Putting the FUN in Photography again

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?

Getting started in pinhole photography

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.

Kicking out the ends.

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!

Fuji Transfers...the continuing saga.

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

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!

The View

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.)