Post your pinhole photographs here

[womble]

Statue of Gandhi in Tavistock Square, London. Ondu pinhole, HP5 Plus film, orange filter.


Gandhi (pinhole) par Kris Lockyear, on ipernity

 

[womble]

Pinhole Greek Revival par Kris Lockyear, on ipernity

 

[BobD]

4x5 FP4, Rodinal, homemade camera:

 

[Scott Micciche]

This was my first time using the Ondu in 6x9 mode. Fuji Velvia 100 ~ 10s exposure. The train is a Frecciarossa taken from a bridge near Cortona (AR).

 

[Jeremy Mudd]

A few images from my NOON 612 pinhole camera. Most of these are shot on ACROS.

 

[scheimfluger_77]

Nice group of photos Jeremy, thanks for sharing them.

 

[Visitant]

On a recent trip to New York I took this with my Ondu 4x5 Rise. Ektar 100 film, home processed and scanned on Epson V850.

 

[Mike Ratel]

What a great thread!

What a great comment.

 

[eli griggs]

A nice pinhole 'lens' was part of the Hasselblad kit I recently received, with a F250 pinhole, and a 75mm focal length(?), noted on the lens.

How many here, using company made pinholes, actually know which focal length of their lenses and does that bit of knowledge help make better pictures?

I'm wondering if I use Tri-x or HP5 Plus at 1600, (D76 1:1,) for daylight street photography, no people stuff, but in areas where I may have people passing through or relocate because of traffic, in sunny 11 (16) conditions, what sort of time might be looking at?

I know the basic film factors formula to enter into my calculator, but I'd like to hear from some of you experience shooters, as this will be my first attempts, some possibly with a yellow filter -2F, so at the least, have a starting point for my 6x6cm exposures.

Cheers.

 

[NedL]

Hmm, well if the pinhole is 75mm from the flim, and the pinhole is about 0.3mm in diameter, then that would be about f/250. ( If you have a ruler with mm markings on it, just hold the pinhole next to it, and you can tell roughly if the pinhole is near 0.3 -- rough is fine. ) That's around 8 stops slower than "sunny 16" ( 22, 32, 45, 64, 90, 128, 180, 256 ) or 9 stops slower than "sunny 11". So box speed that would be something between 2/3 of a second and 4/3 of a second. Pretty close to 1 second. If you use diafine or something and shoot trix at 1200-1600, you might get down to around 1/4 second.

I usually use paper negatives in my pinhole cameras, so 1 second sounds really fast.. I'm more used to minutes! Maybe try bracketing 1/2s, 1s and 2s at box speed and see what the results look like. Good luck and have fun with it!

 

[eli griggs]

Cheers.

Thank you for that feedback.

For now it'll be film as I do no have the sheet film back or frame for the Hasselblad, which this lens was purpose made.

 

[Jim Blodgett]

A few images from my NOON 612 pinhole camera. Most of these are shot on ACROS.


I love the way the long exposure smooths out the water under those diverging bridges. Distinct.

 

[cayenne]

I've been dabbling in pinhole since mid-summer when I got an Ondu multiformat 6x12/9/6 camera. Here is my favourite image so far taken on Ilford Delta 400 with an orange filter.


Hertfordshire gate par Kris Lockyear, on ipernity

VERY cool looking image!!

I got the same ONDU....I"m still trying to figure out exposure, reciprocity, etc......I'm gonna dig it out and try some more with it.
I read you used a filter...I think I got a holder too with mine, do you have a link to the filter or filter set you got?

Any idea what the exposure time was for this image?

Thanks in advance,

cayenne

 

[Donald Qualls]

I finally finished the first test roll in my new (as in, bought new, direct from the builder) CCB 6x6 pinhole camera. CCB stands for Custom Camera Builders; they're Canadian eBay sellers, and the camera is much more reasonably priced than many of the "extra fancy" prebuilt pinhole designs. It's a "base model" camera, though -- no provision for a cable release; just a manual shutter with enough friction to stay either open or closed, wherever you left it. There's no spool control at all in the supply chamber, and the takeup has only the (adjustable) advance knob with a brass drive key to stick into the spool. One result is that the frames are slightly skewed, at least on my first roll (I may make up a pair of shims to put both spools at the same height). The camera uses a 0.2mm laser drilled hole at 30mm from the film, which is pretty danged wide and gives f/150, and has just a plain hole drilled in the back cover to view the 6x6 framing track. The interior is either flat black (inside the main chamber between pinhole and film and inside the film chambers) or covered with a foam-backed velvety material (black, of course), which both acts as a pressure plate to keep the film flat, and is one of the best possible reasonably priced materials for light absorption.

The back is held on by a pair of terminal posts, brass knurled nuts hand tightened onto embedded screw studs.

Overall, it's the kind of basic thing someone with pretty decent wood shop skills might make to sell inexpensively, in hopes of making their photo hobby pay for itself (which I suspect is a very good description of Custom Camera Builders).

Sadly, the roll of .EDU Ultra 100 I loaded for my test had two problems: first, it was Fomapan, probably the worst film choice I could make for pinhole photography in terms of reciprocity departure (an exposure that metered at fifteen minutes turned out, after reciprocity correction, to need to stand literally overnight); and second, it had been removed from its foil packet to better fit in one of those black plastic 120 film cans -- in 2006. There's just recently been a discussion about how this isn't a great idea, because it exposes the film and backing paper to humidity (even in the closed film can). As a result, every frame has black blotches (in the positive) where moisture and contact with the backing locally desensitized the film, including an interesting circular feature on the last frame, where the hole Foma punches at the film tail crease (thereby leaving a raw edge in contact with the emulsion) did this more than even the rest of the roll.

