Toy Cameras : A World Through Plastic Lenses by vansuka chindavijak

RAS

ORLD THROUGH

PL AST

IC LEN SES

T O Y C AME

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TOY CAMERAS A WORLD THROUGH PLASTIC LENSES

VANSUKA CHINDAVIJAK

Toy Cameras: A World Through Plastic Lenses Design by Vansuka Chindavijak GR601: Type System Instructor: Lian Ng ÂŠ2011 by Vansuka Chindavijak Printed in San Francisco, 2011. All right reserved. No part of this book may be reproduced in any form without written permission of the copyrights owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Special thanks to Brooke Barttelbort, Pawinee Sumethsenee and Tanyawan Norachit ISBN-13: 978-1-59254-452-4 ISBN-10:1-45245-452-2

“NO PHOTOGRAPHER IS AS GOOD AS THE SIMPLEST CAMERA.” — EDWARD STEICHEN

CONTENTS

WHAT ARE TOY CAMERAS? PAGE 12

FILMS & PROCESSING PAGE 74

03 04

D.I.Y. PINHOLE CAMERAS PAGE 94

GALLERY PAGE 120

INTRODUCTION Since digital photography were introduced, people were getting used to seeing the result right after photographs are taken. The mystery in the process of traditional film development were gradually fading everyday. There were no more anticipations, patiences, and excitement in the process. But there were still some people that could not get over traditional process and rely toy cameras to form their artistic style. The cameras are inexpensive and the limitation of mechanics give the user almost no control over the exposure besides pressing the shutter release. The results were inconsistent and as if they were improvised. From an unpredictable system of the cameras created unpredictable outcomes which was where all the excitement and charms started to form and it was hard for some to let go because perfection is not always what everyone wants. Vansuka Chindavijak

01 WHAT ARE TOY CAMERAS?

WHAT ARE TOY CAMERAS?

01 WHAT ARE TOY CAMERAS?

WHAT ARE TOY CAMERAS?

WHAT ARE TOY CAMERA

THE TERM IS MISLEADING, SINCE THEY ARE NOT MERELY “TOYS” BUT ARE IN FACT CAPABLE OF TAKING PHOTOGRAPHS.

AS?

Toy cameras. Don’t be fooled by the name. Yep, they are made of plastic including the lenses, they are inexpensive, they are ultra-simple to use, and they often come candy colored–but they have their place in the world of photography. Because toy cameras are not high tech, the photos they generate are often imperfect–and that is their charm. You can get a range of vintage effects. Admittedly, the final outcome is often a bit hit and miss, but more experienced photographers stand a better chance of getting what they are after. Over-exposure, color shift, high contrasts, dark corners…all considered flaws by many mainstream photographers, are often gold to the experimenting toy camera owner. Each camera has its own unique errors, producing unique looking images. Toy cameras are an excellent option for those who want to have fun and experiment with their photography–especially folks who are on a budget. Playtime has never been more fun!

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

LOMO LC-A+ The vision of the LC-A+ was simple–a miniaturized, automatic camera meant to provide the masses with a reliable workhorse for everyday photography. However, dig a little deeper and you will begin to see the true value of the gorgeous treasure. The LC-A+’s incredibly sexy “Minitar 1” lens, designed by LOMO’s revered Professor Radionov captures exceptionally vivid images in an all–seeing wide angle view. Its innovative auto–exposure capability, usually only available on very expensive professional cameras, allows the LOMO to function in all lighting conditions and to blow your mind at nightime with beautiful infusions of colors and light. The compact shape of the LC-A+ makes it a pleasure to take the LOMO everywhere, and its strong metal construction–intoxicating with the aroma of old-fashioned Russian workmanship–empowers the LOMO to be a loyal companion for years to come.

HIGHLIGHTS THE LEGENDARY MINITAR LENS This multi-coated little beauty is the reason for most of the magical and famous effects including over–intense color saturation, sharp contrast, vignetting at the edges, occasionally selective focus, and a whole host of other quirks that only the LC-A+’s analog wizardy can deliver. MULTIPLE EXPOSURE SWITCH (MX) A jazzy new feature innovated for and integrated into the LC-A+. After taking a photo, merely slide the MX switch to re-cock the shutter and fire another time on the same frame. You can do this a limitless amount of times. This is useful for day or night time shots—allows you to superimpose one image on top of another.

[ 16 ]

TECHNICAL SPECIFICATIONS Film Type: 35mm film Lens: “Minitar 1” 32mm Field of Vision Angle: 63° Relative Aperture: f/2.8 Focusing: 0.8m-inf. Frame Format: 24mm x 36mm Stopping Down Limits: 2.8-16 Shutter Speed: 1/500 - 2 Shutter Speed with Flash Bulb: 1/60 Viewfinder: Built-in Multi- exposure: Yes Film stopping: Yes Cable Release: Yes Tripod Socket Thread: 1/4” Dimension: 107mm x 68mm x 43.5mm

Release Knob 02

Guard Curtain 03

Flash Bulb Joint

05 06

Manual Diaphragm Setting and Operation Models Key

Rewind Knob

Viewfinder Inspection Window

Light-Limiting Device of Photo Detector Film Light Sensitivity Window

Lens Focusing Key

Photographic Lens

Frame Counter

Shutter Cocking and

[ 17 ]

[ 18 ]

:LOMO LC–A + FUJI PROVIA 100F XPRO AVIGNON

[ 19 ]

[ 20 ]

:LOMO LC–A + FUJI COLOR 800

[ 21 ]

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

COLORSPLASH Re-cast your world in a gorgeous riot of colour! Snap up 35mm photos with this unique-looking toy camera, and paint your images with a splash of colour, day or night. The Colorsplash camera is the next step for the toy camera enthusiasts, and takes the toy camera’s concept a step further. While the camera still features a standard wide–angle lens, any picture can be “colorsplashed” with the integrated flash color wheel. You can choose from a selection of colored flash lights to manipulate your images. You have the option of changing the real colors with the Colorsplash, manipulating the expressive power of your final image, emphasising or inverting the image. The elements of exposure time, flash color, subject color, exterior light, and your creativity come together to yield an endless number of potential techniques and outcomes.

HIGHLIGHT THE COLOR GEL BUILT–IN FLASH The flash has a dial on it that lets you change the color of the flash. Clear, Yellow, Red and Blue are your four choices. The red is quite overpowering, the yellow is subtle when used outside and the blue adds an amazing “1970s” effect to the shots. The camera also comes with a collection of gels that you can hold in front of the lens to further alter the colors of the shots. This color gel system adds the endless possibilities to the pictues.

[ 22 ]

TECHNICAL SPECIFICATIONS Film Type: 35mm film Lens: Wide angle Focus Type: Fixed Focus Focusing: 0.8m-inf. Frame Format: 24mm x 36mm Shutter Speed: 1/125 and “B” Flash: Color gel system Viewfinder: Built-in Dimension: 105mm x 65mm x 33mm

Film Advance Wheel

Photographic Lens

Shutter Release Button

Flash Color Selector Wheel

Back Door Opener

Rewind Knob

Built-in Colorsplash Flash

Viewfinder

[ 23 ]

:COLORSPLASH + KODAK EKTACHROME E 100VS

[ 24 ]

[ 25 ]

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

FISHEYE 2 From crazy light streams to frosted dream-scapes this piece of plastic, glass and metal can do it all. Simply decide weather you want blurred deliciousness or a crisp splash of colour by selecting a shutter speed of either 1/100th of a second or crazy endless foreverness. Do you ever get the feeling that the one frame you just took will only fill half your apatite? Want to superimpose your favorite moment? With the Fisheye 2’s crazy little mix button your problems are over and you can gorge your self on double exposures all day long. Get your lens in your dogs, sisters, teachers or even your own face. Distort your features till you resemble more of a obese panda than a human. Hold that button, get some light into your life. Hold open the bulb wave your arms around or hold it still for some streaks of gold. Although using that brilliant little Mix button is fun and awesome—try shooting the whole roll then rewind and shoot it again. Not only will you get some lush shots but the two circles will not be perfectly over each other!

