The Book of Alternative Photographic Processes

Christopher James, Rockets, Mexico, 1992 (Diana plastic camera negative—platinum print) (Courtesy of the author) 1

The Pinhole

OVERVIEW AND EXPECTATIONS Because “The Pinhole” is the first chapter, it is a fine time to introduce you to my book’s personality and to give you an idea of what you can expect from it. My students consider my writing style conversational and friendly, and I have done my best to keep it that way. In this chapter you’ll get a compressed overview of early photographic history and the myriad scientific, social, and artistic connections that led to the pinhole camera. Not all of photography’s fascinating days-of-yore reside in this first chapter. This is the first “A Little History” section, and although it may appear to be extensive, it is this prehistory that sets the stage for a great deal of what follows in the book. You’ll find “A Little History” beginning nearly every chapter, and I have done my best to fill it with salient historical references as well as the odd and ironic things that always permeate most human endeavors. You’ll also get a little science that briefly explains how the pinhole camera works and instructions on how to make one. You’ll learn how to test your pinhole and how to use it. Also included are easy solutions for those of you who are “handmade” impaired and directions to resources, images, and Web sites for more information on this wonderful and idiosyncratic way of making images.

A LITTLE HISTORY: CONCEPTION AND CONNECTIONS The Conception First the rumors: It is reported that the earliest writing regarding the camera obscura (“dark room” in Latin) occurred in the fifth century B.C. diaries of Chinese philosopher Mo Tzu (also referred to in various histories as Mo Ti or Lo Ti). In his journals, Mo Tzu contemplated the effects and nature of light and the reflection presented by an inverted image when light, and the image carried in it, passed through a small hole and landed on an opposing flat surface. Much later, somewhere in the neighborhood of 350 B.C., Aristotle (384–322 B.C.) witnessed a corresponding phenomena during an eclipse and included the concept of a camera obscura in his curriculum.

2 Figure 1–1 Christopher James, Foot of the Pyramid, 1992 Polaroid back loaded with Polaroid Type ”5ן”This cyanotype print’s negative was made from a pinhole camera outfitted with a 4 55 Positive/Negative Film. It provides a pretty decent example of the pinhole’s extraordinary depth of field. The camera, a few inches from the foot, defines the blades of grass to the volleyball net 50 yards away. The only reason her face isn’t defined sharply is because she needed to breathe during the exposure. (Courtesy of the author)

3 - ect writing esting to look (fotizo) (fotizo) esult, the image illumi om a geometrically squared ted on the backside of the wn image they would poke a er into the wall of the tent that was wn and in proportion to the orig- tions of the camera obscura had a dir opor in 1038. The dissemination of this work may this work of dissemination The in 1038. eflections of sun and sand, would, as in a cam- eflections of sun and sand, would, as in (the aperture) is why the image fr image. In the beginning, so the story the beginning, image. In goes, these , make this upside-do very in the desertstime ago, nomads long of the er ws, and the resting nomad could relax knowing that knowing nomad could relax ws, and the resting o ev ture would result in a circular image—a question that image—a in a circular would result ture T A Officially, academic historians give the credit to the the credit academic historians give Officially, w ont—in straight lines. As a r emarkable Greek mentor-philosopher, Aristotle, who mentor-philosopher, Greek emarkable elationship to the way the image was seen on the final small hole travelers would rest during the intense heat of the day and during would rest travelers demanding. less at night when the conditions were travel the sun, they could relax from their tents, protected In for flaps, scanning the horizon out of the front and gaze that might relatives, or perhaps any possible problems, they Occasionally, that general direction. come from at a shimmering, inverted,would take a glance “shadow one of the view the other direction—the from picture” on the front This image was projected behind the tent. flap wall. of an Eclipse of an at their back. The landscape of that view, illuminated by The landscape of that view, at their back. have led to the following rumor regarding the practical rumor regarding to the following led have may Then again, it obscura. of the camera applications the other way around. been have of the light fully aware were East Middle (graphi) (graphi) aper was no there any event, In to answer. able he was never concept of saving the image; it was just inter r out, figure What Aristotle could never surface.projection ho at and trace. opaque plane exactly the same way they went through the through opaque plane exactly the same way they went fr the intense r of that version an upside-down era, invert and project Lots of holes, lots scene on the tent wall opposite the hole. of vie prin- Thus, the basic of company. he was alone and free for purely initiated ciples of photographic optics were that this was the knowledge Perhaps practical reasons. inspiration. launched al-Haitam’s r to pass through in order noticed that light rays converged small holes in opaque objects. Aristotle also noted that these same light rays div nated was seen upside do that experiments also demonstrated the inal. Aristotle’s shape and pr , On the Form On thy of note was eracity. Al-Haitam is Al-Haitam eracity. July 1851 ture, as his hero Aristotle had, to view as his hero ture, Partial Eclipse of the Sun, ears later when the renowned Arabian math- Arabian ears later when the renowned azen, al-Basri, and al-Misri) was a big fan of Aristo- and al-Misri) al-Basri, azen, Evidently, the next time someone thought the optical Evidently, eclipse. Ibn al-Haitam (also known as Ibn al-Haytham, as Ibn (also known al-Haitam eclipse. Ibn Cambridge, Massachusetts, July 28, 1851. (Courtesy of Harvard College Observatory, Cambridge, Massachusetts) (Courtesy of Harvard College Observatory, Figure 1–2 John A. Whipple, 28, 1851. This quarter One of four plates recording a solar eclipse, July Observatory plate Daguerreotype was made at the Harvard College reputed to have penned nearly 100 works, of which only penned nearly 100 works, to have reputed inquiries into such diverse explaining today, known 52 are subjects as optics, the linearity of light, and the squaring his experiments with candles and paper In of a circle. he described the linear qual- with small apertures, screens his through a light image, travelling ities of light and how was focused as the aperture became more paper apertures, and his amazement expressed Al-Haitam made smaller. explained the optical experience in his book an al-H persuaded al-Haitam writing that tle, and it was Aristotle’s to studies in order to abandon his dedicated religious adopt a life in pursuit of scientific v magic of the camera obscura was wor magic of the camera obscura was nearly 1,300 y (c. 965–1040) al-Haitam ematician and physicist Ibn used a pinhole aper