Still, I found out what I wanted/needed to know about the camera. Did I mention it's WIDE? I'm seriously not used to 30mm on 6x6 (and it's been a long time since I made pinhole images with my homemade cameras like Gumpintoids, Pintoids, and such).

Still, lots of fun. More than worth what I paid (about $70 including shipping from Canada). With good film and shims to keep the film path straight across I expect the only artifacts to be the sort of brushed edge, where the velvet material projects its shadow to define the frame. And I'll get used to the (roughly 17 mm equivalent for 35mm) wide angle. It's flat film, so at least fences and walls won't come out curved.

CCB 6x6 Pinhole, .EDU Ultra 100, Xtol-R Stock

CCB 6x6 Pinhole, .EDU Ultra 100, Xtol-R Stock

 

[eli griggs]

It looks like you have a great platform, despite the Fomapan/EDU 100 and I look forward to seeing more, especially in either HP5 or Tri-x 400 @ 200 ISO.

Have you posted pics of your new camera yet, I'd be interested to see it.

Cheers.

 

[Daire Quinlan]

This is Magheramore, a beach in Wicklow, Ireland, taken on a Holga WPC, with the pinhole replaced by a 0.25mm.



It's not a bad pinhole platform, but 6x12 is just too wide. Mine came only with the 6x9 mask, and I took a dremel to it to get 6x12 and now I'm regretting it

 

[Donald Qualls]

Have you posted pics of your new camera yet, I'd be interested to see it.

Don't have a picture on my computer yet -- I'm much more prone to take pictures with my cameras than of them -- but I'll try to remember to post one. Seller's eBay store (no affiliation).

 

[Donald Qualls]

Okay, here are a couple pictures of the camera, taken with my phone.

Simple, but well made.

 

[eli griggs]

That's a good looking little unit, simple is often best, as there is only a bit of math to fuss over, IMO.

Thanks for sharing.

 

[Donald Qualls]

I dug through my old film and found three 120 rolls of Fuji NHGII 800, expired 2003 and stored at room temperature -- I'll probably run one of those next. Might have to guess on reciprocity correction -- one of my reciprocity apps doesn't list any 800 speed Fuji, the other has 800 Press and Superia 800 (this may be the same emulsion as 800 Press), and the data printed inside the box says nothing about exposures longer than 1/30. I can probably use an Ilford factor of 1.3 or so (that seems to work with most Fuji films) -- each stop past one second, multiply the metered time by 1.3x2 instead of just by 2 (so 8 seconds would be 8x1.33) -- and be close enough for negative film, and outdoors on 800 speed the exposures shouldn't run past a few seconds anyway (in fact, might be too short comfortably time by hand).

 

[djkloss]

The other day I took a hike with my sister at the Erie National Wildlife Refuge in PA and could not leave home without my camera. I wanted to see what the ZeroImage 4x5 using the 25mm would do - how wide is it really? Using Delta 100 expired in 2017 and exposed at ei100, developed in HC110 dilution 'H' I'm not entirely disappointed. There was a 1stop ND filter which I did not compensate in exposure for, however I am discovering the same marks on all my negs in the same place, so I'm thinking it's probably something on the filter. - Need for more testing. I would like to experiment with stronger ND filters, but after reading another thread about dust I have to question whether it will work or just be another headache. It might be that I need to just use a slower film or paper negative to slow the exposure. Filter is behind the "lens"

Thoughts?

 

[DWThomas]

That's a pretty nice shot. The problem with filters is that unlike a lens, a pinhole is more of a 1:1 ray tracing exercise and any little bit that blocks a ray shows up. Thanks to direct proportion, the closer the dust to the pinhole, the larger the effect will be. It doesn't matter whether the filter is in front or back of the pinhole, other than in back might shield it a little from dust while out walking around. A few years ago I tried a filter with a body cap pinhole on my Bronica (6x6 format). I had a shot or two left on a roll of tungsten Ektachrome, so I taped a conversion filter in front and it basically worked, I scanned the transparency and put it on the web but never actually attempted a large enough print that might have made dust obvious.

I use pinholery as my excuse to be a bit loose, so I likely wouldn't worry much about a stop or two of over exposure if I had a reason to want to use a longer shutter opening. In my first pinhole attempts in the new millennium, using a 4x5 press camera with a pinhole and shutter flap on a homemade lens board, I had purchased some 400 ISO film thinking "oh, microscopic F-stop" but then discovered that slow speeds around 1 second+/- are pretty tough to control reliably with a swiveling flap shutter. So I ordered some 100 speed film, but I did get usable results, if a bit "bullet-proof," with 400. Haven't looked recently, but there may be some even slower films out there in 4x5. My last few years of pinhole work has been on 8x10 X-ray film with a home brew camera. I've pretty much zeroed in on pulled development in HC110 1+63 to rein in contrast, so my exposures are around EI 50 which generally comes out to several seconds even in full sun.

 

[djkloss]

Thanks Dave for confirming about the dust. I guess trial and error for now.

 

[Jeremy Mudd]

"SARS" - the death of a shopping mall in Springfield, Ohio.

Dora Goodman Zone medium format camera with pinhole front on Kodak Ektar film. 20 minute exposure.

Jeremy

 

[Jim Jones]

Fine subject for a pinhole camera, and a fine image.