The Slowest Light In The World

We are told that light goes at 299,792,458 metres per second. That may be so when there is company present but I can assure you that when you are using a pinhole camera the stuff travels considerably slower. While you might get your ordinary photography with a digital camera in half a second the pinhole camera will require most of the day.

The reason for this is simple: the digital camera opens up to a maximum aperture of f:1.8 and uses an ISO of 6400 - the pinhole camera opens up to f: 248 and uses an ISO of 100. If you opt for the paper negative you have an ISO of 0.6 and if you put a yellow filter in front of the thing you have an ISO of peanut butter. As far as making pictures, choose smooth or crunchy...

Okay, this is not as bad as it seems. The Ilford Obscura camera will not take racing-car pictures at Wanneroo while the cars are circling the track, but it will take pictures of them while they are in the pits. And with a bit of management the pit pictures will be free of human interference. The camera system will also be suited for landscape shots on cloudless days, dreamy sea pictures, and interior views...as long as you can stay inside for an hour.

The calcu-later* kit that comes in the pack enables you to see what the equivalent shoot time will be for the Obscura compared to the results from a standard light meter. Those people who do not have an old hand-held meter can always use the screen readout from their digital camera to tell them what the standard exposure for a scene is - and then you can dial it onto the converter. But be aware that the converter dials are not corrected for reciprocity failure.

This is a phenomenon that occurs when you are using really long exposures - the recording medium gets less sensitive the longer the time is extended. A rough rule of thumb for the really long ones will be to double what the calcu-later says. Most pinhole shots benefit from longer exposure.

Of course the whole business happens on a tripod. In the case of the Obscura, though, as it has a flat bottom, it can be placed on any solid surface for the duration of that exposure. You set it, open the shutter, and read a book until the time comes to close it. In case of a dull day, I recommend you start on " War and Peace " and go on to reading a comic if you finish before the camera is ready.

You might laugh at this ( and you might laugh now, thank you...) but even with f:16 lenses and 400 ISO films in medium format cameras I remember leaving shutters open for 20 minutes to record projected images on a screen in a darkened studio. Literally set and forget.

A question from the readers; " What exposure times do you use  if you are using studio flash? ". I don't know, but as I have a studio flash outfit and tabletop models that will not move, I intend to find out. The trick will be to use multiple pops of the strobe system to lay more and more light onto the emulsion. I intend to use a digital setup to tell me what would be successful with a standard lens and then convert it with the calcu-later. I'll bet that will also need double the number of pops...

* Pun, John, pun...

Every Man His Own Fox Talbot - Paper Negatives

Do you have an abbey window handy? Do you have a top hat? Do you have a new Ilford Obscura pinhole camera kit? Well you too can be Henry Fox Talbot and be the envy of your friends at the camera club.

Okay, it is not quite the same as using glass lenses in one of HFT's famous 'mousetrap ' cameras and your finished product is not going to be made on salted paper but the procedure is similar and if you choose historical subjects you can give yourself a feeling for the past that digital work just does not provide. Sure, computer manipulation and plug-ins will deliver the calotype look, but actually going out there and doing a very long exposure provides the experience as well.

Just be prepared for foolish abuse if you opt to do it in Victorian clothing. Perth is not as sophisticated as it likes to think. Trust me on this...

Okay - why even think of this? Because paper negatives have a charm and an aesthetic all their own. And they are devilishly hard to achieve with conventional camera gear - even if you have 4 x 5 or larger film holders, a wooden field camera, and that top hat. Perth's bright sun can overpower most camera lenses looking in on standard photographic paper, even if the aperture is down to f:22. You need to be able to get extremely small apertures - f:248 for instance - to allow you sufficient time to open and close a shutter by manual means.

The shutter on the Ilford Obscura is a simple dropping flap. It has a closed position magnet as well as a open position one, so you need no fear inadvertently exposing the film or paper. When the camera is firmly screwed to a tripod, there should be no movement of the thing as you operate the flap. Of course, this may be very insignificant for an exposure lasting minutes, and when you opt to use the sheets of Ilford Multigrade IV paper as your recording emulsion, you will be spending minutes with the shutter open.

The exposure ISO of the paper is about .6. The calcu-later will let you translate this into a time, but realyy, give it a bit more time. If you have access to a sunny photospot nearb your darkroom you can profitably experiment to see just how long you need shoot to give a good negative.

Loading and developing paper negatives is a lot easier than doing film as you can do it under the light of a safelamp. Once you have the paper negative you can scan it in as a direct print and then press command/I on your image editing program and bring it up as a positive. From there you can calotype it to your heart's content.

The heading image is a paper neg of Perth from Heathcote taken some years ago with a conventinal lensed camera. I will try the same view with the Obscura and see what the results are like.

An Obscure Product From Ilford

 

There are times when you just have to let yourself go. You have to go out and go mad. Office Christmas parties and federal elections come to mind, though the snacks are better at the latter than the former...

In the case of photography, we all need a dose of fun now and again, and I have decided to take my enjoyments wit a new product from Ilford - the Obscura camera kit.

