Contents TonyLovelltakesahomemadepanoramic cameratoScotlandandCaliforniaandachieves spectacularresults.
IncamerapanoramaswiththeOlympusPenF
EddieMaesshowsadifferentapproachto panoramaswithaniconichalfframecamera.
PhotographyinIndia
AshokViswanathanprovidesafascinatinginsight intothedevelopmentofphotographyinIndia.
RealitySoSubtle6x17FPinholeCamera
PaulBullockshowsthatalenslesspanoramic cameraisidealinheavyrainandinsunshinetoo.
Member’sDarkroom
RogerHarrison’shighceilingsallowedhimtoput a10x8enlargerinhisdarkroom.
What’sintheBag?
RogerHarrison’sbaghasitsworkcutoutcarryinga celebrityDeardorf10x8anditsaccoutrements.
Photography–Thelongandwindingtrail
CharlesBinnsfoundthewaytotakinggreat panoramasconvolutedbutwellworththeeffort.
TheMamiya6System
RichardWilliamsexplainswhythisbrilliantmedium formatcameraissohighlyregarded35yearsafter itsintroduction.
BookReviews
Masterpanoramicphotography,digitalinthis casebutthesameprinciplesapplyforus analoguersandPenttiSammallahtiinFrench. Whatmorecouldyouaskfor?
4 14 20 24
36 40 42 32 34
TonyLovell’s8x20panoramiccamera setupinverticalformattophotograph El CapitaninYosemiteNationalPark, California, 8x20PanoramicCamera
Analogue isthejournalof theAnalogueSpecialInterest Group(SIG)oftheRoyal PhotographicSociety(RPS)and isfreetoAnalogueSIG members.
Committee
Chair: RichardWilliamsLRPS
Secretary: CharlesBinns
Treasurer: RobertAdams
JournalEditor: CharlesBinns
JournalDesigner: OwenAndrew
WebContentManager: FernNuttalARPS
KayeReeve
PaulBullock
RobertPrice
Allrightsreservedonthepartof contributorsandauthors.Nopartofthis publicationmaybereproduced,storedina retrievalsystemortransmittedinanyform orbyanymeans,electronic,mechanical, photocopiedorrecordedwithoutthe writtenpermissionofthecopyrightholder. Requestsforsuchpermissionmustbe addressedtotheEditor.TheRPS,the AnalogueSpecialInterestGroupandthe Editoracceptnoliabilityformisuseor breachofcontractbyacontributor.The viewsexpressedinthisjournaldonot necessarilyreflectthepoliciesoftheRPS oroftheAnalogueSIG.
Editorial Well,hereitisatlast!Afterapainfulgestationperiod(mea culpa)wefinallyhaveEdition15ofthejournalforyou.Dueto theincreaseinpostalcostsand(lessso)printingwearenow downtooneeditionperyear.Butwearemakingupsomeof thatlostgroundwithabumpereditionandacopyofthelast exhibitioncatalogueallinonemailing.
Speakingoftheexhibition,itisthattimeofyearagain.Full submissiondetailsarecomingtoyouunderseparatecover,but itisanendofNovembercutoffforaJanuary11thexhibition openingcombinedwithourAGMattheHeseltineGallery, MiddletonCheneyasusual.Welookforwardtoyourentries andmeetingupwithasmanyofyouascanmakeittoour AGM.Wearehappytomaintainourprevioustraditionofno entryfeeandwedo(unlikeothergroups)returnentriesto exhibitorsatnocosttothem.
Wehavemadethiseditionpanoramicphotographythemed and IamhugelygratefultoEddieMaes,TonyLovelland Paul Bullockfortheirexcellentpanoramicphotography articles,RogerHarrisonforsharinghisdarkroomwithus, RichardWilliamscominginwithatrulyfinecamerareviewat shortnoticeandlastbutbynomeansleastAshokViswanathan forafascinatingarticleonphotographyinturnofthe19th centuryIndia.
MentionalsohastogotomypartnerincrimeOwenAndrew whohashadtoworkveryhardtoreviseourformatto accommodatethepanoramicworksubmitted,butasusual, being theretiredprofessionalgraphicdesignerthatheis,hecoped.
Goodarticleshavecomeinwithoutmuchprompting;youarea livelybunchthankfully.KeepupthegoodworkasIamnow activelyworkingonthenextedition.
Membershipissteadilycreepingupclosetoourshortterm targetof300,despiteoldermemberswhoarenolongerwith us,ourChairRichardWilliamsinformsme.Iwonderwhat othergroupisgrowing?Igettheimpressionthatweare‘small butmighty’.
Theanalogueworldingeneralseemsveryactive,withthe youngergenerationgravitatingtowardsfilm.ThenewPentax halfframehascausedabuzzandamodernversionofthe Rollei35isalsonowavailable,theoriginalbeingagreat favouriteofmine.
MembersmayrecalltheunderwaterphotographyarticleIput together,mentioningthesaleofmydivinggear.Wellitfinally allwentapartfromanoldIkelitehousingforaNikonF2with jammedleversandaleak.Makesanicelampthough.
CharlesBinns Editor
An8x20PanoramicCamera I’vealwaysbeenabigfanofthepanoramicformat.
Myearliestimagesweremadeusinga6x12backon aCamboWidecamera. Iwasn’thappywiththe1to2 formatandsubsequentlybuilta6x14cmformat from anoldKodakcamerawitha90mmSuper Angulonfittedtothefront.
Atthattime,Iwasscanningthemediumformat120 filmnegativesandprintingthemonanEpsoninkjet printerwithapaperrollholder.AlthoughIremember beinghappywiththematthetime,Iwasgetting muchsharperprintsfrom5x7inchsheetfilm.I believethiswasduetothesheetfilmlayingflatterin thefilmholdercomparedwithmyrollfilmholdersat thetakingstage.
TonyLovell
TonyatMonoLakewiththe8x20 The8x20atAltandhu,NorthernScotland
DuncansbyStacks
ForthRailBridge
Right: TronaMoonrise
Below: The8x20atTronaPinnacles
IsubsequentlyboughtanoldIndianmade Vageeswari camerawhichwas5x15inchformat andthequalityofprintsimprovedimmediately. Theissuewith5x15wastheunusualsizeandI wascuttingdown7x17formatfilm,which seemedawaste.
Istartedlookingfora7x17inchformatcamera andthe8x20inchIcurrentlyhavecameonthe marketforareasonablepricecompletewiththree highqualityS&Sdoubledarkslides.
Thecamerahadnewbellowsandthefront standardhadbeenmodifiedtohavegoodrise,fall andtilt.ImodifiedthefrontstandardtotakeSinar boards,whichmanyofmylargerlensesarefitted to.
