sign in sign up
<<
Home , Cyanotype, Film holder

The Book of Alternative Alternative Photographic Processes

Christopher James, Rockets, Mexico, 1992 (Diana plastic —) (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 . Not all of ’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 You’ll find “A Little History” beginning nearly every chapter, and I have done my best to fill it with salient historical references as well as the odd and ironic things that always permeate most human endeavors.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 (“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 This print’s negative was made from a pinhole camera outfitted with a 4”5” Polaroid back loaded with Positive/Negative Film. It provides a pretty decent example of the pinhole’s extraordinary . 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 . (Courtesy of the author)

3 writing (fotizo) (fotizo) into the wall of the tent that was in 1038. The dissemination of this work may this work of dissemination The in 1038. (the ) image. In the beginning, so the story the beginning, image. In goes, these A very in the deserts time ago, nomads long of the poke a image they would make this upside-down To Officially, academic historians give the credit to the the credit academic historians give Officially, of an Eclipse of an 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) intense heat of the day and during the would rest travelers less demanding. the conditions were at night when travel relax the sun, they could from their tents, protected In for flaps, scanning the horizon front out of the and gaze that might or perhaps relatives, any possible problems, they Occasionally, general direction. that 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. small hole illuminated by of that view, The landscape at their back. the intense reflections of sun and sand, would, as in a cam- the intense reflections of that version an upside-down era, invert and project Lots of holes, lots scene on the tent wall opposite the hole. that knowing nomad could relax of views, and the resting Thus, the basic prin- of company. he was alone and free initiated for purely ciples of photographic optics were that this was the knowledge Perhaps practical reasons. inspiration. launched al-Haitam’s Aristotle, who mentor-philosopher, Greek remarkable to pass through in order noticed that light rays converged small holes in opaque objects. Aristotle also noted that these same light rays diverted on the backside of the the through opaque plane exactly the same way they went the image illumi- straight lines. As a result, front—in and in proportion to the orig- nated was seen upside down experiments also demonstrated that the inal. Aristotle’s shape and proportions of the camera obscura had a direct to the way the image was seen on the final relationship out, figure What Aristotle could never surface.projection a geometrically squared is why the image from however, image—a question that in a circular would result aperture was no there any event, In able to answer. he was never to look concept of saving the image; it was just interesting at and trace. On the Form On July 1851 Partial Eclipse of the Sun, Evidently, the next time someone thought the optical the Evidently, Figure 1–2 John A. Whipple, 28, 1851. This quarter One of four plates recording a solar eclipse, July Observatory, plate was made at the Harvard College Cambridge, Massachusetts, July 28, 1851. Cambridge, Massachusetts) (Courtesy of Harvard College Observatory, magic of the camera obscura was worthymagic of the camera obscura was of note was Arabian math- later when the renowned nearly 1,300 years (c. 965–1040) al-Haitam ematician and physicist Ibn Aristotle had, to view as his hero used a pinhole aperture, al-Haytham, as Ibn (also known al-Haitam an eclipse. Ibn was a big fan of Aristo- and al-Misri) al-Basri, al-Hazen, writing that persuaded al-Haitam tle, and it was Aristotle’s to studies in order to abandon his dedicated religious is Al-Haitam adopt a life in pursuit of scientific veracity. of which only penned nearly 100 works, to have reputed inquiries into such explaining diverse 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 , 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

