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Instant Box Camera Project
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- Thread starter Joe VanCleave
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OP
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This morning I finished building the optical printing frame, a wooden extension that bolts to the underside of the support base, which carries an upright sliding plate whose front surface is covered in a rubber magnet sheet, such that a paper negative can be mounted magnetically in front of the lens.
P1100014a by jvcabacus, on Flickr
P1100013a by jvcabacus, on Flickr
And here's a scan of a finished print of the negative seen in the above shot. I'm pleased with the tones, as it very much resembles the kind of prints I've seen online from camara minutera photographers in Argentina, where the subject's face has nice tones, floating in an otherwise over-exposed background. Many such prints also seem to be masked with an oval border, which I'm thinking of employing with an oval mask made from a rubber sheet magnet. The original negative was f/22 for 3 seconds (he did a great job of holding steady and not blinking), while the print was f/8 for 10 seconds. This print was made on Ilford's multigrade warmtone resin coated pearl finish paper, rated at ISO 0.8 plus 1.6 stops, due to use of a grade 5 contrast filter behind the camera lens.
Noah003a by jvcabacus, on Flickr
(The strange blotchiness to the right was an artifact on the negative from residual chemicals on my fingers while handling the paper, something I'm going to need to be more careful about.)
~Joe
P1100014a by jvcabacus, on Flickr
P1100013a by jvcabacus, on FlickrAnd here's a scan of a finished print of the negative seen in the above shot. I'm pleased with the tones, as it very much resembles the kind of prints I've seen online from camara minutera photographers in Argentina, where the subject's face has nice tones, floating in an otherwise over-exposed background. Many such prints also seem to be masked with an oval border, which I'm thinking of employing with an oval mask made from a rubber sheet magnet. The original negative was f/22 for 3 seconds (he did a great job of holding steady and not blinking), while the print was f/8 for 10 seconds. This print was made on Ilford's multigrade warmtone resin coated pearl finish paper, rated at ISO 0.8 plus 1.6 stops, due to use of a grade 5 contrast filter behind the camera lens.
Noah003a by jvcabacus, on Flickr(The strange blotchiness to the right was an artifact on the negative from residual chemicals on my fingers while handling the paper, something I'm going to need to be more careful about.)
~Joe
OP
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I just finished part 1 of a two-part video on the Instant Box Camera.
[video=youtube_share;76_p89JW7v4]http://youtu.be/76_p89JW7v4[/video]
~Joe
[video=youtube_share;76_p89JW7v4]http://youtu.be/76_p89JW7v4[/video]
~Joe
OP
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Another update of the Instant Box Camera project. I worked this week mainly on my optical printing technique, where I set up a printing easel in front of the lens and rephotograph the grade 2 paper negatives onto Ilford MG RC WT Luster paper.
I made some reference lines in the easel using drafting tape, and now I can accurately position the over mattes, focus the negative and compose much quicker. I was able to do a complete portrait session, from posing to exposure and development of the negative to setup, exposure and development of the print, all within 15 minutes, which is one of my goals for making this project practical in terms of public portraiture.
I was experiencing inconsistencies between my metering and the resulting exposure of the prints, until I realized that I was standing in front of the easel, blocking part of the indirect light, during the printing phase. And so I changed my technique to, after loading the film holder with paper, close the inner door and remove my arm from the sleeve, then stand behind the easel to make a final meter reading and operate the shutter.
I also made three different magnetic oval mattes with which to mask off the paper negatives, using rubber sheet magnets covered in adhesive vinyl film. One mask is black, rendering a white mask on the print; the other is white, rendering a black mask in the print; and the third is gray.
I also decided that, since I've gone this far with the project, it'd be worth my time to begin using my modern Fuji 135-5.6 lens, in place of the aged WWII-era Kodak Ektar 127-4.7. This means I now have a modern, accurate shutter, and that I can make sub-second exposures, and thus use wider apertures, for portraits where the background is more pleasingly out of focus.
Here's a reprint of a negative I made during that 15 minute session, this time printed lighter (I'm using a grade 3.5 contrast filter behind the lens) and using the black mask. I used the Fuji lens for both the negative and the print, F/8 for the portrait itself and F/11 during the printing.
The bottom edge of the oval matte is softer because of the shadow of the matte itself; the matte and negative are placed upside down on the easel, so the image is exposed right side up on the print.
