Feed Your Head

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.

Fuji Transfers

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

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!

Worldwide Pinhole Day

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.

Pinhole Perspectives…Making friends outside the box.

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.