HIGHLIGHTS “B” (BULB) SETTING Fisheye 2 has a slamming long-exposure setting. By holding down the shutter button with your finger, you can keep the shutter open for as long as you like. To close the shutter, merely release the button. “LNB” VARIABLE EXPOSURE SWITCH Use this to control your Fisheye 2’s shutter timing. “L” locks the shutter so it can’t accidentally fire. “N” shoots a normal, instant exposure. And “B” or “bulb” selects Fisheye 2’s long exposure capabilities. MULTIPLE EXPOSURE SWITCH (MX) This allows you to take two or more shots on the same frame. Take your first shot, press the MX button and repeat as many times as you like.

[ 26 ]

TECHNICAL SPECIFICATIONS Film Type: 35mm film Lens: Fisheye Ultra-wide Angle lens Field of Vision: 170° Focusing: Fixed focus Fixed Aperture: f/8 Shutter Speed: 1/100, “B” Viewfinder: Built-in Flash: Built-In Hot Shoe: Yes Multi- exposure: Yes Dimension: 105mm x 60mm x 60mm

Viewfinder

Shutter Release Button

Fisheye Ultra-Wide Angle Lens

Ready Light Indicator

Rear Door

Rewind Crank

Builtâ&#x20AC;&#x201C;in Flash

Flash Switch

Advance Wheel

[ 27 ]

: FISHEYE + PAKON FILM SANNER F-235

[ 28 ]

[ 29 ]

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

SUPERSAMPLER One look at the quirky-looking Supersampler and you know that it is a camera like no other! This ultra-lightweight, low-maintenance 35mm camera fits perfectly in your hand for spontaneous shooting. Aim the Supersampler at your moving (or non-moving) subject, pull the ripcord, press the tiny button—and voila! You have just “sampled” your subject into four panoramic panels. So how on earth is this possible? See those four beady eyes nestled in front of its plastic body? Those are the ultra-talented, super-sharp lenses that slice your image into four panels. Results are wickedly cool if your subject is in hyperactive motion, or if you prefer to shoot non-moving objects, you’ll have to do the jumping and moving. With its portability and convenience, no wonder why the Supersampler is hailed the “Queen of all Multi-Lensed Cameras.”

HIGHLIGHTS 4 PANORAMIC SHOTS The Queen of all multi-lensed cameras takes four sequential panoramic shots on a single, action-packed 35mm photo. The Supersampler camera is simple, lightweight, and fun. A UNIQUE AND FUN CAMERA Supersampler is very fun camera to play with. It is the great little experiment, there are various ways to do — you can move your subject, move your camera, shake your camera, or whatever and expect the different results.

[ 30 ]

TECHNICAL SPECIFICATIONS Film Type: 35mm film Lens: 4 panoramic 20mm plastic lenses Focusing: 0.3m-inf. Frame Format: 24mm x 36mm Shutter Speed: 4 photos in 2 seconds (.50 sec/photo) or 4 photos in 0.2 seconds (.05 sec/photo) Dimension: 105mm x 65mm x 32.5mm

4 Panoramic Plastic Lenses

Rewind Crank

Rear Door Opener

Exposure Release Button

Viewfinder

Ripcord

[ 31 ]

[ 32 ]

: SUPERSAMPLER + KODAK GOLD 100

[ 33 ]

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

ACTIONSAMPLER Every picture tells a story, but if you are looking for action–packed adventures in your pictures, the Actionsampler is the way to go! This four–eyed beast takes 35mm pictures sliced in four sequential panels. No focusing, fixed aperture, no shutter speed, simple technology and a great idea: The ultimate photographic challenge. This blocky, lightweight camera snaps up a series of four images on one 35mm print and a potential macro-movie to be relished online (www.lomography.com). All it takes is one click, you will get a series of four pictures in one print and each scene captured in each frame! Super simple-to-use, lightning-quick, and convenient, the Actionsampler will be your fierce ally in documenting your shenanigans.

HIGHLIGHTS MINI–MOVIE EFFECT The ActionSampler makes in one normal photo, four little photos. In the same size that a regular 35mm camera captures a full image, the Action Sampler captures four pictures, one for each lens. The four lens of the Action Sampler will not shoot at the same time. In 0.66 seconds, the camera will shoot with all the lens (0.22 sec per image), capturing four images in sequence, causing a mini-movie effect in one photo. This means that this camera can capture movement in 4 images. Shooting with the ActionSampler is like always being able to do little fun movies.

[ 34 ]

TECHNICAL SPECIFICATIONS Film Type: 35mm film Lens: 4 sets of 26mm plastic lenses Focusing: 1.2m-inf. Frame Format: 24mm x 36mm Shutter Speed: 1/100 second exposure intervals: .22 sec/frame and .66 sec in total for four frames sequenctially Dimension: 100mm x 31mm x 58mm

Shutter Release Button

4 Sequentially Operated Lenses

Rewind Crank

Viewfinder

Advance Wheel

[ 35 ]

: ACTIONSAMPLER + FUJI VELVIA 50 RVP

[ 36 ]

[ 37 ]

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

GOLDEN HALF “Never do things by half”, goes the traditional wisdom. Unless you are stepping into the world of diptychs—in which case, do everything by halves; it is hard to do things any other way. The Golden Half is one way of doing so, it means you have not one, but two opportunities to capture something fantastic in each frame. Simple mathematics show that a standard 36 exposure roll of film will let you capture 72 magical moments. Yet, the Golden Half is the smallest 35mm camera in the world. All this means the Golden Half is one sweet little camera with big creative possibilities.

HIGHLIGHTS IN-CAMERA DIPTYCHS Some people call the Golden Half the lazy man’s (or girl’s) way of doing random diptychs. When your film is developed and printed, you will see two half frame images on each of your full-frame prints. This gives you a world of new possibilities to play and be creative. Sometimes two photos just fit better together than they do apart. Experiment and be creative. This is your tool for some serious story–telling. Start telling micro stories in two frames and you will be thrilled to find new connections between images, sometimes unexpected, sometimes planned. It is heaps of fun!

[ 38 ]

TECHNICAL SPECIFICATIONS Film Type: 35mm film Lens: 22mm plastic lens Aperture: f/8 and f/11 Focusing: 1.5m-inf. Frame Format: 24mm x 36mm Shutter Speed: 1/100 Viewfinder: Built-in Hot Shoe: Yes Tripod Mount: Yes Dimension: 88mm x 73mm x 32mm

Plastic Lens

Aperture Ring

Rear Door Opener

Advance Wheel

Viewfinder

Hot Shoe

Shutter Release Button

[ 39 ]

[ 40 ]

: GOLDEN HALF + KODAK EKTACHROME E200 [ 41 ]

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

BLACKBIRD, FLY Capture the stillness of silence, capture the beat of the heart. 135 twin lens reflex camera (TLR), blackcird, fly flying, at last. The Blackbird, fly is a twin-lens reflex camera: one lens is used to expose the film, while the other is used like a viewfinder. It is a famous style of camera whose history stretches back to the 1920s. Unlike most twin-lens reflex cameras, which take larger 120 format film, the Blackbird, fly uses 35mm film. The Blackbird, fly is not there to compete with the unique and the bizzare. It is the modest camera with ordinary functions and people have been using this type of camera for decades. However, it has different rhythms, different responses. And it is more important than fancy options in sophisticated cameras. The Blackbird, fly blends the slower pace of life 50 years ago with the upbeat of the digital age. It does not think much about shutter speed and aperture—to be closer to the subject is more important.