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 4 obscura ings thatcamefrom hisown camera (dedicated toBrunelleschi) entitled “ cally describedhow theperspective versal “Renaissance man,”academi- the dashingpr Renaissance theory. artistic Alberti, “ B time. church, functioningasanotationof be days apr Santo Maria delFiore, andonsunny pinhole aper 1482), installedabr astronomer Paolo Toscanelli (1397– do cept ofthetheoretical, andreal, win- illustratedthecon- writing, Alberti de P one pointperspective was amajorplayer intheEuropean Fillippo Brunelleschi (1377–1446) decade ofthe1400s,Italian architect paper, canvas, orawall.In thefirst flat two-dimensionalplanesuchas dimensional objectsandspaceona and recordobserve could artists three- tlemen begantoinfluencetheway Coincidentally Florence’s Santo Maria delFiore. to designtheprominent domeof a Brunelleschi, by theway, whowon this historicalimpression. It was the cameraobscurasolidlysupport rendered architectural tracingsfrom Brunelleschi’s odd,photographically ing sur offered onitsglass-trac- to theartist possibilities thatopticalinstrument thing” worked inhis1435treatise point-man atistta Alberti (1404–1472),the atistta Alberti major architectural competition w clearly seenonthefloorof The In theearly1400stwoItalian gen- ictur of thecameraobscuraandwhat face. Alber second gentlemanwasLeon miracles. ojected imageofthesuncan a (“O ” for theilluminationof tur , ototype fortheuni- n e the famedI ti calledthedraw P ainting in awindo craze inpainting. onz e plate witha ”). I n talian w his of - (Courtesy oftheGeorgeEastmanHouse,Rochester, NY) to adrawingglassandthentracedbytheclevergentleman. man drawingwiththeaidofacameraobscura.Theimageisformedbylens,reflectedmirror This drawing,fromE.Atkinson’s A Figure 1–4 (Courtesy oftheartist,T Nomads inCameraObscuraTent Figure 1–3 Gentleman UsingtheCameraObscura, om Kerr) Elementary Treatise onPhysics 1872 (New York, 1872)illustratesagentle- 5 CHAPTER 1 THE PINHOLE In 1490, Leonardo da Vinci (1452–1519) supposedly by means of tracing as long as the camera’s user moved the made the first recorded drawing of a camera obscura and tracing paper toward and away from the lens in order to its operation in his Codex atlanticus. Presumably he was achieve focus. Other historical accounts give credit for the aware of how an artist could use this contraption in order first lens, in 1583, to Giovanni Benedetti, curtly describ- to chronicle real life by means of drawing the camera ing his invention as a solid hunk of nonmoveable glass on obscura’s projection. However, because da Vinci wrote the camera obscura. with his less dominant hand, and backwards, it took about Honestly, though, giving credit for such wonders as 300 years before anyone could decode his inspirations and moveable lens focus is pretty difficult to do because no one confer proper credit for them. is absolutely sure of the facts. This is also true when Shortly thereafter, in 1558, Giambattista attempting to attribute first discovery to other della Porta (c.1535–1615) began writing scientifically related inventions. A good exam- about the focusing abilities of different ple of this, if I may offer a short detour in the shaped pieces of glass in what would chapter, is the invention of the telescope, eventually become his published four- the microscope, and Heliocentric Theory. volume Magia Natuaralis, a major work that he began to write at the age of 15. Connections The problem with the della Porta attri- Credit for the telescope had been bution is that no one ever was able to demanded by several gentlemen, includ- specifically verify that the idea was orig- ing Hans Lippershey (1570–1619), an inally his. This is due to della Porta’s polit- eyeglass maker in Holland who, in 1608, ically inspired habit of assigning credit for came up with the idea of a telescope by his discoveries to those who held titled watching two children play with dis- rank. In the case of his work on the tele- carded convex and concave glass lenses in scope he gave credit to Federico Cesi, the his shop. Concurrently, Jacob Metius, of president and founder of the Academy of Figure 1–5 Belgium, filed for his own patent rights to Lynxes, an association for the advance- Leonardo da Vinci (1452-1519) the telescope. Although Metius’s extensive ment of science, that both della Porta and (Courtesy of the artist, Tom Kerr) work with convex and concave optics was Galileo belonged to. well known, his proprietary rights over

T The first person to actually be credited with placing a Lippershey could not be established, and for political and H

E lens on a camera obscura, with the intention of focus, was financial reasons Metius decreed that all of his notes and B O the infamous mathematician Girolamo Cardano (1501–

O tools be destroyed upon his death. K 1576) in 1550. Cardano was a brilliant individual but had

O A corresponding story from 1609 described a tale in F

A a reckless weakness for gambling and socially questionable which Galileo Galilei (1564–1642) got wind of Lipper- L T

E nightlife activities. His extensive analysis on the “theory shey’s optical invention and how Hans was on his way to R N of probability” greatly assisted his gambling addiction but Italy to show, tell, and sell his new telescope to the Vene- A T

I got him into an incredible amount of personal trouble

V tians. Galileo quickly reasoned that his appropriation of E

P with his family and associates. Cardano’s brainstorm was Lippershey’s wonderful idea might be a perfect way to H

O described quite clearly in 1568 by the Venetian Daniele extricate himself from his chronic state of debt. Within T O

G Barbaro (1513–1570) in his book La practica della per- days, Galileo made up a telescope, presumably using della R

A spettiva and gave inspiration to the ideas that led to move- Porta’s Magia Natuaralis’s book on Refraction as a guide, P H

I able lens parts and a more flexible focusing system in a and beat Lippershey to Venice; a deception that, histori- C P

R camera obscura from a fixed position. Barbaro wrote of cally and personally, proved to be a lousy idea. Here’s why: O

C “the magic, clouds, water twinkling and flying birds,” Galileo was a disciple of Polish astronomer Nicolaus E S

S and noticed that one could actually record this magical life

E Copernicus’s (1473–1543) Heliocentric Theory (helio = S

6 sun, centric = center), which had determined that the sun, and not the Earth, was at the center of all planetary move- ment. Copernican theory was counter to the ancient and accepted theological view defined by the Greek astronomer Ptolemy (127–151 A.D.) that placed the Earth at the center of the universe. Ptolemy had created a system where all heavenly bodies could be tracked through an indecipherable application of cycles. Better still, Ptolemy had actually determined the latitude and longi- tude of all “1,022” stars in the sky. It is interesting to note that Copernicus’s idea about the heavens was originally that of Aristarchus of Samos (310–230 B.C.), who had attempted to figure out the distances between the sun, moon, and Earth with his good friend Eratosthenes of Cyrene (276–195 B.C.). In 1632 the Catholic Church decided that it had had enough of the Copernican nonsense and reacted poorly when Galileo aimed his telescope at the heavens and pub- licly proclaimed, 2,100 years after Aristarchus and Eratos- thenes, and 118 years after Copernicus, that the Earth did indeed move around the sun. The church, never an insti- Figure 1–6 tution to adapt quickly to scientific revelations concerning Galileo Galilei (1564-1642) the heavens, officially proclaimed Galileo’s announcement as heresy, incarcerated him, and remained adamant about their decision until 1992 when it decided to forgive and forget. As an aside, Galileo is often given credit, along with Antony van Leeuwenhoek (1632–1723) and Robert Hooke (1635–1703), for discovering the microscope, in the simplest sense a telescope pointing in the opposite direction. Leeuwenhoek constructed and used single lens microscopes and made the landmark discovery of bacte- ria by bravely examining plaque in the mouth of an old man who, in his entire life, had never cleaned his teeth.