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 4 obscura ings thatcamefrom his own camera calledthedraw- Alberti ing surface. offered onitsglass-trac- totheartist possibilities thatopticalinstrument dow ofthecameraobscuraandwhat cept ofthetheoretical, andreal, win- illustratedthecon- writing, Alberti de Pictura (dedicated toBrunelleschi) entitled “thing” worked inhis1435treatise cally describedhow theperspective versal “Renaissance man,”academi- the dashingprototype fortheuni- Renaissance theory. artistic Alberti, “point-man” fortheilluminationof Batistta (1404–1472),the Alberti time. church, functioningasanotationof be clearlyseenonthefloorof days aprojected imageofthesuncan Santo Maria delFiore, andonsunny pinhole aperture inawindow of 1482), installedabronze platewitha astronomer Paolo Toscanelli (1397– Coincidentally, thefamedItalian Florence’s Santo Maria delFiore. to designtheprominent domeof a majorarchitectural competition Brunelleschi, by theway, whowon this historicalimpression. It was the cameraobscurasolidlysupport rendered architectural tracingsfrom Brunelleschi’s odd,photographically one pointperspective was amajorplayer intheEuropean Fillippo Brunelleschi (1377–1446) decade ofthe1400s,Italian architect paper, canvas, orawall.In thefirst flat two-dimensionalplanesuchas dimensional objectsandspaceona andrecord couldobserve artists three- tlemen begantoinfluencetheway The secondgentlemanwasLeon In theearly1400stwoItalian gen- miracles. (“On Painting”). In his craze inpainting. (Courtesy oftheGeorgeEastmanHouse,Rochester, NY) to adrawingglassandthentracedbytheclevergentleman. man drawingwiththeaidofacameraobscura.Theimageisformedbylens,reflectedmirror This drawing,fromE.Atkinson’s A GentlemanUsingtheCameraObscura, Figure 1–4 (Courtesy oftheartist,Tom Kerr) Nomads inCameraObscuraTent Figure 1–3 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

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES The first person to actually be credited with placing a Lippershey could not be established, and for political and lens on a camera obscura, with the intention of focus, was financial reasons Metius decreed that all of his notes and the infamous mathematician Girolamo Cardano (1501– tools be destroyed upon his death. 1576) in 1550. Cardano was a brilliant individual but had A corresponding story from 1609 described a tale in a reckless weakness for gambling and socially questionable which Galileo Galilei (1564–1642) got wind of Lipper- nightlife activities. His extensive analysis on the “theory shey’s optical invention and how Hans was on his way to of probability” greatly assisted his gambling addiction but Italy to show, tell, and sell his new telescope to the Vene- got him into an incredible amount of personal trouble tians. Galileo quickly reasoned that his appropriation of with his family and associates. Cardano’s brainstorm was Lippershey’s wonderful idea might be a perfect way to described quite clearly in 1568 by the Venetian Daniele extricate himself from his chronic state of debt. Within Barbaro (1513–1570) in his book La practica della per- days, Galileo made up a telescope, presumably using della spettiva and gave inspiration to the ideas that led to move- Porta’s Magia Natuaralis’s book on Refraction as a guide, able lens parts and a more flexible focusing system in a and beat Lippershey to Venice; a deception that, histori- camera obscura from a fixed position. Barbaro wrote of cally and personally, proved to be a lousy idea. Here’s why: “the magic, clouds, water twinkling and flying birds,” Galileo was a disciple of Polish astronomer Nicolaus and noticed that one could actually record this magical life Copernicus’s (1473–1543) Heliocentric Theory (helio =

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 sys- tem 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 This image by John Whipple (1822–1891) is reputed to be the first Daguerreotype of the moon although there is some evidence that Jean Claudet made the first in 1845. The image was exposed at the 15-inch refractor of the Harvard College Observatory, Cambridge, Massachusetts, February 26, 1852. Prints were made with Whipple’s glass plate, albumen sensitized, Cyrstalotype Process, and glued into the world’s first photogra- phy magazine, The Photographic Art-Journal, 1853. (Courtesy of Harvard College Observatory, Cambridge, Massachusetts) CHAPTER 1 THE PINHOLE

7 Astrono- Essays on Essays camera obscura. camera Chemical Observations through the chemical act through In it Scheele worked with it Scheele worked In creating silver carbonate. silver creating of light as a means to explain vision. of light as a means on white leather, using stencils and the on white leather, (silver chloride) (silver ray theory ray that had a profound influence on the way sci- that had a profound of . It was Kepler, by the way, who is given the way, by Kepler, was of colors. It (1764) that many Italian painters had to be using (1764) that many Italian (calcium carbonate), In 1777 the Swedish chemist Karl Wilhelm Scheele Wilhelm chemist Karl 1777 the Swedish In was still going strong. The camera obscura, however, While the physical camera portion of the photographic In 1604, mathematician and the father of modern and the father of mathematician 1604, In (1742–1786) published the book on Air and Fire. and Experiments the blue/violet end of the of how his newfound knowledge spectrum on a compound of sil- had a noticeable impact and chlorine ver salt to metal. An additional bit of interest- of reduction, had that have Scheele made a lot of discoveries ing history, and the medium of