Pinholography

New Pinhole Magazine

2010-03-14T09:43:00.000-07:00

It's rare that a magazine comes out extolling the virtues of pinholography. Well, boys and girls, we have a new one and it's a pip. Without Lenses is the new offering.

Take a look around and I think you'll like what you see.

View it here.

If you are new to pinholes or just like reading about it, give it a go.

6 feet high and Risin'

2010-03-07T05:37:00.000-08:00

Yesterday, we took a drive (again) to the Salton Sea area. Mainly we went on an expedition to shoot Salvation Mountain. Photos will be available after the appropriate wait for developing, processing and scanning...ah the good old days of film.

Anyway, we spent quite a while at Salvation Mountain which you have to see to believe. This was built by Leonard Knight (see his website here) and reminds me of the old House of Depression in Vineland, NJ back in the day.

Photographs notwithstanding, the highlight of our day was at Bombay Beach. It was pretty crowded (about 7 photographers) and 5 of us gathered around a small spot on the beach to shoot the pelicans. Diana had struck up a conversation with a fellow named Jimmy Clinton.

Next thing you know, we are all involved in a political conversation centering on everything from the present administration to the Bilderburgers. What was amazing was here we were in the middle of nowhere, 7 photographers gathered around some stinky water and everyone of us was deeply concerned about the U.S. and where we are headed as a nation.

To a man (and two women) we talked mostly about the fact that we seven were a microcosm of the nation. Here we are in "liberal" California and not one of us supported the current administration. NOT ONE! A new American Revolution is on the way and it's time to vote out of office ALL INCUMBENTS! We have to start over folks. If you love your country, it's time to take it back.

To the politicians...It is 6 Feet high and rising.

And to Jimmy Clinton...thanks for a very stimulating end to a great day of shooting. Hope to see you soon...but not Belize. Well, maybe.

Random thoughts

2010-03-05T08:34:00.000-08:00

Actually, all of my thoughts are random. Guess it's the ADD thing.

Anyway, I just got back from our lab ProPhoto in Irvine, Ca. The owner, Kornel Schorle, printed a few of my pinholes on Kodak Metallic Paper. WOW! These are color balanced and archival printed with lasers. Who would of thunk? Before I digress too far, Kornel is the most talented photographer I know. His work is stunning. Turns out, incidentally, that we were all in the Salton Sea at the same time without either of us knowing it. He is coming out with a new book and postcard sets you need to see to believe. I would suggest you write Kornel and ask about these. You will be blown away.
His e-mail is kschorle@yahoo.com

The detail in these prints is awesome and the color fantastic. These are going into an exhibit and will be 11x11, matted in 20x20 heavy museum board and framed in black brushed metal frames. These will be available in limited edition signed pieces for $350.00.

I have shipped some of these without the glass being broken (just so you know) so we cross our fingers everytime we ship and we do not guarantee the glass for breakage. However, to protect the print, the glass is not installed, rather packed separately to avoid damage. You have to install the enclosed glass yourself.

If anyone is interested in these prints, please let us know which pinhole you want and we will take care of it for you. We accept PayPal and Diana is putting a PayPal button up on the site today.

Individually matted prints are available without frames for $200.00 (framing is expensive so, if you want just a matted print, they are available.

We're finally back.

2010-02-28T18:11:00.000-08:00

I must tell you that this has been the most horrendous 2 years of our lives. The stress of having a sphyncter muscle enter every aspect of your life was awful to say the least.

But now we can celebrate. As of last week it is all a distant memory...well, not all that distant, but a memory nonetheless and we can get back to being creative and shooting with our favorite little cameras; the Pinhole.

I know some of you have wondered which cameras we use and which ones to buy. My two favorites are my Zero 4x5 with two extensions which makes a 75mm wide angle. Since Polaroid is still unavailable, I bought 20 4x5 holders that I will load with Ektar and scan.

My absolute favorite is still the Zero 2000 Deluxe. I use it almost exclusively and the photographs in November's Shutterbug were all taken with the Zero 2000. All of my cameras are listed there.

Diana's pin is one of the last Chinese pinholes made and has a metal body complete with a viewfinder and is multi format 6x4.5 and 6x6. She's not quite as obsessive compulsive as I am about pins, prefering her digital Canons.

Anyway, we are back and we have a few shows coming up soon. The display pieces will all be 11x11 printed on Kodak Laser Metallic Paper, matted and framed in 20x20. We are still seeking a representative in the U.S.

So, now we can get on with jois d'vivre and enjoy ourselves once again. Stay tuned. We are back for good. Let me leave today's post with one admonition; NEVER, EVER take on a business partner who promises the moon. It ain't happening!

It's driving me nuts!

2009-11-01T16:14:00.000-08:00

I received an e-mail from a VERY talented photographer acquaintance today. He is not good. He is VERY good.

We kind of chatted about how digital imaging is almost impossible to keep up with (dangling prepositions and all). It's like we are in this futuristic time warp where Andy Warhol's 15 minutes of fame has finally crept up on us all...well, more like pounced on us.

Richard Avedon died when he should have. The great photographers are having difficulty keeping up. A photograph should evoke an emotion aside from the "playing around" with images. It should be WOW beacuse it's real and not WOW because of what the photographer manipulated to get the image.

Back in the day (1972) I bought my first REALLY good Beseler 23CII enlarger for $195 bucks. It was a huge investment for me. But I produced some outstanding work on that thing (if I do say so).

Heck, I can do that on my computer now. The programs unfortunately, that I use cost me more than that enlarger! Then we have to put up with Canon and Nikon, for example, coming out with new cameras every 6 months. When is this going to stop?

Canon announced that their sales were off by over 21% this last year. Hello!

We can't keep doing this. There has to be a limit. I bought a G 10 "street camera" a few months back and Canon brought out their G 11 a month ago. This is so wrong.

When is the insanity going to end?

It's no wonder we are going back to film. The camera makers are shooting themselves in their corporate feet. I may just get rid of all my digital gear and go back to the good old days of film.

This is crazy!

P.S. Thanks, Fred

Putting the FUN in Photography again

2009-10-30T13:45:00.000-07:00

Digital photography promised to be THE boon to us photographers when it first reared it's beautiful head. Now, I'm not so sure. The upgrades in software alone will drive you nuts. While Diana is using CS4 (when will CS5 be announced?) I am still on CS2. Why?

I like my life uncomplicated. There is only so much I can or even want to do to a photograph. That really applies to pinholes. After all, I am looking for a simple way to express my feelings to an audience. Diana on the other hand, loves the manipulation afforded by all the goo gaws of CS4.

So, for those of you who would like to just have fun, please look into pinholes...they are cheap, use film, and what you imagine is almost always what you get.

I want to introduce you to another good friend in the pinhole world, Brian Krummel. He has just published his new book (which I highly recommend) regarding pinholes. If you need a great book about pinholes, his is beautiful!

You can also read an interview Brian did with me here.

Go out. Have fun with a pinhole. No you don't get instant gratification, but that's sort of nice, huh?

