Sites mentioned in the video:
Mr Pinhole: http://mrpinhole.com/
Draw angles on-line: https://rechneronline.de/winkel/angles.php
This camera’s specs:
Focal length: 91mm
Pinhole diameter: 0.4mm
F Stop: f/226
Film diagonal using 4×5″: 163mm
Angle of view: 83.7 degrees
Film: Instax Wide 800 ISO, & Arista EDU Ultra 100 ISO (actually Fomapan 100)
The neighbor’s red barn. 1/5 second at f/226.
Not a lot to show. I had the Instax and 4 sheets in the holders, one of which became this…
Normally, it’s solid green. I played with it after seeing the color of the rinse water.
Not news to anyone familiar with large format (I’m not) but the notch is so you know which way is which in the dark. When the notch is at the upper right corner, the emulsion is facing you.
I actually have a 4X5 developing tank. I got it when I bought most of a darkroom from a guy in Santa Fe. He’s getting out of film photography to concentrate on restoring an old Lotus. Sometimes you have to choose and whichever passion is pulling you the strongest wins. Any way, it’s cool but it’s made to do a bunch of sheets at once and it takes a LOT of chemicals. So, I used the “taco” method to develop. You fold, well, gently bend, and put a hair tie around the film to keep it from coming undone. The Yankee tank I usually use wasn’t quite deep enough but I also got a Paterson from the same guy and it clears the 4″ height of the negatives. No reels but you have to keep in the center cylinder so it’s light tight. You can squeeze in 4 tacos but I only had the three to develop.
There’s a good taco development visual how-to on Flickr by Tony.
Rocks near Chimayo, NM.
More rocks. I lost a lot of the image to a light leak.
This one really is portrait format – I tilted the ball head on the tripod all the way over.
I’m nearly caught up! Well, I have to scan two rolls and develop and scan another but that’s pretty close to caught up.
Scanned on a CanoScan 9000f at 600DPI. These are resized to 1024 pixels on the short side.
The first two are also in the video. There are 8 frames in a pack of Impossible film — it’s not like I have 36 images to choose from, plus, I really like them.
Zoe. No idea why it happened but I love the colors on the white walls.
Most RVs run the gamut from butt-ugly to “meh”. Airstreams are cool.
This is a lame picture but it’s the result of an experiment so I included it. I used a telephoto adapter for a Canon AF35ML/Super Sure Shot/Autoboy Super (which sadly, I don’t have working yet). I framed using the adapter lens held over the viewfinder lens and then moved it over the taking lens. I was a little sloppy with the framing (no tripod) and got my finger in the picture but it works! That means I can use an even longer telephoto, a wide angle, or even a fish-eye adapter. I do need to adjust for the loss of light next time — there ain’t no free lunch.
There’s a hummingbird in there somewhere.
Another developer-didn’t-quite-reach splat. Still, not bad for film that’s been expired for 2 years.
My sweeties, chillin’ on the couch.
Just after sunset using flash override. Highlighting the foliage in the foreground would’ve looked weird.
My other swwetie, Trinity. She has a 6th sense like Zoe, and starts moving when a shutter fires.
Last frame in the pack — walking into the sun on our street.
The scanner at work, a Canon print/scan/fax thing, was giving me bad reflections from the clear plastic on the Instax frames so i had to adjust. They’re underexposed to start with — f/256 is pretty dim.
Tusker and Melon — my WPPD contribution.
Some of M’s pots.
My kludge of a darkroom…
Foam core poster board painted black on the window.
Black craft paper and tape around the door. Towel at the bottom.
It worked, it was black-black. Then I remembered when I bought a guy’s old darkroom stuff, I got a…
Not much to show for finished images. I shot three Fuji FP-100C frames but the last one was a test to see if I’d found the problem with the intermittent connection and it’s completely black. I have to be frugal since Fuji has discontinued the last of their pack films.
How can you have a global monopoly on pack film with millions (tens of millions?) of cameras still in use and not make enough money to bother manufacturing it any more?
Seriously, how much profit margin does Fuji need? They don’t have any engineering costs to pay down, it was Polaroid’s design. Maybe a little bit to improve it over the years but they didn’t eat billions (in today’s dollars) like Polaroid did to invent integral film from scratch.
We’re stuck with Instax (a derivative of Kodak’s instant film) for now but if anyone figures out how to mirror-image Impossible film or shoot it through the back, I’m done with these greedy, fickle [bleep]s forever.