pho- a significant impact on our lives the independent are his revelations Among tography. and the isola- (1774) and nitrogen of oxygen recognition tion of citric, gallic, tartaric, and prussic acids.Unfortu- nor Scheele had a way of sharing Schulze neither nately, had because fixer metal salt discoveries, their light-sensitive yet. not been invented suggested in his book Algorotti Count Francesco Painting Painting else could one explain the real- for how the “contrivance,” equation was well documented and working nicely as a documented and working equation was well partdrawing aid for painters, the chemical of the equation Schulze Heinrich 1727, Johann was just beginning. In (1687–1744) observed action of light on a the darkening and chalk and began to chloride of silver liquid mixture make that Schulze to note is interesting solution. It sensitized effects of light on sil- the darkening accidentally discovered contaminated nitric acid with a silver when he mixed ver chalk One of the strongest reactions to Kepler’s work was seen work to Kepler’s reactions of the strongest One (1643–1727), who 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 spectrum for being first to use the words credit entists thought about light, because he was the first to light, because he was the first entists thought about describe the mia Nova mia Nova the plane where the image landed), they could focus and focus they could landed), the image where the plane 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, in Micrographia (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 With the advent of the telescope, and the ability to the advent With physionotrace Figure 1–8 Inventor of the Physionotrace of Gilles Louis Christine (1754–1811), Physionotrace The likeness was traced by drawing with a stylus that was connect- subject’s had been completed, the ed, with levers, to an eyesight. When the drawing the potential for multiple copper plate was etched and engraved, allowing know it yet, but painters around 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, craft and work glass into tools of magnification, scientists craft and work placed multiple, and multishaped, lenses on their small depending They then noticed that, camera obscura holes. on the 1665, one of the most influential biology texts in history. in fact, were, of these distinguished scientists None were of the microscope The actual inventors responsible. and Zacharias the father and son collaboration of Hans who, in 1595, crafted a Holland, of Middleburg, Jansen, instrumentsmall working that they christened “The Royal Jansen.” Also, Hooke constructed a lens that he called a “com- Also, Hooke the book and wrote microscope pound”

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 8 staining fabricforherdresses withheavymetalssuchas 1780, becauseMrs.Fulhame wantedtodeviseawayof tedious seriesofexperiments thatbeganinthesummerof ses Are Proved Erroneous. Painting, wherein thePhlogistic andAntiphlogistic Hypothe- on Combustion,witha View toaNew and Art ofDying hame self-publishedabookmodestlyentitled, don, onthe5thofNovember, 1794,Mrs.Elizabeth Ful- by Frenchman Gilles-Louis Chrétien(1754–1811). ducible reality through the invention ofthe era obscuratookitsturnatproviding thewishforrepro- demanded forportraiture, andin1786theuseofcam- ism intheirdrawings? This realism wasespecially Joseph NicéphoreNiépce(1765-1833), Figure 1–9 (Courtesy oftheRoyalPhotographicSociety) exposed toultravioletlightunderatranslucentengravingandthenetched. sions madefromaBitumenofJudeasensitizedpewterplatethatwas This imageofCardinald’AmboiserepresentsoneNiépce’s inkimpres- Then somethingreally happened.In important Lon- This grandiosetitledescribed a Cardinal d’Amboise, physionotrace c. 1827 An Essay ing scenesdirectly inthecameraandcreated whatiscon- to produce positive prints onapress. Niépce began expos- ative version oftheengraving butonethatcouldbeetched of UVlight,washedaway. The resulting platewasaneg- areas, thatdidnotharden thoseparts through theaction the plateinoiloflavender solutionandtheunexposed the plate,tosunlight.Following exposure, Niépce bathed Judea andthenexposingatranslucentengraving, laidon his process platewiththeBitumen by coatingapewter of light.Niépcepaint, andexposedtoultraviolet(UV) began mate isaddedtoasolutionofgumarabic,water, and that occursinthegumbichromate process, whenadichro- exposed tolight. The principlehere issimilartotheeffect in lavender oilbutthatbecameinsolublewhenitwas ground plateswithalight-sensitive1826–1827 by coatingpewter images thatNiépce abletofix. wasonlypartially designed together. Their firstresults yieldednegative and the majorrole incatalyticreactions asboththe research brought hertotheconclusionthatwaterplayed sible withtheinfluenceofwaterandlight,her silver andgold.She hypothesized thatthismightbepos- covery of opined thatMrs.Fulhame’s great achievement, thedis- inal state.More thanonephotographichistorianhas