shared the Rapid format technology with other European and Japanese camera manufacturers as well. So, you can find Rapid cameras from Agfa, Canon, Ferrania, Hanimex, Mamiya, Minolta, Olympus, Ricoh, Voigtländer, and Yashica, among others. Bencini was an Italian manufacturer who produced cameras in various incarnations between the 1930s and the late 1980s. The Comet range, made from the 1940s until the 1970s, from what I gather, included 127, 120 and 35mm camera, so I guess that it was inevitable that one of these would include the Rapid format.
The Bencini Comet Rapid was produced from about 1965 to the early 1970s. It’s a half-frame camera, with a frame size of 18x24mm, and it uses 35 mm film in Rapid canisters. Since the film is physically pushed from a full canister to an empty one, there is no rewind feature, just a thumbwheel on the back. The eyepiece took me a while to find, it’s just a tiny hole on the back of the camera. In contrast, the viewfinder on the front is a large gold tinted window very much like the viewfinder on my other Bencini half-frame camera, the Koroll 2.
I came across this model on that popular auction site during a random search for Rapid cameras. There were a few available in Europe, and prices were not that bad. I found one interesting item in Italy, so this is probably the furthest this Comet has travelled since its manufacture, and it was described as: ‘Vintage camera with case. Good condition, some signs of aging. Untested.’ I was a little put off by the ‘untested’ bit, but what really convinced me to go for it was a photograph of the open back of the camera; there was still a film in there. Perhaps it was because the camera had been stored loaded for a long time (I reckon decades) but the canisters were really hard to extract from the camera. I wasted one frame checking that the shutter was firing, but then prised the canisters out of the camera without moving the film too much.
I reloaded the canisters back into the Golden Wonder, the Welta Penti II half-frame Rapid camera, and exposed the rest of the frames at ISO 25. The counter on the top of the camera suggested that eight frames had been exposed, so I reckoned that there should be enough film for 10—15 half-frame images from this film, and I think I got eleven. Sadly, when I got to the end of the roll, it turned out it was Agfa CN S film. Made between 1965—72, Agfa CN S was a colour film that used the C22 process, and not C41. I can’t get it developed in C41 chemistry, because at 38°C the emulsion will fall off, so for the time being, the film is being stored in a 35mm cassette until I decide what to do with it.
The controls on the Bencini Comet Rapid are all on the front. On the top of the camera is a frame counter, and on the rear just the thumbwheel to wind on the film. To the right of the lens is the shutter speed dial. There are just two options: 1/30s for flash sync (with a little lightning symbol next to it), or 1/100s with a sun symbol. On the top of the lens housing is the aperture dial, between f8 and f22, which is changed by turning the lens housing. The Bencini Comet Rapid even has distance focusing, with a tiny ring on the front of the camera.
The camera was pretty dirty, so I spent a good hour with the air blower, lens cleaner, and wipes cleaning it up. One thing I was delighted to achieve was removing a nasty brown crud from around the lens, so now the text, ‘Bencini Milano, Made In Italy’ stands out beautifully against a white background. To the naked eye, the lens looks clean now. I’m just hoping that there isn’t some fungus behind the front element.
I loaded the Comet with some Lomochrome Turquoise, which I had bought specifically to decant into Rapid canisters, and took it to Oliveira do Bairro. The Lomography Turquoise was rated at at ISO 100, and the shutter speed of the Comet set to 1/100s. To judge the correct exposure, I used the Camera Meter app. After a lovely morning around the town,I decanted the film into a recyclable 35mm cassette and dropped it off at Forever Blue in Aveiro. The negatives were scanned at home with an Epson Perfection v750 Pro flat bed scanner and Epson Scan software. I’ve posted the whole roll in an album on my Flickr, if you want to see the rest of the images.
I was delighted with how the photographs came out, the Comet behaved admirably and I’m glad to have another Rapid half-frame camera to add to the collection. It seems to me that when it’s rated at lower ISOs the turquoise effect of the Lomochrome is not as pronounced as at higher ratings, but for this experiment, that was fine. The images were a little ‘soft’ when blown up, so there might be some haze under the lens still. I’m not sure how I might access that, and at this stage I really don’t want to. In conclusion, the Bencini Comet Rapid is a lovely little camera. One thing that did occur to me was that since the Agfa CN S film was only produced up to 1972, that might date the camera from the late 1960s to the early 1970s. That would be cool.
If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.
#Agfa #AgfaRapid #Bencini #BenciniCometCanister #Experimental #Expired #Lomochrome #Rapid #RapidFilm #Turquoise #Vintage
The #FrugalFilmProject, September 2025: The One Where We Tried To Expose Both Sides (Again)
This post has been sitting in my draft folder since the middle of September, and I’ve just realised that I haven’t posted it, and it’s now October. Oops! I had actually submitted one of the images for the World Wide Half Frame Photography Day, and I guess that with all that was going on, this post just slipped through the cracks. A couple of months ago on the Frugal Film Project, I tried something different: EBS photography, or Expose Both Sides. This is exactly what it sounds like, first exposing a film normally in the camera — with the emulsion side facing the subject — and then reversing the film, reloading it back into the camera, and exposing the whole film again — this time with the emulsion side facing away from the subject.
