Eddie Erdmann – Alaskan Pinholes

Eddie Erdmann has traveled to many places since he left his home in Turnerville, Alabama. And while he has enjoyed seeing the world; nothing has enlightened him in the way that Alaska has. Alaska has been well known for its captivating beauty and overt, untamed landscapes. To Eddie, Alaska spoke clearly and drew out the photographer that he had hiding inside. We at f/D have an immense gratitude towards Alaska for cultivating the deep curiosity and creativity that is Eddie Erdmann.

Spend some time taking note of the great scenery, from the vast highway to the creamy water flow falling through the woods. Alaska likes to show her legs and they are beautiful.

[singlepic id=183 w=600]Rails to Girdwood[/singlepic]
Taken on the Alaska Railroad tracks just north of Girdwood, with Mount Alyeska in the distance.

[singlepic id=180 w=600]Alyeska[/singlepic]
From the first roll of film put through Eddie’s Reality So Subtle 6×17, Eddie took this in August 2014 while showing his visiting mother around Alaska.

[singlepic id=182 w=600]Matanuska Glacier 2[/singlepic]
Taken on an exploration of the Matanuska Glacier in August 2014.

[singlepic id=184 w=600]Virgin Creek Falls[/singlepic]
In Girdwood, Alaska, soon after the Alyeska Ski Resort photo was taken.

[singlepic id=181 w=600]Ghost Spruce Forest[/singlepic]
A subject that pulls at Eddie every time he sees it, these spruce trees died after the earth subsided during the 1964 Alaskan Earthquake, which was the strongest ever recorded in North America (magnitude 9.2). The salt water of Cook Inlet preserved the trees, and their corpses still stand to this day. 

[singlepic id=179 w=600]Alaska Highway Yukon[/singlepic]
Taken in the Yukon, Canada last winter. The highway is largely deserted at that time of year, allowing for some long exposures without interruption.

More of Eddie’s work can be found on Flickr and his personal portfolio site.

 

Get Inspired – NovartisCampus Tanaguchi

Today we get juxtaposed in the angles of our featured pinhole photo.

NovartisCampus Tanaguchi
[singlepic id=200 w=600]NovartisCampus Tanaguchi, 8Banners, Fuji Provia, ©Rudi Neumaier 2015[/singlepic]

Rudi Neumaier is a Swiss photographer that thrives on the experimental possibilities that are presented by combining older photo techniques and digital processes. For this photo, he captured a triple exposure with his 8Banners pinhole camera and then converted to black and white in photoshop.

You can find more of Rudi’s work on his personal website, Flickr,  Fotocommunity, Fotoblur, or Black+White Magazine.

 

Get Inspired – The Old Schoolhouse

Today’s featured photo is wonderful in its simplicity.

The Old Schoolhouse
[singlepic id=199 w=600]The Old Schoolhouse, Holga 120 PC, ©Robert Crutcher 2015[/singlepic]

Robert Crutcher captured this quiet piece of serenity with a Holga 120 PC while in Blackhead Newfoundland, near St John’s. The simple scene, with warm sun and shadow, seems to perfectly fit the one room schoolhouse, and recall a day when it served the small community’s children.

More of Robert’s work can be found on Flickr.

 

Notes on 3D Printing Pinhole Cameras (or “You Can Do It Too”)

Editor’s Note: In many circles today, 3D printing is making huge waves. This relatively new technology, which was once reserved for large corporate R&D departments, is now available for a larger market to make numerous innovative products. One could say that it was only a matter of time before this technology made it’s way into photography circles.

With the numerous possibilities of 3D printing in mind, ƒ/D is overjoyed today to bring you an article written by guest author Todd Schlemmer. Todd joins us to enlighten us on his adventures in 3D printing pinhole cameras and how you can print one of his cameras, even if you don’t have your own printer!

All images in this article are ©Todd Schlemmer.


 

[singlepic id=190 w=200 float=right] [/singlepic]I built my first pinhole camera some years ago, a heavy mahogany box bristling with all the brass embellishments I could find at the hardware store. I had thought about making such a camera for a long time, and I read everything I could find on the subject before sitting down to do the math. I selected a 6X6 format, and despite my ignorance and ham-fisted carpentry, the darned thing worked. To a degree. Sort of.