Theimageasshotfromthepositionshownbelowleft
ThecamerasetuptophotographtheMobiousArch
Theformatwasjustperfectformeandthefilm madeto orderfromIlfordeverysummeraspartofthe ULFfilm run.
Ialsousethecamerafairlyregularlyforwetplate usingawetplateholdermadeformebyGibellini camerasinItaly.
Usingthecameraneartohomewasreasonably easyas6sheetsoffilmisafullday’sshootingbut tripstoScotlandwiththecamerawerechallenging duetothedarkarearequiredtoloadandunloadthe film.
Asmyphotographyprogressedtotripstothewest coastoftheUSAlmademyselfalargechanging tentfromagrowtentwithdoubleelasticisedarm holesbasedontheHarrisondarktentsIwas alreadyusing.
BristleconePinesView
IhavesubsequentlyusedthisontripstoScotland asshownonthefirsttwopagesofthisarticle.It appearsbig,butthelengthhastoaccommodate thelengthofthedoubledarkslideholder,the pulledslideandthelengthofthefilm,whenloaded, i.e.3x20inchesplusworkingroom.
I’veusedthissetupindesertenvironmentsandin theSierraNevadamountainrange.
Iinitiallycontactprintedthenegativesinthe darkroomonto20x16papercutinhalf,butthen builtahorizontalenlargerwithbothfilmandplate holdersforenlargements,typically40x20inches on20inchrollsofpaper.
Above: Printsfromwetplateandfilmtakenon8x20camera
Above: Stretchfilmholderfor8x20film
Below: Projectedimagefrom8x20negativeonbaseboard
Rootsofafallentree,MariposaGrove
In-camerapanoramaswiththeOlympusPenF EddieMaesLRPS Obviously,itisalwayspossibletoobtainapanorama(like) effectonthenegativefilm,bytakingimagesinsequence fromonestandpoint.Notasstraightforwardasitsounds however.Itisnecessarytohaveacorrectunderstandingof theworkingofthecamera:thenegativeimageisupside downinthecamera,andonehastobeawareinwhich directionthefilmmovesbetweenexposures.Andofcourse oneisrestrictedtothelandscapeframingofthenegative.
SomeyearsagoIacquiredanOlympusPenFhalf-framecamera, andafterafewtrialswithitIsuddenlyrealisedthatthelarge numberofexposurespossible,upto72,gavemethepossibility ofexperimentingcomfortablywithlargeseriesofside-by-side portraitframesresultinginsomethingthatthebrainquiteeasily couldunderstandasa‘panorama’.Animportantassetofdoing thiswithahalf-framecameraisthattheverticalangleofview, keepingthecamerahorizontal,isthelargeroneandthusassures moreverticalcoveragethanausual35mmframewould.
Aboutthecamera
The35mmhalf-framecamerasintroducedby Olympus,startingwiththe‘Pen’modelin1959were anastonishingadditiontothephotographicmarket backin1959.Thesystemallowedforthetakingof 72exposuresonarollof135filmandemulsionshad sufficientlyevolvedtoallowformorethan acceptable
enlargementsfroma18x 24mm negative. ThefirstPencamerawasa basicpoint-and-shoot,butofvery reliablebuildandequippedwithan excellent38mm/3.5Zuikolens.Onlya fewyearslater(1963)Olympusextended thePenrangeofcameraswithahalfframesinglelensreflex,thePenF.The camerawasmoreorlessofthesame sizeastheviewfindermodelsthat precededitthankstoanumberof ingeniousdesignfeatures,butrapidly turnedintoasystemcamerawithawide arrayoflensesincludingzoom,extension tubes,amacrobellowsunitandsome more.Simply,theOlympusPenFrapidlybecamea legendandstillis.Itwasfollowedbyamore advancedmodel,PenFTthatincludedaTTL exposuremeter.Aboutaquartermillionofthese cameraswereproduced,themajoritybeingthe originalPenF(characterizedbyanengravedgothic Fletteronthefront).
RecordingpanoramicserieswiththePenF
Myfirstideawasactuallytherecordingofafull360degree panorama.SchumanPlaceinBrusselsseemedasuitablelocation: awidetrafficcirclewithpedestrianareainthecentre,surrounded bymediumheightbuildings,mostlyEUrelatedoffices.The centralspaceisslightlyelevated,andIpositionedmyselfona stablestonebench,freeviewallround.
Elevenframesmoreorlessclosedthecircle,butoverallexposure wasunsatisfactoryundertheratherbrightmorningsun.Also,the finalimagelacksanimpressionoftheabsolutecircularstructure depicted,Isupposeduetotheabsenceofperspective.Indeed,it isonlythecentralframewithtwoadjacentonesshowingthe wideavenuethatleadstotowncentre,thatgivesagood impressionofthegeometryofthespace.
Notshortofaframeortwo,withoverseventyononefilm,I wenttoanotherlocationnearby:theCinquantenaireArcand Musea.AU-shapedstructurewhereItookseriesofimages coveringalmostthewholebuildingfromacentralstandpointin themiddleofthespace.Itwouldfinally,secondtimearound, result intheimagebelowbutthefirsttrywasfarfromconclusive.
Above: SchumanCircle
Below: TakingPlan
Firstofall,doingthishand-held,evenwithgreatattention wouldnotyieldagoodalignmentofthedifferentframesand ledtoquiteadancinghorizon.Butmoreover,whileskywas somewhatovercastandInoticednoheavyshadows,the objectivelightingbythecoveredsunfromtherightwasnotas evenastheall-accommodatinghumaneyemademebelieve. Thereseemedtobe1.5to2stopsdifferenceinneeded exposurebetweentheleftandrightwingsofthestructure.Add tothataverydisturbingtourbusparkedjustinfrontofthe arch,attractingtheeye.Afterdevelopingandexaminingthe negatives,Ireturnedacoupleofdayslatercarryingatripod. Lightingconditionslatemorningwereverysimilar,thetour buswasgoneandnootheronehadtakenit’splace. Isetupthecameraandtripodatwhatseemedthebest geometricalposition,wellalignedwiththecentralgate. Exposurewasdeterminedatthecentreoftheimage,usingmy Lunasix3,companionofmanyyears.ThePenFhasno exposuremeasurementbuiltin,onlythelaterPenFTdid. AtthatpointIwasreadytotakethedefinitiveseriesofframes. Theleftmostframewasunderexposed(ascomparedtothe
measurements)byonefstop,andthenextframesbyopening1/3 ofastopeach.Thatleadtotherequiredexposureforthecentral frame.Similarly,aprogressiveoverexposurewassetforthe darkerrightpartofthebuilding.Twoseriesofsevenframeswere recorded,withasomewhatdifferentvariationfortherighthalf.It wasfinallythesecondonethatyieldedthemostequilibrated overallexposureandthatimageisincludedhere.Theintegralstrip ofsevenframeswasscannedonanEpsonV700flatbedscanner forfurtherprocessingandprinting.Iherebysolemnlycertifythat notasingledigitaladjustmenthasbeenmadetoanyofthe individualframescomposingtheimage… In2016thisimage,withtwoothers,onedigital,onePolaroid,was submittedtothefirstmembercompetitionoftheRPSBenelux OverseasChapterandwasretainedforexhibitionattheRPS MembersGallery,theninBath.Theexhibitionofaboutforty photographslaterwentondisplayinRotterdam(NL)and Brussels(BE).AsfarasIwasabletoascertainitwastheonly imageintheexhibitiontakenonsilverbasednegativeand commerciallyprintedonsilverbasedpaper.