Figure 1–7 John A. Whipple, Daguerreotype of the Moon, 1852 E This image by John Whipple (1822–1891) is reputed to be the first L O

Daguerreotype of the moon although there is some evidence that Jean H N I

Claudet made the first in 1845. The image was exposed at the 15-inch P refractor of the Harvard College Observatory, Cambridge, Massachusetts, E H February 26, 1852. Prints were made with Whipple’s glass plate, albumen T 1

sensitized, Cyrstalotype Process, and glued into the world’s first photogra- R E

phy magazine, The Photographic Art-Journal, 1853. T P

(Courtesy of Harvard College Observatory, Cambridge, Massachusetts) A H C

7 - - - e tu est eal- nfor Astrono- Essays on Essays king nicely as a the independent er carbonate. camera obscura. camera e Scheele worked with Scheele worked ussic acids.U was still going strong. it Chemical Observations , n through the chemical act the chemical through I er kening action of light on a es and the medium of pho ev esting to note that Schulz eating silv w talian painters had to be using else could one explain the r elations ar cr w ev 1727, Johann Heinrich Schulze Heinrich 1727, Johann taric, and pr nor Scheele had a way of sharing is inter of light as a means to explain vision. of light as a means n e was Kepler, by the way, who is given the way, by was Kepler, t ed the dar et. t v on white leather, using stencils and the on white leather, (silver chloride) (silver ell documented and wor ented y ray theory ray ance,” for ho Among his r that had a profound influence on the way sci- influence on the that had a profound y, Scheele made a lot of discoveries that have had that have Scheele made a lot of discoveries y, of colors. I . (1764) that many I neither Schulz ed solution. I photograms (calcium carbonate), , xperiments on Air and Fire. xperiments on Air and Fire. um contriv eduction, salt to metal. An additional bit of inter The camera obscura, ho While the physical camera portion of the photographic In 1604, mathematician and the father of modern the father of mathematician and 1604, In In 1777 the Swedish chemist Karl Wilhelm Scheele Wilhelm chemist Karl 1777 the Swedish In significant impact on our liv ainting ecognition of oxygen (1774) and nitrogen and the isola- (1774) and nitrogen ecognition of oxygen he plane where the image landed), they could focus and focus they could landed), image the where he plane liquid mixture of silver chloride and chalk and began to chloride and chalk and of silver liquid mixture make nately had because fixer metal salt discoveries, their light-sensitive not been inv r tion of citric, gallic, tar drawing aid for painters, the chemical partdrawing aid for painters, the chemical of the equation was just beginning. I (1687–1744) obser and E Count Francesco Algorotti suggested in his book Algorotti Count Francesco tography a ing histor accidentally discovered the darkening effects of light on sil- effects the darkening accidentally discovered nitric contaminated acid with a silver when he mixed ver chalk sensitiz of r the “ equation was w entists thought about light, because he was the first to light, because he was the first entists thought about describe the One of the strongest reactions to Kepler’s work was seen work to Kepler’s reactions of the strongest One who (1643–1727), Newton of Issac in the research white really wasn’t in 1675 that white light hypothesized appearance was actually an entire at all and that the white his newfound knowledge of how the blue/violet end of the of how his newfound knowledge spectrum a noticeable impact on a compound of sil- had and chlorine ver credit for being first to use the words the words for being first to use credit spectr t of the image. alter the effects out a formal (1571–1630) worked Kepler optics Johannes and vision. Shortly lenses, mirrors, between relationship a book entitled wrote Kepler in 1609, thereafter, P (1742–1786) published the book mia Nova mia Nova . y in acharias Micrographia ans and Z (the distance between the aperture and the aperture (the distance between was an ink on copper plate drawing process where a was an ink on copper plate drawing process where 1792 , likeness was traced by drawing with a stylus that was connect- likeness was traced by drawing with a stylus that focal length s With the advent of the telescope, and the ability to the advent With physionotrace ansen.” ed, with levers, to an eyesight. When the drawing had been completed, the ed, with levers, to an eyesight. When the drawing the potential for multiple copper plate was etched and engraved, allowing around know it yet, but painters copies of a realistic likeness. They didn’t of painting the faces of the world were just about to be freed from a life wealthy patrons. NY) (Courtesy of the George Eastman House, Rochester, The Figure 1–8 Inventor of the Physionotrace of Gilles Louis Christine (1754–1811), Physionotrace subject’ craft and work glass into tools of magnification, scientists glass craft and work placed multiple, and multishaped, lenses on their small They then noticed that, depending camera obscura holes. on the Also, Hooke constructed that he called a “com- a lens Also, Hooke the book and wrote microscope pound” Jansen, of Middleburg, Holland, who, in 1595, crafted a Holland, of Middleburg, Jansen, instrumentsmall working that they christened “The Royal J 1665, one of the most influential biology texts in histor in fact, of these distinguished scientists were, None were of the microscope The actual inventors responsible. the father and son collaboration of H

