A visual update on my January contribution to the BoF 2026 Pinhole Challenge
#mia612m #pinhole #believeinfilm
The theme for the BoF 2026 Pinhole Challenge this month was set by John. He gave us Winter.
Holga WPC
We were fortunate enough to have a small fall of snow in early January which I thought was serendipitous given the monthly theme. I accordingly nipped outside with the Holga Wide pinhole camera to make my entries for the month.
However, as the month has progressed with day after day of cold, dark, damp, frankly miserable conditions I realised that in reality winter here isn’t about snow and ice. I therefore set out this past weekend to make a new set of images for the Challenge with the currently ever-present MIA 612m.
All images: MIA 612m unless stated
The minute I inverted the negative to see the raw positive I knew I’d capture a typical Yorkshire January; snow isn’t uncommon but it’s not the typical Winter weather we get here.
The low winter sun is irresistible to me
Finally, an image that I started processing but never finished.
Hopefully I’ve not left you feeling too cold with this selection. Fair to say though that the BoF Pinhole Challenge 2026 is off to a great start.
Three pairs of images. Straight digital and film pinhole.
#believeinfilm #pinhole #mia612m
Two images taken from the same spot, albeit on different days. One with the Fuji X100T held at head height, the other with a MIA 612m pinhole at ankle height on a mini tripod. The treatments are different too, the first is “straight” whereas the second is more interpretive due to choice of camera, film stock, exposure choices and of course the development method prior to finishing in Snapseed.
I like both and looking at them reminds me just how broad my photographic interests and tastes are.
In the first I was tempted to clean up the tree branches encroaching from the top left but decided to leave it as-is simply because I wouldn’t be cloning out anything on the film image; as much as possible I restrict editing of film images to the types of effects I could produce in the traditional darkroom. This isn’t a dogmatic choice but an aesthetic one. I’ve already mentioned that scanning negatives is a pragmatic choice but just because I embrace the digital/analogue hybrid route there’s no reason not to stay as true as is practical to the traditional methods.
Fuji X100T
MIA pinhole
Fuji X100T
MIA pinhole
Just a quick post today. I shall post some more pinhole work soon I’m sure.
Recording man’s impact on his environment
#pinhole #mia612m #believeinfilm
One grey, damp morning recently I was out and about in my local area looking for potential compositions to photograph when (if?) we get some better conditions. Of course, I had a camera with me (a pinhole camera as it happens), and couldn’t resist making a few exposures. Thankfully there was a gap in the rain but with limited available light and a pinhole camera I was getting exposure times in excess of six minutes so there was a fair bit of standing around being done.
Idly staring at the view above during a six and a half minute exposure got me thinking about the impact man has had on the local environment with the evidence of old and new activity in front of me. It then got me thinking about the New Topographics (and led to the recent blog post) and about how it has influenced my photography over the years since I first discovered the topic and also shaped how I look at the world around me these days.
At its industrial peak this valley on the edge of Elland was lined with chimneys, now only a couple remain and these are out of view to the right of my snap above. In the far distance a former mill now houses some very nice apartments whilst to its left the old buildings, including Elland Hall, were demolished to make way for the Elland bypass.
There is a new path travelling the length of the flood plain in the middle distance but this has been built (insofar as I can see) simply to facilitate access for heavy vehicles to some building works closer to the canal (out of sight behind a line of trees).
The river flows stately along it course as it has for millennia, imagine the history it has seen. Of course, it still plays a part in making today’s history; human interventions further downstream coupled with very heavy rainfall led to flooding and damage to bridges and other hardware along the route for example. It was along this river that so many mills and allied buildings sprung up of course.
The slope with its covering of bushes, brambles and trees is very different to a hundred years ago (see postcard illustration above) when pollution from the surrounding industry blighted the vegetation. Hundred years on though nature is reasserting itself highlighting the transient impact that man has in the bigger scale of things. Incidentally, the yellow squiggle marks where I stood to take the photograph at the top of this post. The path is still there but almost invisible from the top road now as it is fully enclosed by trees making the path dark and damp for much of the time.
The large cluster of houses at the top of the hill are long gone. Road widening for the trams saw to some of them and a block of flats now stands on the spot too completely changing the look of the urban landscape. My own house is just around the bend out of sight to the right.
But to return to the titular topic, here are a few recent pinhole images made very much with the thought of man’s impact on the environment in mind.
The pinhole image I was making whilst pondering on the impact of human activity.
The Elland bypass crossing the River Calder. This and the images below made with a MIA 612m pinhole camera.
Site of a former mill on the Calder & Hebble Navigation, demolition was halted when a worker died and the remains are slowly being reclaimed by nature
Many old buildings remain in use alongside more utilitarian modern structures. Calder & Hebble Navigation.
