This is just a quick update following yesterday’s post. It comprises of just a few images – the negative, positive and “final” version of one of the two plates I exposed on the canal. Both were successful but I’ve only used one for this update as they are very similar and this was my favourite compositionally of the two.
One thing I do need to keep in mind is that owing to the nature of the emulsion detail in skies is probably going to be a rare commodity. The composition that I rejected was in the vertical format with a large amount of sky which was simply a dark block on the glass.
I metered for the shadows in the black area at the bottom of the building and looking at this part of the plate I’ve got exactly the amount of shadow detail I was anticipating. This is good news as it confirms that my exposure calculations, which include spot-metering and a touch of applying my nascent experience, are working out well thus far.
What is very apparent, even in these scans, is the amount of detail in the plates. Of course, I was using a good quality 180mm lens, stopped down to f32 with everything rock solid on a tripod. Nevertheless, the detail, especially in the wall and vegetation in front of the building, is lovely.
For the “final” image I cropped to 16×9 to exclude some of the sky and also gave the image a sepia tone which seems to suit both the subject and the conditions quite nicely. Your mileage may vary of course.
Onwards and upwards (when I get some more plates of course)!
Back to the canal today with a couple of J Lane Speed plates (the last in the box) along with the Intrepid 5×4 and a bag full of optimism. I’m using the new ChromaGraphica double dry plate holder. When I used it for the first time last week there was a suspicion of a light leak but I suspected then that it was probably me loading the holder for the first time and in a hurry. So, I had a few dry runs this morning with one of the earlier “failed” plates before loading the two new plates in a changing bag. I realised that the dark slide needs an extra final push to fully seat it in place. This probably explains the slight light leak I experienced a couple of days ago. The slides are currently very tight and need a good push but I suspect they will get smoother with use.
I headed for Elland Wharf, scene of the previous disappointment but also a favourite location. I also regularly test cameras out here so it was, and is, a logical place to head for as I started phase 2 of the dry plate project. I’ve used the Intrepid a fair bit recently and have got much quicker at setting it up on location so it wasn’t long before I was taking spot readings and determining exposure. I will share the notes I made in a separate blog post – suitably tidied up of course!
The double plate holder is quite a bit thicker than my usual film holders and stretches the Intrepid to its limit. It also needs a little persuasion to sit properly but once it’s in place you know it’s going nowhere. I exposed two plates choosing two slightly different compositions rather than one composition and bracketing the exposures. I chose to do this on the basis that despite all the issues I’ve had, obtaining correct exposure hasn’t been one of them.
Back home, I prepared 500ml of HC110 (dilution B) and headed for the darkroom. Thirty minutes later I had two successful glass plates in the print washing tray. Both look well exposed, sharply in focus and not a light leak to be seen – fingers crossed.
They are now drying and tomorrow I will copy them and share the results in a new blog post and no doubt on Twitter too! The new holder also worked well and I’m keen to crack on with the project. I am however awaiting delivery of a new box of plates but it’s good to know that a corner has been turned and it’s full steam ahead.
I have now copied the glass plate from yesterday and also developed and copied the 5×4 film that I exposed at the same time to act as both a comparison but also a check that my process at the “taking” stage was correct. With the exception of shutter speed everything was the same – same camera, lens, aperture, composition. Everything locked down on a tripod so all I had to do was put the two holders into the back, set the shutter speed and press the cable release. The film was Fomapan 400 simply because that was what I had loaded and the glass plate was a J Lane 2 ASA plate.
On the left Fomapan 400 5×4 film with a modern emulsion whilst on the right a 5×4 glass plate with a gelatin based emulsion created to an 1881 formula. The “vintage” emulsion is UV/blue sensitive whereas the Fomapan is panchromatic – you can see differences in the lupin flowers which are blue/purple and particularly in the enamel sign reflected in the mirror with its red tomatoes. Note also the bright orange flowers visible in the lower left portion of the mirror – the older emulsion renders these very dark whereas they shine in the panchromatic film.
More on what I’ve learnt so far in a future post but meanwhile here’s the dry plate in its solo glory.
Yes, you read that right. We have a successful dry glass plate washing as I type! I will write more once I’ve scanned the plate and been able to look at it properly but wanted to shout out loud!
Impatient to check my logic after the failure of my first attempt I decided to liberate a ceramic baking dish from the kitchen and put into service the measuring jugs from my now defunct C41 kit. Add developer, place plate in carefully, 9 minutes, remove plate, tip developer back into jug, pour stop bath into dish, replace glass plate … finally ending in a dish of fresh water.
More in a few days when I’ve had time to scan the plate and cogitate/reflect on today’s adventures.
Little did I know when on an impulse I offered John Martin the loan of my homemade (not by me) 5×4 pinhole camera that this would be the genesis of a collaboration with photographers from around the country joining in.
What if we send it round the world and make a ‘zine? Round the world may be a bit ambitious but certainly round the UK is doable.