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 8 staining fabricforherdr ses A 1780, becauseMrs.F tedious seriesofexperiments thatbeganinthesummerof ducible r era obscuratookitsturnatproviding thewishforrepro- b demanded forpor ism intheirdrawings? This realism wasespecially hame self-publishedabookmodestlyentitled, don, onthe5thofN P on (Courtesy oftheRoyalPhotographicSociety) exposed toultravioletlightunderatranslucentengravingandthenetched. sions madefromaBitumenofJudeasensitizedpewterplatethatwas This imageofCardinald’AmboiserepresentsoneNiépce’s inkimpres- Joseph NicéphoreNiépce(1765-1833), Figure 1–9 ainting, wher y F Combustion, witha View to aNew and Art ofDying Then somethingreally happened.In important Lon- renchman Gilles-Louis Chrétien (1754–1811). re Proved Erroneous. eality thr ein theP traitur ough theinv o ulhame wantedtodevisea wayof hlogistic andA v ember e, andin1786theuseofcam- esses withheavymetalssuch as This grandiosetitledescribed a , Cardinal d’Amboise, ention ofthe 1794, Mrs.E ntiphlogistic H physionotr lizabeth F c. 1827 A n ypothe- Essay ace ul- 1826–1827 b images thatN designed together ground ativ of UVlight,washedaway. The resulting platewasaneg- areas, thatdidnotharden thoseparts through theaction the plateinoiloflav the plate,tosunlight.Following exposure, Niépce bathed Judea andthenexposingatranslucentengraving, laidon his pr light.Niépcepaint, andexposedtoultraviolet(UV) began mate isaddedtoasolutionofgumarabic,water that occursinthegumbichromate process, when adichro- exposed tolight. The principlehere issimilartotheeffect in lav ing scenesdirectly inthecameraandcreated whatiscon- to produce positive printsonapress. Niépce began expos- the majorrole incatalyticreactions asboththe research brought hertotheconclusionthatwaterplayed sible withtheinfluenceofwaterandlight,her silver andgold.She hypothesized thatthismightbepos- sitiz and hisbr coated papernegatives. These firstexperimentsby Niépce the firstcamera-basedimagesb fer, are dismal.” truly appear intheshapeofawoman,pangswhichtheysuf whatever shapeitmayappear;andshouldthespectre sight ofanything,thatbearsasemblancelearning,in sure isperhapsinevitable;forsomeare soignorantatthe curiosity. In aresponse tothesituationshewrote, “…cen- quasi-official reaction didn’t seemtotemperherzeal or sis beingdismissedby thescientificcommunity. This compliant wife,andamateurscientist,resulted inherthe- beth Fulhame’s socialpositionasawoman,Dr. Fulhame’s basedonscientificandchemicalprinciples.Eliza-an art engine-powered lithography press thatthebrothers had and covery of opined thatMrs.Fulhame’s great achievement, thedis- inal state.More thanonephotographichistorianhas had takenplace,thewaterwasalwaysrestored toitsorig- The firstsuccessfulpositiv I e ed paperandw oxidizing n v ocess b ender oilbutthatbecameinsolublewhenitwas ersion oftheengravingbutone thatcouldbeetched 1816, N of Bitumen ofJudea (asphaltum)thatwassoluble other Claudeutiliz Catalysis, y y agent. She alsonotedthatafterthoseactions iépce wasonlypar coating ape coating pe icéphor . er was thebeginningofphotographyas Their firstresults yieldednegative e e designed tobeusedwithahotair ender solutionandtheunexposed Niépce (1765–1833)attempted wter plateswithalight-sensitive wter platewiththeB ed acameraobscuraandsen- y tially abletofix. e making silv image wasmadein er chloride itumen of reducing , and - , 9 CHAPTER 1 THE PINHOLE 1839, , ere’s how it how ere’s By this time, By ell-connected eptember our being. H 1839, the w advice and training in the eferring to his images as , y t anuar Do not tryDo this at home. tnership for the purpose of improv- ’s work, Daguerre’s knowledge of heli- knowledge Daguerre’s work, ’s eloping the sensitized, silver iodized (copper iodized silver eloping the sensitized, iépce the 7th of J demonstrated the process in public for the first demonstrated the process e n without some exper cademy of Sciences, and in S e aguerreotypes.” In 1837, Daguerre figured out how to out how figured 1837, Daguerre In aguerreotypes.” ench physicist and director of the Paris Observatory, the Paris of ench physicist and director aguerr r esulting fumes can be lethal to y discussed N of superior cameras. and his personal collection ography, stating that 1829 the two men signed an agreement In they would be a par died A few later Niépce years invention. ing Niépce’s out a tech- had worked 1835 Daguerre (1833), and by nique for dev plates with the plates exposed to fumes of iodine) metal fumes of hot mercury. is done, with just enough information to explain it but not enough to actually do it. Daguerreotype process. Boiling mercury Boiling process. for Daguerreo- Daguerreotype business, and the is verytype development hazardous r Daguerre had decided that the invention of photography decided that the invention had Daguerre was solely his and began r “D sodium chloride, something Herschel an image with “fix” with hyposulfite of earlier, years eighteen had discovered soda. O D time. First, it is very important do not perform that you this pro- First, cedur How a Daguerreotype Is Made How Dominique François Arago, presented Daguerre’s work to work Daguerre’s Arago, presented François Dominique the A F , t el rav ober . T ears later iew of the V (hyposulfite of initiated their enty y e he made up d 1826. 1827, Niépce In —a wor aph ir John Herschel (1792– 1871) Herschel ir John View of the Window View er named Lemaitr nglish were inept. nglish were om 1794. Heliograph, 1826 fr photogr oyal Society. Unwillingness to reveal all to reveal Unwillingness Society. oyal oseph attempted to go and visit him. and peace), S e (1787–1851), who was independently about to anorama v P e ent astray in Paris, and Joseph took the oppor- and Joseph ent astray in Paris, er photography, were introduced to one another by introduced were er photography, substances would dissolve silver chloride. Herschel’s silver substances would dissolve v vered that a solution of thiosulfates that vered ed to be the first photographic image: ed to be the first photographic image: oduction. Daguerre was widely known as an engaging was widely known oduction. Daguerre In 1827, Niépce’s brother Claude became ill while in Claude became ill while brother 1827, Niépce’s In Meanwhile, in 1826, Niépce and Louis Jacques Mandé and Louis Jacques in 1826, Niépce Meanwhile, In 1819, while Niépce was busy working on a way to was busy working 1819, while Niépce In aguerr iaorama, a theater-like experience likely based on R camera-based image and was realized when camera-based image and arker’s arker’s ngland and J tunity to meet with Daguerre, where they drank tea, where tunity to meet with Daguerre, (Courtesy of the Gernsheim Collection, Ransom University of Texas–Austin) Center, Joseph Nicéphore Niépce, Joseph Nicéphore Niépce, image ever made. It is This is the first photographic a plate with a light-sensitive Niépce coated a pewter as in an etching, ground of Bitumen of Judea, to create a plate for that because his intention was to ultraviolet light, purpose. The plate was exposed of iodine, and later “developed” with the fumes fixed with a mix of Dippel oil and oil of lavender. Figure 1–10 and Courtyard at le Gras, and Courtyard at le Gras, plans w E B intr famous Parisian of the and the proprietor entrepreneur D an optician named Charles Chevalier. In some historical some In an optician named Charles Chevalier. accounts, an engrav disco D disco sider soda) Window and Courtyard at le Gras, le Gras, at and Courtyard Window of the “secrets” proved to be a stumbling block for accept- proved of the “secrets” to France returned the organization, and Niépce ance by convinced that the E the bones of ani- oil (oil from his images using Dipple save (today sold as an oil to instill feel- mals) and oil of lavender ings of lo took his discovery to England with the ambition of pre- with the to England took his discovery senting it to the R that he could fix a discovery, identical to Chaussier’s in 1799, was the foun- identical to Chaussier’s discovery, dation for his announcement in 1839, tw

