My humble contribution to World Pinhole Day 2017. This shot was made on a 5″x7″ paper negative on April 30th 2017.
All right guys… this is neither a camera, nor a film photograph. But it’s closely related to. It’s a series of electronic ballast for UV lamps. In fact, I’m building an UV Printer for Platinum/Palladium (and other old techniques) contact printing. Stay Tuned…! 😉
I promised you, my dear readers: this would be the last Retina test. Actually it had been there for a bit of time and waited for his chance to be used. The Retina IIa is one of the most sought after on the market and in fact, I struggled just to find a copy in good condition at a reasonable price. The reasons are soon said: small, handy, but at the same time, equipped with a rangefinder and especially, the prestigious and fast Schneider Kreuznach lens Xenon 50mm f/2.
After more than two years since I started using film again, the inability to print my negs was becoming unbearable. Unfortunately I do not have any usable space in the house and I do not like at all the “flying solutions”. So I was almost resigned to not being able to have my own darkroom for a long time yet. Recently, however, while they were undergoing some work in my garden, I decided to convert an old storage room into something more substantial masonry … and use it as a Darkroom, although devoid of running water (too difficult and expensive to achieve an appropriate plant).
Many film photography fans are fascinated by cameras (and lenses) produced behind the so-called Iron Curtain, in countries of the former Warsaw Pact. The DDR (or GDR) between them has created brands as Ihagee, Praktica, Pentacon (which has absorbed the first), synonymous with high quality construction mechanics, along with names such as Carl Zeiss Jena, Meyer-Optik and the same Pentacon with lenses even at the highest level of quality. Speaking of cameras, robustness is one of the main qualities. The reliability of the models built in eastern Germany is also much higher than that of her contemporaries and even valid Soviet models. It is not uncommon then, to come across more than fifty years old cameras, which seem to come from the factory today and fully functional.
It was a long time I wanted to start shooting with a pinhole camera. To begin with, I got an Holga 120 WPC which was waiting patiently to be used. And so, yesterday morning, taking advantage of a beautiful day in late January, I was immersed in an immensely fascinating and immortal landscape: the Roman Forum and the Palatine hill.
As loyal readers already know, at the beginning of December I faced (after almost 15 years) traveling exclusively using film cameras only. In this post I showed the equipment that I planned to use. Furthermore, I also had an Olympus OM10 with three Zuiko lenses (28, 50 and 135mm) as a backup just in case. Once in Munich (Bayern), I bought a nice Olympus OM2n, accompanied by a Zuiko 35-70mm f/3.5-4,5 and a Tokina RMC 24mm f/2.8. The films I used were Ilford XP2 Super 400, Kodak T-Max 400 and Ilford Delta 3200. In total, I took 8 rolls of 36 frames. A ridiculous number of shots when compared with those obtained in a half-day with any digital camera. But this is precisely the reason that led me back to the film, so I am absolutely delighted to have chosen this path.
As described in the second post of this blog, I recently made an “hazardous” test with a film (Adox CMS 20) rather difficult to treat, even with its dedicated developer. The test was done at box speed (ISO 20) and as developer, I used the Ars Imago-Fd. The negatives were rather “hard” and contrasted, though (at least when scanning) image data seemed well present in the shadows as in the highlights. But, the ultimate goal of an image shot on film is undoubtedly the wet print in the darkroom. Only on the final print we can make a judgment that has a real sense and evaluate details such as definition, grain, and so on.