The Calder & Hebble Navigation was created to bypass less navigable sections of the River Calder for transporting goods.
Elland Bridge was destroyed by flood waters a few years back. A prefabricated section was put in its place and the original stones from the bridge were used to cover it meaning the bridge looks largely as it always has but conceals a far more robust inner framework.
A few thoughts on my personal aesthetic
#photography
Banal. Detached. Objective. Matter-of-fact. Ordinary. All terms I’ve seen associated with a photographic aesthetic that focuses on man’s impact on the landscape. Probably mostly associated with the New Topographics movement; a term coined in 1975 by curator William Jenkins for an exhibition sponsored by Kodak. New Topographics: Photographs of a Man-Altered Landscape to give it its full title.
Topographic photography then simply documents what is there, not a stylised or romanticised version of the scene such as the sublime imagery of Angel Adams for example, but more real and highlighting the impact of human intervention and the sheer banality of much of the landscape around us. Typically urban, often liminal, always everyday this is straight photography that embraces the mundane.
It’s probably what most of my photography tends towards, especially the photographs I produce around where I live in Elland and the more local parts of West Yorkshire.
The new topographics were to have a decisive influence on later photographers and indeed it was through my interest and reading around the New Topographics that I came across the typographic work of Bernd and Hiller Becher several years ago which ultimately inspired my ongoing typography project.
Go to the Scottish Highlands and photograph road signs!
This banal aesthetic is one that I have fully embraced especially since originally having my movements restricted by the COVID pandemic. These days my photography is mostly black and white film images, is usually formally composed and inevitably of the urban landscape. As I go through 2026 I won’t need to make a conscious effort to make images in this aesthetic, it’s now my natural way of working, but I am going to make a conscious effort to bring together small collections of topographical images as blog posts. A lot of my posts are camera or film specific or relate to a particular trip, these elements give the underlying theme of the post. It will be interesting to bring together a collection of images united by an aesthetic but embracing diverse methods of making them.
Echoes of Elland’s industrial past alongside the river … made with a pinhole camera.
Pre-pandemic my photography could probably be termed as being in the sublime tradition; capturing beautiful landscapes in beautiful conditions to make (hopefully) beautiful images. I still do it from time to time but these days, post-pandemic, I get more pleasure from the mundane, urban photography that could be identified with the topographical aesthetic.
I’ve deliberately not made a “new year’s resolutions” post this year but this statement of intent will I hope give me something to look back upon in twelve months time when I review 2026 … even if just in my mind rather than in a blog post.
Postscript. It’s nice sometimes to put a label on things. In the past I certainly struggled with a need to put a name to how I was feeling, what I was doing or whatever was ailing me. Fortunately, I no longer feel compelled to label everything but it does feel good to have a peg on which to hang my everyday photography.
“Why bother with film?” I’ve seen a flurry of such comments recently usually followed by “… when digital is easier” and of course “… especially when you use a digital camera to share your film photos”.
I get it. But I’m not sure that those posing the questions (often passive-aggressively) get it. It’s because it’s not so easy that I enjoy it. If it’s too easy then unless the end result is the only thing that matters then to my mind there seems little point in doing it.
Holga 120N
American climber Alex Honnold recently scaled a Taiwan skyscraper without a rope, harness or safety equipment. Why? It would’ve been easier to take the internal lift then out through the inspection hatch surely. He also scaled El Capitan without rope, harness or safety equipment. Again, why? There were easier ways surely?
Now I’m not equating photography with extreme sports but the principles are the same. It’s not the destination that matters but the way you get there. In a perfect world I’d print everything in the darkroom and meet up with all my contacts every week in person. But the world doesn’t work like that.
It never has to be fair.
Back in the 1970s I joined a camera club in Swindon where I was born and still lived at the time. In those days camera clubs typically had larger memberships than they do nowadays and being British were run along very structured lines. At Swindon in those days the committee sat at a table facing the room whilst us mortals sat on rows of chairs facing said table. There was a chairman, an agenda and a fairly rigid way that meetings were run. I didn’t last long; committees and rigidly structured meetings have never been my cup of tea. However, for the season that I belonged to the club I at least had the chance to share photographs and chat about photography during the social element (usually in the pub afterwards).
So, apart from that brief spell my formative photographic years were largely spent without any regular place to share ideas and photos, with neither the internet nor social media and like everyone else I was reliant on some peer interaction, magazines and library books but mainly myself. I did go on a few residential photo workshops/holidays organised by one of the many photographic magazines we were blessed with in those days and found these inspiring especially the informal photo sharing sessions; done with prints and transparencies/slides and with not a screen in sight apart from the large white one against the front wall.
