f235, Ilford Pan F+ 50, I don't remember how long.
Re-scanned. I need to clean it up...lots of dust and at least one fingerprint.
About a year ago my hot wife and I traveled to LA. She was attending a conference for work and I...well, I planned to shoot lots of photos. I shot this photo on the day I decided to walked eight miles around the downtown core shooting pinholes (and breaking the short lens on my Nikon, sadly). I visited the Bradbury building (used for "Blade Runner" and many other films), Union Station, Chinatown, and Disney Music Hall.
I don't recall being fond of L.A. but I have a burning desire to return to shoot. It's a fantastic town that greeted us with a naked woman in the pool and left me with some excellent photo memories.
Jan 26, 2012
Pinhole: LA Subway
Jan 25, 2012
Pinhole: Charleston Custom House
f235, Kodak 400VC, 6 seconds
From an old post comparing the Charleston Custom House to Nashville's Customs House.
www.squarepegpinhole.com/2011/01/compare-contrast-charles...
Jan 24, 2012
Pinhole: Those Were the Days
F235, Kodak Portra 160VC, about one second
Don’t be fooled; we haven’t had any snow this year in Nashville. This was shot in January 2011.
I like the city when it snows. This year we haven’t had much of a winter, really, other than too much rain. Instead of cold and snow, the day before yesterday we had 70 degree weather followed by strong thunderstorms and tornado warning sirens that blared through the night — spring weather in these parts, not winter.
Winter is always unpredictable in Nashville. There used to be more snow more often, I remember, but that might be nostalgia…those were the days, after all.
Don’t be fooled; we haven’t had any snow this year in Nashville. This was shot in January 2011.
I like the city when it snows. This year we haven’t had much of a winter, really, other than too much rain. Instead of cold and snow, the day before yesterday we had 70 degree weather followed by strong thunderstorms and tornado warning sirens that blared through the night — spring weather in these parts, not winter.
Winter is always unpredictable in Nashville. There used to be more snow more often, I remember, but that might be nostalgia…those were the days, after all.
Jan 23, 2012
Jan 20, 2012
Pinhole: Yosemite Stitch
Three 6x6 pinholes stitched together, F235, Kodak Portra 400VC, times probably about one second each. I really need to re-scan the negs on my Yosemite series.
Features seen from left to righ (please correct me if I missed something):
Yosemite Falls, Indian Canyon, Royal Arches, North Dome, Washington Column, Basket Dome, Tenaya Valley, Half Dome, Sierra Point, Vernal Falls, Liberty Cap, Nevada Falls
The images were stitched using MS ICE (free and works well). I can't decide whether I like this stitch...pinholes may not work because of the vignetting. I do like that you can see two major falls...I love that it's clear as hell despite being pinholes.
These photos were shot in April or May 2007 when the falls were at their fullest. I love Yosemite, my favorite national park. I need to return.
Features seen from left to righ (please correct me if I missed something):
Yosemite Falls, Indian Canyon, Royal Arches, North Dome, Washington Column, Basket Dome, Tenaya Valley, Half Dome, Sierra Point, Vernal Falls, Liberty Cap, Nevada Falls
The images were stitched using MS ICE (free and works well). I can't decide whether I like this stitch...pinholes may not work because of the vignetting. I do like that you can see two major falls...I love that it's clear as hell despite being pinholes.
These photos were shot in April or May 2007 when the falls were at their fullest. I love Yosemite, my favorite national park. I need to return.
Jan 19, 2012
Pinhole: Seattle Via Nashville, X
f235 and f138, Fujichrome Velvia 50, 6x6, double exposures, varied time, cross processed, scanned as a positive and inverted in PS.
The second exposure (mine) is barely visible in this image. Part of it is the "No Smoking" sign that looks like a reflection in the window. J and I are still trying to figure out why it's difficult to see my exposures. There have been several suggestions. Another pinholer (The Old Penfold) suggested this:
"I think the exposure latitude on Velvia is so low that mid tones and highlights in the first exposure effectively use up the emulsion so that there is nothing for the second shot to expose on."
So far it looks like Velvia 50 and Pan F+ don't handle doubles well.
Try, fail, try...
Part of a series of pinhole double exposures between me and JSod. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
The second exposure (mine) is barely visible in this image. Part of it is the "No Smoking" sign that looks like a reflection in the window. J and I are still trying to figure out why it's difficult to see my exposures. There have been several suggestions. Another pinholer (The Old Penfold) suggested this:
"I think the exposure latitude on Velvia is so low that mid tones and highlights in the first exposure effectively use up the emulsion so that there is nothing for the second shot to expose on."
So far it looks like Velvia 50 and Pan F+ don't handle doubles well.
Try, fail, try...