Hunter001a by jvcabacus, on Flickr
~Joe
I made some reference lines in the easel using drafting tape, and now I can accurately position the over mattes, focus the negative and compose much quicker. I was able to do a complete portrait session, from posing to exposure and development of the negative to setup, exposure and development of the print, all within 15 minutes, which is one of my goals for making this project practical in terms of public portraiture.
I was experiencing inconsistencies between my metering and the resulting exposure of the prints, until I realized that I was standing in front of the easel, blocking part of the indirect light, during the printing phase. And so I changed my technique to, after loading the film holder with paper, close the inner door and remove my arm from the sleeve, then stand behind the easel to make a final meter reading and operate the shutter.
I also made three different magnetic oval mattes with which to mask off the paper negatives, using rubber sheet magnets covered in adhesive vinyl film. One mask is black, rendering a white mask on the print; the other is white, rendering a black mask in the print; and the third is gray.
I also decided that, since I've gone this far with the project, it'd be worth my time to begin using my modern Fuji 135-5.6 lens, in place of the aged WWII-era Kodak Ektar 127-4.7. This means I now have a modern, accurate shutter, and that I can make sub-second exposures, and thus use wider apertures, for portraits where the background is more pleasingly out of focus.
Here's a reprint of a negative I made during that 15 minute session, this time printed lighter (I'm using a grade 3.5 contrast filter behind the lens) and using the black mask. I used the Fuji lens for both the negative and the print, F/8 for the portrait itself and F/11 during the printing.
The bottom edge of the oval matte is softer because of the shadow of the matte itself; the matte and negative are placed upside down on the easel, so the image is exposed right side up on the print.
Hunter001a by jvcabacus, on Flickr~Joe
OP
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I did a self-portrait session today. To focus my image properly, I employed a focusing target attached to the camera's support base via a string.
I first adjusted the tripod height to center my face on the lens as I was seated on a stool, then adjusted the stool fore/aft to make the string tight with the target adjacent to my eyes.
Next, I taped the target to the end of a wooden yardstick, and was able to monitor and focus the image on the ground glass, through the camera's rear door, while holding the string taught via the yardstick.
Then I loaded up a paper negative, closed the arm sleeve door and seated myself on the stool, target in my left hand and shutter release cable in my right. I pulled the string tight, positioned my face to the target, lowered the target and released the shutter. Exposure was f/8 for 1/4 second, at ISO12 on grade 2 RC paper. I should have exposed it a bit more, by adjusting the aperture down a bit from f/8. But the highlights aren't blown.
After processing and a few dunks in the rinse water, I squeegeed off the negative using a film squeegee, flapped it dry, then mounted it to the printing easel with a gray oval printing mask. The print was made with a grade 3.5 filter onto Ilford MG RC WT luster paper, at f/8 for 3 seconds, rating the paper at ISO1.6.
Overall the process took about 20 minutes. It would have been shorter, but I had to deal with focusing, and my grade 3.5 filter fell into the developer tray; I had to quickly rinse it off and dry it, then fixed it to the front of the lens via gaffers tape instead. I'm going to make a holder to mount these on the outside of the lens. The dyes on these printing filters are not water-fast, as my rinse water turned pink after I tried rinsing the filter off.
Here's an image of the focusing target affixed to the yardstick:
P1100060a by jvcabacus, on Flickr
Here's how I held the focus target up to my face (but actually using my left hand - in this shot I was holding the Lumix G5 camera, LCD screen folded out, in my left hand):
P1100061a by jvcabacus, on Flickr
And here's a scan of the print; I've made no attempt to dust spot the scan, but it appears very clean in person:
Joe001a by jvcabacus, on Flickr
Though the shadows are a bit dark (the negative being slightly under-exposed), I'm pleased with this print, especially the focus on my eyes.
~Joe
I first adjusted the tripod height to center my face on the lens as I was seated on a stool, then adjusted the stool fore/aft to make the string tight with the target adjacent to my eyes.
Next, I taped the target to the end of a wooden yardstick, and was able to monitor and focus the image on the ground glass, through the camera's rear door, while holding the string taught via the yardstick.
Then I loaded up a paper negative, closed the arm sleeve door and seated myself on the stool, target in my left hand and shutter release cable in my right. I pulled the string tight, positioned my face to the target, lowered the target and released the shutter. Exposure was f/8 for 1/4 second, at ISO12 on grade 2 RC paper. I should have exposed it a bit more, by adjusting the aperture down a bit from f/8. But the highlights aren't blown.