Seriously, sell the manufacturing equipment and put the film formulas into the public domain. If you can’t make money with a monopoly, you’re the problem, not the product. Let someone else have a go at it.
Sorry, I had to get that out.
I tested this camera after cleaning the battery compartment and contacts and the shutter opened. To get some justice from the battery that crapped up the camera, I removed the snaps from the ends of it (the 3V batteries have larger connectors than 9V batteries) and soldered them to the ends of a CR123 lithium battery.
I’m glad I tested again before loading because it stopped working. That’s when I traced the battery wire to the shutter circuit, re-soldered the battery connector, and replaced the foam.
The old foam was fugly and getting crumbs in the working bits.
Foam from Michael’s and white glue.
The shutter was working consistently now so I loaded film and got a late evening image that was back-lit and too dark.
Still cute though.
Try again with the flash gun.
Dammit! No flash. I even wasted a bulb making sure the 268 flash was working.
I opened it back up and started doing continuity tests. My meter has a nice diode check function that beeps if point ‘A’ and point ‘B’ are connected. I’d get BEEEEP-BE-BE-[silence]-BEEEEP-BE-BE… Argh! Nothing is a bigger PITA than intermittent connections.
Quote from Brian R: Sometimes it’s intermittent but not always.
I guess was cheaper to manufacture but seeing ribbon cable instead of a proper circuit board made me sad — it can melt before solder becomes liquid and it gets brittle with age. It lasted 50 years so I guess I shouldn’t complain but I am because it made me think and work.
At least there were only seven lines from the photocell side to the shutter side.
Spiffed up with colorful telephone wire. The last power wire isn’t connected yet.
An Instax Wide cartridge is a tight fit vertically but it fits. Side-to-side, I eyeballed the spacing with an empty cartridge and did it by feel with a partially used cartridge in the dark bag.
About a pinky width.
The last bit is unscrewing some parts in the Polaroid so the back will close over the Instax cartridge.
Don’t have to drill any rivets yet.
Converting from ISO 800 Instax to 100 for the camera is done with a minus-3-stop (ND8) neutral density filter.
I didn’t adjust the exposure and the image is a little dark. The cell being 50 years old might have something to do with that too.
Herbs in pots.
My dark bag can’t hold a pack film camera and an Lomo Instant Wide with room to work. I transferred the film from the Lomo to a film box in the bag, opened up and swapped the Polaroid in, loaded the film, took the picture, moved the film from the Polaroid to the box in the bag, swapped in the Lomo, loaded the film, took the Lomo out of the bag, and took a shot with the lens cap on. Somewhere in that convoluted mess, I got a light leak.
There’s a video on Youtube where a guy loaded the Instax into a pack film cartridge and shot into the front of the Instax film. I may have to play with that but that’s not how it’s made — just look at how the film is oriented when it exits your Instax camera. Like the Kodak instant film or any camera without a mirror between the lens and the emulsion, you have to shoot the back or you get a mirror image. I’ll update this post or do another one with the optics involved so you can see I’m not full of beans.
I can’t bust his chops too much — he has a calico.
I spotted some Minolta 16 film in a “lot” auction online. To get it I had to buy a Polaroid 268 flash, some bulbs that don’t fit it, Flashcubes, and a Polaroid Automatic Land Camera 230. A lot of shipping to get some tiny film cartridges but you do what you gotta do.
The 230 turned out to be pretty nice. The film in it was dried out but it has a manual and a cold clip. With a 3 X AAA kludge to give it 4.5 volts, I verified the shutter works too.
Tucked in the front of the case with the manual was this photo. The 230 doesn’t use 80 series film so I think “Midge” (no idea why that’s what I named her) is a souvenir for the photographer.
Polaroid 80 series pack film.
No idea who or where. All I know is she’s married, probably right-handed, drinks Maxwell House coffee, and wears really cool glasses.
Scanned on a CanoScan 9000f at 1200DPI. Exposure level tweaks on Muir Woods and the cats. Reduced to 25% for upload.
A little fuzzy and blown out but nice colors.
City Lights Bookstore
Our neighbor’s trees. Not Muir Woods but nice.
This last one is with the close-up lens. It’s overexposed — I used the flash too close in too-bright ambient light. It was still a good test of the range and depth of field of the lens. The front cat is at 4 inches, the gray cat is at 5 inches, and the matchbox with the horrible flash reflection is at 6.