Cinquantenaire
Adifferentconceptofpanorama TheBrusselsdowntownFleaMarket,adailyeventsincearound 1873,takesplaceonanopenspaceintheoldcitycentre,about50 by75meterwideandlong.Photographingoverviewsishardly possiblewithanyordinarycamera,therebeingnotallbuildingsin thevicinity.Walkingendtoendalongitonthefarsidewalkwith thePenFcameraItriedtoachieveafullimageoftheplaceby recordingaframe,takenstrictlyatrightangle,every8to10 metres.Theresultingseriescertainlygivesagoodoverviewofthe siteandrepresentsthevarietyofthetypesofdisplaysandofthe sellersandcustomers.Theimagewoulddefinitelyprofitfroma betterverticalalignmentofthefaroffbuildings,butitwasjust onesingleexperiment.
IadmitthatIdidnothesitatetoincludetheeleventh,rightmost frame,showingacafeatthenortherncorneroftheplace.Itis indeed‘LeMarseillais’,asmallbarknownforcarryingan impressivecollectionoffrenchanisebasedbeveragessuchas Pastis,Ricard,Anisette,andothers.AsIonlycometothisarea on an occasionalmorningforthemarkethowever,itisjusta coffee wateringholeforme,sometimescompletedwithsome snack…
Andacheat,butahonestone
WalkingtothebusfromtheFleaMarket,Ipassedbythisshop windowwhereinnumerablesecond-handchairswerepiledup(the verbhardlyseemsadequatehere)inthemostdisorderlyway.The viewwasattractive,theimpressionstrong.Icouldhavetakena straightforwardphotographofit,butinlinewithwhatIhadbeen doingbeforeIdecidedtomakeapanoseriesencompassingthe window.However,byallowingaconsiderableoverlapofthe individualframesIwasabletomaketheshopwindowappear almosttwiceit’seffectivelength.Acheatindeed;butfairlyhonest becausetheattentiveonlookercaneasilyrecognisethesame patternofentangledchairsbeingrepeatedintheside-by-side frames.Theimpressionofawideshopwindowwithchairsis there,butthewindowneverwas.
FleaMarket
ChairsShop
PhotographyinIndia AshokViswanathanFFIP,EFIAP,PPSA Indiahasalwaysbeenanexoticdestinationfor photographers. Thesights,landscape,temples, monuments, peopleandculturesareuniquetothis partofAsia IndiaalsohasclosetiestotheUK,havingbeenacolony establishedbytheEastIndiaCompanyinthe1600s. PhotographycametoIndiaaround1860with photographers suchasSamuelBourne&ShepardofKolkataandWeile and KleinofChennai.IndianandEnglishresidentsrapidly tookupthisfastgrowinghobbyandsoonthePhotographic
SocietyofMadraswasfoundedin1857andcontinuesto functiontothisday.
PhotographyinIndiahasalwaysbeenanichehobby,mainly withthosewhocouldaffordthecamerasandmaterials.Indian photographerssuchasRanjitMadhavjioftheHamiltonstudio inMumbaiandRajaDeenDayalinHyderabadspecialisedin
BritishofficersfishingatFortStGeorge,Madras
recordingtheEnglishresidentswhooftendroveupinhorse drawncarriagestohavetheirportraitstaken.Interestinglythe HamiltonstudiowasstartedbySirVictorSassoonin1928in Mumbaiandisstillinexistence.SomeIndianphotographers specialisedinrecordingtheIndianrulers,theKings,Nizams andmembersoftheircourt.Themostfamousofthemwas RajaDeenDayal...Allthisdoneonglassplatesandlarge formatslowfilmthatwasavailableatthattime.
Sometimeinthe1970saChennairesidentandWelsh photographernamedHarryMiller,workingastheDirectorof PhotographyfortheIndianExpressnewspapersgotacallto informhimthatalargenumberofglassplatenegativeswere
foundinthehillstationofCoonoorintheNilgirimountains. Itwasinthecustodyofanoldladycaretakerwhosaidit belongedtoaGermanfamilywhohadleftIndiadecadesago andneverreturned.TheglassplateswerebroughttoChennai underpoliceescortandtheoldboxopenedtoreveala collectionof1500plateswithimagesofIndiafromthelate 1800stoabout1930.Thecollectionofnegativesincludingthe wetanddrycollodionplateswassoldtothephotoeditorofa leadinglocalnewspaperwhereitwascataloguedandcarefully stored.Thesewerelaterscannedandbecameabook.Iam reliablytolditisonthemarketagainasthecurrentowneris nowelderlyandunabletotakecareofitformuchlonger.
Dancers
DelhiDurbar,1911
Postindependence,sawlocalphotographerstakingup photographyasahobbytorecordtheirholidays,familyand socialevents.Themoreseriousonesjoinedlocalphotographic clubsandparticipatedin‘Salons’.Itwastheeraof ‘Pictorialism’.Overtimeagroupofphotographersestablished themselvesoverseasby exhibitingandwinningawards.The monochromeworksofahandfulofthemwerefeaturedin prestigiousmagazinesoftheRPS andPSA.Namessuchas DrG.Thomas,C.Rajagopal, Dr Badrinathan,O.P.Sharma, A.L.Sayed,R.R.Bharadwajwere knowninthewesternworld fortheirmonochromepictorialiststyle.Someofthemheld RPSdistinctions.Themajorityoftheworkwasdoneon mediumformatcamerassuchasRolleiflex,Rolleicordand YashicamatusingfilmlikeORWONP22,KodakTriX,Ilford FP3andHP3.Inthe1980sJapanesecamerasgained popularityandbrandssuchasTopcon,Miranda,Minolta, Canon,Nikon,Pentaxetccouldbeseeninuse....butwere neverofficiallyavailableforsaleinshops.Populardevelopers ofchoicebeingD-76,MicrodolXandDK-50.Alimited choiceofbromidepaperwasavailablefromAgfaand occasionallysuppliesfromIlfordandEasternEuropeanwere available.