My camera’s – and my photographs’ – defects weren’t related to the basic calculations of pinhole photography and camera design, but to practical, film-handling considerations. I didn’t trust little red panes to keep photo-destroying light at bay. Without accurate indexing, I wasted film or worse, overlapped my photos. Unloading that first camera became a nervous exercise in destroying exposures. The shutter was a felted blade that pivoted open, often blurring the resultant image with movement.

I loved everything about it.

I designed and built another camera, and another, each an evolution from the previous. I improved the shutter, lightened the construction, and my photos improved. Learning to use a light meter and pre-calculating exposures with reciprocity failure went a long way towards better photographs, but I also came to know and trust my camera and films.

My Background

Three years ago, I had no idea what I was going to do with a 3D printer. Certain patents had expired and the technology was finding its way to hobbyists. I bought a kit of hardware and smoky laser-cut plywood parts and assembled them, intimately teasing out their secrets in the process. Meanwhile, I taught myself how to design objects for 3D printing, using tools like TinkerCad and OpenSCAD. Watching my new machine print an object, layer after layer, fascinated me. As my technical proficiency increased, my designs became more complex and I began to think about making functional objects instead of gnomes.

Which lead me back to pinhole cameras (and got me making pinhole photographs again). I was inspired by the Dirkon, a paper-craft pinhole camera design published in a Czechoslovakian magazine in 1979. A single printed template for the Dirkon could be used by many people to make a camera, and hundreds – possibly thousands – were cut out, folded up, and glued together.

[singlepic id=194 w=200 float=left] [/singlepic]My first 3D printed pinhole camera design was an ugly 35mm job PINHE4D that worked beautifully. I then designed a large format 4X5 camera, the PINH5AD, which worked well too. The PINH5AD received some attention on various blogs and websites. I’ve since designed many more cameras and accessories, all of which are freely available for download.

 

[singlepic id=193 w=200 float=right] [/singlepic]Thingiverse.com is a free online repository for sharing 3D printing files, owned by Makerbot Industries, a 3D printer manufacturer. Posting my work on Thingiverse.com proved a perfect way to share my work and hundreds of people around the world have downloaded my pinhole camera designs. I continue to iterate my designs, improving and refining construction, details, and accessories and I receive priceless feedback from people who 3D print and/or use them. The cameras are licensed as “Collective Commons Attribution-NonCommercial” which means that anyone can share, download or 3D print them, or modify them to their purposes, so long as the original design is credited, and no money changes hands.

When I shared my first camera designs, some people were skeptical that they worked without any photographic proof. I now post every photograph I make with my pinhole cameras. I aspire first to make good exposures and then good art, and I don’t alter, manipulate, or otherwise edit my scanned negatives and slides. My photos are an objective history of my learning process – 3D printing and pinhole photography.

[singlepic id=188 w=500]Bridge, Taken with PIN5HAD[/singlepic]

About 3D Printing

If you’re not familiar with 3D printing, the concept can be mind-blowing. Essentially a tiny computer-controlled glue gun, the printer actually draws an object in three dimensions, layer by layer. For hobbyist / consumer-type FDM (Fused Depositional Modeling) printers, the “ink” is a thermoplastic polymer filament with desirable thermal, strength, and stability properties. The filament comes in rolls and is either 3mm or 1.75mm in diameter. Filament is usually about US$40/kg, but you can pay more or less.

An object is designed in a simple CAD environment, and saved as a file which can then be “sliced” for your printer’s capabilities and your preferences. Like a player piano, the 3D printer reads the resultant Gcode, obeying the the sequential instructions for building the object.

It is mind-blowing.

Designing for 3D printing is an interesting exercise. Each layer of a 3D printed object requires something under it for support. If you wanted to 3D print a miniature kitchen table, the best way to print it would be to flip it upside-down. Printing it right-side-up works fine until you finish printing the legs and then the next layer, the underside of the tabletop, is mostly printed over thin air. A 3D printer will happily try to make this happen, but expect a pile of extruded plastic spaghetti. The software programs that convert a CAD file to 3D printer instructions can usually build temporary support structures to support overhanging parts, but the table is an extreme example and the required support is wasteful in time and materials. To avoid “overhang” issues, I have designed my cameras as collections of discreet parts which must be assembled with a few bits of hardware. This lets me optimize each part’s design and orientation for “printability”, but they still require finishing and assembly.