The box you see with the inspirational if slightly twee slogans on the outside contains a bargain - a fully functional 4 x 5 pinhole camera, 30 sheets of recording media, and exposure calculater* and a book of instructions. The whole thing is $ 50 from the new Camera Electronic Murray Street shop, and they have plenty in stock. Note: I did not get this as a free sample - I paid out my own money for it...

Well, the camera is well made. It is essentially two boxes that slide in upon each other and are kept closed by small magnets - you'll see them as the bright round dots in the illustrations. The box that forms the inner case locks the recording sheet into registration and gives the negative a border. The boxes seem to be formed MDF board.

The pinhole is laser-cut and very precise - about f: 248...an optimal size for the 4" x 5" negative. The shutter is s simple rotary flap that is held closed or shut with those shiny magnets. There is a tripod socket in the bottom of the thing.

There is a sheet of decorative stickers with one valuable inclusion - a sight-line sticker that you put on the top surface of the box to give a rough idea what they camera will see.

The media included is 10 sheets of  4 x 5 Ilford Delta 100 film and 20 sheets of Ilford Multigrade IV paper also cut to 4 x 5. There is an empty 3-tray box to help with storage of exposed films later. There is also a sheet containing printed dials that you can assemble into an exposure calculater* and Ilford have been thoughtful enough to include a plastic pop rivet for the dial.

The only other things that I need to complete the outfit are:

1. A tripod. The trusty Cullmann 622 will do fine.

2. An exposure meter. The dear old Gossen Lunasix 3 will be hauled out.

3. A change bag. Dang - I gave mine away a year ago. Hate to spend money on another. I'll make one from an IKEA cardboard box and a couple of black wool socks...

4. A darkroom. I live in a darkroom, so no problem.

5. A plastic developing tray. Got one.

6. A graduated measuring cylinder and thermometer. Got 'em.

7.  Bottles of film developer, paper developer, and rapid fixer. All my old stuff has long since been tossed so I got three fresh bottles.

8. A copy of " Pinhole Photography" by Eric Renner. My copy is sitting on the desk as I type. Younger readers may opt for looking up the subject on the internet, but Renner is the bible for the subject. His exposure tables are invaluable.

Now more on how this is all to be used in a future weblog column. I shall fast forward to slowing down completely.

* That is not bad spelling or a mis-print. Plan and calculate all you like, but all pinhole photography requires more light. Just set the shutter open and come back later...

Photographic Preservation

There is nothing more distressing than coming across historic images that have been badly damaged by poor storage and handling.

 The papers and emulsions that made up the bulk of photographic records of last century were sturdy enough things to start with but when people failed to take care of them they frequently did not survive the lives of their subjects.

The autochrome on the top of the post is an example -the original plate was made with multi-coloured grains of starch that were dyed dufferent colours and then exposed through a tri-colour filter pack to yield some of the first colours shots. Unfortunately starch is ideal for the growth of mould if there is a damp and warm atmosphere. And it is nearly impossible to remove it without losing the image.

It's not just a matter for the antiques either - you can find paper prints from just a few decades ago that have been left out in the sun, or marked with stains and careless handling in every family photo shoebox - frequently they contain real information that you want but the condition has beteriorated past all saving. And the notorious sticky-sheet albiums of the 1970's and 1980's proved no better.

I will say that the manufacturers of the materials did not help in the mid part of the century. The Kodachrome slides stayed very well, and we can all be grateful for the fastness of the colour of both the original Kodachrome A and the improved Kodachrome II. But the Kodacolor films and particularly the Kodacolor prints avaiable in the 50's contained dyes that have proved so fugitive as to defy even the best restorative programs on the Epson scanner or the computer programs.

Really, when you see the sorts of problems that occur for the dedicated historian or just the family picture collector, you really do have to thank your lucky stars that we are shooting digital these days. We just don't have these sort of problems.

The Old New Old Lens And The New New Old lens

If the Soviet* air force can refrain from doing barrel tolls around ELINT aircraft and conducting tip and run passes over air warfare destroyers**...at least for a few months more...we may get a chance to see yet another of the new old lenses from the LOMO company.

Currently anyone who wants to clap an 1840 lens onto their full-frame Nikon or Canon Digital camera is well served by the brass LOMO Petzval lenses that are in stock at Camera Electronic right now. They are superbly built, full of optical flaws, and set the user back 176 years. You won't get full value from them with an APS-C or micro 4/3 camera but the 24mm x 36mm sensor will do the trick.

Well, now they are collecting Kickstarter money for another venture - the reconstruction of the 64mm f:2.9 Daguerreotype Achromat in brass or black metal. This one has helical focusing rather than a rack and pinion wheel, but the same sort of Waterhouse stops for the aperture. And they have provided some art stops similar to the old Rodenstock Imagon. You'll get patterns in your background  wherever highlights predominate.

I am hoping that this lens will have more effect with the APS-C cameras - it would be perfect teamed with some of the monochrome options that exist on mirror-less cameras. Of course we still have the problem of sensitivity on the sensor - far too high for historic work. But we also have neutral density filters and the front element of this lens is not going to be all that big.

