I’ve mentioned before that I keep the process of digitising my negatives as simple as possible. However, it is not that I am a Luddite nor that I am an incompetent, I simply prefer fresh air to a computer keyboard. My purchase of the RSS 6×17 though has meant I have needed to rethink this a little as the negatives are so large I waste over half of the sensor if I try capturing the whole negative in one go.
My previous post mentioned that I had stitched two “negatives” together to make an image with a wider field of view by harnessing the power of having a camera with top and bottom shutters. It didn’t however mention that the two files I used were each comprised of three parts which were also stitched together.
My technique was essentially the same as I would use to capture a digital panorama in the field adapted slightly for the new purpose. I adjusted the height of the camera on the copy stand until the vertical side of the negative completely filled the frame. I then made three exposures, moving the negative between each to ensure I captured the whole of the 6×17 negative (see below). Three exposures gave me a good overlap between each negative which helps the software with the stitching. Incidentally, I had photographed each portion of the negative with the same settings on the camera and at this stage I have not made any adjustment to the RAW files.
Selecting the three RAW file in Adobe Bridge I then selected the Tools menu and then Photoshop and Photomerge from the sub-menus.
Tools > Photoshop > Photomerge
I then sat back and let Photoshop do its magic and after a few moments it presented me with a stitched file with three layers. It appeared to have done a very good job of aligning everything and so I simply flattened the file and processed it as normal.
Now, there’s no point asking me for optimal settings etcetera as I won’t know the answer! This method was intuitive and worked for me. I am sure that I will take more notice of discussions on stitching in the future so may well improve on this methodology but for now it works for me!
My latest acquisition in my panoramic explorations is a 6×17 pinhole camera from RealitySoSubtle (RSS). It’s anything but subtle. From its black, boxy exterior with no fewer than four chunky silver clips to the massive negatives it produces the RSS 6×17 screams “look at me!”
Quoting from the website, the RealitySoSubtle 6×17 is a dual pinhole/shutter curved film plane 6×17 panoramic pinhole camera that uses 120 film. The dual pinhole allows for the horizon to be placed on the upper or lower third of the frame, although what exactly comprises the horizon is dependant on the level that your camera is at. I regularly use a pinhole low down to the floor so for my test roll I popped the camera on a mini tripod and headed to my front yard and a much-photographed bench.
Whilst I was deciding whether or not to buy the RSS6x17 I got into a discussion with John Farnan on Twitter. I’d originally intended to buy the “F” version which has one, centrally positioned, pinhole with a filter ring. I use contrast filters a lot in my black & white photography so it was a logical choice for me. However, I had underestimated the power of a dual pinhole camera, a fact that John was quick to point out! He also shared some images to prove his point and so I found myself emailing RSS to amend my order!
The two images above demonstrate the benefits of the dual pinhole quite nicely. The top version is using the top pinhole and the bottom using … yup the bottom pinhole! A powerful tool to add to my compositional armoury.
Of course, with the negatives on the light pad I quickly saw the opportunity for combining the two negatives for some added real estate (look at the two pictures above again). By stitching the two images together in Photoshop (other photo-software is available) I created a 2×1 image which still kept the 141° horizontal field of view but brought the foreground back too giving what I would estimate as a 60° vertical field of view, for another take on the scene. Despite only four frames per roll I can see me experimenting with this a fair bit initially. However, John assures me I will quickly default to the top pinhole 90% of the time!
I think that me and this pinhole camera are going to be emptying my wallet of beer tokens at an alarming rate over the next few months! I probably should set up a KoFi account! 🙂
I took the opportunity for some more video practice and produced a video demonstrating how to load an Horizon camera and talking about my approach to metering. Loads of rough edges but all the more reason to keep practicing.
A few vertoramas and panoramas from the KMZ FT-2 and a roll of Polypan F. I like to put these together in diptych or triptych combinations partly for convenience and ease of display but also because somethings the resultant images are greater than the sum of its parts.