had takenplace,thewaterwasalwaysrestored toitsorig- engine-powered lithographypress thatthebrothers had sitized paperandwere designed tobeusedwithahotair, and hisbrother Claudeutilized acameraobscuraandsen- coated papernegatives. These firstexperimentsby Niépce the firstcamera-basedimagesby makingsilver chloride 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 The firstsuccessfulpositive imagewasmadein In 1816,Nicéphore Niépce (1765–1833)attempted oxidizing of Bitumen ofJudea (asphaltum)thatwas soluble Catalysis, agent. She alsonotedthatafterthoseactions was thebeginningofphotographyas reducing 9 CHAPTER 1 THE PINHOLE By this time, By Do not tryDo this at home. Daguerre had decided that the invention of photography had decided that the invention Daguerre to his images as was solely his and began referring to out how figured 1837, Daguerre In “.” sodium chloride, something Herschel an image with “fix” of with hyposulfite earlier, eighteen years had discovered 1839, the well-connected the 7th of January, soda. On Observatory, of the Paris physicist and director French to work Daguerre’s Arago, presented François Dominique 1839, of Sciences, and in September, the Academy in public for the first demonstrated the process Daguerre time. discussed Niépce’s work, Daguerre’s knowledge of heli- knowledge Daguerre’s work, discussed Niépce’s and his personal collection of superior . ography, that stating 1829 the two men signed an agreement In they would be a partnership the purpose of improv- for died A few later Niépce invention. years ing Niépce’s out a tech- had worked 1835 Daguerre (1833), and by (copper iodized silver the sensitized, nique for developing plates with the plates exposed to fumes of iodine) metal fumes of hot mercury. First, it is very important do not perform that you this pro- First, without some expert advice and training in the cedure Boiling mercury process. for Daguerreo- Daguerreotype business, and the is verytype development hazardous it how being. Here’s can be lethal to your fumes resulting is done, with just enough information to explain it but not enough to actually do it. How a Daguerreotype Is Made a Daguerreotype How View of the View (hyposulfite of 1826. 1827, Niépce In —a word he made up. —a word View of the Window View Heliograph, 1826 from 1794. from Panorama substances would dissolve silver chloride. Herschel’s chloride. silver substances would dissolve In 1827, Niépce’s brother Claude became ill while in Claude 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 on a way was busy working 1819, while Niépce In tunity to meet with Daguerre, where they drank tea, where tunity to meet with Daguerre, and Courtyard at le Gras, and Courtyard at le Gras, Figure 1–10 Joseph Nicéphore Niépce, This is the first photographic image ever made. It is This is the first photographic was realized when a camera-based image and 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. (Courtesy of the Gernsheim Collection, Ransom of Texas–Austin) University Center, England and Joseph attempted to go and visit him. Travel attempted to go and visit him. and Joseph England took the oppor- and Joseph astray in Paris, plans went Daguerre (1787–1851), who was independently about to (1787–1851), who was independently Daguerre by to one another introduced were photography, discover some historical In an optician named Charles Chevalier. initiated their named Lemaitre accounts, an engraver as an engaging widely known was Daguerre introduction. of the famous Parisian and the proprietor entrepreneur a theater-like experience likely based on Robert Diaorama, Barker’s save his images using Dipple oil (oil from 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 (1792– 1871) Herschel John and peace), Sir ings of love that a solution of thiosulfates discovered sidered to be the first photographic image: sidered at le Gras, Courtyard and Window of pre- with the ambition to England took his discovery all to reveal Unwillingness Society. senting it to the Royal block for accept- to be a stumbling proved of the “secrets” to France returned the organization, and Niépce ance by inept. were convinced that the English soda) in 1799, was the foun- identical to Chaussier’s discovery, later, years dation for his announcement in 1839, twenty that he could fix a