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 10 N N N (Courtesy oftheartist) Daguerreotype recordslife. depicts the4minutesofexposureneededtomakeplateascenturychanged.Thetextinreadsbackwardsbecausethatishow This halfplateDaguerreotype,createdbyNewYork artistJerrySpagnoli,isfrom“TheLastGreatDaguerreotypeSurveyofthe20thCentury.” Thescene Jerry Spagnoli, Figure 1–11 v the silver, turnorange,andresult inalight-sensitive sil- absorb thefumesofiodine,whichwillreact with This exposure willaverage about15to 25minutes. a In alow lightenvironment, loadthesensitized plateinto bo Place themetalplateinalighttightbox (aniodizing and buffittofineshine. Sheffieldwith acoatingofmetallicsilver (The Process) Prepare asheetofcopperthathasbeenelectroplated er camera andexposeittoasubject inbrightsunlight. x) thatcontainsiodine.I iodide coatedplate. 11:58 PM –12:02 AM , T imes Square,NY, 1999-2000 n the bo x the platewill N N is permanent. F with thesilver intheexposure’s highlights. willmerge(amalgamate) lowin very light,themercury has beenheatedto140°F. During thisstage,conducted Next, that develop theplatewithfumesof mercury effect onthesilv are apalewhite amalgamcreated by themercury’s of theimagear Daguerre, 1837)andwashedwithwater. The shadows sodium thiosulfate(originallychloride; inally , the plateiswashedwithadilutedsolutionof e plain polishedsilv er duringdev elopment. O er , and thehighlights nce dried,it 11 CHAPTER 1 THE PINHOLE - vered with potas making pictures e er wing a rapid, often o ollo image that he fix e kened print in a bath of potassium ound the world w till, for my historical betting dollar, it was the till, for my historical betting dollar, ested. S By the late 1800s the medium had literally exploded the late 1800s By As the nineteenth century came to an end, commer- wn. As photographic emulsions became more sensitive, more wn. As photographic emulsions became nomad in the tent who did it first. sium bromide. into public consciousness. F of everything,using pinhole cameras to make images Pictorialist to romantic archeology Egyptian from expressions. and pinhole cameras such the fray, cial enterprise entered Cam- Pinhole and the “Glen Photographer” as the “Ready These inex- and sold worldwide. manufactured were era” with such extras as glass plates, foil cameras came pensive and printing frames. All at once there lenses, chemistry, flurrywas a great of activity as artists and scientists had Talbot that pictures” the “fairy attempted to capture in the their eyes described, the ones that had scooted by everyone after 2,300 years, was camera obscura. Finally, inter whelming, series of photographically related processes related whelming, series of photographically camera had come into its the pinhole and discoveries, o photographers ar immersed the dar iodide to yield a positiv oduce a photo- NY) , ted the moist paper in his iépce. A clerk in the French Min- in the French iépce. A clerk Self Portrait as a N uth at this point. Arago was doing y 1840 was not the first person to pr er chloride and inser e en to him b is interesting to note that commerce and marketing to note that commerce is interesting t 1839 and that he personally had actual images that had 1839 and that he personally had actual I aguerr y Drowned Man, (Courtesy of Societé Francais de la Photographie and the George Eastman House, Rochester This direct positive, silver chloride sensitized print This direct positive, silver accredita- to Daguerre’s was created as a reaction in 1839. Bayard tion as the inventor of photography images to had shown his own photographic before Arago Dominique Arago three months genius before the Academy announced Daguerre’s in the French Ministry, of Sciences. Bayard, a clerk to keep his invention to was given a small pension a himself because too many important people had success. This image vested interest in Daguerre’s can probably be considered the first political protest photograph. Figure 1–12 Hippolyte Bayard (1801-1887), graphic image. Francis Bauer had informed the press that informed the press had Bauer graphic image. Francis in Febru- identical to Niépce’s was invention Daguerre’s ar began to influence tr such a spectacular job promoting Daguerre that he bla- Daguerre such a spectacular job promoting that was physical proof the fact that there tantly ignored D been giv istry of Finance, Hippolyte Bayard (1801–1887), had Bayard Hippolyte istry of Finance, photographic images to Arago on the 20th his own shown the announcement of before months 1839, three of May, After Arago announced Daguerre’s the Daguerreotype. to the news making a self-por- by reacted genius, Bayard man and himself as a drowned trait (1840) showing sentiments his feelings that the in sarcastic expressing everything—that being Daguerre had given government was himself and here had drowned the case, the wretch paper process technique was a positive Bayard’s the proof. (1800–1877), even Talbot’s Henry Fox William similar to been speculation that either man has never though there coated his paper experiments. Bayard knew of the other’s with silv that, he Following camera for a lengthy exposure.