Inthoseyearsagoodcameraandlensescouldsetyoubacka fewmonthssalary.Notforthefainthearted. Inearly2000digitalgainedpopularityandwiththe availabilityofcellphones,everyonenowthinksheisa photographer.WhilethenumberofimagestakendailyinIndia hasskyrocketed,thecontentandqualityleavesmuchtobe desired.Socialmediahasencouragedpostingonwebpages andInstagramsimplytoget‘likes’..Pictorialismwasdying. ThegrowthofphotographyinIndiahasledtoLeicaopeninga galleryinDelhi.Nikon,CanonandFujifilmarethepopular brandseventhoughthepricesarehigherthanoverseas.
Despiteallthisthereisstillasmallandgrowinggroupof Indianswhoarerediscoveringanalogueimaging.Thereisa brisktradeofusedequipmentonanaloguechatgroupswith dailypostsenquiringwherefilm,paperandchemicalscanbe purchased.Thishasledtoafewenterprisingbusinessmen importingequipment,film,paper,chemicalsandaccessories. Ofcoursedespitetheliberalisedimportsituationtodayin India,theretailpricesarestillveryhighincomparisontoUK duetoexchangerates,freight,customsdutiesandprofit
Englishphotographeronhistravels
Inthe70seducationalinstitutionssuchasLoyolacollege, Chennaihadanactivedarkroomforstudentsandranannual photocompetitions.ChennaicityinSouthIndiaboastedof threewellknownphotostudios–G.K.Vale,Klein&Peryle andVamanBros.OftheseonlyG.K.Valesurvivestoday.
Equipmentwasveryexpensiveandhardtogetduetolicence requirementsdesignedtorestrictimportstogetherwithhigh customsduties.Thereexistedagreymarketforcamerasand lensesandonehadtohavethe‘rightcontacts’tobeableto sourcethese.Themorecreativeonespersuadedfriendsand relativestobringcamerasandlenseswhentheyvisitedIndia.
margins.Typicallyarollof120filmwouldbetwicetheUK price.Anincreasingtrendis‘respooling’of35mmcassettes from100ftbulkrolls,whichismoreeconomicalforboth monochromeandcolournegativeKodakmoviestock.
Thereturnofanalogueisattractingtheyoungercrowdinthe agegroupoflate20stoearly50swhoarefascinatedwithfilm andprocessing.Afewsuchasmyselfhavegotmoreinvolved inthealternativeprocessesofcyanotype,VanDykebrown, gum bichromateandbromoil.Themajorityofmyworkisdigital butIcontinuetoshootonafairlyregularbasis120filmfrom IlfordFP4andHP5onmyRolleiflexandHasselblad500CM
system,mostlyportraitsandstudiowork.Filmslowsmedown andmakesmethinkbeforeIreleasetheshutter.Thereislittle roomforerrorandwithhighcosttogetherwithlimitedimages onaroll,everyshotmustcount.Thesopopular‘sprayand pray’conceptindigitaldoesnotworkinanalogue.
ProcessinglabsarefewinIndiabuttheyareabletogenerate sufficientvolumes.Chemistryisusuallymixedusingpublished formula.Thelabsalsoofferscanning,doneonflatbed scannerssuchasEpsonV600or800.Thequalityvaries dependingonthelab.Themoretechsavvyphotographersare scanningforthemselvesusingamacrolensonadigitalcamera withthenegativesonalightbox.
RecentlythefiveyearoldChennaiPhotoBiennaleFoundation hasbeenpromotingphotographyexhibitionsandtalks.In2023 theyopenedthefirstcommunitydarkroominChennaiwhichis verywellequippedwith4enlargersfrom4x5to35mm,UV lights,awetarea,alibrary,lecturesanddemosonanalogue includingalternativeprocesses.Re-spooled35mmfilmis availablewithdevelopingandhighqualityscanning,allfora reasonablefee.Anyonewithaninterestinanalogue photographyiswelcome.
PhotographyclubsexistinalmosteverycityandKolkatahas severalindifferentlocalities.Allproducingexcellentworkand holdingannualexhibitions.TodayIndianphotographersare
Indiansadhustandingonnails
gaininghonoursfromtheRPS,FIAPandPSAfortheirwork andrepresentingIndiainoverseasexhibitions.
Thepopularityofphotographycanbeseenfromthefactthat Indiahastwomuseumsofphotographydisplayinghistorical photographicequipment.Themuseumlocatedjustafewmiles outsideChennaiisthepersonalcollectionofDrA.V.Arun,a dentistbyprofessionwhohasapassionforcameras.Another largercollectionofantiquecamerasisondisplayatMuseo Camerafoundedin2009andlocatedinGurugram,Haryana StatenearDelhi.Itisthepersonalcollectionofphotographer andhistorianAdityaAryaandhas18,000sqfeetofspace devotedtodisplays,adarkroomandlearning.
Abouttheauthor
Retiredcompanyexecutivewithapassionfortravel,landscapeand portraits.AdedicatedNikonuserfromearly1970’s.Nowgonemirrorless withtwoFujiXE3bodiesandfourlenses.Stillshootfilm,mainlyFP4and HP5onmyRolleiflex3.5fandHasselblad500CMsystems.Longtime exhibitorwithseveralawardsandconsiderablepublishedworkinprint andtheweb.Alsointerestedinalternativetechniquesofcyanotypes,Van DykeBrown,bromoil,gumbichromate,gumoiletcusinglargeformat internegatives.InowliveinChennai,Indiaandtraveltheworld. http://www.pbase.com/chubbix
Museointerior
RealitySoSubtle6x17FPinholeCamera ThisarticleistointendedtoprovideaflavouroftheRealitySoSubtle6x17Fpinhole cameraandwhatit’sliketouse,especiallyasittakespanoramasinoneshot.Iorderedthe camerainAutumn2019anddeliverytookabouttwomonthsasthemakerJamesGuerin makeshiscamerasinbatches,Ithink.
JameslivesinFrancehavingmovedtherefromIrelandbackin2011,livessomewherenear Nantesandhisbackgroundasamechanicalengineershowsthroughinhiscameras.
Thecameraisquiteasizeablebrickinshapeandsurprisinglyit’sheavierthanyoumight expect(itweighsabout0.9kgwhichisquitechunkyforapinholecamera),mainlydueto thesolidityofitsdesignandmanufacturewhichisCNCmachined.IboughttheFmodelas Iwantedtobeabletouseafilterwhennecessary.Thecamerauses120rollfilm.
Basically,theboxisintwohalvesandthesearesecuredusingover-centrelatchesandthis inturnmakesforaveryrigidcamera,withasinglepinholecentrallymountedinoneof the
longsides.Thepinholelaserisdrilled,size0.3mmandmakesforaneffectiveapertureof f233.Theangleofviewis141degreeshorizontallyand44degreesverticallyandthereare markingstoassistwiththisonthecameraaswellasabubblelevelonthetopsurface.Two filmspoolknobsandatripodmountcompletethefittings.