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 10 (Courtesy oftheartist) Daguerreotype recordslife. depicts the4minutesofexposureneededtomakeplateascenturychanged.Thetextinreadsbackwardsbecaus This halfplateDaguerreotype,createdbyNewYork artistJerrySpagnoli,isfrom“TheLastGreatDaguerreotypeSurveyofthe2 Jerry Spagnoli, Figure 1–11 utes. light. This exposure will average about15to25min- into acameraandexposeit toasubjectinbrightsun- In alow lightenvironment, loadthesensitized plate ver iodidecoatedplate. the silver, turnorange,andresult inalight-sensitive sil- absorb thefumesofiodine,whichwillreact with box) thatcontainsiodine.In thebox the platewill Place themetalplateinalighttightbox (aniodizing and buffittofineshine. Sheffieldwith acoatingofmetallicsilver Process) (The Prepare asheetofcopperthathasbeenelectroplated 11:58 PM –12:02 AM , Times Square,NY, 1999-2000 is permanent. effect onthesilver during development. Once dried,it are a palewhiteamalgamcreated by themercury’s of theimageare plainpolishedsilver, and thehighlights Daguerre, 1837)andwashedwithwater. The shadows sodium thiosulfate(originallychloride; Finally, theplateiswashedwithadilutedsolutionof with thesilver intheexposure’s highlights. willmerge(amalgamate) low light,themercury in very has beenheatedto140°F. During thisstage,conducted Next, that develop theplatewithfumesofmercury 0th Century.” Thescene e thatishowthe 11 CHAPTER 1 THE PINHOLE By the late 1800s the medium had literally exploded the late 1800s the medium had By As the nineteenth century came to an end, commer- immersed the darkened print in a bath of potassium immersed the darkened with potas- image that he fixed iodide to yield a positive sium bromide. a rapid, often over- into public consciousness. Following processes related whelming, series of photographically into its the pinhole camera had come and discoveries, sensitive, As photographic emulsions became more own. pictures making the world were photographers around of everything,using pinhole cameras to make images Pictorialist romantic to 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” cameras came with such extras as glass plates, foil 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, it was the for my historical betting dollar, Still, interested. nomad in the tent who did it first. Self Portrait as a 1840 It is interesting to note that commerce and marketing to note that commerce is interesting It Drowned Man, 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. (Courtesy of Societé Francais de la Photographie NY) and the George Eastman House, Rochester, Figure 1–12 Hippolyte Bayard (1801-1887), began to influence truth point. Arago was doing at this that he bla- Daguerre such a spectacular job promoting that was physical proof the fact that there tantly ignored a photo- was not the first person to produce Daguerre that had informed the press Bauer graphic image. Francis in Febru- was identical to Niépce’s invention Daguerre’s ary 1839 and that he personally had actual images that had Min- in the French A clerk Niépce. to him by been given (1801–1887), had Bayard Hippolyte istry of Finance, photographic images to Arago on the 20th his own shown the announcement of months before 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 his feelings that the sentiments 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 chloride and insertedwith silver the moist paper in his that, he Following camera for a lengthy exposure.

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 12 be foundinmanypinholetexts.Basically, apinholeof numerical definitions,andtheresults oftheirwork can been worked outby peoplewhotakepleasure inexact to platedistances. haveThese mathematicalproportions thatareportions considered aperture idealforparticular at theedgesofanopaqueobject). There are specificpro- smaller diameter, thatis, diameter isquiteadequateforfocallengthsupto6˝. A ter (64),andyou willcome upwithanƒ-value ofƒ384. Simply dividethefocallength (6˝)by thepinholediame- hole diameterof1/64˝andyou wanttoknow theƒ-value. tion: Let’s saythatyou have afocallengthof6˝andpin- the ƒ-value. Anƒ-value isfigured withthefollowing equa- and thefocallengthofyour camera. This isreferred toas objects usingthesamefocallength. ratio formakingdetailedpinholeimagesofclose-up hole istoosmalldueto ual increase indefinitionwilleventually deteriorateifthe more definedasthepinholebecomessmaller. This grad- of thepinholecamera. your imagescantakeandhow you canaltertheconcept hole inthepaper. In theend,there isnolimittowhatform pretty sharp;remember thetrickwithyour thumbandthe moving subjectthatyou pointyour cameraatwillbe If non- your pinholeaperture issmallenough,almostevery bendingthefilmorpaperincamera. plane andstart information changeswhenyou doawaywiththeflatfilm man didinhisfirstflexiblefilm,roll camerain1888. This then you willmakecircular pictures justlikeGeorge East- an 8˝ piece offilm,andacamerawith6˝focallengthwillcover era: 25mm=1˝.A3˝focallengthwillcover a4˝ the exactsamemannerasatraditional“grown up” cam- greater thefocallength,largerimage. normal totelephoto. The distanceiscalled away,distance isfurther itwill provide animagethatis itwillyieldawide-angleimage.If the to theendsurface it asensitized film,paper, orwall.If thepinholeisclose ture theresulting holeandthesurface imagefallson,be accordingand viewpoint tothedistancebetween theaper- insizeA pinholecamerawillcreate animagethatwillvary A LittleScience Exposure timeisdependenton thesize ofyour pinhole Generally, thequalityofanimagewillcontinuetobe The focallengthofapinholecameraiscalibratedin 10˝ pieceoffilm.If your focallengthistooshort diffraction 1 ⁄ 100 ˝, willprovide anicelifesize (the spreading oflight focal length. 