After much procrastination, I finally shot the roll I put in the Rubikon paper-pinhole and developed it the other day. Some for the results were surprising, especially the indoor one with long exposures. Above was natural light only for about a minute (if I remember correctly).

I experimented with a flash for this one, all the lights in my room (25w lamp, orange strip-light and 100w tungsten bulb) were pointed at the subject, a.k.a my brother. The camera was balanced on a tripod and the shutter opened for about 45 seconds and my flash fired thrice for different angles. All that it was still 3-4 stops under exposed.

The photos I took outside were more blurry because I couldn't be bothered to take a tripod with me and thought I could just balance it on gateposts, et cetera.

Lovely, lovely light leaks.

Part: 2a coming verry soon.

Dobrý Den!

Czech designer, Jaroslav Jurica, has designed the Rubikon, a paper pinhole camera that can be printed out on card at home and glued into a functioning pinhole camera.

This is the v.2 of the Rubikon (called the pinhole rebel) was released earlyer this year and is simpler to cut out and fold than the original v.1, even if not quite as cool looking.

Download it today and get snapping... well more *slide... [wait] ...slide*. Rubikon 2

I have mine printed out, foled and glued with aditional black paint on the inside for added security. I don't have any photos from it as yet, but I will put them up with Part: 2; the original paper pinhole.

In 1979 the ABC magazine published a jigsaw called Dirkon, which paraphrased the single-lensed reflex cameras, which used to be very popular at that time. The cut-out Rubikon was first published in 2005 in the 8. issue of the ABC magazine, 25 years after introducing Dirkon

Via: Hubero Kororo

Hey! This film has been waiting a long time to be seen. When I made it I didn't have a Super 8 projector that wouldn't eat the film as it played, and now I do! Only £5 as well. But here it is; Rurbanural, my first Super 8 film. Due to time restraints I was forced to develop it in the bath by hand. Long story short, the chemicals were too cold and it came out black. I put it in bleach to take off layers of emulsion till I got down to the blue one, and this is the result.

It seems that Kodak have decided to revive the Box Brownie for the 2012 London Olympics. It's not a new move, they have been known to make commemorative Brownies for other events and anniversaries.

Taking form the design of the 1962 Flash 3 model, the 2012 features no controls apart from the shutter, an out sized flash (folds out from the body of the camera) and a range of colours.

"Like the original Brownie, the user must look down from above into the viewfinders; and like the original Brownie, a different viewfinder is used depending on the orientation of the camera and the picture being taken, one viewfinder is used with a portrait image and the other for a landscape image. For low-light photography, a flash is included in the camera. Unlike older box-Brownie models, the flash is included in the design and pivots outwards from its storage position inside the side of the camera."

From what I've read it's digital, but with no means of looking back at what you've taken 'till you get to a computer. Ah... the best of digital and analogue combined!

In my humble opinion, the colours; good, the face on the front; bad. It might be just me, but it seems cheesy and too obvious. Apart from that, I'll be doing all I can to get one.

via Yanko Design and Trend Hunter

Some more photos from where I live. All shot on my Ilford Sportsman with Ilfod HP4+ 125 (a match made is heaven or what?). Some came out better than others. I scanned them as slides and I don't think that helped get a good image.

My first successful roll of 120 shot in my Holga.True, I have shot one roll before, but what hapened in the darkroom, shall forever stay in the darkroom.

I was stumbling around the inter-webs and came across the work of the Romanian photographer Rares Cuciureanu. His photos on this page have a beautiful archival quality about them, and I just wanted to share them with you.

via 2photo.ru

JPG Magazine

If you ever develop your own black and white negatives, you may have noticed that a roll may come out purple on the odd occasion. This is more prevalent in a community dark room, where the fixer is reused, but still, it happened to me last night. I was developing a roll of 135 and 120 in 2 tanks, and poured the fixer from the 135 to the 120 and regret to say that I didn't leave it in long enough! My negs are purple!

If you ever come across this problem yourself, it's because it isn't properly fixed. Put it back in the fixer for another 2 minutes and have another look. It won't be as good as if you had left it in for long enough to start with, but still...

If you fix it properly a sliver-based (black and white) negative can last more than 100 years, so you'll have plenty of chance for reprints.

Wouldn't we all love to shoot 120 on a Hasselblad or Rolleiflef all the time? No? Well be that way (darn Internet folk, tsk).

OK, so you probably like the look of medium format, but don't want the hassle of 12 shots per roll and getting it developed at extortionate prices. I have done this little tutorial to show you how to do it in Photoshop. If anyone feels like making an action, go ahead, just drop me a comment.

Here is a real 120 photograph taken on HP5+ 400 in a Ensign Ful-Vue:

And here is my fake one taken on a Nikon D60:

Great! Let's get started!

Step 1: Open your chosen image and crop it into a square. Using the shift key and the crop tool will let you get a perfect square.

Step 2: Make it black and white. You can do Cmd+Shit+U (mac) or Ctrl+Shift+U (pc), but the best method that will keep the most data (and result in better results) is to create a new layer (1), then go Edit> Fill... (2). This will pop up a little box, (3), choose 50% gray and OK it. Set the transfer mode to Colour (4).

Step 3: Select the gray layer and press Cmd+J (Ctrl+J) and set the transfer mode to Normal. You then want to go to Filter>Noise>Add Noise... and check Gaussian and Monochromatic. Play with the amount until it looks good and OK it.

Step 4: Set the transfer mode of this noise layer to Overlay and mess with the Fill Opacity until it's not too overpowering no un-noticeable.

Step 5: Here's another little trick... click the little menu icon in the corner of the Layers palette and Option (Alt) click Flatten Image. This creates a copy of the document and flattens it to one layer at the top. This way you still have all the editable layers underneath. Clever huh!?. Don't forget to use the Option/Alt key, though!

Step 6: Remember creating the 50% gray layer, do the same again but this time choose black. Move it underneath the top (flattened) layer. Select the flattened image and press Cmd(Ctrl)+T and drag one of the corner pins in towards to centre whilst holding down the Shift and Option/Alt keys. You want to create a border like the one on the original photo.

Step 7: For the black layer I added a bit of dark gray in the bottom right and an over exposed edge. The gray is easy, but to get the edges, I played with different settings for the brushes, using textures, etc... if you play, you'll find a way that works for you. Do this on a separate layer to the black.

Step 8: The image is still a bit clean, select its layer and press Cmd/Ctrl+J which will duplicate it. The the Gausian Blur form the Filter>Blur menu on to make it so the borders are just a bit softer. Add a layer mask (click the little circle in a rectangle at the bottom of the layers palette) click the newly created mask and a black border should form around it, paint black over the middle of the image (where it doesn't want to be blurred). Hold down the Option/Alt key and drag the mask to the other layer. Select the bottom mask and hit Cmd/Ctrl+I and hey presto, blurred edges and a hard centre.

Step 9: Add the stock info text in the font Futura (for Ilford film at least). To get the little arrows, you can use a font like Wingdings 3 and use Photoshop's text options to stretch the arrow out. Select the text and both images and rotate them slightly.

Step 10: For added authenticity, add a new layer and use the single pixel column Marquee tool and fill a few lines with white.

Step 11: Now play around with brushes, using the eraser this time. to get a scratch like result. Finally set the transfer mode to Add and drop the Fill Opacity until it looks awesome.

Et voila! Fin! If you like post a like to your results in the new-fangled comment system.