[singlepic id=196 w=500]Tank, Photographed with the PINHE4D[/singlepic]

 

3D Printing Options

[singlepic id=192 w=200 float=left] [/singlepic]I give my designs away because I want people to use my cameras
I recognize that most people do not have (or believe they don’t have) access to a 3D printer. This situation (currently) makes for a technological or economic barrier to entry. However, 3D printers are becoming more common, are becoming cheaper, and the sharing economy is making the technology more widely available. So, lacking a printer, how can you get one of my pinhole cameras?

Use a 3D printing service
Shapeways and Ponoko are two such web-based services, and I am sure there are others. My first foray into 3D printing was having custom Prius hubcaps printed by Shapeways, while I waited for my 3D printer kit to arrive.

These companies use commercial 3D printers that differ from the FDM consumer machines for which my cameras were intended. This would be an expensive experiment, but you could have a camera printed in a variety of materials. Of course, opacity and strength are considerations; so too are post-printing fit and finishing. Ceramic or aluminum are probably not viable options.

Peers with 3D Printers
There are a number of websites that serve to connect people possessing 3D printers with those who would 3D print something. I have participated in such a website as a 3D printer guy, but was discouraged by many designs that were unprintable. Coming up with your own design, from scratch, can take a lot of trial and error that is difficult without a printer at hand. Because of this, I’ve made sure my cameras are vetted designs that print well on a variety of machines, and you can be confident that taking my design to one of these printers should work well.

[singlepic id=189 w=500]Church, Taken with P66W[/singlepic]

 

Join a Makerspace or Hackerspace
Known by a variety of names, these are community-operated physical places, where people share their interests in tinkering with technology, meet and work on their projects, and learn from each other. Hackerspaces typically have 3D printers, laser cutters, assorted milling or wood-working tools, but every facility is different. Classes are often available. I learned how to program the open source CAD application OpenSCAD through a class I took at a local hackerspace. Expect to find very savvy people who can help you with your 3D printing project. Costs are often very reasonable but membership or hourly rates may apply.

Find a friend with a 3D printer
Ask around. When someone starts using a 3D printer, odds are good they will share what they’re doing with co-workers, friends, and family. This person may be able to help you. Expect to pay for time and materials.

[singlepic id=191 w=500]Mt Si, Taken with PINH5AD[/singlepic]

 

Get a 3D printer
It’s not as crazy as it sounds! A versatile printer that can produce my cameras and other nifty things can be had for less than US$500. Obviously, I believe in the future of this technology and I hope my pinhole camera projects serve to evangelize and promote it. There are all manner of clever people designing clever things and sharing them online. You can join their ranks.

Some advice, should you set out on this adventure: Buy and use open source products whenever possible. There are a number of contentious patent wars being waged by big players against smaller players. This situation is ugly and threatens to stifle innovation and increase costs. MAKE: magazine regularly reviews 3D printers and is a “Maker” Consumer Reports. Secondly, a 3D printer can be a fiddly beast and you will benefit from assembling a kit for your first printer. You’ll save some money, and you’ll learn exactly how your printer works, making your printer a tool, rather than an appliance.

[singlepic id=195 w=500]Space Needle, Taken with P66W[/singlepic]

 

Buy a pinhole camera from me
3D printing is not a process that lends itself to mass-production. 3D printing is best applied as distributed production, meaning that everyone who wants an object can just make their own. Originally intended for rapid prototyping, it has become an engine for novelty and customization, but cannot compete with other production technologies like injection-molding or even sand-casting. I don’t want to be in the 3D printing business. I want you to 3D print your own cameras, assemble them and make awesome photographs.