I already know one friend who has Kickstartered this one and I am keen to see if it is workable - forward to the past!

Note: The old new old Lomo Petzval lenses are in stock at Camera Electronic right now - the cabinet opposite from the tills. If you're a Canon or Nikon shooter ask to see them. You'll be charmed.

* Yes, yes, I know they call themselves Russians now...
** Roughly equivalent to threatening a rottweiler...

Krasnogorsk Calls You - Resistance is Futile

I have been watching the development of this for a long time - and that is not just a cheap photographic joke. The Petzval lens that is currently being produced by the Zenit/Lomo people has been announced for a number of years - this is the first example that has landed in Camera Electronic. As a dedicated studio portrait shooter of historic subjects...how could I resist trying it out...

I shall leave you to sift through the Lomography waffle in their instruction book - it is advertising after all and they are a people famous for their advertising. Madisonski Avenue has seen some compelling posters...

But the whole idea of remaking something as historic as the Petzval design is deserving of credit. I daresay the Zenit designers have probably been sitting down for the last decade wondering where their next tin of tainted herrings is going to come from, but this was a brilliant leap of faith. A leap backwards, perhaps, but a lot of us want to jump with them!

Petzval lenses are simple things. Uncoated in the originals, though Lomo have multicoated this one. No adjustable aperture. Focusing by rack mechanism. Big, heavy brass artillery shell casings of lenses and famous for a swirling effect in the out of focus areas at open aperture. Open aperture on this one is f:2.2 on an 85mm focal length.

Lomo have made the new Petz in Canon and Nikon mount. I don't have a Nikon any more, but I do have a Nikon to Fujifilm X adapter, so it was natural to try it out in the studio with that. The test bed was an X-E2 running in Sepia jpeg and RAW.

There is aperture control of a sort - you put in metal Waterhouse stops half-way along the barrel. Of course as you do, the depth of field gets better, and the background changes. And as there is no way of knowing what will happen, you just toddle along for the ride and see what you get.

For the inveterate fiddlers out there ( and in here, I might add...) this sort of thing is just candy, nuts, and wine. For those with even bigger sensors - the FX cameras - the results may be even better.

And we can assure you that your competitors in the photo trade are not going to have the same opportunities as you do...unless they are shooting on plate cameras with collodion.

Any aspiring Matthew Brady's out there?

The Fitted Case - Camera Luggage As A Status Symbol

Look back into the literature of the 1920's, 30's and 50's and you will see a remarkable thing - the fitted case for system cameras. Leather boxes put together with all the cunning of medieval artisans and meant to contain the finest photographic gear.

We still see them here when old collections arrive for valuation. The leather is generally extremely good quality and is frequently a rich tan colour. The stitch work is prominent but if you examine it closely you will see that it follows the best pattern; angled awl slits and double tensioned waxed thread.

Linings are frequently flock over internal divisions in thin wood. These may suffer over the years with mildew or dirt but can be recovered to some extent. Indeed, even if original stitching has deteriorated it can frequently be re-stitched. Leather work shops carry craft books with instructions for this, as well as diamond awls and saddler's needles. If you set out to reconstruct a fine camera case of the period expect to end up with tired fingers and several punctures in the fingers...

Most of the cases have specific spaces for equipment. And frequently this means that the camera bodies were meant to be slotted in with no straps attached ( Why?) and with body caps on. You can still do this with digital cameras but remember every time you take off a lens you risk sensor dirt.

Are they bound to be practical? Probably not. Were they ever so? Again, probably not - assembling your Leica or Contax every time you opened the case and then disassembling it would have been a major time waster. But perhaps the people who had these cases - the elite of Europe and America - had a great deal of time to waste. And the case, however heavy, could have been carried by lackeys - along with the steamer trunks and fitted leather suitcases that were carried in he Packard.

Pip pip.

July 12 - Kodak Brownie Day - Get Ready For a Blast From The Past

July 12th is the birthdate of George Eastman - long ago in 1854. Waterville, New York, actually. George was interested in photography...

To celebrate this birthday I am inviting or readers to set their digital cameras as follows:

ISO as low as possible - 50-100 is fine.

Aperture at f:11 in manual mode.

Shutter speed at 1/25 of a second in manual mode.

jpeg. sRGB. Basic quality.

Monochrome setting, if possible. You can make it sepia if you wish.

Aspect ratio - 1:1 if possible.

Manual focus set at 10 feet.

Now go out and take 12 pictures. 12 only, ' film ' is expensive...

Do NOT review the pictures on the LCD screen - just go on from 1 to 2 to 3 and so on. Bring them back to your computer and display them out at 56mm x 56mm. No cheating - no photoshopping - no HDR - no plug-ins. Your first 12 pictures just as they come.

Show us the results. You have just used your own Kodak No.1 Brownie  (Digital Division) and if you have used it correctly you should have pictures of your family and the school fete and possibly Mundaring Weir. With luck they will be squinting into the sun. And very slightly blurred. Sun hats will be a bonus.

I'll try to feature the best on this blog.

Uncle Dick