After processing and a few dunks in the rinse water, I squeegeed off the negative using a film squeegee, flapped it dry, then mounted it to the printing easel with a gray oval printing mask. The print was made with a grade 3.5 filter onto Ilford MG RC WT luster paper, at f/8 for 3 seconds, rating the paper at ISO1.6.
Overall the process took about 20 minutes. It would have been shorter, but I had to deal with focusing, and my grade 3.5 filter fell into the developer tray; I had to quickly rinse it off and dry it, then fixed it to the front of the lens via gaffers tape instead. I'm going to make a holder to mount these on the outside of the lens. The dyes on these printing filters are not water-fast, as my rinse water turned pink after I tried rinsing the filter off.
Here's an image of the focusing target affixed to the yardstick:
P1100060a by jvcabacus, on FlickrHere's how I held the focus target up to my face (but actually using my left hand - in this shot I was holding the Lumix G5 camera, LCD screen folded out, in my left hand):
P1100061a by jvcabacus, on FlickrAnd here's a scan of the print; I've made no attempt to dust spot the scan, but it appears very clean in person:
Joe001a by jvcabacus, on FlickrThough the shadows are a bit dark (the negative being slightly under-exposed), I'm pleased with this print, especially the focus on my eyes.
~Joe
OP
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Today I worked on getting the entire Instant Box Camera transportable as a system. First, I made a visit to my local Staples store where I picked up this collapsable dolly, with 70 pound weight capacity. Inside I can carry two 1-gallon bottles, for fresh water and waste chemicals; paper towels, chemical bottles, spare fixer and developer, and a funnel.
P1100063a by jvcabacus, on Flickr
I also made a storage shelf for the bottom of the tripod. It's made from two pieces of laminate flooring that bolt together, with special notches cut out to fit around the center column and one support leg. This shelf gives me room for the two rinse containers, the smaller container with rinse aid and the other with fresh rinse water; along with other accessories.
For transport, I'm carrying many of my smaller accessories inside the camera itself, with the chemical trays dry and placed upside; there's room for my light meter, bubble level, printing easel and extension, spare magnetic oval printing mattes, and the viewing port (shown removed), along with the printing filter.
P1100062b by jvcabacus, on Flickr
Here's the entire system packed up and ready for transport. I wanted to be able to move the entire rig in one trip from my car, so that I don't have to worry about the possibility of theft, especially if I'm doing this solo. The tripod collapses to a compact package and is wrapped in a towel, to keep from scratching the finish on the camera box. The towel might also come in handy to keep folded atop the camera, for cleaning up spills and drips. A bungee cord secures the load. Once the camera is set up, I'll be able to collapse the handle on the dolly and secure it under the lower shelf of the tripod.
P1100064a by jvcabacus, on Flickr
~Joe
P1100063a by jvcabacus, on FlickrI also made a storage shelf for the bottom of the tripod. It's made from two pieces of laminate flooring that bolt together, with special notches cut out to fit around the center column and one support leg. This shelf gives me room for the two rinse containers, the smaller container with rinse aid and the other with fresh rinse water; along with other accessories.
For transport, I'm carrying many of my smaller accessories inside the camera itself, with the chemical trays dry and placed upside; there's room for my light meter, bubble level, printing easel and extension, spare magnetic oval printing mattes, and the viewing port (shown removed), along with the printing filter.
P1100062b by jvcabacus, on FlickrHere's the entire system packed up and ready for transport. I wanted to be able to move the entire rig in one trip from my car, so that I don't have to worry about the possibility of theft, especially if I'm doing this solo. The tripod collapses to a compact package and is wrapped in a towel, to keep from scratching the finish on the camera box. The towel might also come in handy to keep folded atop the camera, for cleaning up spills and drips. A bungee cord secures the load. Once the camera is set up, I'll be able to collapse the handle on the dolly and secure it under the lower shelf of the tripod.
P1100064a by jvcabacus, on Flickr~Joe
OP
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Today I took my Instant Box Camera kit on a practice session afield, placing a visit to my brother. I found it best to pack all the gear in my small car with the camera and tripod in the trunk, and the wheeled crate dolly, loaded with all the supplies and chemicals, including a container of water, in the back seat.
Once at my brother's, I loaded it back into one kit and wheeled it into his front porch area, where I set up for several portrait sessions. It took me all of about 20 minutes from arrival to having it set up, ready to seat him for his picture.
I seated him under the shaded porch, near the edge of the shadow, with the camera in the sun. Note to self: bring a sun hat next time. Actually, I have a list of lessons learned from this session, which I'd rank as successful.
