Tuesday, February 7, 2017

B&W Pinhole: Seattle

Sometimes I don't learn from my own lessons in pinhole photography. Take rule #1 for example:
Your foreground will be front and center, dominating the scene between your camera and your subject. 
Moreover, I ignore rule #2 that is necessitated by the first one:
Pinhole photography is mostly a near-field experience. Normal-sized objects that are more than a few feet away from you will look exaggeratedly far away when you view your final image.
Yet here I go, ignoring both rules by not minding my foreground and trying to capture people and things 30-40+ feet away. Maybe next time I'll get it right.

Still, I was happy with the motion blur I got in a few of them. Tri-x remains a favorite to shoot in this thing. It's got a nice range of latitude and you really can't hurt it. Take a look:

I couldn't wait for the light to turn green. Luckily it did, just at the right time. 

Foreground. Lots and lots of foreground. 

Blue skies in Seattle. But do you think I remembered my #25 red filter?
I think I dodged a bullet when developing this earlier today. The lid on my Paterson tank had gone loose right after the development stage but before the fixer. It must have let some light in for those few seconds, but I wasn't able to tell based on the negatives.

Sunday, February 5, 2017

Color Pinhole: Seattle

I spent a few days in Seattle last week and spent a couple of hours walking around with the Zero Image 618. This is my first attempt at color C-41 film in a pinhole. If you're going to shoot C-41 in pinhole, Kodak Portra seems to be a good choice. I thought it was going to be grossly overexposed, even accounting for reciprocity failure, but these came out ok.  My goal was getting some motion blur in traffic, but that seemed to be obvious on only one of the frames. Still, I was able to get a few frames I was happy with and came away with some things to consider for next time.