Online ShutterBug

2009-10-24T06:46:00.000-07:00

Ok, gang. The hard copy of my cover story in ShutterBug is now online. Just click here if you didn't see it on the stands.
Now, we're off today to add some more images to the site and test out Kodak Ektar.
I have to tell you, I am a bit bummed out about losing Superia.
Anyway, I want to thank everyone for their support of my work. There are way too many to list, but thanks and you all know who you are.
Incidentally, there are still some hardcover coffee table limited edition books left. These are signed and numbered.
Just give me a jingle and we'll get one off to you.

Fuji Superia

2009-10-16T10:10:00.000-07:00

Well gang. It appears that my favorite film for pinholes, Fuji Superia, will no longer be imported into the U.S. Damn! I love that film.

So right now I am trying out Kodak Ektar ISO 100 as an alternative. I liked Superia for it's excellent grain characteristics, sharpness, low reciprocity failure, etc. It was a short lived love affair.

I will be receiving my first batch of Kodak this week and hope to have some images up shortly. One thing about pinhole photography is that one has to wait for the lab to return the film, then scan, etc. It certainly isn't fast.

We did some interesting stuff this past weekend, but won't see those for a few days yet as we are tied up with some other things that will take some time away this upcoming week.

Until then, cross your fingers on the Ektar.

The Weekend ...well, ends.

2009-10-11T20:39:00.000-07:00

I've been contemplating, mulling, thinking, you know that thing one does with his gray matter between the ears. It became clear to me that once a week, I should get to wax poetic about whatever I feel like, be it politics (oops, scratch that one), cameras, philosophy, writing or just plain whatever I feel like.

So, from this Sunday on, I'm going to do just that. In what may appear as random Kerouacian train of thought, I'm just going to practice in writing what I do best...whacky ramble. Hopefully, some of it will amuse and sometimes even make one think about stuff. (Stuff, incidentally was made famous by the late great George Carlin.)

One thing that capped my month off was a.) the cover on ShutterBug. (I'll have the comp' issues in Tuesday and, unlike every other magazine I've been published in, I plan on keeping these somewhere safe) and b.) the check was nice, too. I really want to thank George Schaub, editor of ShutterBug, for giving me that cover. It came at an opportune time for my ego.

I want to thank Diana for all of her hard work making appointments, keeping the books, being my "bud" and keeping the websites straight.

Of course, my number two and three fans, Justice and Lucas. Two great kids they are! I get sunburned a lot from their erroneous thinking that the sun rises on Dad.

Finally and certainly not least, all my friends who would call themselves "clients" who have supported me over the past years. You guys are awesome! You've been there, too when my head got a tad large and I love you all.

We actually got out of the house today and drove up to Alpine. It's a cutesy little town east of San Diego up in the dry air about 2,000 feet. We took our cameras. I took it all as usual feeling a bit like the proverbial mule.

We had lunch at a Bistro...Bistro translates to expensive. Just as Ristorante also translates to expensive. This was a ristorante/bistro. Even a 'burger was 12 bucks. So I opted for a salad and Diana, as usual, observed "It's all so expensive." Ya gotta love this girl. This is the lady who reads a menu from right to left. No it's not a Dutch thing, it's price to food index. She shops for everything that way.

I looked in my pinhole camera bag (see how I sneaked that in?) and lo and behold, I only had two rolls of Superia left. For me, that's about enough for an hour of shooting. To quote Herman Munster "Darn. Darn. Darn." You see what digital does to your brain? YOu forget that you can only use film once. It doesn't reuse well.

The clouds that were at home on the ocean had disappeared. The wind was non-existent. Not boding well for pinholes. But, we put about 110 miles on the Jetta just roaming around the San Diego mountains getting lost and enjoying the incredible sunset.

And then! We drove home. We got back about 8 p.m. and both just crashed.

Now does it get any better than that? The best things in life really are free. Well, about $3.09 a gallon, but I didn;t count that. We drove. We talked. We planned.

In fact, we are planning a shoot in Pima Indian country, Coolidge, Arizona, after Christmas (we have a little gadfly to swat first) and then we are spending a few days on the reservation (Thanks, Cathy O) photographing these wonderful native Americans. We hope to get a book together and publish that in 2010.

So, tomorrow, I am back in the office, looking through another form of lens and looking forward to seeing some old friends (who are better, I hope) and seeing new unmet friends who we can encourage to get better.

All in all...it's a pretty good life. (I do miss Italy, though). Gadfly be damned.

Feed Your Head

2009-10-08T03:29:00.000-07:00

With all due deference to Grace SLick and the Airplane, pinholes do indeed "...feed your head."

Some will say that the true fun of pinholes comes from making your own camera. My hat is off to some of the artists I have seen and/or known. I mean some of these folks make cameras from skulls and some have made underwater cameras! Yikes. You had better have a lotta air in those tanks.

But, for me, the fun is what's in your head coming out on film. For example, since you are shooting with a moderately wide angle pinhole (these usually range around 24 mm) expression of vision is altered. My cover shot on this month's ShutterBug of the fountain in Oceanside is a perfect example of distorted view and slow shutter speed.

Not only was the fountain water blurred, but the clouds were semi "frosted," as well. I guess that's what they mean by "frosting on the cake." When your film comes back from the processor, you will be quietly amazed. And once you begin to see it in your head at first (what Ansel called previsualization) your images will begin to take on an entirely new, well, point of view.

That is when your pins begin to take a life of their own. It's almost as though you give them life.

My first pinhole was a Holga (see previous blog entry). But, when I saw Zernike Au's teak and brass pinholes, I was hooked. It is still my favorite pinhole. The deluxe version has brass knobs, a bubble level and a shutter release with cable socket. These all come in a, what appears to be, rice paper/cardboard gift box. When you get it in the mail, you almost don't want to use it. But, the lure is too much. You will put it to use!

Load it up and go looking for images.

There are a lot of people out there making "commercial" versions of pinholes and some of them are horrible expensive "custom" cameras that mostly just don't work well. (Write me if you want an opinion.) I bought one such piece that, on the outside was downright gorgeous. But, the $250 box turned out to be a nightmarish camera to use...so much so that I sent it back. No, Virginia, the camera maker never refunded my money...so beware.

Anyway, I put a picture of the Zero up on the top of the page and this is also the picture that appears on the cover and in the body of the article for November 2009 Shutterbug.

Have fun.

Getting started in pinhole photography

2009-10-03T13:38:00.000-07:00

A lot of people have asked how they get started shooting "pins." It really couldn't be easier. All you need is a light tight box, a pinhole and some film. OK. I am oversimplifying a tad, but it's pretty close.

First, you need to decide what type of film you are going to use. (Yes, you can buy or make a pinhole for a digital camera, but it just isn't the same.) I personally prefer larger formats such as 120 or 4x5. With 120 you can choose 6x4.5, 6x6, 6x7, 6x9, 6x12 and 6x18. You can also choose transparency or negative film(s) and/or black and white. This gives you quite a range of options.

I personally prefer 6x6 or, more commonly, 2 1/4" x 2 1/4". I just happen to like square format. I also prefer Fuji Superia color negative film for many reasons not the least of which is the fact that it is a very forgiving film. It has a huge amount of latitude which gives you a lot of room for exposure error.

Second, after scanning the negatives, I can choose to create color, black and white, or sepia toned prints depending upon the subject matter.

As for a camera, you can make your own and there are a lot of sites with instructions on building pinhole cameras or, if you are DYI challenged like me, you can buy one. The Holgas (pictured at the top) are a great starting point costing about $35.00 from Amazon (click on the link to the left to have a look). (You will find out really quickly that they need to be taped up because they are not as light tight as I would like.)