HIGHLIGHTS 35MM FILM It uses 35mm film! Most TLR cameras use 120 format film. Although 120 film is very cool, but it can be much harder to find and even harder to get developed. With 35mm film you can just drop it off at the nearest 1-hour photo. 3 FORMATS TO CHOOSE The Blackbird, fly can take pictures in standard 35mm film format (24mm x 36mm), but using a different provided mask, it can also produce square format pictures (24mm x 24 mm). you can even more remove the mask entirely and make a larger square format image (36mm x 36mm), which fills up the entire width of the film, including the side sprocket holes.

[ 42 ]

TECHNICAL SPECIFICATIONS Film Type: 35mm film Lens: Wide-angle twin-lens 33mm Relative Aperture: f/7 and f/11 Focusing: 0.8m-inf. Frame Format: 24mm x 36mm / 24mm x 24 mm and 36mm x 36 mm Shutter Speed: 1/125 and “B” Multi-exposure: Yes Dimension: 82mm x 120mm x 82mm

Viewfinder

Viewfinder Hood

Viewfinder Lens

Shutter Release

Photographic Lens

Focus Wheel

Aperture Lever

Hot Shoe

Film Advance Wheel

Film Rewind Crank

[ 43 ]

: BLACKBIRD, FLY + KODAK GB 200-7

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

SPROCKET ROCKET The Sprocket Rocket is the first analog camera to be fitted with a reverse gear, allowing you to rewind and remix your photos! Travel back in time with our ultra-convenient dual scrolling knobs. Feel like overlaying a brand new moment on top of that beautiful shot you took last week? The Sprocket Rocket can make it happen! Dance, dart and flutter between frames to your heart’s content. As if this wasn’t enough, it’s also fitted with a super wide-angle lens enabling you to open up your world and snap those breathtaking panoramas. Don’t be fooled by its small and compact shape, the Rocket can fit more in a single frame than you ever thought was possible.

HIGHLIGHTS SPROCKET HOLES For some photographers, sprocket-hole photography has long been an obsession. The sprocket holes are basically the small rectangular perforations on 35mm film, located on each edge of the film, and are used to guide the film through the camera from its canister. The Sprocket Rocket allows you to really get the most out of your film by exposing the image on the full length of the film, including and extending past the sprocket holes. PANORAMAS Panoramic shots are super-wide photos that allow you to capture the entire field of view, not just a small part of it. The Sprocket Rocket is fully equipped with a mouthwatering super wide-angle lens, allowing you to really get the whole picture. Whether you want to fit that stunning cityscape into one frame or have your entire graduation class in one photo, with the Sprocket Rocket’s crisp and beautiful panorama function, anything is possible.

[ 46 ]

TECHNICAL SPECIFICATIONS Film Type: 35mm film Focal Length: 30mm Shutter Speed: “N”:1/100 and “B” Relative Aperture: f/10.8 and f/16 Focus: 0.6-1m and 1m-inf.

Scrolling Knob

Shutter Release Button

Super Wide Angle Lens

Scrolling Knob

Hot Shoe

Hinge

Viewfinder Eyepiece

[ 47 ]

[ 48 ]

: SPROCKET ROCKET + FUJI REDSCALE 400 [ 49 ]

: SPROCKET ROCKET+ LOMOGRAPHY FILM XPRO 200

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

SPINNER 360° Go beyond the confines of standard panoramic landscapes and capture everything around you in one 360° photo with this camera. Take the Spinner 360° in one hand, pull the cord with the other and release it. In a split second the camera spins 360° around its own axis and records everything that’s around you on a frame more than 4 times longer than a conventional landscape picture. Inspired by a futuristic concept from the 1980s, the Spinner 360° takes panorama photography to an all new snapshot level. Shoot from the hip, do the rollercoaster, the backflip, toothbreaker, timescan or manual long time exposures. There’s practically no limit to the experimentation offered by this camera! Every bit of your 35mm film is fully exposed and results in the sprocket-hole look unique to analogue photography.

HIGHLIGHTS FULL PANORAMAS Panoramic shots are super-wide photos that allow you to capture the entire field of view, not just a small part of it. The result of the Spinner 360° is a extra-superwide angled breathtaking image, 4x longer than the standard landscape picture that you know. This camera allows you to experiment with various techniques for multitudes of shooting fun! Forget predictable results. Forget terms like exposure or framing. Zip the cord and see what happens. The Spinner will show you the world as you’ve never seen it before.

[ 52 ]

TECHNICAL SPECIFICATIONS Film Type: 35mm film Lens: 25mm photographic lens Field of Vision Angle: Horizontal 360° Relative Aperture: f/8 and f/16 Focusing: 1m-inf. Frame Format: 24mm x 150mm Shots per Roll: Approx. 8 shots per roll Water-level: Built-in Shutter Speed: 1/125 - 1/250 Tripod Socket Thread: 1/4” Multi-exposure: Manual Dimension: 101mm x 115mm x 198mm

Rewind Crank 04

Hot Shoe 05

Lens

Lens Hood

Pull Cord

Water-level

Rubber Ring

Handle

[ 53 ]

: SPINNER 360째 + LOMOGRAPHY FILM XPRO 200

[ 54 ]

[ 55 ]

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

HOLGA The lack of options with the Holga makes it an unpredictable and very exciting camera to use. You will find yourself asking whether a shot is in focus, or correctly exposed, or whether you remembered to wind the film forward or even take the lens cap off. More importantly, you will question whether you even care! After you use the Holga for a while. If you don’t give up on it, you will become used to how it works and even adapt to how it sees, but you will never fully understand it. The Holga is a truly personal choice you may actually like that gray day or ugly subject that no one else would ever shoot. When you get that perfect Holga shot that you love, it is priceless, and worth all the time and energy spent on rolls of films that weren’t to your satisfaction. Every Holga photographer has different opinions but all have one thing in common: their love and devotion to the their Holga and a full-blown clinical obsession.

HIGHLIGHTS 120 MEDIUM FORMAT FILM From glossy fashion magazine covers, to dead-serious landscape shots, to the “Electric Slide” dance at Uncle Bob’s wedding, the camera of choice if very likely to be medium format. Created by the Kodak company in 1898, medium format film has filled the guts of professional cameras for well over 100 years. At four times the size of 35mm film, it offers amazing resolution and deep, fantastic colors. A typical 120 print has an incredible richness and depth that no 35mm image can touch. BUILT–IN COLORFLASH A little wheel sits around the powerful built-in electronic flash and allows you to choose a red, yellow, or blue filter to tint your burst of flash light. It is mad fun at night or during the day (as a fill flash). There is a clear filter too for those days when you want to keep it real.