Part of a series of pinhole double exposures between me and JSod. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
Jan 18, 2012
Jan 17, 2012
Pinhole: Seattle Via Nashville, III
Via Flickr:
f235 and f138, Fujichrome Velvia 50, 6x6, double exposures, varied time, cross processed
Scanned as a positive and inverted in PS.
Part of a series of pinhole double exposures between me and JSod. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
We've found that most of the Nashville images were washed out, but you can see hints of the Music City in some of the images. Well, not really Music City in this case...more like wire-top picnic table, but still.
f235 and f138, Fujichrome Velvia 50, 6x6, double exposures, varied time, cross processed
Scanned as a positive and inverted in PS.
Part of a series of pinhole double exposures between me and JSod. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
We've found that most of the Nashville images were washed out, but you can see hints of the Music City in some of the images. Well, not really Music City in this case...more like wire-top picnic table, but still.
Jan 16, 2012
Pinhole: Seattle Via Nashville, II
Via Flickr:
f235 and f138, Fujichrome Velvia 50, 6x6, double exposures, varied time, cross processed
Scanned as a positive and inverted in PS.
Part of a series of pinhole double exposures between me and JSod. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
We've found that most of the Nashville images were washed out, but you can see hints of the Music City in some of the images. In this one, it's the Lower Broadway tourist district, an area filled with neon-fronted honky-tonks (look up Tootsies). It was a 30 minute exposure and lines up nicely with J.Sod's tree (which I really hope he goes back to shoot, because it has a beautiful structure).
Here are other images in this series:
f235 and f138, Fujichrome Velvia 50, 6x6, double exposures, varied time, cross processed
Scanned as a positive and inverted in PS.
Part of a series of pinhole double exposures between me and JSod. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
We've found that most of the Nashville images were washed out, but you can see hints of the Music City in some of the images. In this one, it's the Lower Broadway tourist district, an area filled with neon-fronted honky-tonks (look up Tootsies). It was a 30 minute exposure and lines up nicely with J.Sod's tree (which I really hope he goes back to shoot, because it has a beautiful structure).
Here are other images in this series:
- Pinhole: Stop, Collaborate and Listen (which gives a bit more background on the series)
Jan 13, 2012
Pinhole: Stop, Collaborate and Listen
Via Flickr:
f235 and f138, Fujichrome Velvia 50, double exposures, varied time
Scanned as a positive and inverted in PS.
The first color image in a series of pinhole double exposures between me and JSod. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
While we shot at the same aspect (6x6), I noticed when scanning in the film that the images did not line up. It appears that J's camera creates a very clear, and thick, line between images. My camera (Zero Image 69) bleeds the edges. But the images still should have lined up better. I wonder if it has something to do with re-rolling the film. Perhaps when re-rolled the film expands (or contracts) in some way.
I shot the film I sent to J at 6x9 (he uploaded the first sample yesterday). His camera shoots 6x6 exclusively (I can adjust mine to shoot several different sizes). I hoped to get some interesting overlap, but I don't think it worked quite as planned.
It appears the Velvia did a much better job handling the multiple exposures. While I had to do some adjustment in Photoshop for contrast and exposure, the negetives looked well balanced. I don't think the Ilford Pan F+ (my favorite B&W film) did as well...I suspect it's super-high contrast and massive reciprocity failure rate affects doubles. The film I'm sending Pinhole Nico next week is Kodak Portra. I'll be interested to see how it fairs.
All of this is a learning experiences. It falls squarely in my pinhole mantra of "try, fail, try, fail, try...until hopefully I succeed." I love the iterative process.
Other titles for this?
* Slippery Slope
* The Cautionary Tale
* Cold Entanglement
* A Different Kind of Dance
* Swapping Spit
f235 and f138, Fujichrome Velvia 50, double exposures, varied time
Scanned as a positive and inverted in PS.
The first color image in a series of pinhole double exposures between me and JSod. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
While we shot at the same aspect (6x6), I noticed when scanning in the film that the images did not line up. It appears that J's camera creates a very clear, and thick, line between images. My camera (Zero Image 69) bleeds the edges. But the images still should have lined up better. I wonder if it has something to do with re-rolling the film. Perhaps when re-rolled the film expands (or contracts) in some way.
I shot the film I sent to J at 6x9 (he uploaded the first sample yesterday). His camera shoots 6x6 exclusively (I can adjust mine to shoot several different sizes). I hoped to get some interesting overlap, but I don't think it worked quite as planned.
It appears the Velvia did a much better job handling the multiple exposures. While I had to do some adjustment in Photoshop for contrast and exposure, the negetives looked well balanced. I don't think the Ilford Pan F+ (my favorite B&W film) did as well...I suspect it's super-high contrast and massive reciprocity failure rate affects doubles. The film I'm sending Pinhole Nico next week is Kodak Portra. I'll be interested to see how it fairs.
