View allAll Photos Tagged RealitySoSubtle6X6,
Ever try walking while looking through an extremely wide angle lens? It's discombobulating to say the least. If you've tried it and not found it to your liking, I wouldn't recommend looking over a high railing at a significant drop using the same method. Thankfully with my pinhole I cannot actually see the result until I am safely back home on much less elevated ground. Then again, that is one of the big reasons I use pinhole: to show me things in ways I would not normally see or want to see them in.
Reality So Subtle 6x6 Dual Pinhole (upper pinhole used to shift the center of the image away from the railing without tilting the camera).
Reality So Subtle 6x6
Kodak Ektar 100
I used the upper pinhole which normally gives a "rise" effect but in this case I tilted the camera forward at a severe angle and used the upper pinhole's higher angle of view to still expose straight ahead, but due to the forward angle of the camera the verticals diverge instead of converge as they do when the camera is tilted back.
No real rhyme or reason, just trying things out.
RealitySoSubtle 6X6 pinhole camera.
Expired Fuji Provia, cross processed in Rollei Digibase C41.
My images are © Copyrighted and All Rights Reserved. This image cannot be reproduced and/or used in any form of publication, print or the Internet without my written permission.
I looked at this image tonight and for some reason I thought of Greek mythology, particularly the story about Theseus and the minotaur's maze. Cities can have labyrinthine aspects to them: they are large, complex, easy to become lost in, and their twists and turns hide all manner of things to discover. But I wasn't thinking of mazes when I made this image, at least not consciously. On that day I was fascinated by the tower framed between the narrow walls of the two bordering buildings and something about the scale and perspective. These structures are all so massive, yet the one that is perhaps tallest of all looks dwarfed. I think both these notions - that of the maze and the latter ones from the day of this image's creation - serve to help bracket some larger understanding regarding how I experience cities that I know exists but I have not yet pinned down. In truth, I don't know if I will ever make it to the center of the maze of thoughts I have about our urban centers to discover that understanding that sits at its core, but I keep exploring around the edges of this maze, trying paths down one lane or another, shedding light on various corners (some well-trod, others a bit dusty).
All I know is that if I ever do find that center I will need more than a bit of string to find my way back out again.
Reality So Subtle 6x6
Fuji Acros 100
RealitySoSubtle 6x6, FOMAPAN 100, Rodinal 1:50, 9min.
The Procuratie (English: Procuracies) are three connected buildings along the perimeter of Saint Mark's Square in Venice, Italy. Two of the buildings, the Procuratie Vecchie (Old Procuracies) and the Procuratie Nuove (New Procuracies), were constructed by the procurators of Saint Mark, the second-highest dignitaries in the government of the Republic of Venice, who were charged with administering the treasury of the Church of Saint Mark as well as the financial affairs of state wards and trust funds established on behalf of religious and charitable institutions.
The Procuratie Vecchie on the northern side of the square was built during the War of the League of Cambrai in the early sixteenth century to replace an earlier structure, damaged by fire. Although the war imposed financial constraints and limited innovation, it was nevertheless the first major public building in Venice to be erected in a purely classical style. It always contained apartments that were rented by the procurators as a source of revenue to finance building projects and repairs. Rental income was significant, given the prestige of the location. But the apartments were eventually sold to raise immediate money for the government, and several of them were subsequently transformed into clubhouses.
Source: en.wikipedia.org/wiki/Procuratie
I’m going to switch gears a little too black and white for a couple of images. The very wide angle of the RRS 6x6 can have an interesting affect on a scene. It can reduce or minimize something that is large and make the overall scene feel vast. I was really drawn to the patterns in the sand when making this images and their relationship to the cloud patterns in the sky.
Reality So Subtle 6x6 Pinhole
Fuji Acros 100 @ 4sec
Cannon Beach, OR - June 2017
RealitySoSubtle 6x6 / Ilford Pan F+ / Ilford LC29 1+29/22°/5.5min
"Roads go ever ever on,
Over rock and under tree,
By caves where never sun has shone,
By streams that never find the sea;
Over snow by winter sown,
And through the merry flowers of June,
Over grass and over stone,
And under mountains in the moon.