[ 56 ]

TECHNICAL SPECIFICATIONS Film Type: 120 medium format film Lens: Plastic 60 mm, f/8 Relative Aperture: f/8, f/11 Focusing: Manual zone focus with 4 settings Frame Format: 24mm x 36mm Stopping Down Limits: 2.8-16 Shutter Speed: 1/125, “B” Flash: Built–in color gel system Viewfinder: Built-in Multi-exposure: Yes Film stopping: Yes Tripod Socket Thread: 1/4” Dimension: 140mm x 102mm x 70mm

Shutter Release Button

Focus Ring

Flash Ready Lamp

Viewfinder Eyepiece

Frame Counter Window

Film Advance Knob

Flash Color Filter Selection Dial

Built-in Flash

Viewfinder

Aperture Setting Knob

Exposure Lens

Tripod Mounting Socket

Flash On/Off Switch

Frame Number Pointer

[ 57 ]

[ 58 ]

: HOLGA + KODAK PORTRA 400NC

[ 59 ]

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

DIANA F+ Like a true legend, the original Diana camera’s birth is shrouded in mystery and conjecture. The popular account reads as follows: back in the early 1960s, a Kowloon Bay, Hong Kong, company called the Great Wall Plastics Factory created an extremely inexpensive and completely plastic compact camera. Called the “Diana,” this little beauty was constructed of a lightweight plastic body and a cheap plastic single-element lens. Only the shutter and a few necessary parts were crafted in metal. To hold, point, and shoot a Diana camera implies a conscious decision to relinquish control. To concentrate your creative powers on capturing the moment and telling a story—rather than fiddling with a bunch of knobs and levers. A blurry-soft and dreamy-toned Diana image is more an interpretation of reality than a correct representation of it. With each click of the shutter, a moment is captured in a unique and fairly unpredictable way—and a small narrative begins to reveal itself.

HIGHLIGHTS TWO IMAGE SIZES For your pleasure, you can choose between the 12 full-frame shots (5.2 x 5.2cm), or 16 smaller square images-in the classic Diana format (4.2 x 4.2cm). MULTIPLE AND PARTIAL EXPOSURES You can advance the Diana F+ as much or as little as you like after each shot making multiple exposures, half-exposed frames, and stretched out crazy-long shots. PINHOLE FUNCTION Remove the lens, set the aperture to a super-small pinhole and shoot a super wide angle, severely old-school image through a tiny hole.

[ 60 ]

TECHNICAL SPECIFICATIONS Film Type: 120 medium format film Frame Format: 5.2 x 5.2 cm / 4.2 x 4.2 cm Lens: Plastic Focusing: 1-2 m, 2-4 m, 4 m-inf. Shutter Speed: “N” and “B” Viewfinder: Built-in Multi- exposure: Yes Film stopping: Yes Tripod Socket Thread: 1/4” Dimension: 125mm x 95mm x 76mm

Film Advance Wheel

Shutter Release Button

Viewfinder Eyepiece

Frame Counter Window

Hot Shoe

Viewfinder

Shutter Speed Selector

Signature Plastic Lens

Focus Setting Lever

Frame Number Pointer

[ 61 ]

: DIANA + FUJI PROVIA 100F

[ 62 ]

: DIANA + EFKE INFRARED IR820

[ 63 ]

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

DIANA MINI The Diana Mini has big shoes to fill being the little sister of the classic beauty Diana F+. Luckily the “Mini” was born a star in her own right. Super sweet, the Diana Mini has got plenty of style and features to the nines. With the flick of a little switch you can move from the retro square format to the amazing Half-Frame, giving you the ability to Shoot Forever, packing 72 shots onto one 35mm film! Her handy-dandy size and limitless creative potential is a revolution in analogue photography. With the Diana Mini long exposures are no biggie thanks to the “B” setting, tripod mount and cable release attachment–a Diana first. Its wide-angle lens means you can get close or chose between any of the four focal distances. There is the possibility to take multiple-exposures and if you’re into abstract expressionism when it comes to your Lomography, you can overlap frames endlessly creating multiple-exposure panoramas.

HIGHLIGHTS HALF-FRAME FORMAT The Diana Mini’s half-frame feature is both a fantastic creative story-telling tool and a financial saviour. A single roll of 35mm film will give you 72 shots. Half-frame cameras take normal 35mm film but produce twice as many shots as standard 35mm cameras. This format was long-overdue a rebirth and what better way to bring it back than in the shape of the Diana Mini. SQUARE FORMAT One of the Iconic features of the Diana F+ is its square format. So a simple switch allows you to change from rectangular half-frame mode to square format. And in square mode you will be able to shoot 36 frames like a standard 35mm film.

[ 64 ]

TECHNICAL SPECIFICATIONS Film Type: 35mm film Lens: 24mm Diagonal View Angles: 70° 62° Focusing: 0.6m-inf. Frame Format: 24mm x 24mm / 24mm x 17mm Shutter Speed: 1/60, Bulb (N, B) Aperture: f/8 and f/11 Flash Attachment: via Diana Flash Plug Viewfinder: Built-in Film Counter Type: Frame accumulate type Multi-exposure: Yes Film stopping: Yes Cable Release: Yes Tripod Mount: Yes Dimension: 70mm x 101mm x 60mm

Shutter Release

Superbly Plastic Lens

Frame Switch Indicator

Film Advance Wheel

Viewfinder

Shutter Speed Selector

Focus Scale

Legend

[ 65 ]

: DIANA MINI (HALF FRAME FORMAT) + FUJI REDSCALE 400 [ 66 ]

: DIANA MINI (SQUARE FORMAT) + LOMOGRAPHY FILM 100 [ 67 ]

: DIANA MINI (SQUARE FORMAT) + FUJI COLOR100

[ 68 ]

[ 69 ]

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

LUBITEL 166+ It’s something about that plastic body. Something about peering down through that waist-level finder. Sizing up your subject with the top lens and capturing it through crispy glass lens with the bottom. It’s simply irresistible to people who love and adore life. People who are open-minded, enthusiastic, free with their ideas, philanthropic, endlessly curious, always travelling, constantly documenting, and completely awestruck by the enduring power of analog photographs. Lubitel+ pictures have their very own look and special analog character. They are sharp, crispy, artistic, painted with light, and grand. But they’re also occasionally random, sometimes too vibrant, often vignetted at the edges, and totally flexible to your wishes and innovative tinkering. Rather than reflecting the objective reality in front of you, they reflect the subjective reality of the photographer behind the camera. They will make you look twice.

HIGHLIGHTS MANUAL CONTROLS Things are wide open. For every shot, you can choose your own aperture, shutter speed, and focus. This is truly “auto-nothing.” This affords you total control over everything that happens. Want to blur a moving subject? Want to take a shallow depth-of-field portrait? No problemo. And for you greenhorns, working your way around a manual muchacho like the Lubitel+ is a great way to learn the basics of proper photography exposures. SQUARE SHOTS, SPROCKET HOLES, AND SWEET NOTHINGS The key to keeping the spirit alive is variety. Doing the same thing gets repetitive and a bit boring. No matter what your mood, the Lubitel+ has a film format to match it. By tweaking a few knobs, inserting a few bits here and there, and spooling on a fresh film roll or two, you can choose from one of four fantastic analog formats: square 120 (6x6), 35mm portrait panoramic (58x33), rectangular 120 (6x4.5) and endless panorama 120.