The whisky talking?
I was sat in a cafe with a pot of tea on 16th June 2021 when John messaged me via Twitter. He’d been chatting to James, another photographer, about the camera he’d been lent. James was keen to try it out and John knew I’d be more than happy. After a few whiskys though they came up with the idea of a world tour for the camera and perhaps also a ‘zine. Thus was born this collaborative project.
The camera itself was the result of an impulse buy I made from a charity shop; I figured that even if I didn’t use the camera regularly I was still doing some good for the charity. So, you could say that this whole project was founded on impulses.
Next week the camera moves on, down to the south coast if I recall, and the recipient is I believe a complete newcomer to both pinhole and large format photography. One of the things John and I are keen on doing is encouraging people who’ve never used large format before and to this end John is lending three DDSs to the project – which will be going south fully loaded!
The camera has a 50mm field of view, a 0.2mm pinhole and an effective f-stop of f250. To put that in context, a scene that meters at 1/30th second at f16 becomes an exposure of eight seconds BEFORE taking into account the reciprocity failure of the film stock. So, if you are using Fomapan 100, which is my go-to for 5×4 pinhole, this 8 second exposure becomes 56 seconds once reciprocity is factored in. If, like me you also routinely use a contrast filter for black and white photography (a yellow/green in my case), then this becomes seven and a half minutes!
The project already has five participants in addition to John and myself and we’ve only been kicking the idea around for ten days or so. Hopefully, as more images are shared with the #DPCWT2021 tag then more people will want to get involved. Watch this space!
Even after more than nine years of retirement I still cannot lie-in bed once I wake. Nor does my body seem to want to change the habits of a working lifetime and whilst I’m not crawling out of bed before 5:30am these days I rarely sleep beyond 6:30am. Today was no exception and so at 7am I was out of the house with a 5×4 camera and a few sheets of film in my shoulder bag.
The detectives amongst you will have already worked out from the title that it was a pinhole camera, a Zero Image 5×4 to be precise. The plan was to visit four locations around town that I have visited recently and recreate the images using the pinhole – and one sheet only, no bracketing and one composition only. I often impose restrictions on myself to make things more challenging and keep me on my toes. With the cost of 5×4 it is also a sensible approach. Being a Sunday each location was quiet meaning I didn’t have to worry about getting in peoples way, especially at the final location which involved me standing the tripod in the middle of the road. That was sheet five (see next paragraph) however so won’t be making an appearance here.
I took six sheets of film with me and used five. Why five sheets and just four locations especially given the parameters I’d already set? User error! At the third location I set everything up, metered the scene, adjusted the reading for the pinhole and adjusted for reciprocity and finally removed the dark slide ready to open the shutter. Except it was half open already. A lapse of concentration as I generally check the shutter as I place the camera on the tripod and also just before I remove the dark slide.
Except it was half open already.
A lapse of concentration, as I generally check the shutter as I place the camera on the tripod and also just before I remove the dark slide.
My Stearman tank holds four sheets of film, part of the reason for limiting myself to four locations. I developed the first four sheets, from the first three locations, as soon as I got home. I chose Rodinal at a dilution of 1+49 partly because I’d not used it in this way before and I was hoping this would give a good compromise between the typical dilution of 1+25 and a semi-stand in 1+100. A dilution of 1+25 generally gives good contrast and acutance whilst I really liked the grain and detail I got from the semi-stand series so wondered if a dilution midway would give good negatives without a forty five minute semi-stand. By 9:30am the four sheets were hanging to dry, the errant third sheet clearly showing the effect of accidental pre-exposure on approximately a third of its surface (see above).
It was at 9:31am that I remembered I’d not had any breakfast yet – but that’s another story!
I was very happy with the negatives as they came out of the tank and impatient to get them on a light box and under a loupe but of course these things can’t be hurried so after breakfast I started this blog post in readiness and anticipation.
With all four sheets on the light pad I was very happy with the fruits of my morning’s labour, despite the momentary lapse. There’s plenty of detail in each sheet and the grain is very restrained. They all scanned nicely (with a mirrorless camera not a scanner) and on the whole look as if they will print well even if the puddle reflection above will take some work to tame the much brighter central portion.
The Zero Image at 25mm gives quite a strong vignette but I like this effect so it doesn’t displease me. With high contrast scenes it can produce tricky negatives as with sheet 2 above but these challenges are all part of the fun of pinhole photography and darkroom printing. The field of view is very wide (I have three frames but only used one today which equates to approximately 25mm) and in all of these images I could have got much closer to the subject if I’d wanted to. For the reflection image I used a mini tripod at the very edge of a deep puddle so perhaps not that one but certainly I will revisit the third location (sheet 4) and place the pinhole much closer to the rusty door in the middle of the frame.
If you’ve not given pinhole a try yet I can very much recommend it – especially as an introduction to the joys of 5×4 large format photography.