The first negative went well, as did the processing. I had brought a container of rinse aid, along with a separate container of rinse water, and so I did a minute or so of rinse aid prior to a short water rinse, then squeegeed off the negative and flapped it dry in the sun.
Printing the negative was a bit more troublesome. I'd gotten used to printing under my back porch at home, but the light was a bit different at his house. I used incident metering for the print, as before, but the first print came out too light. I ended up adding an extra stop of exposure, for a nice print.
I then shot a second negative, and it too went well, this time I reflected metered his face, which worked well. For printing this second negative, I applied the same exposure as I'd found with the first. The result, shown below, is a bit dark, as there's more shadow detail that a better print might reveal, but I'm pleased with the light in his eyes.
Don001a by jvcabacus, on Flickr
I'm thinking that I should employ my Pentax spot meter for metering the prints. The reason being is that the Gossen is just not accurate enough to get a reading just off the face on the negative, and getting the meter that close to the negative means the shadow of the meter comes into play. This is on my to-do list, getting the spot meter running and calibrated for this purpose.
A few more lessons learned, such as I need to bring some plastic baggies to store negatives and prints. I'm thinking I could present the print to the client in a baggie, with an insert sheet printed on gray/silver paper with some description of the process, care advice for the print and my contact information. For the negatives, I'll store each one in their own baggie, with a preprinted form included that has the date, customer's name, email address, phone number and exposure information. Once I'm back home, I can archive these negatives, along with their data sheets, in a binder for future reference.
I also need another small plastic storage bin to hold the non-chemical related items, that end up cluttering the top of the camera, such as the bubble level, film squeegee, light meter case, spare printing filters, spare printing masks, etc.
Having the container for waste chemicals was handy, as I'd started with two day-old developer and dumped it and repoured fresh developer. My developer bottle I've marked with lines indicating the 150mL of water and 15mL of concentrate, so it was easy to pour up more working solution. For the fixer, I brought a spare bottle of fresh fixer, along with a small bottle of test solution, to test for exhaustion. I'll just pour the exhausted fixer back into its storage bottle and use the other, if needed; that way I don't mix used fixer and waste developer in the waste container.
I brought a roll of paper towels, which came in handy, along with a plastic bag for trash.
All told, it was a good session, and I now have a list of things to do to make the next one even smoother.
~Joe
Once at my brother's, I loaded it back into one kit and wheeled it into his front porch area, where I set up for several portrait sessions. It took me all of about 20 minutes from arrival to having it set up, ready to seat him for his picture.
I seated him under the shaded porch, near the edge of the shadow, with the camera in the sun. Note to self: bring a sun hat next time. Actually, I have a list of lessons learned from this session, which I'd rank as successful.
The first negative went well, as did the processing. I had brought a container of rinse aid, along with a separate container of rinse water, and so I did a minute or so of rinse aid prior to a short water rinse, then squeegeed off the negative and flapped it dry in the sun.
Printing the negative was a bit more troublesome. I'd gotten used to printing under my back porch at home, but the light was a bit different at his house. I used incident metering for the print, as before, but the first print came out too light. I ended up adding an extra stop of exposure, for a nice print.
I then shot a second negative, and it too went well, this time I reflected metered his face, which worked well. For printing this second negative, I applied the same exposure as I'd found with the first. The result, shown below, is a bit dark, as there's more shadow detail that a better print might reveal, but I'm pleased with the light in his eyes.
Don001a by jvcabacus, on FlickrI'm thinking that I should employ my Pentax spot meter for metering the prints. The reason being is that the Gossen is just not accurate enough to get a reading just off the face on the negative, and getting the meter that close to the negative means the shadow of the meter comes into play. This is on my to-do list, getting the spot meter running and calibrated for this purpose.
A few more lessons learned, such as I need to bring some plastic baggies to store negatives and prints. I'm thinking I could present the print to the client in a baggie, with an insert sheet printed on gray/silver paper with some description of the process, care advice for the print and my contact information. For the negatives, I'll store each one in their own baggie, with a preprinted form included that has the date, customer's name, email address, phone number and exposure information. Once I'm back home, I can archive these negatives, along with their data sheets, in a binder for future reference.
I also need another small plastic storage bin to hold the non-chemical related items, that end up cluttering the top of the camera, such as the bubble level, film squeegee, light meter case, spare printing filters, spare printing masks, etc.