I’ve already written several times about this camera. I have talked about the camera itself, cogitated on my first experiences using a loaned KMZ FT-2 and of course written about loading the film into the cassettes and into the camera itself. To conclude the series I am going to reflect on my first few months with this camera and what I’ve learnt.
Perhaps I should start by saying that this camera can be a fair bit of work. For a start, as we’ve already discussed, it needs two special film cassettes (I only have one) but even with two, loading is a bit of a chore. I borrowed one with both cassettes before buying my own. Firstly, film has to be transferred from a standard 35mm cassette into a special cassette, in the dark. This then needs to be attached to a second special cassette, in the dark, before being loaded into the camera … in the dark. I made a video demonstrating this aspect. To make it more helpful I made the video … in the dark (not).
Let’s skip the using of the camera at this point and jump ahead to unloading the film from the camera … in the dark. I simply dump the camera in the changing bag, pop in a pair of scissors, tank and reel and take the film directly from the camera onto the reel and into the tank. From that point on its business as usual as the film is standard 35mm film. With negatives the size of three “normal” 35mm negatives however there’s only two per strip in the filing sheet.
Now, if you like using a camera one-handed then this one isn’t for you. Similarly, if you like to “run ‘n’ gun” then this one isn’t for you. Shaped like a brick and weighing in at just over 1kg in its case this isn’t a camera you carry about just-in-case you might need it. With just 12 frames (assuming you respool a 36 exposure film) and an awkward loading/unloading regime it is best used when you’ve a definite plan in mind. Not that I take my own advice there of course! I tend to pop it in my shoulder bag alongside my main camera for the day although do occasionally make a trip with just the KMZ FT-2 or, more often, take it partnered with the Horizon S3 Pro.
I’ve never thought of these panoramic cameras as being for specific subjects or situations. My approach has always been to proactively look for compositions that work well in the format. Over time my hit rate has improved and one thing I’ve learnt is that a straight, long, thin, linear subject only works occasionally. In general it is better to look for compositions where the viewer has a choice of where to let his eye be led. Urban images at intersections of two, three or more streets are usually more effective (see below) than a straight-on view of a row of houses for example. There’s exceptions to every “rule” however.
In truth, the principles that apply to other formats also work with the panoramic form. Don’t be afraid to turn the camera on its side to create long, thin and tall vertoramas.
I’ve found that leading lines work very strongly in this vertical format, really dragging the viewers eye up through the frame.
Presenting these vertoramas as diptychs or triptychs works nicely too.
The speed of the exposure is determined by a spring which pulls the lens turret around. Brakes are used to vary the speed giving the four shutter speeds found on the FT-2. At 1/400th second when all the brakes are off the camera physically bucks in your hand from the force. Pop the camera on a tripod, set it to 1/400th, cock the shutter and watch the whole thing shudder when you release the shutter. Which explains why I believe the best results from this camera come from using it on a tripod. That said, I do tend to use it handheld, especially when photographing urban locations such as my own local patch.
Book-ending subjects can work well too, as in the example above where a very simple scene has been bookended by trees which give added context and hold the viewers attention in the central portion of the frame.
One thing I’ve not mentioned is that as the film wind-on and cocking of the shutter are two distinct operations the opportunity for double, triple, whatever exposures is the photographers for the taking. The one below is three or four exposures for example.
Don’t be frightened to crop as there’s plenty of real estate available.
In summary, it isn’t the easiest camera to work with but I’ve never been afraid of working for my images. Despite everything I’ve said about its idiosyncrasies it is however great fun and worth the effort in my view – your mileage may vary of course!
Have you ever tried working with a KMZ FT-2, in its (n)ever-ready case, in the rain with an umbrella in one hand and the camera in the other?
I have … and even attempted some “street” at the same time.
The thing though, is that this camera has such a wide field of view that even with people just a few feet away they are still very small in the frame! This couple were no more than six feet away when I pressed the shutter release.