All of this is a learning experiences. It falls squarely in my pinhole mantra of "try, fail, try, fail, try...until hopefully I succeed." I love the iterative process.
Other titles for this?
* Slippery Slope
* The Cautionary Tale
* Cold Entanglement
* A Different Kind of Dance
* Swapping Spit
Jan 12, 2012
Misdirection
Via Flickr:
Series: Seattle via Nashville
Cameras: Zero 2000 and Zero 69
Film: Ilford Pan F Plus 50
Location: Seattle WA and Nashville, TN
First image in a series of pinhole double exposures between myself and SquarePegPinhole. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
Series: Seattle via Nashville
Cameras: Zero 2000 and Zero 69
Film: Ilford Pan F Plus 50
Location: Seattle WA and Nashville, TN
First image in a series of pinhole double exposures between myself and SquarePegPinhole. Each of us shot a roll of film and mailed it to the other without disclosing what we photographed. Two visions one result, Seattle via Nashville.
Jan 11, 2012
Pinhole: Material Shortage
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f235, Fuji Provia 100, ~two seconds each, cross processed, scanned as positive and inverted in PS.
The Woodmont Christian Church (Disciples of Christ) was built in 1949; the spire is 220 feet tall.
It appears I need to shoot more pinholes; I'm running out of material. I'm currently working on film swaps with www.flickr.com/photos/flapjacksrule/ (a fabulous pinholer in the Seattle area) and Pinhole Nico (another fabulous pinhole, based in The Netherlands). Hopefully I'll have the J.Sod roll developed this week. I'm excited to see what we get since I have no idea what he shot.
f235, Fuji Provia 100, ~two seconds each, cross processed, scanned as positive and inverted in PS.
The Woodmont Christian Church (Disciples of Christ) was built in 1949; the spire is 220 feet tall.
It appears I need to shoot more pinholes; I'm running out of material. I'm currently working on film swaps with www.flickr.com/photos/flapjacksrule/ (a fabulous pinholer in the Seattle area) and Pinhole Nico (another fabulous pinhole, based in The Netherlands). Hopefully I'll have the J.Sod roll developed this week. I'm excited to see what we get since I have no idea what he shot.
Jan 10, 2012
Hawkeye Double
Via Flickr:
Kodak Brownie Hawkeye, Kodak Portra 160, double exposure.
The first exposure (lawnmower) was six shutter releases; the second (propane tank) was one shutter release.
Kodak Brownie Hawkeye, Kodak Portra 160, double exposure.
The first exposure (lawnmower) was six shutter releases; the second (propane tank) was one shutter release.
Jan 9, 2012
Kodak vs. Ansco, Round Three (Final)
Left: Kodak Brownie Hawkeye
Right: Ansco Ready Flash
Kodak Portra 160, cloud day, shot from the same spot using one shutter click each.
This is the last in my Kodak/Ansco compare series. In all cases, the Kodak Brownie Hawkeye provided clearer photos with sharper detail and good color. I prefer the 6x9 format of the Ansco and appreciate its Holga-esque lofi quality.
These cameras are part of my gorgeous wife's great collection of vintage cameras. The Brownie belonged to her grandmother so there's a wonderful feeling of nostalgia every time it's used, especially if it's for some type of family portrait.
Both cameras accept 120 film, but the take up spool needs to be an old metal 620 spindle because the winding mechanisms tear plastic 120 spindles (I learned that the hard way). You can find batches of the metal spools on Ebay for $10-20, although many vintage cameras will have one already sitting inside. When you take your film in for developing make sure you for the empty metal rolls to be returned.
If you're interested in buying similar cameras they cost about $20 on Ebay, although I've seen the Ansco as cheap as $5 and the Brownie as much as $40. J typically buys hers at estate sales.
Round One Here
Round Two Here
Right: Ansco Ready Flash
Kodak Portra 160, cloud day, shot from the same spot using one shutter click each.
This is the last in my Kodak/Ansco compare series. In all cases, the Kodak Brownie Hawkeye provided clearer photos with sharper detail and good color. I prefer the 6x9 format of the Ansco and appreciate its Holga-esque lofi quality.
These cameras are part of my gorgeous wife's great collection of vintage cameras. The Brownie belonged to her grandmother so there's a wonderful feeling of nostalgia every time it's used, especially if it's for some type of family portrait.
Both cameras accept 120 film, but the take up spool needs to be an old metal 620 spindle because the winding mechanisms tear plastic 120 spindles (I learned that the hard way). You can find batches of the metal spools on Ebay for $10-20, although many vintage cameras will have one already sitting inside. When you take your film in for developing make sure you for the empty metal rolls to be returned.
If you're interested in buying similar cameras they cost about $20 on Ebay, although I've seen the Ansco as cheap as $5 and the Brownie as much as $40. J typically buys hers at estate sales.
Round One Here
Round Two Here
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