Having the container for waste chemicals was handy, as I'd started with two day-old developer and dumped it and repoured fresh developer. My developer bottle I've marked with lines indicating the 150mL of water and 15mL of concentrate, so it was easy to pour up more working solution. For the fixer, I brought a spare bottle of fresh fixer, along with a small bottle of test solution, to test for exhaustion. I'll just pour the exhausted fixer back into its storage bottle and use the other, if needed; that way I don't mix used fixer and waste developer in the waste container.
I brought a roll of paper towels, which came in handy, along with a plastic bag for trash.
All told, it was a good session, and I now have a list of things to do to make the next one even smoother.
~Joe
OP
OP
A quick portrait session from this morning, of a friend of my grandson. The negative, on Arista grade 2 RC paper rated at ISO12, was F/8 at 1/4 second. I used incident metering, adjacent to his face, then added 1.5 additional stops.
The print was via the printing easel placed in front of the camera lens, onto Ilford MG RC WT Luster paper, rated at ISO1.6 and with a grade 3.5 filter over the lens, an exposure of F/11 at 3 seconds. For this exposure I reflection metered a gray card placed adjacent to the printing easel, which worked rather well.
Mark001a by jvcabacus, on Flickr
The print was via the printing easel placed in front of the camera lens, onto Ilford MG RC WT Luster paper, rated at ISO1.6 and with a grade 3.5 filter over the lens, an exposure of F/11 at 3 seconds. For this exposure I reflection metered a gray card placed adjacent to the printing easel, which worked rather well.
Mark001a by jvcabacus, on Flickr
OP
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Here's a portrait of my grand daughter, made today. I had composed her nicely framed up, but she slumped down in the chair during the exposure, and so I couldn't get her face well centered on the oval mask, though I was able to avoid the borders of the negative from showing on the print. It was cold and rainy; you can tell she's snuggled in a blanket to stay warm. Incident metering +1 stop, for an exposure of f/8 at 1/2 second. For the print it was again at grade 3.5, f/8 at 3 seconds, metered by taking a reflection reading off a gray card. Thus far, this metering method seems to be working.
I had better luck with the focus today. I had her hold the focus target in front of her face, with the string tight, as I focused upon the target. After loading the paper and setting the lens, I stood next to her, with the string stretched tight and positioned her head so her eyes were adjacent to the card, then dropped the card out of view of the lens and tripped the shutter. With small kids, it seems to work better for me to operate the focus target rather than them. I'm using a 3 foot shutter release cable, so I'm able to operate the shutter while working with the subject.
~Joe
PS: I scanned this warm tone paper print in color, hence the slight color cast.
Indigo001a by jvcabacus, on Flickr
~Joe
I had better luck with the focus today. I had her hold the focus target in front of her face, with the string tight, as I focused upon the target. After loading the paper and setting the lens, I stood next to her, with the string stretched tight and positioned her head so her eyes were adjacent to the card, then dropped the card out of view of the lens and tripped the shutter. With small kids, it seems to work better for me to operate the focus target rather than them. I'm using a 3 foot shutter release cable, so I'm able to operate the shutter while working with the subject.
~Joe
PS: I scanned this warm tone paper print in color, hence the slight color cast.
Indigo001a by jvcabacus, on Flickr~Joe
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Some former neighbors graced us with a visit today, prior to leaving the state for a new life in the Pacific Northwest. I took the liberty of making a portrait, and presenting them a print. The paper negative was once again Arista grade 2 RC paper, f/8 at 1/4 second, ISO12; while the print was Ilford MG RC WT Luster paper, exposure f/8 for 8 seconds, grade 3.5 printing filter over the lens, rated at ISO 1.6. I continue to use incident metering +1 stop for the negative, and a reflected meter reading off a gray card for the print.
Kim001a by jvcabacus, on Flickr
~Joe
Kim001a by jvcabacus, on Flickr~Joe
Excellent project and great to see your progress. Such good results as well. Thanks for posting.
How long does it take from the time your subject sits down until you can give them their print (albeit a little wet)?
You inspire the rest of us do-it-yourselfers. lately I've been daydreaming about kite assisted aerial photography. Something on the "got try that list"
What's next for the camera?
You inspire the rest of us do-it-yourselfers. lately I've been daydreaming about kite assisted aerial photography. Something on the "got try that list"
What's next for the camera?
OP
OP
Less than 20 minutes. I'm shooting (no pun) for 15, which seems reasonable, given that the processing (develop, stop, fix) takes about 6 minutes for each sheet, then several more for rinse aid, quick rinse then squeegee/flap dry in the open air.