Roads go ever ever on
Under cloud and under star,
Yet feet that wandering have gone
Turn at last to home afar.
Eyes that fire and sword have seen
And horror in the halls of stone
Look at last on meadows green
And trees and hills they long have known."
J. R. R. Tolkien, The Hobbit
Camera: Reality So Subtle 6X6
Lens: .23mm pinhole.
Film: Fujifilm Neopan Acros
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
We found this bee foundering in the surf-sodden sand in the inter-tidal zone of Cannon Beach. We hadn't planned to be bee savers when we stopped on our way south to Cape Lookout. This was supposed to be a stop like many others: stretch legs, get sandy feet, make a few photos, and go. But there was this bee, stuck in the sand, desperately trying to fly with off to safety with one dry wing and one wing wetly plastered to its back. It was a pointless exercise, he was doomed, his life measured in the minutes it would take for a cresting wave to reach his position... and the tide was coming in.
But lucky for this bee, we happened by and Owen, who prefers his beaches barefoot (the good kid he is) loaned up one of his shoes at my urging. We gently coaxed our briny bee onto his bright blue life boat and gingerly carried him with us as we trekked along the beach, a task that became a bit trickier when his physical exhaustion began to be replaced by his curiosity. Slowly the wing dried out and he demonstrated greater and greater use of it and we knew our time together was drawing to a happy conclusion. I set the shoe down, facing out of the ever-present wind to make a few exposures (including this close up with the pinhole). Owen hunkered down for a closer look between pit digging and that is how the next ten minutes elapsed. Not with a bang, but the practically inaudible flutter of a bee's wings. One moment it was still there, experimenting with a rapidly recovering wing, the next he was gone. I only hope it avoided the wet sand afterward.
Reality So Subtle 6x6
Kodak Ektar 100
RealitySoSubtle 6X6 pinhole camera.
My images are © Copyrighted and All Rights Reserved. This image cannot be reproduced and/or used in any form of publication, print or the Internet without my written permission.
Need to buy some more b/w film, I´m out of stock. Plenty of colourfilm in my fridge though, so this is shot on expired Fuji Reala and converted to b/w in Nik SilverEfex Pro2.
RealitySoSubtle 6X6 pinhole camera. A new favourite!
What Robert Frank said! Black and white are the colours of photography!
My images are © Copyrighted and All Rights Reserved. This image cannot be reproduced and/or used in any form of publication, print or the Internet without my written permission.
Camera: Reality So Subtle 6X6
Lens: Pinhole
Film: Fujifilm Neopan Acros 100
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
A little something for World Pinhole Photography Day. This image is from a roll I started on WPPD in 2019 and finished off on the Oregon Coast later in the same year.
This is a location that I have driven by countless times and never thought to photograph. I'm so glad I decided to stop here to make a pinhole image as the sun dipped low in the sky and the cool coastal breeze gently bent the grasses. It has been over two years since I last visited my birth state. It has been too long.
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Reality So Subtle 6x6
Ilford Pan F Plus 50
Little Beach, Gearhart, OR June 2019
RealitySoSubtle 6x6
Pinhole
Filter: Cir-PL
Kodak Ektar 100, 120 roll
Developed with: Digibase C-41 kit
Epson V550 scan
RealitySoSubtle 6X6 pinhole camera. Ilford HP5+.
My images are © Copyrighted and All Rights Reserved. This image cannot be reproduced and/or used in any form of publication, print or the Internet without my written permission.
