DIGITAL PHOTOGRAPHY

PINHOLE CAMERA

INTODUCTION

A pinhole camera is a simple camera without a lens and with a single small aperture, a pinhole – effectively a light-proof box with a small hole in one side. Light from a scene passes through this single point and projects an inverted image on the opposite side of the box.Up to a certain point, the smaller the hole, the sharper the image, but the dimmer the projected image. Optimally, the size of the aperture should be 1/100 or less of the distance between it and the projected image.

 Pinhole cameras requires a lengthy exposure, its shutter may be manually operated, as with a flap made of light-proof material to cover and uncover the pinhole. Typical exposures range from 5 seconds to several hours.Common use of the pinhole camera is to capture the movement of the sun over a long period of time. This type of photography is called solargraphy.

The image may be projected onto a translucent screen for real-time viewing (popular for observing solar eclipses; see also camera obscura), or can expose photographic film or a charge coupled device (CCD). Pinhole cameras with CCDs are often used for surveillance because they are difficult to detect.Pinhole devices provide safety for the eyes when viewing solar eclipses because the event is observed indirectly, the diminished intensity of the pinhole image being harmless compared with the full glare of the Sun itself.

Pinhole cameras can be handmade by the photographer for a particular purpose. In its simplest form, the photographic pinhole camera can consist of a light-tight box with a pinhole in one end, and a piece of film or photographic paper wedged or taped into the other end. A flap of cardboard with a tape hinge can be used as a shutter. The pinhole may be punched or drilled using a sewing needle or small diameter bit through a piece of tinfoil or thin aluminum or brass sheet. This piece is then taped to the inside of the light-tight box behind a hole cut through the box. A cylindrical oatmeal container may be made into a pinhole camera.

 Pinhole cameras can be constructed with a sliding film holder or back so the distance between the film and the pinhole can be adjusted. This allows the angle of view of the camera to be changed and also the effective f-stop ratio of the camera. Moving the film closer to the pinhole will result in a wide angle field of view and a shorter exposure time. Moving the film farther away from the pinhole will result in a telephoto or narrow angle view and a longer exposure time.

 http://en.wikipedia.org/wiki/Pinhole_camera#Pinhole_camera_construction

 

MATERIAL OF PINHOLE CAMERA

                                                        PINHOLE CAMERA PROJECT

                                                          3 TYPE OF CHEMICAL

 

                                                                            TIN (for pinhole)

When you make a pinhole camera for roll or sheet film, use a small can or box as the camera body. You can use anything that has a tight-fitting top - a clean paint can, a vegetable shortening can, a 2-pound coffee can, a shoebox, or even a cylindrical oatmeal box.

                                                                         THE BOX

When you make a pinhole camera for roll or sheet film, use a small can or box as the camera body. You can use anything that has a tight-fitting top - a clean paint can, a vegetable shortening can, a 2-pound coffee can, a shoebox, or even a cylindrical oatmeal box.

                                                                               

THUMBTACK(create a small hole for light)

  BLACK TAPE(to black out the surrounding areas)

    

PAPER PINHOLE PHOTOGRAPHY

You can load the camera either with film or fast photographic paper. Your choice of film or paper may depend in part on the exposure times. Paper, because it is less sensitive to light than film, will probably require an exposure of about 2 minutes for sunlit subjects. Film may require only 1 or 2 seconds for subjects in sunlight.
Paper is easier to handle since you can load it into the camera under a safelight. If you don't have a safelight, you can work by the light of a flashlight covered with several thicknesses of red cellophane paper placed 6 to 8 feet away. Most film, on the other hand, must be handled in total darkness.
A camera made from a 2-pound coffee can will take a 2 1/4 x 3 1/4-inch piece of film or photographic paper. You can use a 3 1/4 x 4 1/4-inch piece if about 1/2 inch is clipped from each corner of the film or paper. A camera made from a 1-gallon paint can will take a 4 x 5-inch piece of film or paper.
When you have the size of paper or film you need, tape it firmly to the inside of the end of your camera opposite the pinhole. The emulsion should face the pinhole. The emulsion side of photographic paper is the shiny side. The emulsion on roll film is on the inside of the curl. Sheet film is identified by notches cut into one of the shorter sides. When you hold the film in a vertical position with the notches in the top edge toward the right side, the emulsion is facing you. Another way to determine the emulsion side of either paper or film is to touch both sides with a moistened finger. The emulsion side will feel slightly tacky. Test near the edge to avoid a fingerprint in the center of the picture. You will need to tape down the four corners if you use cut-up roll film or paper. Taping two diagonal corners will work for sheet film. Close the camera, making sure the shutter is closed.
It's a good idea to practice with an exposed piece of film or paper before trying the load the camera for your actual picture taking.