Or you can opt for my favorite 6x6 which is the Zero 2000 (which comes as a standard or deluze version) from Zernike Au in Hong Kong. These are beautiful little teak and brass cameras that will satisfy even the most discerning photographer. They sell for $98 and $168. PLUS, if you decide you're not the pinhole type (whatever that type is) they are beautiful pieces for display (perish the thought.) I use mine!

Now, understand that shooting pinhole can be a tad disappointing in the beginning since you rarely have a viewfinder. In other words, you are pretty much guessing. Most of the 6x6 cameras on the market have an angle of view about equivalent to a 24mm wideangle lens so you learn after your first roll, to get in close...closer than you think...then move closer.

Wow! No focusing required. Yep. Everything is in focus from millimeters to infinity.

Then you unload your masterpieces and take them to a processor. Remember those folks? They actually develop film! Once you have your prints back, you have to scan the negatives and make some other decisions. That's where the fun just starts.

And that is where we will leave off and pick up next time.

Shameless self promotion

2009-09-26T23:35:00.000-07:00

Now you can all see what I have been up to. Click here and comment if you like.

The new book Pinholography is now available. There are also 100 limited edition/signed and numbered copies available through me and they will be on our website www.jargonart.com as soon as I can cajole Diana to put it on the site.

You can use PayPal if you like.

Just e-mail me for details. The cover incidentally, is the Shutterbug cover for November 2009.

Thanks to all of you for your support.

A buck a floor

2009-09-19T15:51:00.000-07:00

We were in Los Angeles for an assignment and I naturally brought my Zero 2000 with me. First day there we took the elevator to the top floor of the Standard Hotel. First, the view as you can see is awesome.

We were fortunate enough to have beautiful cloud cover, a rarity in LA. Second, anytime you can get up high in LA you are in for a treat. Not only does the skyline impress, but this image I think says a lot about the dichotomy of the area.

Here is new LA in the towering buildings contrasted by the old apartments on the lower left off of 6th Street.

Incidentally, we have figured out how the Standard determines charges for wine. Two glasses of Pinot Grigio were 26 bucks...that works out to a dollar a floor. Incidentally, DO NOT eat rare hamburgers in LA. Diana ordered a rare hamburger at 14 bucks (we were, after all on the bottom floor so they obviously charge in reverse.) She got e-coli and we had to drive home...FAST.

But, we did get the job done, which you can see here, and got some great LA architecture to boot. I'll share more later when my scanner decides to work according to plan.

The photograph was 4 alligators on Fuji Superia.

P.S. Please see the November issue of Shutterbug. My pinhole article appears inside and on the cover is a pinhole of Oceanside City Hall. Anyone for autographs?

OK. I've been horrible at updating...

2009-09-10T17:11:00.000-07:00

...but I do have a reason...well, excuse. We have been busy (a good thing) shooting "real camera" jobs. Most of it has been journalism and that has kept me from doing my due diligence. You can see what we've been up to at our website www.jargonart.com/journalism.

In fact, we are heading out this weekend to shoot another assignment in L.A. Hey. It pays the bills.

Anyway, I wanted to bring you up to speed on some happenings around here.

First, The November Issue of Shutterbug has an article of mine about pinholes and I got a cover. That is extremely cool. (I've been thinking about doing autographs, but that will probably be limited to my kids). SO go out and buy a bunch but don't be surprised if I already beat you to it. The cover is a photo I did of the fountain at Oceanside City Hall.

I am also trying to "mainstream" pinholes. We have some projects planned that I will reveal shortly, but suffice it to say, we are looking forward to some exciting stuff. The photo industry is a huge flux and I am hoping we can get some unique images that will go well, mainstream.

We'll see.

I promise (again) to be more up to date, but truthfully, I have been so busy it's been pretty ruthless around here.

See you in a bit. I should have some stuff from L.A. to show you in a week or so. Developing film takes time. Remember film?

Volatile beauty

2009-05-23T18:47:00.001-07:00

We've been pretty busy the last few weeks. Diana finished her school term and I have been doing assignments for Demotix and others. I've neglected my blog sorely and I miss it. I miss you!

But, here's a sample of what I have had time for. These Eucalyptus are all over California from the North clear down here to San Diego. As beautiful as they are they are a serious fire hazard. If ignited, there is little chance of putting them out. But, they are beautiful "creatures" nonetheless and, like most beautiful creatures, volatile.

I shot this with my Zero 2000 on Fuji Superia at ISO 100. I simply placed the tabletop tripod on the trunk and exposed. I love the perspective of pinhole.

I promise to be back with more as time allows.

2009-05-23T18:47:00.000-07:00

Finding the "God" particle

2009-04-25T10:02:00.000-07:00

I have had a cold for the last two days and, as usual, I get philosophical when put down for a few.

So forgive this Socratic rambling, but I think I am going somewhere with this one.

An acquaintence of mine across the "Big Muddy" in England wrote and asked my advice about film/developer/film speed combinations and, while I was flattered it got me to thinking about several issues in this photography business.

The actual difference between film and digital, convenience aside, is not quite as dramatic as we might all think. Whether or not film is dead is an argument still ongoing, but the truth is that we really still boil images down to how much information can be captured on pieces of film grain (read, pixels). The tighter the grain, the more capable film is to enlarge...to a point. That point, like all things photographic has a trade off. Usually, the finer the grain, the less acutance and the shorter toe and shoulder. In other words, the ability of film to record delicate nuances of tone diminishes in proportion to the fineness (and amount) of the grain.

The same holds true for digital. The more pixels we cram into a sensor, the higher the ability to enlarge. But, with the law of diminishing returns, the larger the pixels the more information can be recorded. That is why larger sensors (like the Phase One, Leica and Mamiya) can get better detail and color rendition. The pixels are larger and can record more information.

In the mid life crisis of film, back in the 60's, we were pushing the limits of 35mm enlargement capability with ASA (remember that term now replaced by ISO?) numbers of 10 and 15 and several companies were touting super duper developers that did indeed allow huge enlargements. But, the law of diminishing return reared its head again and the tonal scale was terrible no matter how hard we tried to compensate.

Today we face the same mid life crisis in digital, albeit a bit faster. In less than 10 years digital has overtaken film, but the mid life crisis is hitting hard. Back in the day, you could shoot your Nikon, Canon, Leica forever, only changing film and developer combinations for a few pennies.

Today, to do that digitally means trading in a car! (Somebody give us affordable interchangeable backs for our DSLR's at a cost that won't require a down payment on a house.)

But, be that as it is, gravity still works here in San Diego the same as it does in NYC. And I think the reason that pinhole photography has seen such a resurgence is the "God" particle. We can't quantify it, but we can enjoy it.

When the $30 billion dollar CERN atom smasher was fired up in Switzerland earlier this year, it was because the numbers, the mathematics, the laws that explain the Universe don't really explain the Universe anymore. In face, 96% of the Universe is missing!

Now, I don't pretend to understand that, but a physicist friend of mine explained it to me. After he watched my eyes glaze over, he put it this way; "The numbers don't match." Damn. That was easy.