As ever, the FT-2 excelled with the architecture and not for the first time I was a little frustrated that I only get 12 images when I take the camera out. I’m not yet ready to take out a changing bag and the rest of the kit that would enable me to change film on the go however! You really need to think with this limitation. Perhaps next time I will take the kit and change rolls in the hotel overnight and that way get a roll, or twelve frames, a day. One to ponder.
I did try the typical “street” approach of finding a spot and waiting for someone to walk into frame but could only devote two frames to the experiment. Again, even with people reasonably close they are still tiny in the frame. However, I did manage to combine my two “allocated” vertorama frames with people in the frame so made the best of it.
They’ve been demolishing an old building this week that’s been laying empty for over 19 years and of course getting increasingly vandalised and dangerous. There’s a fence around the site which is around seven or eight feet high so even a six-footer like me has to wave a camera over his head to get a picture. Still, it was an interesting subject for the KMZ FT-2 so I gave it a go.
All images KMZ FT-2
So, there you have it, four panoramas and two vertoramas and to round it off here’s one from the first visit.
The KMZ is an idiosyncratic camera and nowhere else is this more apparent than in terms of loading film. Whilst it uses normal 35mm film that’s as far as normal goes. The film needs to be transferred into the proprietary cassette before loading. It then needs to be attached to the four-part take up cassette before being loaded. Now, all of this can be done in daylight but you do lose a good lump of film in the process and given how few frames you actually get the loss of even one is a big reduction.
Add in the fact that I do not have a cassette to hold the film before it is exposed and so I am having to fudge matters a little then you will appreciate that this process becomes even more interesting. All things considered I have made the decision that whilst some parts can be done in daylight and others need to be done in the dark, for simplicity I am doing everything in a large changing bag.
Whilst researching how to load the camera before Jon forwarded his to me I found these instructions on Flickr. They might have been uploaded nine years ago but they illustrate very clearly the process when using the proprietary cassettes and I found them very easy to follow.
Having transferred the film into the right-hand cassette and attaching the take-up cassette I popped everything into the changing bag to actually load the cassettes.
Jon’s camera as I have said came with both of the cassettes and I found that by following these instructions and then using a changing bag to load the film into the camera I was getting the maximum number of frames per roll. I should add that when I finished the roll I popped the camera back into a changing bag and immediately transferred the film directly from the camera and onto a reel and into the developing tank.
But, with just one cassette matters are a little different and I have experimented with a couple of ways of loading the film so far. Both methods that I’ve tried to date need some simple DIY however.
The simplest is to cut down the spindle from a normal 35mm cassette as shown (left) removing the top and also filing down the ridge at the bottom of the spindle. I used a hacksaw and a sheet of sandpaper for this job.
This hacked about spindle slides snuggly into the FT-2 and from my experiments with a roll of Fomapan, my copy of the FT-2 remains light tight and the film remains scratch-free. Leaving film loose in the camera body isn’t ideal I guess but it works. My concern is whether or not every copy of the FT-2 gives such a light-tight environment.
So, on to experiment two.
Wanting to protect the film to some degree I took a plastic reloadable cassette. The spindle was hacked as before. Removing the locking cap from the cassette I proceeded to remove plastic from top and bottom, reducing the height of the cassette until it slid snugly into the camera. It turned out that I had to remove the top and bottom completely so this wasn’t going to be a totally light tight solution. However, with the spindle inserted it did keep out most of the light and of course would give some protection from scratches. The natural light-tight property of my FT-2 would do the rest.
Everything still needs to be done in the changing bag of course.
I am going to keep looking for a more robust solution of course (and for a second cassette) and as I try out other ideas I will share the results here.
FOOTNOTE: Bill T, if you are reading this I was going to create a video showing transferring the film and loading the cassette before loading everything into the FT-2; a picture can often be worth a thousand words after all. However, my FT-2 is currently loaded so I haven’t been able to do so as yet. If you would find it useful however then DM me on Twitter and I will do it for you when I’ve used this roll.