A direct positive paper would be nice, but it would have to be RC paper; Harman DPP was only on fiber paper.
A monobath (developer + fixer + ammonia) takes about the same time, and is trickier to use, the only advantage being one tray in the box, so it could be constructed smaller in size.
I might try a stronger dilution of developer, to shorten the time to about a minute per sheet in the developer; but doing so might risk excess contrast - though with using contrast filters over the lens for making the print, I could use a lower number (I'm currently using grade 3.5). I'm also making the portraits in the shade, so the contrast is inherently more tolerable.
I use stop bath mainly to prolong the life of the fixing bath. Dispensing with the stop might also permit a smaller box, with only two trays; or redesign the paper safe to sit horizontally, in place of one of the trays.
~Joe
A direct positive paper would be nice, but it would have to be RC paper; Harman DPP was only on fiber paper.
A monobath (developer + fixer + ammonia) takes about the same time, and is trickier to use, the only advantage being one tray in the box, so it could be constructed smaller in size.
I might try a stronger dilution of developer, to shorten the time to about a minute per sheet in the developer; but doing so might risk excess contrast - though with using contrast filters over the lens for making the print, I could use a lower number (I'm currently using grade 3.5). I'm also making the portraits in the shade, so the contrast is inherently more tolerable.
I use stop bath mainly to prolong the life of the fixing bath. Dispensing with the stop might also permit a smaller box, with only two trays; or redesign the paper safe to sit horizontally, in place of one of the trays.
~Joe
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What's next for the camera? I'm still working with getting my processing reliable, then I'll take it out in public. But I have two other ideas.
1) Convert my portable, two-sleeve darkroom box to a tripod-mounted 5x7 camera with internal processing.
2) A smaller box for 2-1/4" sized images, with the box laid out vertically, about the size of a shoebox sitting up on end, with the camera at the top (and a rear door for composing & focusing), and the lower section with vertically-oriented "slot tanks", along with a vertically-oriented box for paper storage. The middle section would be empty, where my hand/wrist would enter through the arm sleeve at the rear, under the viewing door, and to give room to move the paper to and from the lower and upper sections.
~Joe
1) Convert my portable, two-sleeve darkroom box to a tripod-mounted 5x7 camera with internal processing.
2) A smaller box for 2-1/4" sized images, with the box laid out vertically, about the size of a shoebox sitting up on end, with the camera at the top (and a rear door for composing & focusing), and the lower section with vertically-oriented "slot tanks", along with a vertically-oriented box for paper storage. The middle section would be empty, where my hand/wrist would enter through the arm sleeve at the rear, under the viewing door, and to give room to move the paper to and from the lower and upper sections.
~Joe
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you can say that again !
i might just ignore the fluff
and put this on subscription !
can't wait to see what comes next,
your process is becoming streamlined and perfected.
OP
OP
A portrait in late afternoon on the shady side of my house, exposure: f/8 @ 1/2 second onto grade 2 RC paper, optically printed in-camera onto Ilford MG RC WT Luster paper.
~Joe
John001a by Joe Van Cleave, on Flickr
~Joe
John001a by Joe Van Cleave, on Flickr
OP
OP
P1100156a by Joe Van Cleave, on FlickrToday I conducted an extended printing session with the rig set up on my back porch, optically printing ten negatives I'd previously made during the last few months. While I made a few mistakes, wasting several sheets of paper, I'm pleased with the outcome. I switched to using grade 2 contrast filtration over the lens, the prints being exposed on Ilford MG RC WT Luster paper.
I still have some issues with my paper safe box. The first one was made from cardboard, but it wasn't moisture proof and so I spray painted it, resulting in the cardboard warping and ruining the box. The second one was made from sheet plastic, but was thinner than the first and thus could not hold as much paper.
This week I made a wider box, also from plastic, which I used today. It's proving to be too flexible, thus hard to load and unload from the box without light leaks. I'm thinking I'll have to make a stiff, liquid proof box from sheet brass, soldered together. That'll be for next week.
I made a presentation folder for the prints, that measure 4.5" by 6", made from silver/gray craft paper. Here's a scan of the back and front of the folder. Inside is a brief description of the print and process.
Luna Plata001 by Joe Van Cleave, on Flickr~Joe
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MattKing
Moderator
A relative?
OP
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A friend.
~Joe
~Joe
I loved the progression. I wonder how it is now. I'm building my own, and I only have one doubt (for now, of course). In the focusing plate i'm putting an acrilyc board. Should it be transparent or traslucid?.
Thanks
Thanks
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