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TECHNICAL SPECIFICATIONS Camera Type: Twin Lens Reflex (TLR) Film Type: 35mm and 120 medium format film Lens: Triplet 1-22 f/4.5 75mm lens Frame Format: 6 x 6, 6 x 4.5, 35mm Shutter: leaf, manually cocked Shutter Speed: 1/15-1/250 and “B” Flash Synchronization: Hot shoe X-sync Focusing: 0.8m-inf. Relative Aperture: f/4.5-f/22 Viewfinder: Folding viewfinder hood Film stopping: Yes Cable Release: Yes Tripod Socket Thread: 1/4”

Front Frame

Plate

Light Protective Hood

10 13

Viewfinder Lens

Shutter Cocking Lever

Photograph Lens

Shutter Release Lever

Cable Release Socket

Shutter Speed Ring

Diaphragm Control Lever

Self-timer Lever

Take-up Spool Spindle

Viewfinder Cover Lock

Camera Back Lock

Rewind Knob

Window Adjustment Index

Window Cover Plate

Tripod Socket

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: LUBITEL 166 + FUJI CHROME VELVIA 100 [ 73 ]

FILMS & PROCESSING

02 FILMS & PROCESSING

FILMS & PROCESSING

FILMS & PROCESS CHOOSING A BASIC FILM TYPE IS USUALLY AS SIMPLE AS DETERMINING WHAT FILM IS APPROPRIATE FOR THE TOY CAMERA TO WHICH YOU HAVE ACCESS.

SING

There are several different types of film to use with toy cameras and many more variations within those types. There are 35mm film, 120 film and 110 film. Most film types are manufactured in both black/white and color. 35mm and some larger format films can be purchased as both negative or positive film, slide film. All films are made with a different ISO or speed and varying grain. Choosing a basic film type is usually as simple as determining what film is appropriate for toy camera to which you have access. If you shoot on film, one thing to consider when choosing your film is film speed. Film speeds are given in terms of ISO ratingsâ&#x20AC;&#x201C;the higher the ISO, the more sensitive to light the film will be. If you are shooting on a sunny day, use a 100 ISO film, but if it is winter and overcast, go to a 400 ISO. Color films are available in ratings of up to 1600 ISO, but there is a trade-off with such high-ISO-rated filmsâ&#x20AC;&#x201C;the images they produce are very grainy, and the colors are not as vibrant as lower-rated films. Basically, the lower the ISO, the higher the quality of the image.

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

35MM COLOR SLIDE FILMS FUJI CHROME MS100/1000 What a rare treat we have here.This film is not for the bland, the boring, or the unexperimental. Fujichrome MS 100/1000 is a slide film that was made for push processing, and it is double numbered moniker which means you can shoot it at ISO 100, ISO 1000 or anywhere in between. When developing with crossed-processing, this film usually goes a dusty retro-green, but really depends on the ISO at which it is shot, and the type of processing you use.

FUJI T 64 KODAK EKTACHROME E 100VS This kind of vivid saturation at 100 ISO seems to be very incredible. If films could be measured in terms of dramatic effect, the E100VS would be a diva. Despite being colour balanced for both natural light and flash the 100VS holds a secret. Even in low-light conditions, its built-in saturation cranks up the colour in development, with surprisingly favourable results.

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This film is amazing. Used under warm yellow lighting, the Fuji T64 film will yield a dramatic cool blue tone to your 35mm shots. Tungsten film is designed to make the yellow light from a typical light bulb look white, therefore, it has a very strong blue cast. Fashion photographers know that shooting Tungsten film during the daylight will result in a moody and awesome blue tone on your image. Using a yellow flash will create a natural white subject in this bizarre bluesy world.

FUJI PROVIA 100F When you don’t want to be slapped around the face with saturation, but equally don’t fancy the understatement of the Astia, this film is just the thing. Provia is strong and saturated, but never overdone–even when cross processed.

KODAK EKTACHROME E 200 This fine-grained slide is stamped with Kodak’s amplifying system that controls and enhances color. It produces nice skin tones and smooth contrast that is not dull nor harsh. This film does indeed live up to its reputation in sofar as it produces very saturated yet accurate color with low grain. It can be used for anything with excellent results, from portraits to landscapes. It’s the answer for travelers who are looking for a multi-purpose film that can be counted on. Kodak Ektachrome E200 is an outstanding film for difficult and/or varied lighting conditions.

FUJI VELVIA 50 RVP You will be hooked by the amazingly saturated colors that you get. Super-saturated and as very high-res as film can get. Velvia 50 can take a wonderful, warm lighting situation and actually capture it in a more vivid manner than reality. When developing with cross-processed, greens become greener, reds and yellows pop, and you won’t believe your eyes.

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LOMOGRAPHY X-PRO 200 For whacked out colors, huge contrast, and insane saturation, where do you turn? To slide film! With the new Lomography X-Pro Slide film being made from the original Agfa RSX 200 emulsion, what more could you ask for? One pack consists of three rolls of film.

KODAK ELITECHROME EB 100 FUJI VELVIA 100F RVPF Velvia is world-famous as the most saturated slide film that you can buy. Shoot this on a bright day and develop it normally, and the results will knock you head over arse. When crossed, it gives you wild Fuji green-blue or pink colour shifts that we absolutely love.

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A gorgeous slide film that yields straight-up vivid results when normally processed. If you cross-process it, you will end up with intense saturation and contrast, but only a very subtle color shift. It is like taking everyday life and cranking it up to â&#x20AC;&#x153;11.â&#x20AC;?

LOMOGRAPHY X TUNGSTEN 64 This new addition to our 35mm X-Pro film series is all set to give you the most shocking shots imaginable! Lomography X Tungsten is a professional quality colour slide that is guaranteed to jolt you into an electrifying analogue experience.

LOMOGRAPHY X-PRO CHROME 100 A show stopper of a slide. Rather than wild colour shifts, cross processing this film intensifies hues and makes everything more vibrant and vivid. Reds pop and greens and blues beam. The high quality and fine grain youâ&#x20AC;&#x2122;ve come to expect from chrome mean great results, however you choose to develop it.

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35MM COLOR NEGATIVE FILMS

FUJI PRO 800Z Professional quality emulsion that yields gorgeous pictures in all lighting conditions. Its vibrant colors and wide exposure latitude makes it a great choice for wedding, portrait, and fashion photography.

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FUJI PRO 160S Now the “Pro” part is not just a name. The colors, contrast and dynamic range are the business. Distinctively, the film keeps the velvety-smooth fine grain that you would expect from a much slower film.

KODAK PROTRA 160 VC A true professionalâ&#x20AC;&#x2122;s choice, this portrait film yields great contrast and slamming colors, giving your shots a subtle x-pro look (without the x-pro)! Also the special Kodak T-grain technology granting you nothing but the finest grain. You can definitely see the vivid colors.

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TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

KODAK GOLD 100 Kodak Gold 100 is a color negative film that offers the best combination of color saturation, color accuracy, and sharpness at ISO 100. It is designed for general picture-taking situations in daylight or with electronic flash. You can also expose this film under photolamps (3400 K) or tungsten illumination (3200 K) with filters. Kodak Gold features excellent color accuracy and saturation and high sharpness and resolution. It also features wide exposure latitude from two stops underexposure to three stops overexposure.

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LOMOGRAPHY COLOR NEGATIVE 100 Lomo film is set for vibrant colors and great contrast. Tuned at 100 ISO it delivers small grain, fine resolution, and awesome results. Great in the LC-A+ and Colorsplash, and good for the multi-lens cameras (Supersampler, Actionsampler, Oktomat, Pop 9, etc.) when used in bright sunlight or with a flash.

LOMOGRAPHY COLOR NEGATIVE 400 Lomography is a light-grabbing sport! Quick shutters, small apertures, fast subjects, and low lights call for film that’s a little faster than your standard ISO 100 contender. But the last thing that Lomographers want to do is sacrifice any of their beloved Lomographic colours and effects for a little extra speed. To all of you plastic and multi-lensers, the dusk ‘til dawners and hi-speed bocce match Lomographers–this film is just the right choice for you.