It’s no secret that one of my film/developer favourite combinations is Ilford HP5+ and ID11 diluted 1+1. A couple of times recently however I’ve been caught out with HP5+ in my camera in totally the wrong situation and I’ve ended up knowingly overexposing the film and pulling it from the developer early to compensate. But is there a better way of dealing with this situation? It’s something I’ve been giving some thought to recently.
Coincidentally, at around the same time that I was quietly pondering this matter I also posed a question to the #believeinfilm community on Twitter regarding the developer Perceptol as I’d been given a few boxes a while back and it wasn’t a developer I am familiar with. Amongst the responses was a direct message from Andy (author of The Death of Photography) who is not only familiar with Perceptol but was wondering why I’d not used it with my overexposed HP5+. Was serendipity about to offer me a solution that resolved both questions?
“… when you did it, I thought Perceptol might be better …”
Andy and I continued to exchange messages on the subject, whilst at the same time others were chipping in on Twitter and I also set to it, researching further and eventually formulating a plan. Not an original plan mind you, turns out this is a fairly common approach but it’s new to me.
Which is why after breakfast I loaded a roll of HP5+ into the Horizon S3, set my meter to 250 and went for a walk around the block. Now, admittedly, it’s distracted me from writing up my thoughts on loading the KMZ FT-2 (sorry Bill T) but I needed to check this out for myself. And I needed to do it … now!
One of the reasons that developing HP5+ in Perceptol is a common approach is that this is a very fine grain developer and properly exposed negatives have a very clean and detailed look to them. There seems to be some debate at whether or not you should meter at box speed of 400 or at 250 although in photography this sort of disagreement is normal. I decided to take Andy’s advice not least because another photographer, co-host of The Lensless Podcast no less, also got in touch to recommend metering at ISO 250. You don’t ignore good advice when given so freely and it was also the whole point of the exercise – dealing with a theoretically overexposed roll of film.
The Ilford website recommends developing HP5+ rated at 250 in stock Perceptol for 13 minutes and at this stage I see no reason to ignore this advice. Whether or not I vary from that in the future will depend upon the results over the next few months. So, I will be taking a break from writing this post to develop the film and will be back later with my conclusions.
INTERLUDE: Insert Muzak of your choice …
So, welcome back. Hopefully you enjoyed your choice of music … but don’t blame me if you didn’t!
We have negatives and they look very nice to me. Bags of detail, crisp and clean. Unfortunately, the digital scans that I am able to produce at home, whilst perfectly good for most things cannot do total justice to any negative. These have a pleasant, well-controlled grain and when compared on a light box with some pulled negatives using ID11 are noticeably cleaner.
So, from an online discussion on Wednesday I was out with the camera on Thursday morning to expose a roll of film, which was developed Thursday afternoon and now a blog post uploaded on the same Thursday teatime.
Am I happy? Yes. The developer gave me everything I was looking for and I wish I’d been aware of this before I pulled my over-exposed HP5+ prematurely from a tank of ID11 on Tuesday. It is however another tool in my personal tool kit and that is a positive. I am going to deliberately over-expose some HP5+ over the coming weeks to see if these results are repeatable (I strongly suspect they are). As I already enjoy HP5+ rated at 400 and I regularly rate it at 800 it’s looking as if this film might also fulfil my needs at lower ISOs too. No wonder someone described it to me recently as the Swiss Army knife of black and white films
In closing, I would reiterate that photography is a very personal thing and just because one, or a hundred people say something is the way to go doesn’t mean to say it’s the way for you. Your tastes, your aesthetic are personal to you and I’d always recommend listening to the advice and thoughts of others but then trying things for yourself before committing to a method. I followed my own advice today and tried the suggestions of various people for myself, was very pleased with the results and have just order a bulk roll of HP5+ which by my estimation will use up the four litres of Perceptol I have here … by the end of that I will have tested thoroughly and will know if this is to become a regular feature of my photography.
Finally, thanks to Andy, Andrew, Jason and John amongst others for their thoughts on this process and for helping me down this particular rabbit hole! Also a huge shout out to John Martin who saved me from a technical meltdown!