But, when they fired up the CERN to find and/or create the "God" particle something went wrong. My suspicion, being the suspicious type, is that they realized they wouldn't discover the particle anymore than they would discover God in a particle accelerator. We will never discover the perfect film/sensor either, but pinhole comes close to it all.

Pinhole satisfies my creative eye, captures things my eye can only guess at and makes my world a bit simpler.

Here in San Diego we have seasons named by psychoses; May gray, June Gloom, etc. My favorite is surf and turf at Del Mar race track but that's another story. So, a bit prematurely for May gray, I shot the above photo on my Zero 2000 in a fog (no not me, the weather). I shot, as usual on Fuji Superia at ISO 100. The exposure was about 8 seconds from the Oceanside Pier. The photograph reminds me that, in the words of Father Oocham, "When all things are considered, the simple answer is usually the solution."

The result is pleasing and sort of reminds me that we are all God particles moving ephemeral on the crust of this big blue marble.

Kicking out the ends.

2009-04-23T19:34:00.001-07:00

It's been said that a rut is nothing but a grave with the ends kicked out. I have been so focused on transfers lately that I almost lost the joy of experiencing the place I was shooting.

That happens. One can get so obsessed with the final product we forget to enjoy what we are immersed in. Last week, one of Diana's professors invited us out to an egg hunt/lasagna dinner. I, of course, made my famous lasgana and we enjoyed an afternoon of friendship, fun and food.

All of that notwithstanding, I looked over the garden of our hosts and was impressed with the variety of cacti in the garden and set up the Zero 2000 on a tripod. The picture above is one of the images I shot that afternoon.

It got me out of my architectural mode and more into my "just shoot what's available" mode. I kind of felt a bit of freedom considering I was into the transfer mode of Fuji Film.

So, I hope you like it. It was a simple 3 alligator shot under beautiful conditions and, lasagna aside, a great afternoon.

Ruts can be freeing if you kick out the ends!

Back to Basics

2009-04-19T09:36:00.000-07:00

Well, after svereal packs of Fuji and a whole lot of frustration, I've temporarily suspended trying transfers. I'll continue trying, but it was taking all the fun out of my pinhole photography since a.) I was hauling a ton of stuff into the field and b.) the results were not as I would have liked.

I'm back to shooting my Zero 2000 for a while. Diana and I went out to Warner Springs this past weekend and just looked for interesting subjects. We happened on the St. Francis Chapel which was built in 1830 and this is one of the pinholes I got.

It is a typical old California Chapel, stucco and tile and is an example of the churches "off the beaten path" from the beautiful cathedral like missions on the El Camino Real.

I shot it on Fuji Superia, ISO 100 at about 3 seconds and converted it to a Sepia in PhotoShop.

Now, I'm going out to shoot some trees for a series I plan on doing.

See you soon with more "stuff."

Fuji Transfers...the continuing saga.

2009-04-16T21:06:00.000-07:00

OK.
I did a few more transfers and have learned quite a bit.
First, however, I finally found an article from Fuji's newsletter that explains a lot. It appears that Fuji is at least trying to take us into their confidence. See below.
My first attempt(s) were on wet Arches. I have found (another bunch of film gone) that the paper really does not need to be wet. What I actually was doing was removing the sizing which is why it worked so "well." Well, better than my first attempts.
So now, or at least tomorrow, I am going at it again and will report back here and let you see the results.
Today's results showed some lavender fogging, which I now understand is the Fuji film being slightly solarized. So, I am going to give you no pictures today, but a few tomorrow which should help a lot.
Meanwhile, here's the link for the Fuji newsletter.
Happy reading.
http://www.fujifilmusa.com/shared/bin/CableRelease_May_2008_CR08.pdf

April 15. The Tea Party.

2009-04-14T20:08:00.000-07:00

"The strongest reason for the people to retain the right to keep and bear arms is, as a last resort, to protect themselves against tyranny in government."

Thomas Jefferson

I know this is a pinhole blog. But, I must say I am getting prouder of the American people everyday. I never thought we would come to our senses and fight the tyranny of this government "for the people, by the people and of the people."

April 15 is teaparty day. I hope you will all join in and send a message to Congress that we will not stand for this anymore.

These are, quite literally, "times that try mean's souls." Please. It is time to tell our so-called representatives that it is our country and they are our representatives. We do not work for them. They work for us!

They will tow the line or we will vote them all out!

Thomas Jefferson also said "When a government no longer fears the people it is tyranny."

Happy April 15.

Fuji Transfers

2009-04-14T13:19:00.000-07:00

Three quick announcements. One of my pinholes was just picked up by PBS and appears here.

My pinhole article appears (we think) in Shutterbug's upcoming August issue.

Also, don't forget Worldwide Pinhole Day. Here you will find a listing of events and workshops.

Well, the Arches Hot Press paper finally arrived!

This is my first transfer with Fuji Instant film and my Zero 4x5. The technical data is first.

The Zero is a 4x5 with 2 extensions making for a focal length of 75mm. If you haven't seen these or used them you are in for a treat. No one makes a better thought out or executed pinhole camera than Zernike Au of Zero Images in Hong Kong.

The pinhole aperture is f/216. The Zero has multiple pinholes, one for each extension plus zone plates for each extension. I use the 75mm because there is no vignetting at all. I also like the semi wide perspective. The transfer here was taken on a very overcast and windy day with an exposure of 40 seconds (with reciprocity figured in.) That also explains the greenish hue.

The Fuji Film is their 4x5 answer to Polaroid and comes in packs. This requires a Fuji pack holder. These pack holders are disturbingly hard to find. (Loosen up Fuji!) If you look on ebay you can find them used and pay accordingly.

The paper is Arches 140lb hot pressed paper and is the only paper I have found suitable for these transfers. I have tried Epson digital printing papers, but they do not stand up to the transfer process and they will pull bits and pieces from the surface. The Arches also will hold a range of tones better. Oddly enough, in a town that prides itself on its art community, I haven't found Arches hot pressed paper anywhere in San Diego. I finally found it online.

The Arches is gum sealed on all four sides, so you will have to seperate it with a pallette knife and be very careful when doing this, both for safety and be careful not to slice the paper. It's expensive and easy to tear.

I have not tried the premium gloss digital papers as yet for lifts.

The difference between a "lift" and a "transfer" is that with a transfer, you are actually transferring the developing image to paper. Therefore, you have one and only one image.

A "lift" is where the actual emulsion is lifted from the Fuji substrate and transferred to the paper. It is like handling wet butterfly wings (no, PETA, I haven't tried that, but I will let you know how the cat furr balls come out.)

The "interesting thing about Fuji lifts as opposed to Polaroid lifts is that Fuji uses a different emulsion base. While it is stronger, it is more difficult to make it adhere to paper. What I discovered is that the best way to get it to lay flat (or semi flat) is to let the lift dry completely. Then spray it liberally with Premier PrintShield and place it on Pictorico Transparency film. When dry I put that over 81/2x11 print paper, taped it and framed it. I'll explain my experiments in the next few epsiodes and let you know how I like that when it grows on me a bit.

The Fuji instant film packs are just that, packs. As such, unlike the Polaroid single sheets, if you are going to make transfers, you must do each one as you process. In other words, each one must be done in the field in a portable changing bag. You can't wait until you get home to do several like the Polaroids.