However, I recognize that the intersection of pinhole photographers and 3D printer owners is a tiny set of interesting people. So, occasionally, I sell cameras to photographers on Tindie.com. I haven’t listed everything that I can make, and demand is small, but if you want a camera, I can print and assemble it.
CAD software allows me to accurately dimension focal lengths and frame sizes, and the pinholes in my cameras are hand-made with equal precision. I use 0.001-inch-thick brass sheet and “drill” the aperture with a tiny precisely-measured awl. Finally, the pinhole is measured under a digital microscope and examined to check for flaws and roundness. This degree of precision allows me to specify an f-number for my cameras with confidence.

[singlepic id=197 w=500]Tube, Taken with P66[/singlepic]

 

Guidelines for 3D printing one of my cameras

Source files
As mentioned, all my camera designs (et al.) are freely available for download from Thingiverse.com

Some of my designs feature optional or redundant parts that can be confusing. Parts are “plated” (grouped for printing multiple parts simultaneously) and available as discreet objects. Additionally, my recent designs have a zip file containing all the necessary parts to 3D print a camera. Start with one of those. If you have questions, or problems with the files, I am very accessible through the Thingiverse messaging system and/or comments section for an individual design.

Materials
For FDM 3D printing, the two primary filament choices are ABS (think LEGO) or PLA (think compostable picnic ware). Prices are usually comparable, but the materials differ in various properties.
ABS is absolutely opaque, resilient, but stinky when printed. It also has a vexing tendency to warp while being printed. PLA is more pleasant to use, smelling like maple syrup (really!), is not prone to warping, but is often translucent to light which is a negative for camera production. I have found a PLA made by Shaxon that is both opaque and cheap (US$25/kg) and there may be other suitable filaments from other vendors. There are a number of other plastics that people are experimenting with, but they tend to be pricey, fussy, and are typically transparent-ish.

Slicing
This may mean nothing to you at this point, but when you get a 3D printer, this will begin to make sense. The objects to be printed are files in an STL format. Essentially a numerical representation of a three-dimensional volume, this shape must be “sliced” into layers before printing. The slicer (ex. Slic3r or Cura) serves as a printer driver to your 3D printer and controls tool-pathing, layer height, speed, and infill density among others. The slicer generates a set of instructions in “Gcode” to explicitly tell the printer how to build your object. The Gcode controls the temperature of the extruder and the heated print bed, the speed of the extruder while printing, the diameter of your filament (Yup, it varies), cooling fans, among many other parameters. It is beyond the scope of this forum to walk you through all the possible settings for your slicing software, but most 3D printers come with a configuration to get your started.

Once you have set up your slicer software, the important parameters are:
Layer Height – All my camera’s parts are some multiple of 0.20mm in height. Setting layer height to 0.20mm will provide dimensional accuracy.

Infill – I usually print with at least 50% infill for durability, but you can get away with less if your filament is opaque or you want to save some time printing. Infill can take a number of forms (rectilinear, hexagonal, and exotic mathematical structures), but simple is often best.

Top and Bottom Layers – Again, opacity and strength are very important, and I use at least three solid layers top and bottom. This means that the 3D printer will print three solid layers before it begins to use a fractional infill for the interior of the part. Similarly, the printer will print the top three layers of any surface as solid. The first solid layer may be rough or droopy, but subsequent layers will smooth out.

I hope you are intrigued by 3D printing and I sincerely hope you print one of my cameras!

 

Get Inspired – Suburb X

Today’s featured pinhole photo takes us to a rougher neighborhood.

Suburb X
[singlepic id=198 w=600]Suburb X, Homemade camera, Fuji Velvia, ©Matko Vucica 2015[/singlepic]

Matko Vucica, based in Zagreb, Croatia, made this transcending photo with his homemade pinhole camera using Fuji Velvia film. He’s made a number of pinhole images on slide film, and the richness of color and smooth tonality work well to bring forth his vision in this photo.

More of Matko’s work can be found on Flickr and his personal website.

 

Get Inspired – Pinhole 06

Today our featured pinhole photo explores our interactions.

Pinhole 06
[singlepic id=187 w=500]Pinhole 06, ©Silvino González 2015[/singlepic]

Silvino González is a Colombian photographer that has gained some notoriety for his unique way of depicting life around Bogota. He brings forth a fantastic vision through the use of many different alternative processes. His Flickr account is well worth the perusal.