5˝ inch 1 The ⁄ 64 ˝ (Courtesy oftheartist) translating thenegativewithZiatypeprocess. This isanexampleofJesseca’s recentworkutilizingapinholecameraand Jesseca Ferguson, Figure 1–13 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 giveyourselfsomething to hold thepaperasclosetoyoureyepossibleand Use thetipofapenorpenciltomakehole.Then a pieceofpaperandpokesmallholeinitscenter. To comprehendhowapinholecameraworks,take The ThumbnailPrinciple The Moon, 1998 13 CHAPTER 1 THE PINHOLE A pair scissors or shears that are able to cut a thin metal A pair scissors or shears that are shim and a selection of needles. A container that you can make light tight. This can make light tight. A container that you a plastic film container to a can be anything from cathedral. will want to be You A can of black matte spray paint. 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. that extra plush inte- for can also use black paper or, no light at all, black velvet. rior that reflects foil, metal flashing material, brass shims, a cut-up Tin can that you soda can—anything thin and sturdy K & S aperture. for your punch a needle hole through Chicago, IL, makes a wide assortment Co., Engineering excel- of brass, aluminum, and copper shims that are plates. lent for pinhole aperture HOW TO MAKE A PINHOLE CAMERA MAKE TO HOW The Basic Materials 1994 10” Derdorff camera fitted with a Elizabeth and Cleomes, Of course, available light will also play a large role in light will also play a large role course, available Of the gurus of pinhole Spencer, and Nancy Renner Eric zoneplate pinhole lens that she acquired from Eric Renner and Nancy zoneplate pinhole lens that she acquired from Eric Pinhole Resource. The print translation of the negative is Spencer’s seen here in albumen. (Courtesy of the artist) Nancy made this image using an 8” Figure 1–14 Nancy Marshall, determining exposure and extensive testing of your camera, testing of your and extensive determining exposure a it will provide and the film and/or paper used within formulas for deter- are There matrix for subsequent use. but times for pinhole exposures, mining the exact exposure of the handmade pinhole found that the variables I have significant enough to call for individual testing camera are camera rather than a carved-in-stone standard. of one’s than fifty been more have that there estimate photography, separate charted pinhole formulas defining workable formulas come These diameter/focal length perfection. with complex mathematical equations that define what assigned to the image when numbers are 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 want, then keep modifying it until it does. that you

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 14 tographic paperforprintsor papernegatives. Options Some multigraderesin coated(RC) satinfinish pho- era tomakefriendsenvious and toinspire children. You maywantsome paintordecorationforyour cam- ter 2). 55 P/NFilm you donot needadarkroom (seeChap- chemical development. If you are usingPolaroid Type A , ifyou are usingamaterialthatneeds sure times. A timingdevice,likeawatch,tokeeptrackofexpo- fine sandingmetal. paperfor clothorcarborundum A pieceoffineemery A roll of1-to2-inchblacktape. orhardA ruler edgemetalmeasure andapencil. metal andautilityknife. Needle-nose pliersforpushingthepinthrough the A senseofhumor. 8˝ Wright whodidher well-known “Beach Series” using ing. Anexampleisinthelate70swork of Willie Anne Ilfochrome exposures toacommercial labforprocess- you have awaytosafelystore andtransferthe one-of-a-kind, direct positive, colorprintsaslong Ilfochrome paperinyour pinholecameraandmake Polaroid, anda4˝ include Lithfilm,Ilfochrome paper, Type 55P/N patience ofahero because thesensitizers are soslow. exposures inpinholescanbedone butyou needthe 5 minutes.In caseyou are curious, hole aperture, and herexposures were between 3and was corrected withan85Bglass filterbehindthepin- for filmholdersatdifferent focallengths.Colorbalance 10˝ and11˝ (Courtesy oftheartist) Photographer Project. bread deliverytruck,fortheItinerant second afterfirstmakingoneoutofanold Pinky Bassmadethisgiantpinholecamera,her Camera andDarkroom#2, Pinky Bass, Figure 1–15 14˝ woodenboxes fittedwithslots 5˝ Polaroid, etc. You canuse Pinky’s PortablePop-UpPinhole 1989–1990 15 CHAPTER 1 THE PINHOLE to 20” in size. Willie Anne used a 85B filter to compensate for 20” in size. Willie Anne used a 85B filter to compensate Spray several coats of matte black spray paint into the coats of matte black 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 this may not be a solu- out another to figure will have good idea, and you an “X” from Then draw 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 Group at Nag’s Head Group at Nag’s Figure 1–16 Willie Anne Wright, (Cibachrome pinhole) Gallery and instantly