So my process for the above print is this. I took the shot. I then replaced the dark slide and put the back in the changing bag. (Since both your hands are working, you will find an assistant helpful for timing.) You can put a pocket watch next to the bag and thus eliminate the assistant.

I did pre wet the paper since this was done close to home. I think you will find that a dry transfer is also possible with the Fuji.

In the changing bag are 3 other items; a roller brayer, my Arches pre cut sheets and an 8x10 piece of plywood for a platform when rolling the image. I cut the Arches in two since it comes in 10x14" blocks. This gives me 40 10x7" sheets. These are more than suitable for transfers. With Polaroid, it was best to wet the paper and make the transfers on the wet paper. With Fuji, I am finding dry works (in the field this is helpful) but wetting the Arches with hot water prior to transfer is best. Water from the tap works if it is very hot.

I pull the film through the processor and time 15-20 seconds. I then seperate the film from the negative (in my changing bag) and (by feel) quickly place the negative on the Arches and roll, with a pretty heavy hand, the Fuji negative material. I time for a total of 90 seconds. You can open the changing bag at this point.

If you are lucky, you will have a transfer image. It will probably be crooked as all get out, but it should be pretty good. I carry an empty printing paper box to put all my images in for safety and protection on the way home.

The peeling process will often reveal (as in the print above) show a slight "blemish" at the bottom or top of the transfer. For some reason with the Fuji this is more prominent and I think it is because I am not using enough pressure on the roller. Time and experimentation will tell.

Now, some of my transfer friends, use a 1/2 and 1/2 water/vinegar bath to finish the print to "enhance" the color, but I have never found this to be necessary or all that enhancing. But, you can experiment.

I do most of this Matthew Bradyesque work in the open trunk of the car. I will tell you, if you get one good image, it will take a lot of time so why not quit while you are ahead? This is not for the impatient or timid.

I used to do quite a few transfers back in the day. Since Polaroid's "semi demise" I have been gathering my utilities and will probably do a lot more. I will tell you that Fuji's film surpasses Polaroid 79 in every respect except the single sheet capability.

Have some additional "fun" with your pinhole 4x5. (Oh and yes, I did buy a bunch of 4x5 holders. Looks like I am going to start carting these around, too.)

BTW...given what I go through for these and, as they are one of a kind, I charge accordingly. Before you sell these or give them away, SCAN 'em. Printed on matte paper they retain a large bit of their originality subtlety.

Have fun! Do pinhole and transfers!

Fuji Lifts...an alternative to Polaroid

2009-04-12T15:27:00.000-07:00

I'm still awaiting the arrival of the Arches, so I thought I'd give you a lift! Ha!

This is the first Fuji Film "lift" I did and I wanted you to see how it looks when you don't get it right. This is a view out of our balcony. Hey! When you have nothing else to shoot, shoot the pool.

But, I think I might have this figured out.

Fuji Instant film is a whole different animal than Polaroid. I don't know what they use for their emulsion substrate, but it is some tough stuff. Normally, making a lift with Polaroid was pretty straightforward, albeit a little dicey, to say the least. Fuji is downright bullet proof!

Trust me. It is not at all like Polaroid. So let me explain the "lift" process first.

Let your regularly processed Fuji Instant film "cure" for about 24 hours.

Immerse in just at boiling temperature water. I use a stainless steel pan and when you see the edges just start to peel, pour off the hot water and add cold water until it is completely cold.

Play with the emulsion from the edges moving toward the center. The film lifts very easily compared to the old Polaroid. When the film is almost ready to completely come off the substrate, slide a piece of Pictorico transparency film underneath and, as quickly as you can, let the emulsion adhere to the film. I tried paper first, then the Pictorico. That explains the wrinkles, by the way and also speaks volumes for the strength of the Fuji.

Let it dry normally. DO NOT USE A HAIR DRYER (which I did on this one assuming quite wrongly that it would act like Polaroid.) The stuff just shrivels up like those liquid plastic bubbles.

Once dry, I find that coating it with a light layer of Premier Print Shield holds it very well.

Don't let your fingers touch the stuff because it will show! Trust me.

Finally, "mount" the transparency on mat board both for permanence and also to make it visually appealing.

The example above is the result. Whew!

I shot this with my Zero 4x5 with 2 extensions for a 75mm focal length and f/216. The exposure was about 3 alligators.

I know I am lifted!

The View

2009-04-11T13:42:00.000-07:00

Nope. This is not a commentary on the TV Show The View. First, I've never seen it (yes, I do read Yahoo News) and second, I never watch TV. I never do unless I am housesitting for Diana's mother who has a TV in every room of the house. (Talk about warped sensibilities). I turned one on the first time we housesat and went through, I think, about 100 channels, commenting to Diana, "Now I remember why we don't have one of these, let alone 6!"

Anyway, someone asked me if I use a viewfinder for my pinhole photographs. Well, sometimes.

(I learned how to answer that way in Politician's school.)

Or.

Maybe yes. Maybe no. (You can learn that one after 8 years in Med' school.)

I am being evasive because I like being surprised mostly by what I get without "seeing" it first. But, if I need to absolutely know what area I am covering with my pinhole, I borrow a trick from Hollywood. My hands.

First, you don't need a lanyard to keep this finder around your neck. It's always handy (couldn't resist the pun), it is variable format which is perfect for my 6x6 and 4x5 and it is original equipment (it came with the body at birth, although it has changed size over the years and has gotten a bit wrinkled with use) and it serves multiple uses...film loader, eye shade, occasional eating utensil, cable release and all 'round usage for expressing one's self in traffic.

To use, one needs to simply hold an approximation of the format (6x6) up to the eye, hold it about as far from your eye as the focal length of the camera (my Zero 2000 is about 1 inch) and take a peek. For other formats, simply change the size (4x5 requires approximation) of the hand frame.

Now, if you really want to use this viewfinder all of the time, you may find yourself in trouble occasionally as you, for example, lay on the ground on an urban sidewalk and aim up! Of course, if you take your hat off, put in a few quarters and look like I do when shooting in my grubbies, you might pick up a few extra bucks. (Who says photography doesn't pay?)

But, this is a great way to get a rough idea of what you are getting. Truthfully, I usually opt for surprise as some of my photographs show. Some good. Some not so good.

Make this our little secret. I don't want this to get out. For the entrepreneurs out there I must tell you that there is little market for these but manufacturing costs are really low.

That's it for now. I have to go. Justice! I just baked a huge Lasagna and we're off to a Lasagna and Strawberry feast. Hope the snow stopped in Spokadoodle. It's 66 degrees here!

(Can't wait to get my Arches Paper in! That Fuji Instant Film is burning a hole in my camera bag.)

Inspiration

2009-04-11T08:38:00.000-07:00

Even though I was raised in Philadelphia, I spent a lot of years in the mountains of Washington and Idaho. I consider myself a "mountain man." I mean I love the mountains. I just can't seem to forget them or get them out of my psyche.

So, living here in San Diego makes me miss them all the more. It is then no wonder that my architectural photographs have a mountain look to them. For example, this "mountain" of glass and sculpted "tree."

It's not the Sawtooth range, I leave that up to Fred Stillings whose incomparable work can be seen on his website and on Flickr, but it's all I have right now. You know, I like it. The city gives us a different perspective and opportunities to explore our own neighborhood.

