Clever. I like the elegance of it, especially when thinking about funky curved film planes. I've always just made a dodging tool and done it by hand.
6 inches (about 150 mm) is only slightly "widish" on 4x5 format (I call 180mm "normal" for 4x5), so I would not expect any serious falloff.
It is not too hard to make a "center filter" dodging mask for printing pinhole pix. Expose a piece of film in the camera to an evenly-toned subject (sky, grey card, etc.). Then make a contact positive from that negative, exposed and developed to the proper density to mask ("dodge') the corners of the frame.
Here: (there was a url link here which no longer exists)Might have been me, Vaughn. I'm no longer interested in actively selling them because I don't really enjoy working for $5/hour, especially because my eyesight isn't what it used to be, but I do make one now and then for somebody.
However, somewhere on APUG is a detailed description of my current method, which is the best yet, if anyone is crazy enough to try it.
Hmmm? If the film was forced into a spherical shape rather than a semi-circular shape. The film would all be the same distance from the pinhole and you could make the focal length as short as was practical with the equipment you had. It would also give you a fisheye view, I think? I imagine the challenge is getting the film into this shape.
I agree with Vaughn: I have a Zero Image 4x5 camera and at the shortest "focal length" of approximately 25mm (from pinhole to film) the light drop off at the corners is significant. Vignetting on a B&W image is a nice effect but it doesn't look as good with colour film... IMHO...
Look up www.zeroimage.com and find the link on the left to Zero 45. There is a specifications sheet that lists the pinhole sizes and dimensions at 25mm, 50mm and 75mm equivalents. It may not be exactly what you are looking for but it will give you a start...
What I figure, is that I know Tmax can take many stops of overexposure without changing tonality too much, because it has so much straight-line. So I figure that if I expose enough that the corners get enough exposure, I will hopefully be able to dodge back the center and have it look at least somewhat normal tonality from the center outwards, if I can get the dodging right.
It's so wide that I still haven't come to terms with it and figured out how to frame things in an expected way. Even using diagonal lines I drew on the box top I still underestimate how wide my images will be.
I know the feeling. You really need to force yourself to go right up to the subject with a 25mm 4x5 LF pinhole. And with that I mean sometimes in the range of 10-25cm max.
Here is another extreme example of making maximum use of the extreme wide angle. I don't think I have to explain to you how close I set up the camera to the pump... it literally rested against the stone masonry:
Anybody ever try to make a non image neg from the pinhole camera aimed at an evenly lit blank wall and developed to just the right contrast and density then sandwich that with a neg for printing to automatically dodge the print? It would be a custom job for each camera and focal length used.
If you really want the widest angle, you could curve the film 360 inside a can and have the pinhole in the end. More than a touch of distortion and light fall off, though...
William Mokrynski's "Endroit de vie" series is a nice example of the bizarre results such a pinhole camera creates:
Dead Link Removed
Marco
What a weird kind of projection.
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