liked it enough pinhole/Cibachrome work when I was a part of the Witkin I 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 and was 16” a single focal length, multiple slots for the film holders, for use with tungsten light and she was shooting in daylight. a big shift and because Cibachrome was created (Courtesy of the artist) Select a container and think about what kind of image you Select multiple angle, tele-photo, macro, Wide want to create. shortbutton and wide, mural size, lens, long and narrow, fine idea to make several might be a decide. It size—you can shoot the same thing with all of cameras so that you measuring your by Begin them and see the difference. the film plane and the focal length (the distance between to is going coverage and determine what your aperture) The shorter wider the angle of the focal length, the be. going you’re much coverage A good way to see how view. of the top middle edge at the rear to get is to place a mark camera, on the film plane of the camera, and draw of your Pinhole Construction

THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES 16 into thecameraandtocreate a Now madepinhole aperture itistimetoputthenewly Putting theCameraTogether fuzzy pictures. 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 you have anicehole. Take cloth, apieceoffineemery Go backtothefront sideandrepeat thepenetratingtwirl needlesintoabody.an acupuncturistdoeswheninserting hole andtwirlitasyou goinmuchthesamemanneras 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 requiring istomake alittlemore theeffort, timebutworth camera oppositetheaperture hole.Abetter solution, tion istotapethefilmor RC papertothesideof ing your filmorpaperinto thecamera. The easiestsolu- a tightsealwiththepinholetoavoid straylight. the holeupagain,beingpositive thatthetapeismaking “al-Hazan,” andwait.At theconclusion oftheshot,cover somewhere onthecamera,saymagicwords, simply grabthepull-tab, uncover thepinhole,stick to your camerawhenshooting. When itistimetoexpose, leaving astickyendtabontheshuttersothatitcanadhere ing theexposure, andthebestwaytomanagethisisby You are goingtowantputyour shuttersomewhere dur- 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 As soon as the needle begins to protrude throughAs soonastheneedlebeginstoprotrude the You asystemforeasilyinsert- maywishto construct To makeashutter, takeaninchortwooftheblacktape The Golden Rule ofPinhole: shutter, fuzzy holesmake also known asa (Courtesy oftheartist) 4” Lesley Krane, Figure 1–17 should beyour medium forthelighttighttest.Remem- satin finishRC paper. It isfastertotestpaper, sothat Load upthecamerain darkroom witheitherfilmor Testing theCamera It isnow timetotestyour creation. assembled forthenextloadingoflight-sensitive material. sure thatyour cameraislight tightandthatitiseasilydis- focal lengthandimagesize. Now figure outawaytobe intend touse.Don’t forgettheinformationregarding make camerasspecificallyforthesize filmorpaper you you musteitherbuilddifferent formatchannelsystemsor to usedifferent size filmsandpapersinyour camerathen ofyour camera.Ifmaking itapermanentpart you intend might wanttoconsidertakinga4˝ easel or4˝ paper alongpermanenttracks. This issimilartoapaper a channelset-upsothatyou canslideyour filmorRC 5” Chromogenicpinhole. Self-Portrait (Grapes), 5˝ filmholderchannelsystem.In fact,you 1991 5˝ filmholderand 17 CHAPTER 1 THE PINHOLE If all of the pieces of paper or film are unexposed, then all of the pieces of paper or film are If you have made a fine camera and you are ready for some seri- ready are made a fine camera and you have you has paper 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 Finding the Correct Exposure the Finding with a math- you would be numbing to try and provide It ematical set of calibrations to guarantee a perfect exposure simply too many variables are There pinhole. with your and The time of year to make pedantic recommendations. the pinhole, the temperature, of your size the “real” day, anything could make a difference. atmosphere—nearly with a new change in pinhole, or a The wisest procedure, . but do not remove the shutter but do not remove Marlene and Mark #2 Go back into the darkroom and process the pieces of and process back into the darkroom Go paper. Close up the camera in the darkroom and don’t forget and don’t Close up the camera in the darkroom the lens. shutter (tape) over to put your for sunlight outdoors and place the camera in direct 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. Figure 1–18 Nancy Spencer, 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, of the Pinhole Resource. with her husband Eric Renner, (Courtesy of the artist) ber that if you are using paper, the shiny or emulsion side using paper, are ber that if you using film, are you faces the lens just like in printing. If right index finger is on the hold the film so that your The of the film. upper right-hand corner notch code This side faces the aper- 