As a writer, I know enough to write about what I know. As a photographer, I know enough to shoot what I know. That's the key element. Do what you know.

I was just re-reading Eric Renner's Pinhole Photography" book (4th Edition) and I am still stunned by the range and popularity of pinhole photography. I am even further amazed at how far we have come in pinholes. If I need inspiration, I either go walking at lunch or read good photography books (like Eric's) or go on Flickr and see the great pinholers like Fred, Delio and Paul. These guys are my inspiration. They make me work all that much harder to capture images that speak to the viewer. Sometimes, I wonder whether my work does but, in the end, what really matters is how it speaks to me.

This is a great chance for me to say thanks to all the guys whose work I admire; Paul, Delio, Fred, CK and all the others. They continue to be an inspiration to me.

I will have my Arches paper in this week and hope to have some Fuji transfers up by next week. The Fuji instant film really outshines the old Polaroid in so many ways; acutance, clarity, color balance and reciprocity.

Incidentally, if you haven't read Eric's book(s) I suggest you do. I put it on here for ideas for newbies and oldies alike. (Paul, I know. We are aging, huh?)

Worldwide Pinhole Day

2009-04-06T09:25:00.000-07:00

Gear up!

Worldwide pinhole day arrives April 26, 2009!

See the following website for details...http://www.pinholeday.org/

Also, George Schaub tells me that we are looking at an "after July" publication in Shutterbug for my article on pinhole photography. Should be nice to us pinholers in a mainstream magazine, especially since digital is the 21st Century mantra. But, I think we are all about to change that...if we haven't already.

Which leads me to my top excuses to photograph with my pinholes.

1. Bad weather is my top excuse. I watch the weather on my browser like surfers watch the surf reports. The worse it is, the better I like it. Moving clouds, dreary days, rain. It all makes for great pinhole shooting.

2. I have photographer's block. Sometimes I sit around searching for an idea that refuses to come. With my pinhole, I often just do a still life or roam around the block looking for ideas. With the perspective of the pinhole, it really is easy. A sidewalk, garage sale, building, pier, flowers, clouds, whatever.

3. Testing new film. Film? Remember that stuff? For a while I played with chromogenic (my favorite was/is Ilford XP2. Beautiful stuff, but it dawned on me that Superia color negative film is essentially the same thing, but I have the best of both worlds. Just scan and decide later whether to go black and white or color. I am now trying the Fuji Instant FP 100C 45 for "lifts.

I am also trying to do transfers with the Fuji but it is very difficult because I have to drag my Portable darkroom, paper, roller, etc with me. I'm going to have to show some stills of me doing a transfer in the field. It's hilarious.

4. I need the exercise and may as well bring along my trusty Zero 2000.

The picture of the San Diego Marina was shot on Superia and converted with Black and White Pro plug in for PhotoShop. I am really looking forward to showing off my new Fuji stuff. I scanned the negs with an Epson V900 (which will also scan 4x5).

5. I am also planning a new model series with the Zero 4x5.

The point really is no one really needs an excuse to shoot pinhole, just a camera and film. Look for excuses to shoot and the subject will surface. Experiment. Have fun.

Polaroid is back!

2009-04-03T16:29:00.000-07:00

Polaroid is emerging from Chapter 11 as a new, privately held Polaroid Corporation owned by OEP Imaging Corporation. The full article from PTN can be read at http://www.imaginginfo.com/article/article.jsp?id=818&siteSection=27.

The new arrangement eliminates more than $1 billion of debt for Polaroid and, according to the Boston Globe, the purchase by OEP gives the instant photo pioneer "a chance to end its bankruptcy within weeks and continue in business as a well-capitalized competitor." Polaroid lawyers said the deal could mean that all current Polaroid employees would keep their jobs. (But Polaroid has already cut its work force in half since 2001.)

Polaroid actually has never discontinued production of its film and I have been buying some of it lately. First, I’m used to it in my 545i for my Zero 4x5 and second, I am used to how it reacts. Well, actually, there’s a third reason. Fuji is really mum on their film.
I have used it but it is very different, especially if you try transfers. And I do like transfers and lifts.

The difficulty with Fuji is that a transfer has to be done in almost total darkness. The Polaroid does not. The Fuji base is stronger, though thinner, and lifts aren’t that easy, either.

I was going to switch to Readyloads, but good Lord, have you seen the price of that stuff?
I considered buying a Fuji Instant Film holder, but they are like hen’s teeth except for a few exceptions on e-bay and they are pricey.

I also considered Rite Way and/or Lisco holders, but couldn’t bring myself to carting stuff around like Matthew Brady so re-thought that. (I must admit that it intrigues me somewhat to be shooting film again…Ortho? Wow!) Then that means I would be back in the darkroom and I really don’t want to go there. But, like all things photographic, there is a trade off. The black and white fiber based images are still pretty awesome.

Again, I do like shooting Fuji Superia ISO 100 and converting to black and white, but the images aren’t quite the same as fiber paper prints. So, if I want to stay out of the darkroom, my options boil down to having a lab charge exorbitant prices for processing sheet film or shooting instant film and that brings us back to the folks in Cambridge.

I really do hope Polaroid comes back. I like the film. (I don’t like their attitudes about customer service. They have never been good. Monopolies seem to forget how they got there. Remember Ernestine the AT&T “operator” on Laugh In?)

Anyway, I will be posting some new Instant Film transfers soon and hope you like what I come up with. But, I am a little apprehensive about the Fuji so everyone cross your fingers for Polaroid.

By the way, the photograph above was taken in on the ferry Essex in San Diego Harbor last month. Ferries like this one don’t really exist like this anymore. It was a pretty luxurious boat for its day as can be seen by the teak, shellac and amenities. Makes for great pinholes, too. The exposure was 30 alligators on, of course, Fuji Superia. Yeah and it was shot with my trusty Zero 2000.

Pinhole perspectives…Decisions, decisions.

2009-04-01T21:03:00.000-07:00

Remember back in the day when we had to have that new Smashelblad with interchangeable backs and lenses? Omigawd. We could be such better photographers and take pictures like Bert Stern. (For those of us old enough to remember Bert Stern, that goes back a ways.)

Well, funny thing was, when I got my first Hassy 500C, my pictures weren’t any better because I could never afford the extra backs, or lenses or even the durned cable releases. But, that 80mm Planar was way cool and I looked like a professional photographer. That thing set me back $500.00. Five hundred bucks was a lot of money back in the day, but my bad pictures just turned out sharper!

I hadn’t learned that good pictures were really in the eye of the beholder…make that photographer. Well, a lot of film (now cards) has gone over the dam and I have learned a few things. I don’t need interchangeable backs and I don’t need that 150mm Sonnar or the 60mm Distagon. (I admit, I’d still like it.) Truth is, the Hassy was a hassle. The cocking mechanisms almost always failed at the most inopportune times. The things were, let’s just say, finicky. By the way, they still are.

Then I discovered pinhole. Oddly, that epiphany came along about the same time for me as digital was emerging. Now with the blending of digital and film, I can proudly announce that I am free!

“Hello. My name is Hugh and I’m a gadgaholic.”

Crowd responds “Hi, Hugh.”

Now don’t you just feel the luv in this room?

