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  1. #11
    Poisson Du Jour's Avatar
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    That's Camera Lane (with Alan Lane at the helm of his Ferrari PC...)! Worth your while wandering in for a natter on all things photographic!
    .::Gary Rowan Higgins

    One beautiful image is worth
    a thousand hours of therapy.


    "It is horrifying that we have to fight our own government
    to save the environment."
    .::Ansel Adams






  2. #12
    Mal
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    Thanks Shane... Will go and have a look.

    Decided yesterday that I would try some Fuji FP-100C instant film. Unfortunately I didn't check and the film comes in a pack of 10 rather than single sheets. My holder takes single sheets... So now I need to find an instant film holder that holds packs...

    Will it never end?

  3. #13
    PhotoBob's Avatar
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    If you do a lot of hiking, you might consider a Tamrac photo-backpack or just a regular camera bag. I started carrying my pinhole gear in a very modest bag, but as things grew, I changed to a LowePro bag, much bigger with dividers is good.
    Just some ideas
    Follow the Light John 8:12
    ~~~PhotoBob

  4. #14
    Marco B's Avatar
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    Just one quick tip for using the Zero Image 4x5: If you are using it in it's 25 mm set-up, so without additional extension modules, the documentation mentions an F138. However, just like with any pinhole, there is light fall off, and for the 25 mm configuration, it is huge, several stops. So, although technically the F138 is probably an accurate guideline for the centre of the negative, you therefore may wish to overexpose at for example 1 to 1.5 stop to have some density at the edges of the frame.

    When I started to use my Zero Image 4x5 in 25 mm set-up, I at first followed the F138 guideline, but I subsequently noticed I underexposed most negatives...

    Problem is, with such light fall off, you can not actually talk about a single "F-value" of the pinhole (if theoretically it is even accurate to talk about an F-stop for a non-lens system)

    Marco
    My website

    "The nineteenth century began by believing that what was reasonable was true, and it wound up by believing that what it saw a photograph of, was true." - William M. Ivins Jr.

    "I don't know, maybe we should disinvent color, and we could just shoot Black & White." - David Burnett in 1978

    "Analog is chemistry + physics, digital is physics + math, which ones did you like most?"

  5. #15
    Mal
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    Hi Marco,

    I've heard that from someone else and it makes a lot of sense. The distance to the film at the centre of the image is about one inch and to the corners I'm guessing somewhere around 2 or more inches. Given the inverse square law the corners would get less than a quarter of the light than the centre of the image. It will be fun to experiment - hopefully I'll get it right most of the time...

    I'm happy to believe that discussing aperture on a lensless camera is technically correct. An aperture is simply a hole and it's the same with or without a lens. Originally the stops were just interchangeable brass plates with a hole in them and that doesn't sound very much different to what I'm using with a pinhole camera.

    I've had a look at your website and love the architechtural shots around Amsterdam. Keep up the inspiring work - makes me want to get out there...

    Mal...

  6. #16
    Marco B's Avatar
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    One other tip for printing these negatives: even with proper exposure, you will still have to deal with a huge light fall off during printing. If you want to (partly) compensate for this, I have found the following method of printing very effective. At some point, I became maybe even to good at it, almost eliminating the darkening:

    Use a very short hard graded exposure (Grade 3-4.5 for maybe 3-5 seconds) to expose the entire sheet of photographic paper. This hard graded exposure is compulsory, as it helps bring out contrast in the corners of the print. Without it, you will have either black corners, or very flat contrast in the corners, as the negative will be thin anyway in the corners, even with proper exposure during capture of the image.

    Next, use a black piece of paper with a hole of maybe 5 cm in it, to illuminate the centre of the image with a normal contrast grade (2-2.5) for maybe 10-15 seconds. Move the paper up and down continuously during this exposure, so as to give the centre of the paper the maximum exposure, and to the sites of the paper less (and preferably none, or almost no additional exposure besides the hard graded at the very edges of the paper).

    It will require some practice, but it works nicely to combat some of the light fall off in the prints, while maintaining good overall contrast over the entire print even in the light of the dramatic light fall off and the consequences of that on the negatives contrast across its surface.

    By balancing the initial hard graded overall exposure with the exposure with the black paper centre exposure, you can control how much light fall off still appears in the print.

    All of the prints in the galleries you have seen used so form of this method.

    In this print, the light fall off was almost eliminated:



    Much less compensation:



    Marco
    Last edited by Marco B; 10-11-2009 at 04:01 AM. Click to view previous post history.
    My website

    "The nineteenth century began by believing that what was reasonable was true, and it wound up by believing that what it saw a photograph of, was true." - William M. Ivins Jr.

    "I don't know, maybe we should disinvent color, and we could just shoot Black & White." - David Burnett in 1978

    "Analog is chemistry + physics, digital is physics + math, which ones did you like most?"

  7. #17
    SMBooth's Avatar
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    Opp, sorry wrong person

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