john_bolgiano

I've had some success with using Maco 820 in a Holga converted to pinhole. Got around any concerns of light leaks at the seams or through the modern space age material body by wrapping the entire camera in several layers of aluminum foil. It looked incredibly silly but it seemed to do the job.

I've had pretty good luck using Arista APHS lith film developed in diluted (1:12) Dektol. It's not a direct one-step, you'll need to make a interpositive, but the low price of the Arista film compared to the other alternatives I've investigated makes the process less painful to my wallet.

 

With 35mm, I've had better success making a full size enlargement in the interpositive step and contact printing that to another sheet of lith than trying to contact print directly from 35mm.

 

The Arista APHS lith film is available from Freestyle.<div></div>

I've built a few from both foamboard and wood.

<p>You can find plans and instructions at the <a href="http://www.pinholevisions.org/resources/index.php?pid=listing&category=camera+plans">Pinhole Visions</a> site.

<i>I know you could cheat and double expose. But WE don't

cheat, do we...? </i>

 

<p>I plan on "cheating" as much as I can by trying the multiple

exposure technique outlined at <a

href="http://www.mreclipse.com/LEphoto/LEphoto.html">Lunar

Eclipse Photography</a>. After all, why have only one eclipsed

moon in the frame when you can easily have a whole string of

them? ;-)

 

<p>A view camera seems the perfect tool for this method, with

the ease of making multiple exposures. I've done it enough

times unintentionally, so I'll look on the bright side and consider

those goof ups as practice for this event.

Take a look at Marcy Merrill's work in Liquid Light on fabric, wood and stone at:

 

http://www.merrillphoto.com/Projects.htm

Holly Dupre offers her excellent book on Polaroid transfers in PDF format at:

 

http://www.pacificsites.com/~hdupre/trans.html

 

I found the book quite helpful and informative, covering everything from film and paper selection to troubleshooting. Best of luck with this fun technique.<div></div>

I have been trying to get the film to behave in some of my pinhole cameras. No astounding luck yet but can report that I've seen no fogging with my old Lisco film holders. My most recent and best development so far has been in Rodinal 1:100 for 21 minutes with the film rated/guesstimated at a blazingly speedy 4. I would strongly suggest using an opaque filter such as the Hoya R72. Shooting Maco 820c with a red 25 is just like using very expensive B&W.

 

Best of luck and I'll look forward to your results.

The material for making your pinhole is almost as varied as the materials which may be used to construct the camera body. Successful pinholes can be made using heavy duty aluminum foil (cheap and easy to puncture but poor longevity), brass shim stock (available from most hobby stores), silver foil (rolled to desired thickness by a jeweler), pie and baking tins, old soda or beer cans (my favorite - leave the painted logo intact for "decoration").

<p>

Even the smallest drill bit can be too large for a short focal length pinhole camera. You can get an idea of the diameter you will need for your camera with the <a href="http://www.mrpinhole.com/calcpinh.php">Pinhole Camera Design Calculator</a>. The previously mentioned techniques of dimpling and sanding seem to work well for making clean round holes in thin materials. You can find more tips on pinhole construction at the <a href="http://www.pinholevisions.org/resources/">Pinhole Visions Resource</a> pages.

There are a few articles at Unblinking Eye which may prove helpful in making enlarged negatives.

 

Enlarged Negatives Using APHS Ortho Film and Pyro Developer

by Bob Herbst

 

http://unblinkingeye.com/Articles/EnlargeNeg/enlargeneg.html

 

and

 

Less is More - Negatives by Reversal

by Ed Buffaloe

 

http://unblinkingeye.com/Articles/NbyR/nbyr.html

 

I've had good luck with using a flat print as my interpositive. Haven't noticed any problems with the paper making any artifacts on the enlarged negative using Ilford MGIV in both RC and fiber. Since the ortho film will usually kick up the contrast, make sure you have good details in both the shadow and highlight regions of your interpositive.

I've been lucky with Arista A/B Liquidlith developer, available from <a href="http://www.freestylephoto.biz/sc_main.php?cat_id=2003">Freestyle</a>, diluted at about 1:9 using Forte Polywarmtone FB paper. My typical exposure times have been between 90-180 sec @ 5.6. The highlights range from a delicate creamy yellow to a light tan, quite controllable by varying the exposure time. Development times are a bit on the long side, anywhere from 10 minutes and up, so I guess there's no escaping the boredom factor with this printing technique.<div></div>

Geoffrey,

<p>

The developers used in the lith printing process are film developers. They are used in a highly diluted form for developing paper. Both your choice of developer and paper are important. See this <a href="http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=003GPl">thread</a> for some pointers on what works well togther.

 

<p>I have had some luck with Arista Liquidlith A/B Developer from Freestyle (look in the graphic arts section of their site) to develop Forte Polywarmtone paper.

<p>I'd also second the recommendation to read Rudman's book on lith printing.

Wieslaw asked:

 

>No Mrs. in the bandwagon ???

 

As a LF newbie, I've had plenty of contact with another member

of the family, Miss Take.

 

Happy holidays to all and thanks for sharing your extensive

knowledge. I am sure I'd be on even closer terms with Miss Take

if it wasn't for the help of all the generous contributions here.

A quick check of the Calumet web site turned up a replacement focus mask for the C2N 6x7 and 6x9 roll film holders for under five bucks. <p>It is Item no. <a href="http://www.calumetphoto.com/syrinx/ctl?PAGE=Controller&ac.ui.pn=cat.CatItemDetail&ac.item.itemNo=9C350275&ac.treeSearch.detail=y&type=SPDSEARCH">9C350275</a>

A few miles north of you in Baltimore. I'm a LF newbie with

questions of my own but always keen to explore and learn.

If you're thinking of getting an order together, I'd definitely be

interested in at least two boxes, maybe more depending on

price.

If I am reading the auction item description correctly, you are now the proud owner of an 18x24 <b>centimeter</b> view camera. Converting that to inches, it is approximately 7x9.5 inches. <br>Big? Yes.<br>Monster? No. <p>Tray or tube development should be no trouble. Finding film may be a hassle but you can always cut down a sheet of 8x10.

You'll find several labs listed at:

<p>

http://www.editorialphoto.com/cityguides/cities/dc.html

<p>

as well as other helpful information for anyone planning photography in the DC area. I haven't personally dealt with these labs but can highly recommend Artography Labs in nearby Baltimore, MD.

<p>

Artography<br>

2419 St Paul Street<br>

Baltimore, MD<br>

410-467-5575<br>

The Infrared Photography FAQ at:

<br>

<a href="http://www.cocam.co.uk/CoCamWS/Infrared/INFRARED.HTM">http://www.cocam.co.uk/CoCamWS/Infrared/INFRARED.HTM</a>

<br>

recommends the following times at 20 degrees C:

<pre>

HC110-B 6 minutes

Rodinal 1+25 9 minutes

Rodinal 1+50 12 minutes

</pre>

<p>

If I could persuade you to add another developer to your lineup, I have had wonderful results with Edwal FG7 and a sodium sulfite "shooter"

<p>

Best of luck<div></div>

I've also been unhappy with the uneven development from my Doran tank and have been considering switching over to a homemade daylight tube system as outlined at:

 

http://people.smu.edu/rmonagha/brontube.html

 

A few minutes with a hacksaw and an X-acto knife and I should have a nice set of tubes for a lot less than $155.