Anyway, one thing I “discovered” is that you really can have your cake and eat it, too. Although, I could never quite understand why someone would want cake if they couldn’t eat it anyway. But, I discovered that, after burning through about a dozen rolls of Super Duper Whooper Ortho film that I could have it all. Yup.

I switched to Fuji Superia, ISO 100 color negative film (a gasp falls over the room.)

Because it is the new generation of “T” grain films (or “f” grain or whatever the marketing department calls it)and because it is color negative, it doesn’t respond to reciprocity like other negative films. Second, exposure latitude is pretty wide…for pinholers that means more mistake proof shots. Third, when you scan the negs, you are not scanning grain (as in black and white) but contrast from dye layers.
Voila! Smoother and “sharper” negatives. Finally, overexposure in color negative films means the film actually increases in acutance. (I added that scientific word for those who read all that toe/heel crap.)

Now, when I get my negatives and contact sheets back from the lab’ I scan what I like, decide whether I want black and white, sepia or color and adjust accordingly. I know. Not purist. A lot like enjoying Peter, Paul and Mary or Big Bill Broonzy, but who cares how you get the print just that you get it, right?

The picture at the top was taken with a Zero 6x6 with “interchangeable backs”, a 24mm Hong Kong Zernike Au uncorrected, astigmatic non-lens and a cable release of unknown origin.

So, I choose my subject. I choose my “back” (Superia) and shoot happily away enjoying the reason I got into photography in the first place…I like it. The only decisions I have to make now are do I take the truck or the car? Oh God! Another decision.

Pass the Hasselblad.

Pinhole perspectives…minimalism.

2009-03-31T18:30:00.000-07:00

Part of the allure of pinhole photography is the minimalist aspects of it. With a light tight box and no lens we capture images that often surprise us. At least I do. I try to keep all my accessories down to a minimum of a small table top tripod (I have several including a Minox tripod that is perfect for it’s simplicity and size.)

I also try to keep my subjects down to simple things. I think I am better at architecture with my pinholes, but I do attempt landscapes from time to time. Several of my long distance compadres like Paul Jones and Fred Stillings are not only incredible photographers but wonderful pinholographers.

If you get a chance, take a look at their work. Paul is in the midst of an exhibit right now and also makes his own 4x5 pinhole cameras. His work can be found on Flickr as Pinhole Pip. His exhibit can be seen on You Tube at http://www.youtube.com/watch?v=JVmjYNA45Tw.

Fred (Sawtoothphoto on Flickr) is a stock photographer and his work should also be looked at and studied. You can see his beautiful landscapes at http://www.sawtoothphoto.com/. Both have a great sense of humor and huge talents.

Both of these gentlemen deserve a close look for their minimalist approach to photography.

As noted in Walden Pond, Henry David Thoreau observed that in life we should “Simplify, Simplify.” What could be more simple than a pinhole? I am honestly just beginning to get it. I am used to carrying a huge camera bag with a couple of Canon DSLR’s, a couple of lenses and sundry other “stuff.”

With my pinhole I actually have to use what I have. My favorite is my Zero 2000 6x6 with a 24mm angle of view. A box. A hole and a tripod. I am reminded of how the legends worked using a single focal length and one film choice. Cartier-Breson worked with a taped up Leica and 35mm lens. He never developed a single roll of film or printed a photograph. He opted to do what he did best…photograph.

He was less obsessed than many and more talented than most. I was talking with my friend Chris Keeney once about how he tries to keep his pinhole site down to the simple things. Most sites get into equipment and film and techniques, while CK just talks pinhole.

I guess the reason I am talking about minimalism is a good friend and client of mine, Werner Feller, passed Sunday from complications of ALS or Lou Gehrig’s disease. Werner fought this thing for 3 long years and we will miss him. Werner! You still owe me a beer!

And CK...we are going to have that scotch!

Take a nice long look at life. Enjoy the simple things. Have fun. Take time out to simplify your life. It can be fleeting.

Pinhole perspectives…a different angle.

2009-03-30T01:29:00.000-07:00

You can tell a pinholer because he has to make some pretty drastic gyrations when he or she takes a photograph. He looks up… a lot! Diana’s 8Banners MF has a viewfinder which is almost pinhole heresy but it’s funny watching her try to use the viewfinder from ground level!

But, pinhole photographers look at the world differently than most photographers. First, we don’t worry about keystoning. You know that funny look when buildings appear to fall backwards? We actually welcome the effect. (Which only goes to show you how skewed our view of the world can get.) We also don’t worry about how we look when we are looking at a subject. We actually have to study the subject! That takes more than a few seconds like guys with digital DSLR’s.

We also don’t worry about subject movement. With “normal” cameras we can set the shutter speed as high as we need like 1/8000th of a second! Heck, we can stop a bullet! We like motion! It’s fun searching out subjects with moving parts like flags and trees and people. We capture the movement as an integral part of our work.

Yes, for my pro’ work, I use all the bells and whistles I can get since my clients are interested in displaying their products and not my artsy approach to pinhole photography. Actually, my daughter, who is getting married on 10/10/10 (congratulations Justice and Brian) actually thought I should shoot some wedding portraits with a pinhole. (I personally think my daughter has exquisite taste.) And I do plan on that. Can you say “Hold that kiss for about an hour while I make the exposure?”

(Brian Naccarato, incidentally, is now a fully inducted Italian because he had his first ever cannoli from Little Italy here in San Diego. He has now become a cannoli expert I am told.)

But my point is that pinhole photography requires that the photographer consider a lot more than just capturing images. We have to consider the entire image as it will appear later. Ansel Adams called it pre-visualization. I think that pretty well sums it up.

If you are new to pinholing, you will shoot a LOT of film getting used to the vagaries of pinholes. You’ll look at your finished prints and probably be deeply disappointed at first. You are seeing differently and that takes practice. Diana threw her first attempts in the trash with disgust. She has a great artistic eye so you know they had to be horrible. But, remember you are seeing from a different viewpoint with pinholes.

That difference gives you, I think a “leg up” on the rest of the world because you become a “tourist” again in your own backyard. “You can tell a pinhole photographer because he is always looking up.” Now what does that say about us? We see things from a different angle and I think it allows us to make considerations about life in general. We really do look at things from different points of view.

You can see more of my pinhole perspectives at http://www.kyotophoto.org/pinhole/gallery/index_e.html

I’m not sure it makes us better people, but I think it makes us slow down and make considerations about others we might not have made otherwise. It’s the Tao of Photography kind of thing.

Pinhole Perspectives…Making friends outside the box.

2009-03-29T14:48:00.001-07:00

My daughter, Justice (that’s her on the upper right in the followers booth), was visiting last week from Spokane “Just to hang out with Dad.”

We did our mandatory San Diego Harbor lookie loos and just walked around town.
It’s always fun to take my pinhole with me and shoot buildings and other “stuff.”
She is, rightly so, my first “follower” on the blog.

It never fails that almost everyone who sees the little wooden box asks “Is that a camera?” Odd, no one ever says that about the camera phones, digital cameras or even film cameras. It really is a conversation piece and you get to meet more people this way. The conversations give us a chance to meet people we might not otherwise even glance at yet alone talk with.