Nowinternallyit’sabitmorecomplexasisobviousfromthename.Thiscameraproduces negativesofformat6x17(57mmx170mminfact)andit’salsoanamorphicmeaningthe filmisheldinacurvesoit’sanearconstantdistancefromthepinhole.Thismakesfor somechallengeinloadingthefilm,especiallyforthefirsttime.Thereareanumberof pillarsinternallywhichyouhavetonegotiatewhenloadingthefilmandhereinliesthe challenge–firsttimeoutIloadeditwronglyandproducedsomeinterestingtriptychs havinggotsomeofthepillarsbetweenthepinholeandthefilm,butyouliveandlearn, hopefully.Ohandpayattentiontothefilmpathengravedontopoftheinternals……
PaulBullock
Inuseyoualsoneedtogetusedtoskippingframenumbers(thereisanetchedreminderon thecamera)asyouneedtoseenumbers2,5,8and11only,thoughonsomefilmsitcanbe hardtoreadtheseastheredwindowisquitedense.So,thisdoesmeanthatyouonlyget4 shotsper120rollsoyoudoneedtoshootwithsomeconsiderationandmaybealso considerthesubjectmatteralittletoo.Justtomentionasyouneartheendoftherollthe filmtensiondoesincreaseasthefilmpullsthroughthecamera,butyougetusedtothis quickly.Theformatdoesnotlenditselftogeneralshootingandassuchit’snotacamera thatyouwouldjustcarryontheoffchance–whenIhavetakenitoutit’sprobablybeen moretocoastaltypelocations.
Theshutterisinternalandmagneticandoperatedbymovingaslidingbuttononthefront ofthecamera,forthisreasonitisbettertousescrewinfilters(77mm)thanafilterholder asIforonecan’teasilygetmyfingertotheshutter‘button’whentheholderoverlapsit.
Duetoboththeprecisepinholeandtheanamorphicbackthiscameracanproducevery sharpimageswithvirtuallynofalloffattheedges.Theseimagesarenotthetypical pinholelookandifthat’swhatyouwant,thisprobablyisn’ttheoneforyoubutitprovides awonderfulandfunoptiontotakeadifferentview.Forinstance,Itookthiscameraasa backupforanAnalogueGroupLargeFormatwaterfallsdayinSouthWalesearlierthis
year, andasithappeneditwassowetIonlyusedthiscamerathoughitisn’tactually waterproofasthenegativeshowedalittlewatereffectonanedge.Ithinkthiswasdueto itsbeingwetwhenexposedbutitwastrulyrainingcatsanddogsaswesayandIthinkit didperformverywell.OtherwisewithmostotherIkitIhaveI’mnotsureIwouldhave takenanypicturesduetotheweather.
6x17isofcoursequitehardtoprintfromtosomeextentasIdon’thavea5x7enlarger (thoughmydarkroomclubdoeshaveone)soyoucaneithercontactprintorcropina5x4 enlargerasanoption,obviouslyifyouscan,thisisnoissueandofcourseyougenerate somelovelypanoramashots.
IreallyenjoyusingthecamerabutasImentionedaboveyouneedtothinkaheadalittleto determineiftheopportunitywillbetheretouseit,andespeciallygivenitssizeyoucan’t justtuckitintothebagontheoffchance.Seeingthelargenegativesitproducesisalways satisfyingandgiventhattheimagesaresharp,youcanfeelconfidentusingcolourfilmfor instanceandsometimesIthinkthisreallysuitstheaspectratio.
IfthishastemptedyoutolookfurtheratRealitySoSubtleforyourfirst/next pinholecamera youcanfindJamesandhisproductsat https://realitysosubtle.fr/custom-cameras/realitysosubtle-6x17/
Members’Darkrooms RogerHarrison Howlonghaveyoubeenmakingprints
I’marelativenewcomercomparedtosome!I’vebeen makingsilvergelatinprintsforjustover10years.Istarted inapublicdarkroominCardiffandthensetupabasic darkroomathomeabout8yearsago.About4yearsagoI alsostartedmaking‘alternative’prints;saltprints, cyanotypesandkallitypes.Palladiumtonedkalllitypes havebecomemyspecialityalongsidesilvergelatinprints.
Whichroombecameyourdarkroom
Myhomeoffice,whichwouldhavebeenabedroominthe past,butwe’veneveruseditassuch.Isetupatablefor anenlargerandaworksurfacefortraysinthecornerof theoffice,blackedoutthewindow,andthatwasmy darkroomuntilImovedtheofficestuffoutearlierthisyear andstartedusingitasa‘proper’darkroom.Untilthen therewasnoplumbingintheroomsoIcarriedjugsof waterfromthebathroomnextdoor,andprintwashingwas doneinthebathtub.
Anymodificationstothatroom?
TheonlymodificationIhavenowistheplumbingfora darkroomsink.Otherwiseeverythingismovablesoit couldeasilybeputbacktoabedroomifweshouldever needtodoso.The‘finishingtouch’tothenewdarkroom setupwasastripofLEDlightsmountedonthewallover thesinkwhichworkverywell.
Whatareitsdimensions?
About12’x10’
Isthereanythingunusualaboutit?
Notreally,it’sjustanormalroom.Itdoesmakelifeeasier havingadarkroomwithinthehouse,itdoesn’tgettoo coldinthewinterortoohotinthesummer.
Whatfactorsdidyouhavetotakeintoaccountwhen convertingit?
WhenImovedalltheofficestuffoutearlierthisyearI carefullyplannedwhereeverythingwasgoingtogoin termsofsink,workspaceetcandthenatthelastminute hadtochangealltheplanswhenaDeVere10x8 enlargerbecameavailableatagoodpriceandIhadto accommodateitssheerbulk.Fortunately,weliveinan Edwardiantownhousewithhighceilingssoheadroom wasn’taproblem.
Wasanymajorworkrequired?
No,Ididn’tbuildanythingwithintheroom,theworktops aremostlyIKEAtables.Eventhedarkroomsinkisontop oftwotables,sotheonlyworkIhadtogetdonewasthe plumbingforthesink.
Didyouhavetomakeanycompromises?
Theonlycompromisewasreducingtheamountof worktopspacetoaccommodatethe10x8enlarger,but ithasalargebaseboardwhichcanitselfbeusedasa worktopanyway,sothatwasn’treallyaprobleminthe end.Iwouldhavelikedabiggersink,buttheoneIhave worksfineformyneeds.
Whatdoyoulikeaboutit?
Beingfairlycompact,everythingiscloseathand.