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 parts ofbodies, blinkingeyes inaportrait—are allwon- parts their images.Leaves blowing inthewind,moving water, photographers love theghostlyqualityofmovement in tograph somethingthatdoesn’t move, butmanypinhole Select asubject.Most ofthetimeitisagoodidea topho- Making Pictures you. thefollowing formulaandseeifitworks for want totry pinhole camera.If you are technicallymindedyou may thetimegivenstop andconvert toonesuitableforyour simple calculationthatwillpermityou tometerforanƒ- well withpinholecameras. There is,however, arelatively itive. (See Chapter2.) Pay attentiontothecleared negative ratherthanthepos- Polaroid back,you canbeginwitha10-secondexposure. Type 55P/N Leonardo orLensless CameraCo. pinholeandPolaroid the materialandgofrom there. With apreconstructed ing exposures, inbrightsun,withagoodguess.Process tional sheetfilm)orRC photographicpaper. Begin mak- series ofexposure testsusingfilm(Polaroid orconven- season, istowork intuitively ortakethetimetomakea culation withblackandwhitefilmare: ofcal- ofthumbwhendoingthissort basic pinholerules you’re usingapinholecamera,you already know that. The Your timeswillobviously bequitelengthy, butbecause time by 12. For exposures over 100seconds,multiplytheexposure the given timeby 5. For exposures between 10and100seconds,multiply exposure timeindicatedonameter. For exposures between 1and10seconds,doublethe S B2/A2=X and callit“ Now findthecorrect Figure your pinholecamera “ The meterwillgive you anexposure Set your lightmetertoan All butthemostexpensive lightmeterswillnotwork S .” X (positive/negative) .” exposure time ƒ-stop aperture film witha4˝ and callit“ time with theformula and callit“ that you call A .” B .” 5˝ ways tomaketheprint. and printingthrough itas apapernegative, there are afew ple asmakingacontactsheet. If you are using RC paper If you are usingfilm,thenthecontactprocess isassim- After processing, you willprobably wantto make aprint. your exposedandunexposedlight-sensitive materials. you canuseachangingbagtoremove, load,andstore must keepthematerialinalighttightbox. In thefield, atoncelaterintheday you want toprocess everything darkroom, remove thepaperorfilm,andprocess it.If you and begintocalibratehow your cameraworks. Adam, three AnselAdams”—keep notesoneachshot AnselAdams,ond duringtheexposure—“one twoAnsel untape theshutter. Checkyour watchandcounteachsec- film plane.Position thecamerasoitwillnot move and inthelightmovementderful trackstheydepositonthe 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. When your exposure iscomplete, gobackintothe 10ts (fractions) (1000ths) 19 CHAPTER 1 THE PINHOLE There are many artists pinhole whose imaginative are There artists their taken the pinhole concept and built have Renner and Eric Bass, it. Pinky life around creative entire immedi- come 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 giant Ilfochrome shooting students, Pinky of my former workshop landscapes. One truck for her camera and has a 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, Varney, participant,a pinhole. Another workshop Frank Yellow- the geysers of built a panorama pinhole to record makes beau- Moroux and Philippe Park, stone National his pinhole cameras. from tiful Kallitypes with negatives , 1999 Audrey The simplest is making a : 1 or 2 stops The simplest is making a contact print: Sarah’s pinhole-cyanotype- is a terrific Sarah’s process example of employing an assortment of alternative options within a single image. (Courtesy of the artist) Figure 1–19 Keuren, Sarah Van down for as many seconds as it will take to make a good for as many seconds as it will down is to soak positive image. Another way to make a paper and, when saturated, 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 RC the between difference detail and more will have You is obvious. film negative using are if you the final image 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 exceed ambitions for pinhole photography 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 (Courtesy oftheartists) Nancy woreplastercastlifemasksovertheirfaceswithpinholecamerassetintotheeyes. the collaborativeseries, Eric Renneristhepinholeguru,andhislifelongcommitmenttoartofprettyextraordinary. Thisimageisf Eric Renner, Figure 1–20 Nancy andMe, White SandsNationalMonument, Through theOther’s Eyes, 1989 created withhiswifeNancySpencer. To maketheimage,both Eric and New Mexico,1999 rom 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 of Polaroid Type 55 (4”5”) from the film 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 a 4˝5˝ Polaroid back, and they are among my favorite cameras. Also, Zernicke Au, at Zero Image in Hong Kong, makes a marvelous 120 mm and 6˝9˝ pinhole cameras with Australian Redwood 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. THE BOOK OF ALTERNATIVE PHOTOGRAPHIC PROCESSES

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

CHAPTER 1 THE PINHOLE