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FUJICOLOR 200 Designed for flexibility and ease of use, Fujicolor 200 works equally well outdoors in daylight or indoors with flash. Enhanced color reproduction, sharpness, and smooth, fine grain. Fujicolor 200 captures true color even under fluorescent lights. Enhanced color reproduction and sharpness.

FUJICOLOR 100 KODAK PORTRA 400 It is a high-speed film that can be used in a wide variety of venues and for a wide variety of purposes. It delivers exceptional color saturation and features fine grain and a high degree of sharpness. With this updated version of Portra, highlight and shadow detail are no problem and, as a result of its excellent T-Grain structure, making large prints is not a problem.

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Enjoy exceptional true-to-life colors and enhanced sharpness from Fujicolor 100, a general-purpose film thatâ&#x20AC;&#x2122;s perfect for outdoor use. Dramatic improvements in green end of spectrum; Vastly improve rendition of reds and purples. Captures true color even under fluorescent lights.

LOMOGRAPHY REDSCALE XR 50-200 For the first time ever, Lomography introduces a redscale film with an extended exposure range. What this meansâ&#x20AC;&#x201D;more creative control and unlimited possibilities! These special effect emulsions allow you to tweak the ISO settings to produce different effects, so whether you want your photos to glow brightly in warm red tones, or wish to inject a bit of cool blues into your images, itâ&#x20AC;&#x2122;s all possible in just a single roll of film!

LOMOGRAPHY COLOR NEGATIVE 800 This film is a high speed film for general purpose shooting. A versatile, all-around high-speed film; High sensitivity that allows images to be captured even under insufficient light conditions.

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35MM BLACK AND WHITE B/W FILMS FILMS EFKE INFRARED IR820

This film is the real infrared deal! Marvelous spectral sensitivity up to 820nm. What does that mean? When coupled with an opaque red filter your images will blast with pure white wizardry. Trees, clouds or skin will be awakened in white.

FUJI NEOPAN ACROS This film gives awesome grey tones and razor-sharp fine-grain results. Wonderful for that old-school look, and a great film for everyday use.

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ILFORD DELTA 400 This fast film offers superior depth and dimension, even in dull and low light conditions!

ILFORD FP4 PLUS Unrivaled when it comes to high quality b/w photography, this is a great choice for enlargements with its fine grain, high acutance and exceptional sharpness.

KODAK T-MAX 3200 Not a fan of flash? For low light or natural light conditions, this multiple speed film is your best bet. Excellent grain, and remarkable sharpness —perfect when you are taking action photography too.

ILFORD DELTAPRO 3200 This super-high-speed film allows for hand-held shooting in low light without a flash. It also features a fat film grain for that authentic old school “noir” look.

KENTMERE 100 This black and white film is super awesome! Kentmere 100 has great mid tones, smooth grain, and a soft quality that will rock your world!

KODAK 400 CN A true professional’s choice, this portrait film yields great contrast and perfect tones, giving your shots clean whites and very deep blacks. Kodak T-grain technology granting you nothing but the finest grain. To top it off, this film is processed in color negative chemicals!

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120MM COLOR SLIDE FILMS

FUJI VELVIA 100F Velvia is the world-famous as the most saturated slide film that you can buy. Shoot this on a bright day and develop it normally, and the results will knock you head over arse. When crossed, it gives you wild Fuji green-blue or pink colour shifts that we absolutely love.

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KODAK E 100G Images are so animated–they reach out and grab you. A finer grained slide you couldn’t hope find. That is because the 100G is one hi-tech transparency player.

FUJI RTP T64 Tungsten film is designed to make the yellow light from a typical light bulb look white. It has a strong blue cast to cancel out the yellow. While using a yellow flash will create a natural-white subject in this bizarre bluesy world.

FUJICHROME MS 100/1000 This is a slide film that was made for push processing, and it is double-numbered moniker means you can shoot it at ISO 100, ISO 1000 or anywhere in between. When crossed, this film usually goes a dusty retro-green, but really depends on the ISO at which it is shot, and the type of processing you use.

KODAK E 100VS This kind of vivid saturation at 100 ISO seems incredible. But as you can see it is true. If films could be measured in terms of dramatic effect the 100VS would be a diva. Despite being colour balanced for both natural light and flash the 100VS holds a secret with surprisingly favourable results.

LOMOGRAPHY X-PRO 200 For whacked out colors, huge contrast, and insane saturation, where do you turn? To slide film, of course. With the new Lomography X-Pro Slide film being made from the original Agfa RSX 200 emulsion, what more could you ask for?

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120MM COLOR NEGATIVE FILMS

KODAK EKTAR 100 Now yours for the taking, the EKTAR 100 is the ultimate colour negative film. Due to its fine-grain attributes, expect minimum film grain on your exposures which means photos will look tack-sharp. The EKTAR’s contrast makes potential subjects entirely distinguishable and its colour reproduction is top-notch.

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KODAK PORTRA 160 VC A true professional’s choice, this portrait film yields great contrast and slamming colors, giving your shots a subtle x-pro look (without the x-pro)! Did we mention that special Kodak T-grain technology, granting you nothing but the finest grain? Well, there you go! You will definitely see the vivid colors in this film.

KODAK PORTRA 160 NC This Rocking Kodak’s special T-grain technology this smooth operator offers everything that a professional portrait photographer could ask for. Fine grain, smooth skin tones, natural colours, this baby has it all.

FUJI PRO 800Z Professional film quality emulsion that yields gorgeous pictures in all lighting conditions! Its vibrant colours and wide exposure latitude makes it to the great choice for wedding, portrait, and even fashion photography.

FUJI PRO 160C A pro-quality colour film that is a little faster than the Reala 100 but has the creamy-smooth fine grain of a film thatâ&#x20AC;&#x2122;s much slower (say an ISO 25 or 50).

FUJI PRO 400H One of the finest 120 color films out there. You get the extra speed of 400 ISO while still maintaining excellent fine-grain and banging colors of a slower film.

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D.I.Y. PINHOLE CAMERAS

03 DO IT YOURSELF PINHOLE CAMERAS

DO IT YOURSELF PINHOLE CAMERAS

D.I.Y. PIN CAMERAS

NHOLE S ALL YOU HAVE TO DO IS LEAVE BEHIND THE CONCEPT OF PERFECT PHOTOGRAPHS, AND BEGIN TO EXPERIENCE UNIQUE DIVIDENDS.

Pinhole photography is very much a back–to–the–basics experiences; you become actively engaged in various aspects of photography history—from the design and construction of the first camera to the developments in contemporary printing and processing technology. Constructing and using the camera will put you in touch with the physics of light and give you an understanding of the mechanics of photography. And since there is no viewfinder, you must compose the shot only in your imagination by identifying with the camera, by seeing through its pinhole eye, and by using intuition, curiosity, and a healthy does of logic. You will soon start to think and feel like the camera and the light it captures. So, where do you start? It’s amazingly simple. Start by looking around your house for the container that you can make lighttight. One of the joys of D.I.Y. cameras is the process of finding interesting and odd materials which to build a custom camera—a mechanism with its own personality capable of capturing its own unique images. It is about problem solving, pushing your own intuition, focusing thoughtfully on every step of the process and learning how to shoot in a new way. What are you waiting for? Let’s get started!

TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

HOW TO MAKE A PINHOLE Making your first pinhole can be a daunting task: How will you know if you’ve made the right–sized hole for the camera you’ve built? Is the hole round enough? Is it small enough? It’s true that the size and shape of the pinhole is important for making sharp photos, but making the sharpest pinhole images possible isn’t really the goal here. If sharpness is your main priority, then it’s best to use a camera with a lens. The truth is that any pinhole will create an image. It might not be the sharpest pinhole photograph ever taken, but that’s okay. You’ll still generate an image and learn how the size of the pinhole and the specific exposure time affect the quality of the image. The more you experiment, the more you’ll discover, but try not to get too caught up in creating the perfect–sized hole.

CHOOSING THE METAL AND NEEDLE The thinnest and strongest metals produce the best pinholes. Using 1mil copper foil is suggested over aluminum foil or soda can. Aluminum foil will work, but you need to be careful when sanding the thin foil after you’ve drilled the needle through it because it wrinkles easily. If you want to use the aluminum from a soda can, it is best to first thin the metal by placing it on a piece of wood and tapping the middle with a ball–peen hammer. If you don’t have a ball–peen hammer, try holding a carriage bolt (a bolt woth a hemispherical head) against the metal and striking the threaded end with a regular hammer. The dimple effect created by the pressure will thin the metal. Most basic sewing kits include needles measuring from size 1 to 12, 1 being the largest in diameter and 12 being the smallest. The smaller the hole, the sharper the image. Beading needles are even smaller (extra–fine beading needles measure .4mm in diameter). Using an extra–fine beading needle are recommended but a small sewing needle from a standard sewing kit will also work. Every camera you make will have an optimum pinhole diameter to match the focal length, or f–number, of your camera.

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DRILLING A PINHOLE To make your pinhole, you’ll need to create a pinhole drill. Sounds complicated, but it’s very simple. After you’ve settled on the right–sized needle, create a handle for a needle. The needle and handle will become your pinhole drill. Making the drill is as easy as pushing the blunt end of the needle into the eraser end of a wooden pencil. The best pinhole is as round as you can possibly make it and drilled into an extremely thin piece of metal. If the hole isn’t round, the light traveling through it doesn’t travel in a straight line, which causes diffraction.

DRILLING A PINHOLE Once you have determined the size of your pinhole, cut out a 0.5 x 0.5 in. section of the metal you plan to use and tape it to a pad of paper or piece of cardboard with two small pieces of black tape. With the pinhole drill in hand, twist the needle into the metal. Drill the needle into the metal just enough so the top of the needle is poking through. Once the pinhole has been drilled, remove the metal from the notepad, turn it over, and sand the other side with a small fingertip sized piece of sandpaper to remove the protrusion made by the needle. When finish sanding, hold the pinhole up to a bright light and blow through the hole to remove any dust from the sandpaper.

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METAL COFFEE CAN TECHNICAL SPECIFICATIONS NEGATIVE TYPE: 5 x 7 in. photographic paper FOCAL LENGTH: 100 mm F–STOP: 250 PINHOLE DIAMETER: 0.16 in. ~ .4 mm EXPOSURE TIME: Approx. 20-60 seconds (bright sunlight)

MATERIALS ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥

Coffee Can Black permanent marker Ruler with a metal edge Power Drill with ¼ in. drill bit 100 and 600 grit sandpaper Newspaper Pair of nitrile gloves Flat black spray paint Extra–fine beading needle (or small sewing needle) Wooden pencil with eraser Soda can, tinfoil, baking tin, or 1 mil copper foil 1 in. black photograhic tape Scissors 1 x 30 in. roll of magnet tape ¼-20 steel weld nut or tee nut ¼-20 fender washer Needle-nose pliers Slip-joint pliers J–B WELD Thick cardboard or chipboard Wooden BBQ skewers Rubber bands

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DRILLING THE CAN With a black permanent marker and a ruler, mark a point 2.5 in. from the bottom of the can. Using a power drill, drill a hole through the mark. The hole should measure approximately .125–.25 in. This is where you will center the pinhole later. Sand down any burrs with 100 grit sandpaper. Gently run your finger over the hole after sanding to make sure it is smooth and free of sharp metal.

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PREPPING AND PAINTING THE CAN Cleaning and painting the can the night before are recommended so there is plenty of time for the paint to dry. Start by emptying, washing, and drying your can. Once your can is dry, prep a well–ventilated area with newspaper. With a pair of nitrile gloves on, paint the interior of the can with an even coat of paint. When you are done painting, place the can in a area where dust and debris won’t blow into the can and stick to the paint.

MAKING THE PINHOLE This is the fun part. With an extra–fine beading needle or a small sewing needle, drill a 0.16 in. hole in a thin piece of metal. Make sure to smooth down the punctured hole with 600 grit sandpaper (or 1000 grit, if available) and remove any sharp edges. Once you are satisfied with you pinhole, draw a small circle around it with a black permanent marker. This will help align the pinhole with the hole you already drilled in the can.

metal showing, the shiny surface could reflect light onto your paper negative during exposures). Once you’ve taped around the pinhole, attach it to the can so it’s centered with the .125-.25 in. hole you already drilled in the can.

On a smooth surface, apply four pieces of black photographic tape on the metal as close to the pinhole as possible without covering it. This side will face your negative inside the can (if there’s a large section of

With scissors, cut a 4 in. long strip of magnet tape. Then peel off the backing on the magnet and place a piece of black photographic tape in its place. Place a magnet over the pinhole, and you’re done!

MAKING THE SHUTTER

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MATCHBOX TECHNICAL SPECIFICATIONS NEGATIVE TYPE: 35 mm color or black-and-white film (ISO 50 or 100) FOCAL LENGTH: 17 mm F–STOP: 103 PINHOLE DIAMETER: 0.006 in. ~ .16 mm

MATERIALS ≥ Empty matchbox (The taller the box, the better) ≥ Ruler with a metal edge ≥ Wooden pencil with eraser ≥ X–ACTO knife with no. 11 blade ≥ Black permanent marker ≥ Standard manila file folder ≥ 1 in. black photographic tape ≥ Single–hole punch ≥ Glue stick ≥ Scissors ≥ Extra–fine beading needle ≥ Needle-nose pliers ≥ Soda can, tinfoil, baking tin, or 1 mil copper foil ≥ 600 or 1000 grit sandpaper ≥ Reusable 35mm film cassette or empty film cartridge ≥ OOK ring binder ≥ Cotton ball or small piece of tissue paper

EXPOSURE TIME: 0.30-1 second (bright sunlight)

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CUTTING THE MATCHBOX Pretty much any matchbox will work for this exercise, but there are a couple of things you should consider before you begin. A piece of 35mm film should be able to fit inside the matchbox. To check this, insert the leader of a roll of film through the bottom of the matchbox. If the film can slide through the inside the box without bending, you’re good to go; if not, you’ll need to find a larger box. Don’t worry about what the matchbox looks like, since you’ll be covering it with tape to make it lighttight. Once you’ve determined that your matchbox can accommodate 35mm film, find the location of the box’s center by drawing an × on one side of the box with a ruler and pencil. Make sure the blade in your X–ACTO knife is sharp, and cut out a 0.25 x 0.25 in. square in the center of the box. Pull the inner tray out of the box, and on the bottom of the tray, draw and cut out a 36 x 24 mm rectangle. A dull blade will likely blend or tear the box as you cut. Any frayed edges will be seen by the film and captured, but that can be cool, too, so don’t stress out about cutting it perfectly. Use a black permanent marker to color the interior of the box black. This will prevent light from bouncing around inside the box during exposures.