You can find more of Silvino’s work on Flickr, 500px, and his blog.

 

Get Inspired – ~/\

Today our featured pinhole gets us lost in island grasses.

~/\
[singlepic id=185 w=600]~/\, Holga WPC, Fomapan 100, ©Vernon Trent 2015[/singlepic]

Vernon Trent created this moody image of a hill of island grasses on Sylt Island, Germany. His capture of the path through the grasses leads us into a misty setting – the perfect place to hold off the work week just a little longer this Monday.

More of Vernon’s work can be found on Flickr, Tumblr, and his personal website.

 

Get Inspired – Pinhole #4

Editor’s note: The daily pinhole photos are curated and shared to inspire and elevate the pinhole photography artform. Do you have a photo you’d like considered? Tell us about it.

Today’s featured pinhole photo focuses on nothing, and therefore everything.

Pinhole #4
[singlepic id=171 w=550]Pinhole Vision #4, ©Thomas Fitt 2015[/singlepic]

Hungarian photographer Thomas Fitt wielded his matchbox pinhole camera to make this excellent capture. By handholding and moving the camera over his wife’s flowers, he focused not on the flowers themselves, but on the emotion of the richness and color.

You can find more of Thomas’s work on Flickr, Facebook, and his personal website.

Get Inspired – Pinhole Seesaw

Editor’s note: The daily pinhole photos are curated and shared to inspire and elevate the pinhole photography artform. Do you have a photo you’d like considered? Tell us about it.

Today’s featured pinhole photo will bring out the kid in you.

Pinhole Seesaw
[singlepic id=170 w=600]Pinhole Seesaw, ©Darren Constantino 2015[/singlepic]

To make this fun pinhole photo, Darren Constantino mounted his camera to a seesaw as his sister Sharon rode the other side. The result is a wonderful example of how the constraints of pinhole photography can drive us to dig deeper in our creative psyche.

To catch more of Darren’s work, check his Flickr page.

 

Tina Rowe – Movement

Pinhole cameras carry great variances with movement.  Whether it is the camera moving or the world around the camera, only certain aspects will be picked up.  It all depends on two things: the length of exposure time and the amount of movement that accrues before the photo is finished being exposed.

[singlepic id=175 w=300 float=right] [/singlepic]Tina Rowe’s photographs are a wonderful example of movement in pinhole photography.  She began focusing on this aspect with a long exposure of a restaurant in Paris (photo right).  “A 45 minute shot I had taken in a busy restaurant in Paris.  Although people were blurred, they still stayed in their own little pools in the final image, the blurring increased the colour palette and I am pretty sure that there was some colour shift on the film from the long exposure.” This photo is where her path to experimentation with movement began.

[singlepic id=178 w=300 float=left] [/singlepic]As Tina’s experimentation grew, she found a love of movement on transportation.  It started with a train ride on a rickety train in Brazil (photo left), when she took a couple of photos and came away “impressed with the way the long exposure, coupled with the movement, made the colours mix and accentuate each other while the length of the exposure meant that I ended up with an average of the forms being captured.” She had stumbled on something now – an abstraction that brought more detail of emotion than physical form.

The camera movement captures a bustling feeling.  Tina brought home these lessons of energy and movement. During some forays into the heart of London, she applied her technique to the city buses, making exposures of 5 to 10 minutes as the buses rambled through town. With these handheld photos, She’s produced photographs that recreate the movement of both the bus and it’s rider.  Her photographs are designed to take you on an unfamiliar ride in the seat of a bus.

[singlepic id=176 w=600]From Bus, ©Tina Rowe 2015[/singlepic]

 

[singlepic id=173 w=600]Balls Pond, ©Tina Rowe 2015[/singlepic]

 

[singlepic id=177 w=600]Middle Bus, ©Tina Rowe 2015[/singlepic]

 

[singlepic id=172 w=600]38, ©Tina Rowe 2015[/singlepic]

 

[singlepic id=174 w=600]Bus Back, ©Tina Rowe 2015[/singlepic]

 

More of Tina’s photography is highlighted on her website. She can also be found on Twitter and Flickr.

Exploring the Art of Pinhole Photography