Camera: Reality So Subtle 6X6
Lens: Pinhole
Film: Fujifilm Neopan Acros 100
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
I have lots of favorite places, spots that if I could I would just spend eternity photographing and never grow tired of seeing. The St. Johns Bridge is certainly high atop that list. In truth most every place is high atop that list. I make a point to not be bored of anywhere, if I can help it. There is a difference between not being able to find photos in a certain place and choosing not to look for them. But really, some places I favor more than others, the aforementioned bridge being a prime example. The ferry between Seattle and Bremerton is another. I have a long (and at parts dark) history with this ferry, but every time I visit Seattle I ride it across the Sound if opportunity permits or if I can create the opportunity. Nothing feels more like the Pacific Northwest to me than this 45 minute trip. There are few places where I feel more at home than standing on the deck of the ferry, the waves paradiddling against the hull of the ship and the cold Sound wind awash all around me. And every time I ride this ferry I make photos. And every time I make photos, I try to make new ones, though sometimes I mix the same, old ones in because they are never exactly the same, old ones.
And people. People are one of my favorite pinhole subjects for so many reasons. The camera is built well to stealthily observe people and the unpredictable nature of what a person will do over a pinhole's long exposure is a constant adventure for me. So people on the ferry to Bremerton are totally fair game.
Reality So Subtle 6x6 pinhole / Kodak Ektar 100
RealitySoSubtle 6x6
Pinhole
Fujifilm Neopan Acros 100, 120 roll @100
Developed with: ID-11, 1+1, 7min00sec @24C
Epson V550 scan
There is a somewhat unspoken tradition at my work that whenever you get a new camera the first photo you make with it should be a self-portrait. I don't know where or how this got started and I do not particularly follow it, but I also don't disagree with it. It is the start of a new relationship, hopefully one that will last a while and be more full of adventure than misadventure (though a little bit of misadventure can be a good thing).
To my surprise a new pinhole arrived in the mail during spring break, a Reality So Subtle 6x6. Most of you know me, so you know I use a pinhole camera here and there... so I was pretty excited to get out with this guy. It is thinner than my Zero Image 2000 so it is a lot wider. It also has an off-set pinhole for rise. Perspective controlled pinhole, nifty.
But anyway, this was not the first image I made with this camera. It did not even come on the first roll through this camera. But second roll is not that much different than first roll. It was a late evening and I was winding down with a good book (Canticle for Leibowitz, excellent, powerful and thought-provoking by the way) and few activities mesh better with reading than long pinhole exposures. So a self-portrait happened after all. Much of the next images you see from this camera will be more landscapey in terms of subject matter. But I snuck in for this photo at least.
Reality So Subtle 6x6 / Kodak Ektar 100 / 10 minute exposure
RealitySoSubtle 6X6 pinhole camera. Ilford HP5+
My images are © Copyrighted and All Rights Reserved. This image cannot be reproduced and/or used in any form of publication, print or the Internet without my written permission.
Camera: Reality So Subtle 6X6
Lens: Pinhole
Film: Fujifilm Neopan Acros
Developer: Xtol
Scanner: Epson V600
Photoshop: Curves, Healing Brush (spotting)
Cropping: None
RealitySoSubtle 6X6 pinhole camera.
Expired Fuji Provia, cross processed in Rollei Digibase C41.
My images are © Copyrighted and All Rights Reserved. This image cannot be reproduced and/or used in any form of publication, print or the Internet without my written permission.
A couple months ago a new pinhole was added to my family, a Reality So Subtle 6x6. I have posted images of it before and talked about it before but I haven't really mentioned that I love how wide it is. I have a Zero Image 2000 as well and have always enjoyed its wide angle perspective. Extreme wide angle can pair up so well with infinite depth of field. The Zero is about 40mm deep, so it has a focal length of about 40mm. Figure that is equivalent to about a 20mm lens on an FX digital body or on a 35mm film body. Well, the Reality So Subtle is skinnier than that. It has a focal length of just about 30mm, giving it the rough equivalency of a 15mm lens on full frame. That is fun stuff. It means you can tilt a camera like that and introduce all sorts of distortion. Tilt cameras up and verticals converge, tilt them down and verticals diverge and the wider the focal length the more fun the effect. So atop this parking garage, surrounded by all these wonderful lines and geometry I figured I would put this camera to use.
Reality So Subtle 6x6 / Kodak TMax 100