It didn’t go well. Even though I marked the film carefully, somehow I managed to get the alignment completely wrong, so the frames on each side of the film were not lined up. In fact they were almost precisely 50% off, so there was a big band down the centre of the ‘normal’ exposure which was the ‘between frames’ unexposed part of the film of the redscaled exposure. However, this made me all the more determined, and I really wanted to try the technique again. I read somewhere that it’s better to expose the redscaled side first, and then to expose normally for the second exposure. So this time I decanted some Harman Red film into a Rapid canister and loaded this into the Golden Wonder. The pre-production Harman Red I have is actually Harman Phoenix spooled backwards. In fact, within the sprockets it even says Harman Phoenix, so I feel this certainly counts towards the Frugal Film Project.
As before, I marked the position of the film gate, and this time, since I reckon this was one of the reasons the film didn’t line up the first time, I also marked the position on the film of the little tabs that engage the sprockets and push the film into the empty canister. My subject was street art, so with the redscale side I took a close-up of a series of pieces of street art around Aveiro. Once the film was finished, I decanted this into another Rapid canister, with the emulsion side facing the subject, and lined up the film with the markings on the other side (remembering to make sure that the position of the little tabs matched, too). I then retraced my route, taking photographs of the same pieces of street art, but this time at a distance.
When taking the photos for the second series of exposures I held the camera upside down so that the orientation of the images on both sides would be in the same direction, although I did forget this a couple of times. On completion, the film was taken to Forever Blue in Aveiro and scanned at home with an Epson Perfection v750 Pro flat bed scanner and Epson Scan software. This time, the frames on both sides were almost perfectly lined up, which was excellent. Unfortunately, both the ‘redscaled’ exposure and regular exposures were well overexposed. I had tried to underexpose the exposures on each side by 1-stop, but clearly it didn’t work, and I’m thinking that Harman Phoenix, with a box speed of ISO 200, is just too fast for EBS with the Welta Penti II half-frame Rapid camera.
After my initial disappointment with the images, I wasn’t sure what I got, and I was confused and a little deflated with the results, on repeating viewings I became a little happier with what I had achieved. The images took on a really ‘painterly’ effect, almost not a photograph at all, and I really liked that. The colours were all over the place, I wasn’t sure if that was because of the scanning or what, but the overall effect was pleasing. I’m going to try it again, but this time with a slower film, and perhaps not trying to overlap with the same pieces of street art each time.I’ve posted the whole roll in an album (https://www.flickr.com/gp/147583812@N06/QBYW5KMxg8) on my Flickr, light leaks and all, if you want to see the rest of the images.
If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.
#AgfaRapid #Art #FrugalFilmProject #Graffiti #HalfFrame #HarmanPhoenix #Mural #Penti2 #Rapid #RapidFilm #Redscale #Streetart #Welta #EBS #ExposeBothSides #URBAN #WWHFPD25
Genesis: Demo Your App on Day One
Skip the setup hell. Genesis fast-tracks your development journey by generating production-ready apps from simple prompts, letting you demo on day one.
https://hyperdrift.io/blog/genesis-the-app-kickstarter
#genesis #development #productivity #ai #prototyping #rapid development #nocode
The #FrugalFilmProject, August 2025: The One Where We Took The Golden Wonder On Holiday
We generally spend the month of August on holiday down in Meco, which means that most of the time I don’t have my Frugal Film camera with me. This usually meansI either I miss a month, or find myself rushing around to grab something in the last couple of days after we get back. This year, though, I have the Golden Wonder, and that little beastie is small enough to carry around in a pocket. So I decanted Harman Phoenix into a couple of Rapid canisters and took it with me.
What I especially wanted to try this month was diptychs and triptychs, two or more half-frame images presented alongside each other. First of all, I took the Golden Wonder loaded with a canister of redscaled Harman Phoenix into the woods between the village of Meco and the Praia Ria da Prata. These are the pine woods that we have to walk through to get to the beach, and I’ve taken a lot of images of these trees over the years.
The afternoon sun falls sideways on the trees, and it’s perfect for redscale. This time I was focusing on isolated trees, and I tried to fill each side of the diptych with one tree. I also found a few telegraph and electricity poles, so of course I had to get a few diptychs of these, too. On the whole, it was a fun exercise, and it got me outside on a day that it was too windy to go on the beach.
The second canister was filled with ‘normal’ Harman Phoenix (the roll was not reversed, as for redscale), but this time the results were less satisfactory. I still got some nice results, especially from the tripych and the sunsets, but some of the images were really disappointing. For some reason, with the Golden Wonder I always get better results with redscaled Phoenix. I’ve posted the both rolls in albums on my Flickr, light leaks and all, if you want to see the rest of the images. You can find the normally exposed Phoenix here, and the redscaled version, here.
If you are on Mastodon, you can now follow this blog directly. Just go to Mastodon and follow the ‘Snapshot’ WordPress account at @keithdevereux.wordpress.com. All new posts will be automatically updated to your timeline.
#HarmanPhoenix #Agfa #AgfaRapid #Cassette #Diptych #FrugalFilmProject #HalfFrame #Penti2 #Rapid #RapidFilm #Redscale #Triptych #Welta
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