We were in the parking lot at the El Cortez Hotel in San Diego and a fellow leaned out of his car and asked (again) “Is that a camera?” It’s really kind of cool. You meet a lot of people this way and it is part of what makes pinholography fun.

Many people ask what cameras I use and I thought this would be a perfect place to show you some of my pinhole cameras. I use several, although my favorite is the Zero 2000 from Zernike Au in Hong Kong. It’s made from teak and has brass fittings and knobs. It is the most elegant of all my pinholes. It’s a 6x6 square format. I usually shoot Fuji Superia ISO 100 color film and, if I want black and whites, I simply convert in PhotoShop with a plug in filter.

My next favorite is the 4x5 also from Zero Cameras. It is also made from teak and I can attach an endless number of extensions (each is 25mm). My favorite combo is two extensions, giving me a 75mm focal length, wide enough but without any vignetting. One attaches the back using a very “hi-tech” method…rubber bands.

I use a Polaroid 545i back on it mostly and, fear not, even though Polaroid has gone, Fuji picked up the ball and film is available. I will be showing some Fuji transfers when I get some time to experiment with the film.

Diana uses an 8 Banners 6x6 and 6x4.5 multiformat. It is all metal and comes complete with a bubble level (like the Zero) and a compass. My guess is that the compass is to help you find your way should you get lost in downtown sometime. 8 Banners is now out of business, sadly. The cameras are rugged and very well made. They aren’t as esthetically appealing as the Zero’s but they are durable.

A lot of pinhole purists think that to be a true pinholer one has to build his own camera(s). Well, anyone who knows me knows that I am do it yourself challenged. No patience, I guess. Instant gratification is my motto!

I also use a Holga that has been converted to a pinhole. It is all plastic and, like all Holgas, you have to tape it up pretty well unless you want a lot of flair. But, for less than 60 bucks, it’s a pretty good user.

If you want to build a pinhole camera or just look around the “mall” I suggest you look at Chris Keeney’s website. There is a wealth of information there. Go to http://www.chriskeeney.com/photography/pinhole/index.html

And above all, have fun! Chris is a great photographer as well as a professional commercial and wedding photographer. He’s another San Diegoite. Take a look.

Pinhole cameras go way back to ancient China and there is evidence that the famous Dutch painter Vermeer, used a camera obscura to trace out his subjects. There is a great book available now called “Vermeer's Camera: Uncovering the Truth behind the Masterpieces” by Philip Steadman. It’s an interesting book. I suggest you take a look. Vermeer may have been one of the earliest pinholers.

Pinholers are an odd bunch, but we meet some interesting folks because of the little boxes without lenses.

Pinhole Perspectives or Chew your food 30 times.

2009-03-29T08:56:00.000-07:00

Everyday, myself and thousands of others, drift down to a local Food Court to all too quickly fill our stomachs with everything from Greek to Italian food. We enjoy the San Diego weather while downing our Thai chicken (“Thai hot, thank you.”) yet so many people miss the incredible architecture and energy that surrounds us.

Things can easily get downright complicated including life (and food choices) in general. We are in the midst of a major “downturn” economically and even our outlook on the world can get pretty jaded. Art imitates life or vice versa (I never did get that one down), but like Henry David Thoreau, we all need to take an occasional breather and “Simplify. Simplify.”

Photography is no different. We too often get overwhelmed by technology and its attendant aberrations. Take a look, for example at some of the incredibly complex work being turned out by today’s photographers. Wow! (When do they have time to do this stuff?) These up and coming young lions are producing images of stunning quality and yet, there is something to be said for simplicity. The line between art and photography is blurring all the time.

Maybe I’m just getting too old, but one of my passions is sitting back on the sofa with a good photography book and just thumbing through the pages and rediscovering Ansel Adams, Matthew Brady, William Bell and Timothy O’Sullivan. Just slowing my life down and smelling the roses. While their photographic equipment was far from simple, their photographs (“captures” in today’s jargon) were stunning samples of simplicity itself.

It’s no wonder that pinhole photography, photography without lenses, has seen such a surge of late. While it’s been around as long as photography, it is pure simplicity. There are no lenses to “fool with,” memory cards to lose or back up drives to worry about. It’s just film. Good old fashioned film inside a box. But, more than that, pinhole photography makes the photographer slow down and change his perspective. Pinhole cameras, depending upon their “focal length,” typically have f/stops in the 135 to 295 range. Therefore, depth of field becomes incredibly deep and exposures become conversely long.

My 120 Zero 2000, for example, has an f/stop of 135 (and an angle of view of about 24 degrees). My 4x5 has an f/stop of roughly f/235 with two extensions. Exposures run in the 30 second to 5 minute range on overcast days or interior light. Reciprocity rears itself in these ranges, too. Strange things begin to happen. Motion (call it blurring) begins to become something magical, not at all the “Darn, my subject moved.” Instead, we actually search out the movement of time that can be captured by these cameras on a single exposure.

If we go back and look at the Civil War era photographs of the Matthew Brady troupe, we see these “mistakes” of Lincoln blurred, a soldier’s ghostly battlefield movements, trees swaying in the foreground and all of this giving us a sense of, well perspective. It is in many ways poetic and timeless history alive, in motion and simplified.

That same perspective is being captured today with pinhole cameras. Some of these cameras are little gems of engineering. Others, for the purist pinhole practitioner, are examples of making anything into a pinhole camera. I have seen cameras made from old books whose pages have been glued together, carved out and a hole drilled for a pinhole to cameras made from human skulls! But, within all this low tech art is one similarity, the photographs they take.

One must actually consider things like light. No PhotoShop needed! (That, in itself is kind of a freeing experience). We find ourselves starting to re-discover perspectives we never considered before. The near/far relationships that make us consider different aspects and points of view. Trees become mystical ghosts. Moving water becomes fairy tale mists. Buildings and points of view change.

One day at lunch, I decided to take my Zero 2000 6x6 pinhole out and just walk around the buildings. You begin to realize that you are probably the only person actually out admiring the scenery. Everyone else is scurrying from office to sidewalk, grabbing a quick smoke, bite to eat or chatting about anything but the economy. And, here I am with this little box and mini tripod, taking pictures. I feel like the proverbial “you can tell a tourist because he is always looking up” guy. Just taking it all in.

It really does change one’s perspective. I feel like Cartier-Bresson must have felt capturing life as it happens, in the “mean streets.” I actually like carrying my camera and making 3 second exposures while the iPhone fanatics are snapping pictures that will be forever stored on a chip being viewed occasionally by a co-worker. Something wrong with this picture, pardon the pun.

A funny side note is here I am with my little wooden box and a security guard questions me “What are you doing?”

“Taking lo tech pictures,” I explain waiting for him to ask “Is that a camera?” which he doesn’t. He’s too wrapped up in his complicated world.

“Well, no signage. Just doing my job.” And he walks away having accomplished little in securing our borders, I’m afraid. I continued taking my pictures.

Hundreds of people take pictures on their cell phones of the same scene and he probably never even noticed. Life really is odd…and complicated.

Everyday life becomes not so… well, everyday with a pinhole. Photography is fun again even with the occasional security encounter. Now lunch has become more of a new perspective than a quick bite. Some exposures actually take as long as lunch to accomplish.

So, take the advice of my grandmother and “chew your food 30 times” and take some long exposures while you’re at it. Enjoy the day!