                                   TIME FOR CHEMICAL

ilfosol-2 minute

ilfostop-1 minute

fixer-5 minute

water-30 minute

                                                             

 TEST TUBE FORMER

                                                               FIRST RESULTS(TEST)

RESULT 1 (11 second)

RESULT 2 (7second)

NEGATIVE TO POSITIVE

POSITIVE 1

POSITIVE 2 (EDIT BY PHOTHOSHOOP)

FILM(photography)

                                        CAMERA FILM

                                                                   ROLL FILM

Take the roll of film and lay it on top of the cradle (not in) on the left hand side. Ensure that the flange out of the roll of film that has the leader sticking out is to the right over the back of the camera. (It’s hard to mess this up if the roll of film is oriented properly in the cradle.)

Next, with the roll of film securely in place, pull the leader across the back of the camera by grabbing the sides of the film so no fingerprints make it on the surface of the film

                                                                     TAKE PICTURE

WASHING MATERIAL FOR FILM

PROCESSING FILM STEPS

Once you have found a light-safe a spot, get the developing tank, reels, film, a bottle opener and a pair of scissors.Turn off all lights and use the can opener to pry the top off the film canister. (It is not a bad idea to make a second check for any sources of light before this step).

Touching the emulsion side of the film will affect the chemicals in the developing process, so try to remove the film without making any contact with the film itself. Holding only the plastic knob that sticks out of the canister, pull the film out of the canister. The film will unravel but try not to let it touch the ground.

Without touching the emulsion side of the film, use your thumb and forefinger to grip the film by the edges and feel toward the end of the film. The end of your film has no exposures on it, so it is safe to touch. Using your fingers as a guide, find your scissors and cut the ‘tongue’ off your film.

Once the film has an even end, it can be loaded on the reel. Take a reel and feed the first piece of film onto it. It may resist at first but once it passes the ball bearing it seems to pop onto the track. (Remember not to touch the emulsion in areas where the film was exposed).

Most plastic reels have a self feeding oscillating mechanism that allows the user to feed the film without touching the film. Rotate one side of the reel about 1/8th of a turn and return it to it’s original position, as this action is repeated the film will wind around the track without any significant problems.

Toward the end of the reel, you will feel the plastic spindle that was used to pull the film out of the canister. It will find it’s way into your palms as you wind up your film. Take the scissors and cut this plastic spindle free and continue to load the rest of your film.

Do not pull the tape off the film, as it can cause a small amount of static that can fog your negatives. Once all your film is loaded onto reels place the reels inside your light safe tank and close it up. Be sure that it is secured and all reels are safely inside.

At this point it is safe to turn on the lights and clean up the canisters, lids spindle and discarded film that you have dropped.

The quarter turn inversions are used to make sure that all parts of the film get exposed to the chemicals (see the image below). These inversions should take about 1 second and will be repeated several times in the process, so practicing before you start the process is advised.

Because timing of chemical baths must be precise when developing film, it is important to have all your chemicals measured out ahead of time. When one chemical has been exposed to the film for the suggested time you should be able to pour it out and have it replaced within 10 seconds.

It is also important to remember that, while most developing tanks take about 20 fl. oz to cover reels, your tank may differ. Check the recommended volume of the tank before pouring chemicals. There is a guide on the bottom of most plastic developing tanks with the recommended amount of chemicals.

Pour in 20 oz of stop bath and agitate with ¼ turn inversions for 30 seconds.pour out the water and then discard

Pour in 20oz of fixer. Complete 3 1/2 to 8 minutes of cycles that consist of 15 one second inversions, 3 taps and 45 second rests. Once this step is complete you can open your light safe tank to observe your negatives. If your negatives appear purple and thick continue this process for another cycle and check again.New fixer takes about 3 1/2 minutes, and as you recycle your fixer it will take up to 8 minutes to properly fix your negatives. Once your negatives are similar to the ones shown pour your fixer back into it’s container. If it takes more than 8 minutes for your negatives to clear up it is probably time for new fixer!

 Refasten the lid to your tank and give your negatives a 60 second water wash,then discard the water.

Use enough HCA to cover your reels. Follow by 1 full minute of full agitation (1 second 1/4 turn inversions). Hypo can be recycled, but it is difficult to tell when the mixture is getting weak.

                                                   enter the water for cleaness

Give your negatives a 5 minute running water wash. Remove light safe lid and let water pour directly onto the reels.