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 12 hole diameterof1/64˝andy tion: Let’s saythatyou have afocallengthof6˝andpin- the ƒ-v hole istoosmalldueto ual increase indefinitionwilleventually deteriorateifthe I bendingthefilmorpaper inthecamera. plane andstart information changeswhenyou doawaywiththeflatfilm man didinhisfirstflexiblefilm,roll camerain1888. This then you willmakecircular pictures justlikeGeorge East- normal totelephoto. The distanceiscalled away,distance isfurther itwillprovide animagethatis itwillyieldawide-angleimage.If the to theendsurface it asensitized film,paper, orwall. If thepinholeisclose ture theresulting holeandthesurface imagefallson,be and viewpoint according tothedistancebetween theaper- A A smaller diameter, thatis, diameter isquiteadequateforfocallengthsupto6˝. A era: 25mm=1˝.A3˝focallengthwillcover a4˝ the exactsamemannerasatraditional“grown up” cam- greater thefocallength,largerimage. be foundinmanypinholetexts.Basically, apinholeof numerical definitions,andtheresults oftheirwork can been worked outby peoplewhotakepleasure inexact to platedistances. thatareportions considered aperture idealforparticular at theedgesofanopaqueobject). There are specificpro- S and thefocallengthofy objects usingthesamefocallength. ratio formakingdetailedpinholeimagesofclose-up an 8˝ piece offilm,andacamerawith6˝focallengthwillcover mor of thepinholecamera. y hole inthepaper pretty sharp;remember thetrickwithyour thumbandthe mo ter (64),andyou willcomeupwithan ƒ-value ofƒ384. f our imagescantakeandho imply dividethefocallength (6˝)b y pinhole camera will create an image that will vary insizepinhole camerawillcreate animagethatwillvary Little Science our pinholeaper ving subjectthaty The focallengthofapinholecameraiscalibratedin Exposure timeisdependentonthesize ofyour pinhole G e ן enerally defined asthepinholebecomessmaller alue. Anƒ-v 10˝ pieceoffilm.If your focallengthistooshort , the qualityofanimagewillcontinuetobe . I n These mathematical proportions haveThese mathematicalproportions alue isfigur tur the end,ther e ou pointy is small enough, almost every non- is smallenough,almostevery diffr our camera. 1 ⁄ 100 action ou wanttokno ˝, willprovide anicelifesize w ed withthefollo y e ou canaltertheconcept is our cameraatwillbe (the spr no limittowhatform y This isr the pinholediame focal length. eading oflight w eferr the ƒ-v . wing equa- This grad ן ed toas 5˝ inch alue. 1 The ⁄ 64 ˝ - - (Courtesy oftheartist) translating thenegativewithZiatypeprocess. This isanexampleofJesseca’ Jesseca Ferguson, Figure 1–13 T The ThumbnailPrinciple pinhole photography field. Itisoneoftheprinciple characteristics of just experiencedwasinfinity as itappliestodepthof your eyesightgoesbacktobeinginefficient.Whatyou background inclearfocus.Pullthepaperawayand Notice howyoucanseebothyourthumbandthe your thumbnailaninchortwoawayfromthehole. look at,keepyoureyerightuptotheholeandhold look throughthehole.To giveyourselfsomethingto hold thepaperasclosetoyoureyepossibleand Use thetipofapenorpenciltomakehole.Then a o piece ofpaperandpokeasmallholeinitscenter. comprehend howapinholecameraworks,take The Moon, . s 1998 recent workutilizingapinholecameraand 13 CHAPTER 1 THE PINHOLE tment e. K & S tur You will want to be You our aper plates. e ough for y tur ., Chicago, IL, makes a wide assor eflects no light at all, black velvet. TO MAKE A PINHOLE CAMERA A PINHOLE MAKE TO container that you can make light tight. This can make light tight. container that you can of black matte spray paint. pair scissors or shears that are able to cut a thin metal able pair scissors or shears that are in foil, metal flashing material, brass shims, a cut-up ngineering Co W E A shim and a selection of needles. A a plastic film container to a can be anything from cathedral. A a lot of light container does not have that your sure inside of it during lengthy exposures, bouncing around so it is necessaryYou to spray it with at least two coats. for that extra plush inte- can also use black paper or, rior that r T can you that soda can—anything thin and sturdy punch a needle hole thr of brass, aluminum, and copper shims that are excel- of brass, aluminum, and copper shims that are lent for pinhole aper N HO The Basic Materials N N N ole in are formulas for deter- are e 1994 10” Derdorff camera fitted with a Ther ן ailable light will also play a large r Elizabeth and Cleomes, course, av f ric Renner and Nancy Spencer, the gurus of pinhole Spencer, and Nancy ric Renner O E have found that the variables of the handmade pinhole found that the variables have (Courtesy of the artist) Nancy made this image using an 8” Figure 1–14 Nancy Marshall, zoneplate pinhole lens that she acquired from Eric Renner and Nancy zoneplate pinhole lens that she acquired from Eric The print translation of the negative is Pinhole Resource. Spencer’s seen here in albumen. determining exposure and extensive testingexposure camera, determining of your a it will provide and the film and/or paper used within matrix for subsequent use. mining the exact exposure times for pinhole exposures, but times for pinhole exposures, mining the exact exposure I significant enough to call for individual testing camera are camera rather than a carved-in-stone standard. of one’s photography, estimate that there have been more than fifty been more have estimate that there photography, separate charted pinhole formulas defining workable These formulas come diameter/focal length perfection. with complex mathematical equations that define what assigned to the when numbers are image happens to your of the light, and the wavelength diameter of the aperture, The gist of this is that you the focal length of the camera. time doing scientific testing for opti- can spend all your pin- different can build or purchase mal sharpness or you camera your If hole cameras and go and make pictures. with the sharpness, or romanticism, you providing isn’t keep modifying it until it does. want, then that you

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 14 N N N N N N N N S era tomakefriendsenvious and toinspire children. Y Film you donotneedadarkroom (seeChapter2). ical development. If you are usingPolaroid Type 55P/N A sur A fine sandingmetal. A A A metal andautilityknife. Needle-nose pliersforpushingthepinthrough the tographic paperforprintsor papernegatives. Options ou maywantsomepaintordecorationfory ome multigrader darkroom, ifyou are usingamaterialthatneedschem- piece offineemer roll of1-to2-inchblacktape. r timing device,likeawatch,tokeeptrackofexpo- e uler orhar times. d edge metalmeasure andapencil. esin coated(RC) satin finishpho- y cloth orcarbor undum paperfor our cam- N A patience ofahero because thesensitizers are soslow. exposures inpinholescanbedonebutyou needthe 5 hole aperture, andherexposures were between 3and was corrected withan85Bglassfilter behindthepin- for filmholdersatdifferent focallengths. Colorbalance 8˝ Wright whodidherwell-known “Beach Series” using ing. Anexampleisinthelate70swork of Willie Anne Ilfochrome exposures to acommercial labforprocess- you have awaytosafelystore andtransferthe one-of-a-kind, direct positive, colorprintsaslong Ilfochrome paperinyour pinholecameraandmake P include Lithfilm,Ilfochrome paper, Type 55P/N olaroid, anda4˝ minutes. In caseyou are curious,alternative process ן sense ofhumor. 10˝ and11˝ ן Camera andDarkroom#2, Figure 1–15 (Courtesy oftheartist) Photographer Project. bread deliverytruck,fortheItinerant second afterfirstmakingoneoutofanold Pinky Bassmadethisgiantpinholecamera,her Pinky Bass, 14˝ woodenboxes fittedwithslots ן 5˝ P Pinky’s PortablePop-UpPinhole olaroid, etc. You canuse 1989–1990 15 CHAPTER 1 THE PINHOLE 20” in size. Willie Anne used a 85B filter to compensate for 20” in size. Willie Anne used a 85B filter to compensate ן Spray several coats of matte black spray paint into the several Spray straight lines to the front left and right corners. If you fol- you left and right corners. If straight lines to the front will see what your you those lines, out to the horizon, low will be. area coverage are if you Note: constructedinside of your “camera.” truck apartment, or your using a bread may be a this not out another solu- to figure will have good idea, and you Then draw an “X” from tion, that is, black paper or fabric. the exact middle of where you corner to corner to show feeling conserva- are This will be, if you camera is. your matt your Take will go. pinhole aperture your where tive, piece your knife and cut a small hole in the camera where of tin foil or brass shim metal will be placed. Scribe an “X” nee- push your and, very gently, the center, you to show 1980s , erage you’re going erage you’re v Group at Nag’s Head Group at Nag’s much co w at the rear of the top middle edge at the rear k big color shift and because Cibachrome was created for use with tungsten light and she was shooting in daylight. big color shift and because Cibachrome was created single focal length, multiple slots for the film holders, and was 16” single focal length, multiple slots for the film holders, first saw Willie Anne Wright’s pinhole/Cibachrome work when I was a part of the Witkin Gallery and instantly liked it enough to first saw Willie Anne Wright’s take one of her pictures home with me. The images in this series are one-of-a-kind Cibachrome direct positives. The camera had take one of her pictures home with me. The images a Willie Anne Wright, Willie Anne Wright, (Cibachrome pinhole) I (Courtesy of the artist) Figure 1–16 a ide angle, tele-photo, macro, multiple ide angle, tele-photo, macro, ou can shoot the same thing with all of W eate. good way to see ho e) and determine what your coverage is going to coverage e) and determine what your A . tur w to get is to place a mar of your camera, on the film plane of the camera, and draw camera, on of your Select a container and think about what kind of image you Select want to cr Pinhole Construction lens, long and narrow, short button and wide, mural size, lens, long and narrow, might be a fine idea to make several decide. It size—you cameras so that y measuring your by Begin them and see the difference. the film plane and the focal length (the distance between aper The shorter the focal length, the wider the angle of be. vie