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MAKING THE SHUTTER SLEEVE Cut a standard manila file folder in half, along the fold, and run a long piece of 1 in. black photographic tape along the top edge. You need to apply tape to only one side of the folder. Measure and cut a 2.25 x 1 in. section from that taped strip. (Set aside the extra section of this long strip; it will come in handy as a measuring tool later on.) With the dull side of the blade, and on the side of the manila folder section that isnâ&#x20AC;&#x2122;t covered with black tape, score a 0.25 in. line from both ends. And once youâ&#x20AC;&#x2122;ve scored both ends, fold the scores to make flaps on each side of the shutter sleeve.

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MAKING THE SHUTTER ENVELOPE 1. Place the longer edge of your matchbox in the center of the manila folder, along the 11.5 in. edge, and trace as close as you can around the box with the pencil. Then move the box up and align the bottom of the matchbox with the top line you just made and trace again. When you’re done, there should be two rectanglesl: one on top of the other. 2. Now measure and draw three lines, 0.25 in. from the existing rectangular boxes (one line parallel to the left side, one line parallel to the right side, and one horizontal line across the top). 3. Draw 45° angles on the top box. These are glue flaps: don’t worry if the lines aren’t perfect because nobody will see them. Cut out what you’ve just drawn with an X–ACTO knife or scissors. 4. After the paper is cut out, score the line between the two boxes and the three glue flaps with the dull end of your X–ACTO knife. Fold all scores and make an × on the bottom rectangular section by drawing two lines from each opposing corner. This will help you determine the exact center of the shutter sleeve. 5. Unfold the shutter envelope and take the 1 in. long strip of manila folder leftover from cutting the shutter insert, and align it in the center of the envelope. On both folds of the top box, make a mark on each side of the 1 in. shutter sleeve with a pencil. 6. Using a metal triangle ruler, cut along the fold from one mark to the other. Make sure you don’t cut past your pencil marks. Doing that will make the shutter insert loose and uneven when you insert it into the shutter envelope. Fold up the shutter envelope, turn it over, and draw an × on the back to find the center. 7. Slide the shutter insert into the shutter envelope and push one side of the sleeve all the way to the end until it reaches the fold. Hold the shutter in your hand and use your hole punch to make a hole through the shutter envelope and insert. 8. Apply glue to the flaps on the shutter envelope. Try to avoid getting glue on the shutter insert when doing this. Once the flaps of the shutter envelope are glued and pressed down, you’ll need to apply a couple of pieces of black tape to the front of the envelope. 9. Trim the extra tape from the edges with scissors, but leave about a 0.25 in. of tape to fold over onto the back of the shutter envelope. 10. Since you’re taped over the hole in the shuter envelope, you’ll need to punch through the tape you’ve just applied. And now your shutter is done!

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MAKING THE PINHOLE Since there isn’t a standard pinhole size for matchboxes, you’ll first need to measure the height of your box. The box I used for this exercise measured 0.6875 in. For a height of 0.6875 in., my focal length is 0.006 in., giving my camera an f–stop of 103. Making a perfectly round 0.006 in. pinhole is difficult and will take some patience and practive. Start by using an extra–fine beading needle and drilling just the tip of the needle through whatever metal you decide to use for your pinhole. Rememeber to sand both sides of the metal with 600 or 1000 grit sandpaper to thin it as much as possible. When you are satisfied with your pinhole, cut the metal to about 0.25 x 0.25 in. square and apple black tape on all four sides, as close to the pinhole as possible without covering it. Too much exposed metal could reflect light back onto your negatives. Cut off excess tape, align the pinhole to the hole in the back of your shutter envelope (the side without black tape on it), and tape in place. Drawing a circle around the pinhole in black permanent marker will help you align the pinhole with the hole in the shutter.

APPLYING THE SHUTTER AND PINHOLE AND LIGHT PROOFING THE CAMERA The next step is to attach the shutter and pinhole to your matchbox. Make sure the hole in the shutter envelope is centered over the square you cut out of the top of the matchbox. Instead of gluing these items to the matchbox, using tape is suggested in the event that you want to pull the shutter off to make repairs of to change out your pinhole at a later date. When doing this, make sure you don’t get any tape in the way of the shutter sleeve or the interior box of the matchbox. Finish by using black opaque photo tape to cover any areas where light may be able to shine through.

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LOADING THE CAMERA 1. Place the leader of the film underneath the tray and insert both into the matchbox. 2. Open the empty film cartridge and remove the interior spool from the cartridge. Take a piece of black tape and attach the film leader to the spool. Make sure it’s securely attached to the spool, otherwise it can come undone when advancing the film later. Use two pieces ot tape if neccessary. 3. Once you have the film leader attached to the film take–up cartridge, wind the film once around the spool, insert it back into the cartridge, and screw on the cap. 4. The next step is to find something that will work va handle, to help wind the film into the take–up canister. I use modified OOK picture hangers. The goal is to open up the end of the hanger so it can easily fit into the film cartridge. By crimping the hanger with a vise or pliers, it reduces the width of the hanger (from side to side) but also opens the space between the two pieces of metal, allowing it to slide into the top of the spool. 5. After you’ve attached the handle into the empty film take–up cartridge, firmly secure the two cartridges to the matchbox with black tape. 6. When doing this, make sure you butt the cartridge snug to the box (if the fit is loose, the tape may stick to your flim, making it difficult to advance it through the camera). Cutting tape in half (lengthwise), will make it easier to mold around the edges of the spool. 7. Use generous amounts of tape, but be careful not to get tape on any moving parts of the film cartridges. 8. tape a cutton ball or crumpled–up piece of tissue paper to the bottom half of the take–up cartridge. This will help keep tension on the film once it’s wound tnto the cartridge. Once your cotton ball or tissue paper is in place, make sure that the shutter is in the closed position and advance the film that was exposed during the loading process into the take–up cartridge. Two or three cranks should do the trick. If you find that the film crank winds back in the opposite direction after you let go of the handle, add more tension by securing the cotton ball tighter to the cartridge. And now you are ready to shoot!

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TOY CAMERAS: A WORLD THROUGH PLASTIC LENSES

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CARDBOARD TECHNICAL SPECIFICATIONS NEGATIVE TYPE: 5 x 7 in. photographic paper FOCAL LENGTH:

INSTRUCTIONS ≥ Cut a 1x1 cm. square of foil or soda can. ≥ Punch a small hole in the center of the square with the needle. ≥ Cut and score all pieces. ≥ Attach the foil pinhole. ≥ Assemble the box and attach the shutter mechanism. ≥ Feed the film into the canister. ≥ Lay the film onto the open box, and close the frame over the top. ≥ Use the sharpie to build the light tub for extra light protection. ≥ Insert the light tub into the box. ≥ Enjoy, now you’re ready to shoot!

100 mm F–STOP: 250 PINHOLE DIAMETER: 0.16 in. ~ .4 mm EXPOSURE TIME: Approx. 20-60 seconds (bright sunlight)

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DIRECTIONS: 1. SCORE ON DOTTED LINES 2. CUT SOLID LINES AND ALONG EDGE 3. CUT GREEN AREAS

TAB

INSERT THIS TAB INSIDE THE SLOT

THIS FOLDS INSIDE [NO TAPE]

: EXPOSURE TIMES [SECS]

4-8

12-20

WIND FILM ONE FULL TURN AFTER EVERY SHOT

THIS FOLDS INSIDE [NO TAPE] TAB

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30-3

TAB

THIS TAPES TO THE INSIDE OF THE BOX

STICK THIS TO THE INSIDE OF THE CONSTRUCTED CONE B TA [ 115 ]

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GALLERY