Andwhatdoyoulikeleastaboutit?
Itcouldbelarger,morespacewouldbegood.Butthen that’sprobablythecasewhateversizeofroomyouhave. Hasanythingaboutyourdarkroomchangedover time?
Yes,asalreadymentioned,therewasadrasticchange earlierthisyearwhenthehomeofficesetupbecamea fullyfledgeddarkroom.
Wheredidyoupurchaseyourdarkroomequipment?
MostofthelargestuffwasboughtlocallyinSouthWales. TheDeVere5108wasboughtfromsomeonein Manchesterwhoverykindlydeliveredittomeandhelped meinstallit.ThesmallerstuffwasmostlyboughtonEbay.
Whatwouldfeatureinyourperfectdarkroom, currentlymissing?
Aproperdarkroomdoorwouldbegood.ThedoorIhave nowhaslightsealsarounditwhichdon’tworkverywell, soIhavetoputuptwoblack-outstripseithersideofthe doorandalargetowelatthebottomofthedoor,which isn’tideal.
Whatarethenewestandoldestitemsinyour darkroom?
Thenewestitemisacontactprintingframemadebywellknownphotographerandalternativeprinter,JohnBrewer. TheoldestitemisprobablytheSmithstimerthatIhave mountedonthewall
Whatdoesyourdarkroomrepresenttoyou?
It’saplaceofescape,whereIcanshutthedoorandbein myownlittleworld.I’mnotsureifit’sanagething,butI haveapowerfulurgetocreatethings,hand-madethings, notthingsthataredonebyamachineoracomputer.I’m nogoodatwoodworkorgardening,somakingprintsin thedarkroomismyoutletforcreativity.
What’sinthebag, RogerHarrison The10x8camerabagIuseisoneofthosegeneric ‘MilitaryTactical’backpacksthatIboughtforaround£30 orsoandit’sperfectfor10x8gearbecauseoftheway it’sconfiguredwithtwomainsections–oneforthe cameraandoneforfilmholdersandtwolargepocketsfor lenses,plustheabilitytoaddfurtherpocketsviathe mollesystem.Iaddedtwosidepockets.It’squite comfortabletocarrywhichisimportantwhenyou’re carryinga10x8Deardorff!
Thebagfromthetopdown–maincompartmentonthe leftwithcameraandonelens,secondcompartmentwith darkclothandfilmholdersandtwopocketsforlenses. Inthemaincompartmentisthecamera–aDeardorffV8 anda213mmbarrellens.
Close-upofthe213mmf/9.25Helioprintlens.Thisisan old processlensfromanAgfaRepromastercopycamera.It’s mountedonalensboardthatwascustommadeforme by RossBurleyofBurleyCameras.Imainlyusethislensfor oneofmycurrentprojects,photographingtheinteriorsof churchesandcathedrals.Havingnoshutterisnotaproblem whenexposuretimesareverylong,indeedit’sonelessthing toworryabout.Atthemomentthisismymostusedlens.
Thesecondcompartmentholdsfilmholdersandadark cloth.Icanfituptofourfilmholdersinthebag.
ToplenspocketcontainsmyFujinonW250mmf/6.7.This istheolderversionofthelenswiththeletteringonthe innerpartofthebarrelwhichhasalargerimagecircle thanlaterversions.
ThebottompocketcontainsaWollensak159mmf/12.5,a SchneiderG-Claron305mmf/9andacablerelease.Most ofmylensesareonTechnicaboardswhichfitintoan adapteronthecamera.TheWollensakisa1940s uncoatedlens.159mmisverywideon10x8,ofcourse, andthislensistinycomparedtootherwideanglelenses fromNikonandSchneider(andalotcheaper!).
Onesidepocketcontainsanassortmentofthings: Multitool(pliers,screwdriversetc)
Torch
ReveniLabsspotmeter–Ihavequitealotoflight meters,includingthreespotmeters,buttheRevenihas becomemymainmeter.
Olympus50mmf/1.8lensthatIuseasaloupe–it workssowellasaloupeI’veneverbotheredtogeta ‘proper’ one.
Sparecablerelease
SparebatteriesfortheReveniLabsmeter
3.5xreadingglasses,usedforcomposingontheground glassandinitialfocus.Theothersidepocketusuallyhas awaterbottleorflask.
Thenewestadditiontomykit–aBenroMammothtripod withbowllevellingbase.SometimesIusethiswitha panningbase,butforarchitecturalshotsIgenerallyuseit withaManfrotto405gearedhead.
SometimesIalsocarryafilterpoucheitherinsidethebag, orattachedtotheoutsidewithLeeandHitechFirecrest 100mmsquarefilters.
AnoccasionalvisitortothecamerabagisaRodagon APO-Ronar480mmbarrellens.Andyes,youreadthat rightontheaperturescale–itgoesdowntoF/260!Itfits intothesamelensboardastheHelioprintlens.It’squite heavysoIonlytakeitifIknowI’mgoingtoneedit.
TheDeardorff–definitelyinuserconditionratherthan mint,butIlikethat–ithascharacter.Itwasfirstsoldin LensandReproinNewYorkon7thApril1981. KenHough,aformerDeardorffemployee,kindly providedmewithacopyoftheoriginalsalesledger.It hassupposedlyatvarioustimesbelongedtoTerrence Donovan,LesterBookbinderandJamesCotier.Hereit’s fittedwithaDeardorff-Technikalensboardadapterand agroundglassprotector.
TheDeardorffinactioninLincolnCathedralwiththe 213mmHelioprintlensandtheresultingprint–a palladiumtonedkallitype.
35mmStitch,TemperatureInversion,Scotland
PanoramicPhotography–Thelongandwindingtrail CharlesBinns AssoonasIsawtheFuji6x17cameraatthephotography showmanyyearsagowhenitcouldstillbeboughtnewitwas loveatfirstsight.Tomakemattersworsetherewasan excellentdisplayofverylargeprintstakenwithit.Atthistime therewasalsoaFujiusersonlinewebpagewherea photographercalledSteveWaltonwasknockingitoutofthe parkwithasetofsuperimagestakenwiththiscamera–week afterweek.
Addtothisthegreatimagesproducedbythepanoramic specialistfromScotland,ColinPrior;anannualsetof mountaintopimageswiththiscameraforhiscalendarandI washooked.
ThenwehavethefantasticXPan35mmcamerawhichalso escapedmygraspandhasnowalsospiralledoutofmyprice range.However,justlookatthelasteditionofthisjournalto seeTonyLovell’sapproach,usingaconversionkittoturna 120cameraintoapanoramiconeusing35mmfilmspool inserts.IhavenowboughtasetformyFuji6x9buthaveyet totryitout–watchthisspace.