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 16 into thecameraandtocreate a Now madepinholeaperture itistimetoputthenewly Putting theCameraT imagery. edges willresult inadefractionoflightandblurry nifying loop. Remember thatasmallholewithrough withamag- out anymetaldust.Checkyour perfection is smooth,gentlypushyour needlebackthrough ittoclear sides toremove anyirregularities orburrs. When thehole paperandgentlymassageboth silicon, orcarborundum until youhole. havenice a Take cloth, apieceoffineemery Go backtothefront sideandrepeat thepenetratingtwirl needlesintoabody.an acupuncturistdoeswheninserting hole andtwirlitasyou goinmuchthesamemanner as piece over. Gently pushtheneedlebackthrough thesame other sideoftheshim,stoppushingandturnmetal will wanttocompletethefollowing steps. easily bedamaged.If you are usingabrassshimthenyou fragileaperturemuch done,butyou thatcan have avery dle through thematerial. With tinfoil,you are pretty shutter some simply grabthepull-tab, uncover thepinhole,stick to y leaving astickyendtabontheshuttersothatitcanadher ing theexposure, andthebestway tomanagethisisby Y sticky side),leavingoneoftheendslongerthanother and sticktwopiecesofthetapetogether(stickysideto andlighttight. is perfect cut out.Make sure thatthesealaround theaperture plane being sure thepinholeiscentered over thesmallholeyou shim withthepinholeandtapeitinsideyour camera, piece ofblacktapeover thehole.First, takeyour foilor a the holeupagain,beingpositive thatthetapeismaking “al-Hazan,” andwait.At theconclusion oftheshot,cover fuzzy pictur requiring istomake alittlemore theeffort, timebutworth camera oppositetheaperture hole.Abetter solution, tion istotapethefilmor R ing your filmorpaperinto thecamera. The easiest solu- ou are goingtowantputyour shuttersomewhere dur- tight sealwiththepinholetoav As soon as the needle begins to protrude throughAs soonastheneedlebeginstoprotrude the T You asystemforeasilyinsert- maywishtoconstruct our camerawhenshooting. When itistimetoexpose, o make ashutter, takeaninchortwooftheblacktape The Golden Rule ofPinhole: es. wher e on thecamera,saymagicwor ogether C paper tothesideof shutter, oid straylight. fuzzy holesmake also known asa ds, e . (Courtesy oftheartist) 4” Lesley Krane, Figure 1–17 I assembled forthenextloadingoflight-sensitiv sure thatyour cameraislighttightandthatiteasilydis- should bey satin finishRC paper. It isfastertotestpaper, sothat Load upthecamerain darkroom witheitherfilmor T might wanttoconsidertakinga4˝ focal lengthandimagesiz intend touse.Don’t forgettheinformationregarding make camerasspecificallyforthesize filmorpaperyou you musteitherbuilddifferent formatchannelsystemsor to usedifferent size filmsandpapersinyour camerathen ofyour camera.Ifmaking itapermanentpart you intend a easel or4˝ paper alongpermanenttracks. This issimilartoapaper t esting theCamera ן channel set-upsothaty is no 5” Chromogenicpinhole. w time totesty ן Self-Portrait (Grapes), our mediumforthelighttight test.R 5˝ filmholderchannelsystem.I our cr e. N ou canslidey 1991 eation. o w figur ן 5˝ filmholderand e out awaytobe our filmorR n e material. fact, y emem ou C - 17 CHAPTER 1 THE PINHOLE e ear and fect exposur The time of y pinhole, or a change in w e, with a ne ecommendations. size of your pinhole, the temperature, the pinhole, the temperature, of your size ocedur ” eal r our pinhole. There are simply too many variables are There our pinhole. the “ If all of the pieces of paper or film are unexposed, then all of the pieces of paper or film are If , ou have made a fine camera and you are ready for some seri- ready are made a fine camera and you ou have Finding the Correct Exposure Finding with a math- you would be numbing to try and provide It ematical set of calibrations to guarantee a per with y to make pedantic r day could make a difference. anything atmosphere—nearly The wisest pr y paper has some or all of your If ous pinhole photography. to will have you exposed light leaks showing, gray or dark paint and fix the camera with more they are out where figure the image is com- is important to understand how or tape. It until there ing into the camera. Continue the testing process sense of humor. light leaks, and keep your no more are . , you are using film, are you f ver the lens. ver but do not remove the shutter but do not remove Marlene and Mark #2 , our shutter (tape) o . Go back into the darkroom and process the pieces of and process darkroom back into the Go paper Close up the camera in the darkroom and don’t forget and don’t Close up the camera in the darkroom to put y sunlight for the camera in direct outdoors and place Go 15 to 20 minutes Place a piece of paper, or film, on all inside surfaces of a piece of paper, Place the camera. Every so often, move the camera so that a different side the camera so that a different so often, move Every faces the sun. (Courtesy of the artist) Nancy Spencer is one of the leading figures in the the art alternative photography world and specializes in and science of the pinhole camera. She is co-founder Figure 1–18 Nancy Spencer with her husband Eric Renner, of the Pinhole Resource. with her husband Eric Renner, N N N N ber that if you are using paper, the shiny or emulsion side using paper, are ber that if you faces the lens just like in printing. I right index finger is on the hold the film so that your The of the film. upper right-hand corner notch code side faces the aper- This facing you. emulsion side is now of the camera. Load the film and the scene in front ture to the test: Back sheet in total darkness.