Horizon S3 Pro
So, digitising negatives is the compromise we make in this digital age if we wish to continue with these traditional methods of working yet also share our work beyond a very small circle of local friends.
Truth be told I share less than 5% of my photography online. When I have a darkroom available I print for my own enjoyment but even then I still have to copy the prints with my phone to share with others.
So to the “why bother” keyboard warriors I say … you do you, I’ll do me.
I have to say, the BoF 2026 Pinhole Challenge is off to a fabulous start up here in cold, damp and frankly miserable (weather-wise) Elland. But the conditions haven’t dampened my enthusiasm for the Challenge nor for trying new things. I’ve just checked the BBC weather app and we are in for two weeks of rain and grey skies so time to dig in and make the best of things I say. And time to dig out the TMax 400!
But first, a picture of where many of my blog posts have started life … made on Kodak TMax 400.
The image above was made from the corner table in the window.
Being a big kid, I wanted a new toy for the Challenge; despite having plenty of options already at my disposal I figured something new would really set me up and running in style. I wasn’t wrong and you have already seen some of the images from my initial wanders with the MIA 612m. I truly cannot wait to see what I can create with some better light over the coming months. I’m even enjoying the 6×9 aspect ratio more than I expected.
River Calder and a good example of what we’ve been dealing with weather-wise so far in 2026.
Indeed, so impressed am I with my purchase that I’ve put my money where my mouth is and Andrea from MIA is, as I type, making me a second MIA pinhole camera, the exact details of which I shall keep under wraps for the time being but suffice to say I’m excited by the possibilities and it should play to my compositional strengths I think. I certainly hope so!
Marmite Alert! These #holga images won’t be to every taste; I’m not even sure I like them! #believeinfilm. Will others like or dislike them? Will @philwalker.bsky.social still speak to me? We shall see!
Way back in the mists of time … OK 2025… John decided to create handheld multiple exposures with his Holga GN. Partly to liven up a Challenge he was growing weary of and partly to get enough light on the film. A fixed shutter speed of 1/100th (ish!) isn’t that viable when the light meter is saying 1/20th. However, opening the shutter five or six times should give the film sufficient light without resorting to Bulb mode and a tripod.
Even with the steadiest of hands a perfectly registered image is unlikely so what you get is a number of slightly overlapping images on one negative; the more you wobble the greater the distortion. To be fair, some of John’s results were very interesting. With a free hour I recently loaded up two Holgas and headed out to try my hand at it.
At the end of our 2025 Holga Challenge John presented his Holga 120GN to me inscribed “Juan Special Edition” in “real silver” pen. It seemed appropriate to take this as one of my brace of Holgas.
Toned … light or dark?
I ended up with two rolls of film, both reasonably well exposed and both developed using my regular semi-stand process and PyrocatHD in homeopathic quantities (to quote John). But would I like the images?
In truth, I’m not sure. Some I like some I really dislike and some I’m fairly neutral on. To my eye none have reached the heights that John achieved but I’m still glad I tried. However, in keeping with my philosophy of sharing the good, the bad and the downright ugly on my blog I’m presenting a small selection here.
I had to mess with the “straight” version (left) because it was rather under-exposed but it provides a comparison with the “shivers” version on the right.
Normal service will resume shortly; I think there will be more pinhole very soon. I’m just hoping that Phil will still be speaking to me if he happens to read this post!
I wasn’t expecting to have any more #mia612m #pinhole images to share quite this soon @miapinholecameras.bsky.social #believeinfilm
Since my post a few days ago I’ve continued to use the MIA 612m, practically on a daily basis. Yes, it is that much fun to use. In fact I wasn’t expecting another MIA post so soon but after 12 rolls, including two colour negative rolls I’ve a fair few images to share so here’s a small selection.
Bar & Grill
Pedestrian Pothole. Getting down low is generally a good tactic for pinhole photography in my experience (your mileage may vary of course)
Despite my previous comment I have tried out the 6×9 format too and have to say it works well for pinhole. I still expect to use the 612m in the 6×12 format most of the time but it’s another option, albeit one that needs to be decided upon when loading the film.
Calder & Hebble Navigation
High Street Flare I can never resist pointing a pinhole camera towards the sun
One thing that the design of the camera allows is not only multiple exposures but also the ability to overlap frames to create a seamless image as below. Serendipity plays a part of course but the results are not only unpredictable but on occasion they produce something very special. The one below is three exposures, two looking down the cobbled hill from slightly different positions and the third looking uphill from the same spot.