Ihavealwaystakenimage‘sets’withaviewto‘stickingthem together’atsomefuturedate(seethetemperatureinversion shot,35mmNikonimage).Asstitchingsoftwarebecame availablelaterthisapproachbecameaviableantidotetovast expenditureonaspecialistpanoramiccamera.Withthisin mindIacquiredmyTexasLeica6x9Fuji,theonewiththe 65mmlens,andsetaboutusingitonatripodwithathreeshot stitchforeachpseudopanoimage.Thisworkedwellenough andwhenIdeployeditonasnowyScottishtriploadedwith the nowdefunctEktar25,Igotafewverypleasingpanoimages.
Acompromisethough.SoIdecidedtobitethebulletandgo afterafullblownpanoramiccamera.Notonlyhavetheprices oftheFuji6x17gonethroughtheroof,butwithresearchand witnessingthepainsofThomasHeatononYouTubetryingto usetheFuji6x17,Ihadarethink.
NickCarver,anotherYouTubehotshot, showshowitshouldbedone. HeusesaShenHaopanoramictechnicalcamera,slowtousebut withperfectpre-visualisationonagroundglassscreen,arelatively cheaplensselectionandcameramovementsavailabletoboot.
Iresearchedthemarketandwasabouttobuytheabove Shen HaowhenthepricingpracticeoftheUKdistributorput meoff.HongKongsoldthecamerawiththe6x17back included,whilsthereintheUKthedistributorwantedthe sameamountforthecameraonlyandanother£900forthe back–notimpressed!
IthencameacrossanarticleonanAmericanlargeformat forumthatsuggestedbuyingaspecialistpanolargeformat
camerawasnotthebestsolution.Iknowsomepeopletryto usea6x17withanadaptoron5x4butitislimitedand clunky.Thesolutionitseemsistobuyastandard5x7camera andputastandard6x17backonit.Thebestbacksarethe motorisedCanhamsbuttheyarepricey,followedby Horseman, priceyandhardtofind.IntheendIwentwiththeShenHao back,notthemostsophisticateddevicebutitworksjustfine, andwasveryreasonablypriced(thankstofellowmember RogerHarrisonforpointingmeintherightdirectionhere).
6x9Stitch,Scotland
IlinkedthisbacktoaWalkerTitan5x7WideAnglecamera whichusesmystandard5x4lenses,allforalotlessthanthe ShenHaoPanocamerarouteortheFuji6x17.Ialsohavea 5x7camerainadditionasabyproductoftheexercise.The trickiestbitwasgettingholdof5x7filmholders.Many thankstoMikeWalkerforhelpingmeouthere.
TheFuji6x17andLinhofequivalentshavetheirplacethough. Iwaswadingthroughallthe‘emperorsnewclothes’ photographyattheArlesPhotofestivalsomeyearsagoand suddenlycametoahaltatadisplayoftheworkofPentti Sammallahti(tryspellingthatafteraglassofwine).Stunning analogueimagesinmonoprintedbythemanhimself–think ofHenriCartierBressonshootingin6x17andyougeta flavourofhisstyle.(BookReviewinthisedition).
Thereareotherpanooptionsonthemarketthatareworthyof consideration.SteveJoneshasshownusthepotentialofthe LomographySprocketRocketforthecreativeapproach.
AcompanyinChinaisnowconvertingHasselbladbacksto take27panoimagesononerolloffilm(donorbacktobe providedbythebuyer)andthenwehavethelikesofChroma. Theyhaveaveryinteresting6x17cameraonofferthatcanbe matchedtoapinholeor,muchbetter,linkedtoalargeformat wideanglelensforaveryreasonable£450(ownlensneeded). TheuniquestrengthoftheChromaisthatithasaveryusable screenbackthatinterchangeswiththefilmholders,which haveadarkslidemakingbacksinterchangeablemidroll.Our FinanceOfficerRobertAdamshasjustacquiredoneandhas promisedmeareviewforthenextedition.Thisapproachis alsoverycompactandlightforthistypeofphotographybut donotleaveitinthebackofahotcar.Thinkofthemelting clockfaceartofSalvadorDaliandyougetthepicture.Tony LovelliscurrentlyontheWestCoastoftheUSAwithone also.WellifitsgoodenoughforTonyLovell,itsgoodenough forme.
WheredidIputmyChristmaslist?
6x17Tree
Above: WalkerTitanwithmystandardlens Left: 6x17Vertical
RannochMoorandBuachailleEtiveMor
TheMamiya6system: PartI RichardWilliams TheMamiya6system(producedfromMay1989toSeptember 1999),isa6x6cmrangefindercamerawiththree interchangeablelenses.IthadmoderatesalessuccessinJapan andtheUSA,andwasdestinedtobejustanothermedium formatfilmcamerauntil2004whenKenRockwellcalled it “Theworld'smostperfectcamerasystem”.Whydid MrRockwellmakesuchaboldstatement?Thereare3main reasons:
•Opticalquality
•EaseofUse
•Portability
Ihavetobehonest,Iamabitbiased.Ihave2Mamiya6 bodies(oneistheMF–multiformat)and2ofeachofthe lensesandtheygetmuchmoreusetheneithermyPentax645 ormyHasselblad500cm.
Opticalquality
TheMamyia6systemconsistsofamediumformat rangefinderbodyandthreeinterchangeablelenses-50mmF4, 80mmF3.5and150mmF4.5,eachwithelectronicleaf shutters.Theabsenceofamirrorboxallowsalensdesignthat avoidstheuseof‘retrofocus’andbringstherearelementclose
tothefilmplane.WhentestedbyPhotodo,eachoftheselenses outperformedtheirZeisscounterparts,thelenseswerefoundto bealmostflawless,sharpateveryapertureandnonoticeable lightfalloff,evenatmaximumaperture.
EaseofUse
Filmloadingisverytraditional–justopenthebackandfeed thefilmintothetake-upspoolandwindonuntilthearrowon thefilmbackislinedupwiththemarkonthecamerabody. Thereisachoiceofaperturepriorityexposureormanual exposurecontrol.Theviewfinderprovidesinformationofthe shutterspeedchosen,theshutterspeedautomaticexposure woulduseandawarningifthe‘darkslide’isinplace.The exposuremetergivesasimplesceneaveragebutis surprisinglyaccurateformostoccasions,althoughformore criticalworkIuseanexternalspotmeter.Focusingisjusta matterofrotatingthelensfocusringuntiltheimageis superimposedinthecentresquareoftheviewfinder.Thereisa singlestrokefilmadvancelever.Changinglensesisassimple aspressingabuttonandrotatingthelensandthereisan interlocktopreventthelensbeingremovedunlessthe darkslideisinplace.