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 18 photographers lo tograph somethingthatdoesn’t move, butmanypinhole S Making Pictures N N N Y N N N N N Type 55P/N Leonardo orLenslessCameraCo. Polaroid pinholeand the materialandgofrom there. With apreconstructed ing exposures, inbrightsun,withagoodguess.Process tional sheetfilm)orRC photographicpaper. Begin mak- series ofexposure testsusingfilm(Polaroid orconven- s culation withblackandwhitefilmar ofcal- ofthumbwhendoing thissort basic pinholerules y thefollowing formulaandseeifitworkswant totry for pinhole camera.If you are technicallymindedyou may thetimegivenstop andconvert toonesuitableforyour simple calculationthatwillpermityou tometerforan ƒ- well withpinholecameras. There is,however, arelatively itive. (See Chapter2.) Pay attentiontothecleared negative ratherthanthepos- Polaroid back,you canbeginwith a10-secondexposure. y parts ofbodies, blinkingeyes inaportrait—are allwon- parts their images.Leaves blowing inthewind,moving water, eason, istowork intuitively ortakethetimetomake a ou ou. elect asubject.Most ofthetimeitisagoodideatopho- our timeswillob F the given timeby 5. For exposures between 10and100seconds,multiply exposur For exposures between 1and10seconds,doublethe S Now findthecorrect Figure your pinholecamera The meterwillgive you anexposure S and callit“ “ time b All butthemostexpensive lightmeterswillnotwork ’ S r et y or exposur e B .” using apinholecamera,y 2/A 2=X our lightmetertoan y e 12. time indicatedonameter X es o (positive/negative) .” v v e viously bequitelengthy er 100seconds,multiplytheexposur the ghostlyqualityofmo exposure time ƒ-stop ou alr aperture film witha4˝ eady kno and callit“ e: . time with theformula and callit“ , that you call but because w v that. The ement in A .” ן B .” 5˝ e and begintocalibrateho Adam, three AnselAdams”—keep notesoneachshot ond duringtheexposur want topr darkroom, remove thepaperorfilm,andprocess it.If you y you canuseachangingbagtoremove, load,andstore must keepthematerialinalighttightbo untape theshutter film plane.P ways tomaketheprint. and printingthr ple asmakingacontactsheet. I If you are usingfilm,thenthecontactprocess is as sim- After pr der our exposedandunexposedlight-sensitiv 0m/”003 /7ƒ/154 ƒ/230 1/77 ƒ/280 1/77 ƒ/420 0.013” 1/64 ƒ/560 0.013“ 50 mm/2” 1/64 ƒ/630 0.0156” 75 mm/3” 1/64 ƒ/840 0.0156” 100 mm/4” 1/64 ƒ/1200 0.0156” 150 mm/6” 1/64 ƒ/2000 0.0156” 200 mm/8” 1/64 225 mm/9” 0.0156” 1/64 ƒ-Stop 300 mm/12” 0.0156” 450 mm/18” 0.0156” Pinholediameter 675 mm/27” Focal Length determine theƒ-stop. evant becauseonlytheworkingapertureandfocallength for theirproducts.Thefilmformatofthecameraisirrel- has createdthefollowingtableofaperturesandƒ-stops construction. TheLenslessCameraMfg.Co.,however, camera iscomplicatedduetothevariablesofhomemade Calculating specificexposuresforyourhandmadepinhole Exposure TableAperture Pinhole Camera Calculation byTheLenslessCameraMfg.Co.,SantaBarbara,CA. ful inthelightmo When y ocessing, y ocess ev our exposur osition thecamerasoitwillnotmove and ough itasapapernegativ . ou willpr er Check y 10ts (fractions) (1000ths) ything atoncelaterinthedayy v ement trackstheydepositonthe e—“one AnselAdams, twoAnsel e—“one e w is complete,gobackintothe our watchandcounteachsec y obably wanttomakeaprint. our camerawor f y ou ar e e, there are afew using R x. I ks. e n materials. the field, C paper ou - 19 CHAPTER 1 THE PINHOLE ecord the geysers of Yellow- the geysers of ecord There are many artists pinhole whose imaginative are There pinhole. Another workshop participant, Frank Varney, participant,pinhole. Another workshop Frank artists concept and built their taken the pinhole have Renner and Eric Bass, it. Pinky life around creative entire come immedi- Resource of Pinhole Spencer and Nancy ately to mind. that comes often as vital as the work are camera variations uses a trailer as his camera them. Chris Pinchbeck from the country around and drives shooting giant Ilfochrome students, Pinky my former workshop of landscapes. One truck and has a for her camera used an old bread Bass, camera that functions trailer shaped like an old Polaroid a former student Hartzell, Emily darkroom. as a rolling apartment into York turned her New of mine at Harvard, a built a panorama pinhole to r makes beau- Moroux and Philippe Park, stone National his pinhole cameras. from tiful Kallitypes with negatives and, when saturated, , 1999 , Audrey pinhole-cyanotype-gum bichromate is a terrific s The simplest is making a contact print: 1 or 2 stops The simplest is making a contact print: (Courtesy of the artist) Figure 1–19 Keuren, Sarah Van Sarah’ example of employing an assortment of alternative process options within a single image. down for as many seconds as it will take to make a good down is to soak positive image. Another way to make a paper an unexposed piece of paper in water negative RC wet place it emulsion to emulsion with your The detail. a little more you This method will give paper. and the paper negative primary the RC between difference detail and more will have You is obvious. film negative using are the final image if you over control more probably that be aware elect to use a paper negative, you film. If of the paper; logos on the reverse have some manufacturers print. up on your they will show Pinhole Recommendations this set ambitions for pinhole photography exceed your If Many in good company. of instructions are then you

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 20 (Courtesy oftheartist) Chris Pinchbeckusesatrailerashis pinholecameraandexposesdirectpositiveType RCibachromeprints. Thisimageis30” Chris Pinchbeck, Figure 1–21 Nancy woreplastercastlifemasksovertheirfaceswithpinholecamerassetintotheeyes. (Courtesy oftheartists) the collaborativeseries, Eric Renneristhepinholeguru,andhislifelongcommitmenttoartofprettyextraordinary. Thisimageisfrom Eric Renner, Figure 1–20 Nancy andMe, White SandsNationalMonument, Through theOther’ 1989 s Eyes, created withhiswifeNancySpencer New Mexico,1999 . T o make theimage,bothEricand ן 75”. 21

CHAPTER 1 THE PINHOLE Figure 1–22 Drawing of a Lensless Camera Co. Pinhole Camera In the drawing you can see the technique of pulling a sheet film from the film (”5ן”sheet of Polaroid Type 55 (4 back that fits into the back of the pinhole camera. The dowels to the side are used to keep the Polaroid back flush with the camera during exposure. (Courtesy of the artist, Tom Kerr)

Essentially, any container that can be made light tight, including a thimble, can be turned into a camera. If you are “handmade” impaired, I suggest that you consider purchasing a hand-built camera from one of several pinhole camera makers in the country. I have terrific pinhole cameras from both the Lensless Camera Company and the Pinhole Resource and have used them for many years now without a hitch; what could go wrong? I shoot Polaroid Type 55 Positive-Negative film with Polaroid back, and they are among my favorite cameras. Also, Zernicke Au, at Zero Image ˝5ן˝a 4 pinhole cameras with Australian Redwood ˝9ן˝in Hong Kong, makes a marvelous 120 mm and 6 and brass fittings. Please see the resource section in the Appendices for the best sources for pinhole cameras, film, books, magazines, and pinhole paraphernalia. In any case, pinhole photography is supposed to be fun—go have some. T H E B O O K O F A L T E R N A T I V E P H O T O G R A P H I C P R O C E S S E S

22 (Courtesy oftheartist) Pinky Bassmadethiscompellingimagewithahomemadepinholethatshenamed Pinky Bass, Figure 1–23 Camera. The imageisa40” Body Nostalgia1 ן 32” tonedsilvergelatinprint. Bible withTwo PointsofView Pinhole 23

CHAPTER 1 THE PINHOLE