Gog Hill. The MIA was configured for 6×9 for this image comprising three overlapped images
The canal basin
Another thing I like doing with pinhole images is placing something across the front of the scene to really emphasise the depth of field that pinhole cameras achieve (above and below).
River Calder and Flyover
Under the railway bridge
Gog Hill and mist
Gog Hill – two levels
So, after a dozen rolls I am still thoroughly enjoying this lightweight camera. It can be dropped in my coat pocket or into my messenger bag, adding virtually no weight, certainly no noticeable weight to either. I’ve been out several times recently with just the MIA 612m camera in one pocket and a mini tripod and a couple of rolls of film in the other. I’ve still not used it in the 6×6 configuration but have been having great fun with 6×12 and enjoying 6×9 far more than I thought I would.
Century Road. As with all photography though it’s the light that makes the image as this and the first image hopefully demonstrate.
I hope you have enjoyed this small selection, do you have a particular favourite?
Postscript: if you head to the MIA Pinhole website you might see some of these images being used there.
#believeinfilm and believe in #pinhole My first update from this years Frugal Film Project. #panorama
The Frugal Film Project is now in its seventh or eighth year I believe and like a lot of film photography initiatives had its genesis online. From a bespoke website in 2019 it has migrated to the Facebook social media platform and this is my second involvement with the project, although, full disclosure, I abandoned my previous attempt in 2023 after a series of setbacks sucked the fun out of it for me. But after a two year break I’m back for another go.
Holga WPC | Kentmere 200
The premise is simple – one camera, one film stock, one roll a month. The catch? Well, it’s frugal so a strict limit on the cost of gear and the cheapest film you can find. The Facebook Group pages will give you more information should you want it.
I ended my 2023 FFP after the July roll having used three different cameras in seven months with the first two breaking. Whilst the third camera performed OK I was struggling with the film stock I chose and although I considered trying some alternatives to my usual developers I clearly decided to cut my losses. I’ve since (in 2025) come to like that particular film stock having taken the time to experiment with different development options and developers.
But, to the here and now. I’m going to be using a Holga WPC (wide pinhole camera) and Kentmere 200. I like K200 very much, like the 6×12 aspect ratio of the WPC and am a big fan of pinhole in general. It’s also the year in which two friends and I are undertaking a monthly pinhole Challenge.
All in all I’m very positive about this year’s FFP Challenge. The January roll has been developed, dried and digitised. How did I do? Let’s take a look.
A bit of flare,
I’ve not posted all six from the roll, one was a duplicate as I bracketed exposures. The film was developed in a mix of 4ml Euro HC and 4ml Rodinal to 1000ml of water at 20°. A one hour semi-stand produced a nice set of negatives and another semi-stand recipe for my toolbox. I might stick with it for the remainder of FFP 2026.
My first four rolls with the #MIA612m #pinhole camera from
@miapinholecameras.bsky.social #believeinfilm
* Specifications *
The Mia 612m is a multi-format pinhole camera capable of producing images in 6×6, 6×9 and 6×12 format. The manufacturer, Andrea, claims that it does so with very little if no vignetting. The specifications (from the website) are:
I’ve put a handful of rolls through the camera over the last week and so far have been mightily impressed. The camera is sturdy, light and very easy to use. With no electronics nor indeed any glass, I’ve been able to leave the camera out in the rain for an hour or more without worry whilst I made a series of long exposures. A quick wipe down with a tea towel afterwards and all was right with the world. Being a 6×12 format a standard 120 roll gives six negatives, winding to frames 1,3,5,7,9 and 11 is very straightforward; the winding knobs move easily yet stay put when not being used and the simple viewing hole in the back makes reading even Ilford’s frame numbers straightforward.
The simple shutter is easy to use and is held in place over the pinhole by a magnet. It’s the only minor niggle I have as extra care is needed to ensure this doesn’t get dislodged when putting the camera in (or out) of the messenger bag I typically use. The filter holder is a masterpiece of simplicity and whilst I’ve yet to give it any serious use I can see it being a very welcome feature – and it comes as standard.
All in all my first impressions after four rolls and four different locations/situations are very positive. There is limited vignetting at 6×12 and to be fair I’m unlikely to use the camera in the 6×6 or 6×9 configurations; I have a favourite 6×6 model with three pinholes and rarely bother with 6×9. Indeed, I’ve several pinhole cameras including premium wooden models and the MIA 612m definitely holds its own. It was an impulse buy inspired by the 2026 BoF Pinhole Challenge but one of my better impulse purchases! Expect to see plenty more images from this little gem over the coming year.
Postscript. Should Andrea release a version II then I’d like to see a tripod mount on the side to facilitate easier vertical compositions when using a mini tripod (my usual pinhole support).
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