Portability TheMamiya6’sretractablelensisoneofitsbestfeatures. Withapushofabuttonthelensretractsapproximately30mm intothecamerabodyandwitheitherthe50mmand75mm lensescollapsed,thiscamerafitscomfortablyinamodest camerabag.Itissmallerthanmost35mmSLRfilmcameras. Itislight,thebodyonlyweighs890gandwiththe75mmlens thatonlyincreasesto1140g.Thecombinationoflightweight andleafshutterallowsyoutohandholdshotsat1/15oreven 1/8secondwithexcellentresults.
Whatarethedrawbacks?
Thebiggestdrawbackisthemaximumshutterspeedofonly 1/500sec,butasItendtoshootlandorseascapeswiththis camera,thatdoesn’tparticularlybotherme,andIalwayshave filterstocompensate.Thereisnoparallaxcompensation (unlikemyContaxG2)butagainthatisrarelyaproblemfor me.
Reliability Obviouslywithacamera25yearsold(orolder)therecanbe reliabilityissues,dependingonhowwell(orbadly)theyhave beenlookedafter–andjustbecauseit’sdescribedas“Mint” doesn’tmeanithasn’tbeenleftinaboxintheattic!Common problemsaretheshutterreleasemagnets,whichmayneedto be‘re-magnetised’ifthecamerahasbeenunusedforan extendedtime,anddamagetotheretractingmechanismifthe camerahasbeendropped.Bothareeasyrepairs,butfindinga competentrepairerisbecomingachallenge.
Buyingone Iboughtacompletesystemofabodyand3lenses(plus hoods)ingoodconditionfor£750in2010fromLondon CameraExchange,Ithinkthesamecameratodaywouldcost intherangeof£2000-£2500andperhapsabitmorefora mintexample.
MasteringDigitalPanoramicPhotography
HaraldWoeste Rockynook 149pages–SoftBack Onlyavailableontheusedmarket.
Whatisabookaboutdigitalphotographydoingbeingreviewed inour Analogue journalyoumayask?
Analogueimagestakeninthecorrectwaycanbescannedto producefileswhichthenmaketheentirecontentofthisbook relevanttoourhybridworkers.
Haraldgoesintogreatdetailonthepracticalitiesofcapturing imagesintheoptimalway(relevanttofilmordigitalusers), supplementaryequipmenttosupporttheprocessandsoftware options.Hefinishesoffwithaseriesofprojectreviews demonstratingthevarioustechniquesandsoftwareavailablefor optimumresults.
Cheaperthana6x17Camera,thisbookmakeshighquality panoramicimagesaccessibletousall.Alsoofcourse,relevant tothoseofuswho(heavenforfend)alsoshootdigital.
PenttiSammallahti
PocketBookpublishedbyPhotoPoche 66pages,5inchesby7inches FrenchEdition, £10.30Amazon
ImagineifHenryCartierBressonshot6x17format.This willgiveyouaflavorofPenntii’swork.Allanalogue,shot withaLinhof6x17(mainly)andprocessedbyhimself.
DespitetheFrenchtextthisisaninspirationalportfolioof workfor6x17inchpractitionerstakingtheformatbeyond theusuallandscapegenretoamuchwidergamut.Oneofmy favouriteimagebooks–smallbutmighty.
RPS Analogue isyourjournal Haveyourworkfeaturedin Gallery andwina prize
Sendusfromsixtotwelveofyourimages,scannedordigitally copiedandoutputasjpgsbyWeTransferorsimilarservice,or onaCD.IfsendingthemonaCD,besuretowriteyourname andemailaddressorphonenumberonthedisk.Alternatively, arrangementscanbemadewiththeEditortoacceptprints.
Pleaseincludeashortcaptionforeachimageandaparagraph ortwoaboutyourselfandyourphotography.
Pleasebepatientasyourworkmaynotbepublishedinthenext issueof Analogue butmightbeheldinreserveforafuture issue.Wewillcontactyoubeforepublishingyourwork.
Whenyourworkispublishedin Gallery youwillbe awardedafreefilmvoucherbyoursponsor Analogue Wonderland.Yourdetailswillnotbepassedtoanythird party.
Congratulationsgotothisedition’scontributor PaulBullock whorecievesafilmvoucher worth£25.
WriteanarticleforRPSAnalogue
Ifyouhavesomethinginspiringtosaytoanalogue photographerspleasesendusashortsynopsisofyourarticle andsomejpgimages.Itcouldbeaboutthebenefitsyouhave experiencedfromanaloguephotography,atechniqueyoucould share,anoutingwithcameraandfilmorreallyanythingof interest.
Pleasedonotsendthefullarticleinthefirstinstance.Ifyour ideaisaccepted,wewillcontactyoutodiscussitfurther.
Yourfavouritecamera Doyouhaveafavouritecameraoronethatisabitoutofthe ordinary?Ifso,tellusallaboutit.
Yourdarkroom Darkroomsareimportanttoanaloguephotographersbutcan alsopresentproblems.Doyouhaveapermanent,fully equippeddarkroomordoyouhavemakeshiftsetupina cupboardorbathroom?Helpfulideaswouldbewelcome.
Letters Ifyouwouldliketoexpressanopinioninthisjournalplease sendittotheEditor.Theusualconditionsforletterstojournals willapply,forexampletheEditorwillhavethefinalsayin whatwillbepublished.
Theemailaddressforallcontributionsandcorrespondenceis: analoguenews@rps.org
Analoguephotography-Whocan play?
Whendiscussingtheentryrequirementsfor ourrecentexhibitionwereviewedwhatwe wouldconsidertobealegitimateanalogue printforentry,andbyinferencethetypeof photographythatqualifiesasanaloguewithin ourgroupgenerally.Wesummarizeasbelow.
Allimagestakenonfilmtoproducethefollow‐ingoutputs:
•Silverprintseithertradeorselfprocessed
•Digitalprintseithertradeorselfprocessed
•DigitalfilesfromscansforPDIsharing
•SlideTransparencies
•Alternativeprintprocesses,including WetPlate
Imagescaptureddigitallytoproducethefollow‐ingoutputs:
•Silverprintseitherselfortradeprocessed
•Alternativeprintprocesses
NonAnalogueimages:
Imagesthatareoutsidethescopeofourgroup andnoteligibleforexhibitionsorsubmissionin ourpublishedgalleryaredigitallycapturedim‐agesthatarethendigitallyprintedorusedin PDIsharing.
Itdoesgivethewidestpossiblescopetothe definitionoftheanalogueprocessandas such isintendedtobeasinclusiveaspossible,making ourgroupaswelcomingaswe canbe.
Thisisthetopofthetreewhenitcomesto617 cameras.
TheLinhofTechnorama617sisstillmadeand availablefromLinhofStudiosUKfor£3945.
ItisthecamerausedbyPenntiiSammallahti-see bookreview.
