Pinhole Film Tests With ORTHOTOPOSCOPE SS Camera

Running a test with my new ORTHOTOPOSCOPE SS camera (6×12) and a non optimized pinhole of around F70 (optimized is around F130 for the 25mm focal length). I am looking at the following films with EI from approx 100-1600 all in developers I have found that works best for maximum compensation and best overall tonality with each specific film. Reciprocity corrections were kept to just a gerous doubling to time— with this type of camera and work I like to keep it simple if possible. Exposures ranged from 1 second to 30 seconds all handheld as that is my standard way of shooting with a pinhole system.

  • 400TX • Diafine
  • 400Tmax • 510 Pyro
  • Delta 3200 • 510 Pyro
  • Fuji 400CN • C41
  • Portra 400 • C41
  • CineStill 800T • C41

All test results will be converted to B&W as that is my current need with these materials.

UPDATE: So I’ve looked at the film and I am very drawn to the Porta 400 and VERY drawn to the Cinestill 800T when both are converted to B&W. The regular B&W film was amazing but due to the pinhole capture I had a lot more range of possibilities in the conversion process that really helped to bring out crazy tonal separation in the two color negative materials.

Test Film with 510 Pyro

Testing 8 different films, all 120 in a stand development 1:500 in 510 Pyro Developer… film was exposed at +3, +2, +1, Box Speed, -1 and -2 to see developer / film latitude combination… have seen some pretty amazing results with this developer…. more later…. (Films Tested: Rollei RPX 400, Bergger Pancro 400, Ilford HP5+, Ilford Delta 3200, Ilford Pan F+, Ilford FP4+, Fomapan 100 and Kodak 400TX ).

Many thanks to my friend Dan for introducing me to this developer and to Jay DeFehr on getting this up and running and for being such a helpful source of knowledge.

Viva la Revolution- Steve

 

Let The Film Testing Begin

I am heading to the Cotswolds (UK) in just over a week and running one last set of tests over the next few days…. looking at chromogenic B&W films (and converted Portra 400) compared to traditional B&W films processed in Pyro 510 (stand development)… all for the purposes of scanning.

Stay tuned!

PS- and yes that is Fuji Neopan 400CN… very hard to get here in the USA as it is not imported… made by Ilford for Fuji, based on XP2 Super but it is a different film made to Fuji Specs… time will tell.

Custom Instant Camera by Patrick Putze

Snapseed
Shooting with the camera in NYC

One thing I forgot to mention in the video is just how SHARP the lens is— really makes a huge difference when working with Fuji Instax materials.

To contact Patrick visit: https://www.facebook.com/polaroidconversions

 

The End of Fuji 100c

F-You Fuji!

https://www.change.org/p/save-instant-film/u/16328075?tk=0Coo3JdjHsvtwgIOtFPhpmHJX4typsXfOYZl5HOA4U8&utm_source=petition_update&utm_medium=email

Not much more to add….  off to the cape to shoot for a few days. I’m not bringing ANY Fuji material—

Viva la Revolution- Steve

 

Saving Fuji FP-100C and Wet Plate Pack Film Shooting

A lot has changed in the last few years regarding the survival of film, photographers are now making direct appeals to manufacturers and gaining support from other shooters in a global effort to save our materials. Perfect examples of this success: Impossible Project instant materials, CineStill and their new successful Indiegogo campaign, New 55 instant material, Film Ferrania and now perhaps Fuji FP-100C, only time will tell.

Screen shot 2016-03-04 at 9.53.50 AM

http://savepackfilm.net/

And then there is cool stuff like this video on how to shoot wet plate with your pack film camera!

Viva la Revolution- Steve