Remove the negatives from their reels and hang them in a clean dust free area. Do not touch the negatives with dry fingers, but wet your hands in Photo Flo solution and lightly run fingers along drying film to remove excess water. Negatives should be given at least 2 hours before you touch them again.

The Enlarger is the Heart of the Darkroom

Enlargers

An ENLARGERS is a specialized transparency projector used to produce photographic prints from film or glass negatives using the gelatin silver process, or from transparencies.All enlargers consist of a light source, normally an incandescent light bulb, a condenser or translucent screen to provide even illumination, a holder for the negative or transparency, and a specialised lens for projection. The light passes through a film holder, which holds the exposed and developed photographic negative or transparency.Prints made with an enlarger are called enlargements. Typically, enlargers are used in a darkroom, an enclosed space from which extraneous light may be excluded; some commercial enlargers have an integral dark box so that they can be used in a light-filled room.

Enlarger lens: using the diaphragm - aperture ring the photographer adjusts the iris

Electronic timer: photographers choose exposure time

            Paper Holder

chemical

wash

ilfosol-2 minute
ilfostop-1 minute
fixer-5 minute
water-30 minute

                                          Final Project(film)

PICTURE QUALITY(every stripe 10 second)

  FINAL(use 20 second)

                     CAMERA (DIGITAL PHOTOGRAPHY)

Digital photography uses an array of electronic photodetectors to capture the image focused by the lens, as opposed to an exposure on photographic film. The captured image is then digitized and stored as a computer file ready for digital processing, viewing, digital publishing or printing.

Until the advent of such technology, photographs were made by exposing light sensitive photographic film, and used chemical photographic processing to develop and stabilize the image. By contrast, digital photographs can be displayed, printed, stored, manipulated, transmitted, and archived using digital and computer techniques, without chemical processing.

Digital photography is one of several forms of digital imaging. Digital images are also created by non-photographic equipment such as computer tomography scanners and radio telescopes. Digital images can also be made by scanning other photographic images.
Relationship between Aperture,Shutter speed,iso

APERTURE 

The larger the hole, the more light passes to the camera sensor.If the aperture is very small, the depth of field is large, while if the aperture is large, the depth of field is small. In photography, aperture is typically expressed in “f” numbers (also known as“focal ratio”, since the f-number is the ratio of the diameter of the lens aperture to the length of the lens). Examples of f-numbers are: f/1.4, f/2.0, f/2.8, f/4.0, f/5.6, f/8.0.

Picture for apertureISO 100,13",F-5

ISO 100,13",F-5.6

ISO 100,13",F-6.3

ISO 100,13",F-7.1

ISO 100,13",F-8

ISO 100,13",F-9

ISO 100,13",F-10

ISO 100,13",F-11

ISO 100,13",F-13

ISO 100,13",F-14

ISO 100,13",F-16

ISO 100,13",F-18

ISO 100,13",F-20

ISO 100,13",F-22

ISO 100,13",F-25

ISO 100,13",F-29

 ISO 100,13",F-32

 SHUTTER SPEED

 

Shutter speed also can affect the amount of light that comes into the camera by controlling how long the camera shutter remains open. The longer the camera shutter is left open, the more light that is allowed to enter the camera; this is achieved by using slower shutter speeds (such as 1/60). If the camera shutter is left open for a shorter duration, less light is allowed inside the camera; this is achieved by using faster shutter speeds (such as 1/250 or even faster). Shutter speeds can vary from fractions of a second to several seconds in duration. the length of time a camera shutter is open to expose light into the camera sensor. Shutter speeds are typically measured in fractions of a second, when they are under a second. Slow shutter speeds allow more light into the camera sensor and are used for low-light and night photography, while fast shutter speeds help to freeze motion. Examples of shutter speeds: 1/15 (1/15th of a second), 1/30, 1/60, 1/125.

SPEED SHUTTER (VIEW)

ISO 100,1/20

ISO 100,1/20

ISO 100,1/30

ISO 100,1/30


ISO 100,1/30

SLOW SHUTTER (LIGHT),VIEW 10 SECOND

   

(VIEW 20 SECOND)

ISO

The level of sensitivity of your camera to available light. It is typically measured in numbers, a lower number representing lower sensitivity to available light, while higher numbers mean more sensitivity. More sensitivity comes at the cost though, as the ISO increases, so does the grain/noise in the images. Examples of ISO: 100, 200, 400, 800, 1600.

PICTURE FOR IS0100 (F5.6)

  

 200 (F11)