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All images by Alan Thoburn. Used with permission.

Pinhole photographers can often create some beautiful and mysterious scenes that leave us only wanting more. When we stumbled upon Alan Thoburn’s pinhole images, we felt that exact same way. Alan doesn’t shoot very much pinhole work, but he totally should! He is otherwise a documentary and fine art photographer.

Alan shot the photos with a modified Holga pinhole camera. He states, ”I always used a tripod and an exposure calculator (I think it came with the camera, and was based on the size of the pin hole) Basically, it allowed you to take a conventional lightmeter reading, and adjust it using a special chart.” says Thoburn. “I’ve always been strict about technique, and wanted my exposures to be correct, sad I know! I used a slow black & white film, either Ilford Pan F or Ilford FP4, processed at home.”

Alan did this project because he was going through an exploratory phase and trying out alternative analog photography methods. He loved to use a Lomo LCA, Holga Toy Camera, a Diana Toy Camera and the pinhole. When it came to pinhole work, it all about finding landscapes that were minimal. Alan feels that his choice of black and white film, because I wanted to create a fairly ‘timeless’ effect and enhance the atmosphere of the subject.

More of the photos are after the jump.

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Iconic Films: Agfa Chrome 1978

Iconic Films: Agfa Chrome 1978

If you like the look of photographic film, but don’t care for the hassle that comes with the analog workflow, there’s a simple and effective recipe: film simulation tools. There are a lot of them out there, but finding a really good one that accurately reproduces the look of specific types of film is not an easy task. We’ve reviewed a couple film simulation tools here at The Phoblographer before, including DxO Film Pack 3 (which also included a comparison with Nik ColorEfex Pro 3) and the VSCO Film Packs 03 and 04. Today, we take a look at another contender: the Really Nice Images Film Presets for Lightroom.

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Reflecta ProScan 10T

Great news for 35mm film photographers with a digital workflow: German manufacturer Reflecta has a new 35mm film scanner with a nominal resolution of up to 10.000 dpi, which is higher than anything you’ll find on other consumer film scanners. In addition, the ProScan 10T promises a very high dynamic range of 3.9 DMax, which should be sufficient even for scanning such dense slide films as Velvia 50.

Currently, the highest-resolving 35mm film scanner is Plustek’s OpticFilm 8200i, though its nominal resolution of 7200 dpi only really exists on paper. But even if the Reflecta only manages to achieve half its nominal resolution out of a scan, it would still resolve at 5000 dpi, which is a lot of detail and close to the theoretical maximum that you can squeeze out of 35mm film.

So far, the scanner has only been announced in Germany, and at this point it is unclear whether it’ll ever make it to overseas markets. With a retail price of € 469 (US-$ 643) it is also not quite cheap, even though an actual US retail price might be a bit lower should it be officially sold in the states. In which case it will probably run under the Pacific Image brand name.

Via heise Foto


About one year ago, the only local lab to offer medium format scans started giving me a 2 week turnaround time for medium format scans.  The rollers in their Noritsu 120 carrier had gone bad and the replacement was too expensive with their current  volume.  All 120 had to be sent 90 minutes away to Dubai for scanning.

This motivated me to find a scanner.  After a few weeks of searching, I found a Microtek Artixscan M1 for 200 AED ($55USD) listed for sale locally.  Once I got it home and tried my first few rolls, I realized how seemingly hard it can be to get quality scans.  First I attempted to use VueScan, but could not get it to work with my scanner.  Again I tried Silverfast, but did not like the results.  I then decided to remove all automation and try to do everything myself with LR4.

This is a guest blog post by Tommy Ryan. Tommy is an American engineer from New Orleans living in Abu Dhabi, UAE. He is a photography enthusiast and you can visit his Flickr page here.

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Boxes of Kodachrome 64 film in 135 format. (Credit: Metroplex on Wikimedia Commons)

Boxes of Kodachrome 64 film in 135 format. (Credit: Metroplex on Wikimedia Commons)

We continue our series on the Basics of Photography with the letter K, and today’s subject is Kodachrome. Now, some of you will undoubtedly wonder why anyone would deem a discontinued slide film basic photography knowledge. But the answer is really rather simple: Kodachrome was probably the single most influential photographic medium of all time, and it played a significant role in shaping the face of modern color photography and photojournalism. In this article, we’re going to take a look at the rise and fall of this film, and explore the photography that was created with it.

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Chris Gampat The Phoblographer Film bookmark (1 of 1)ISO 16001-100 sec at f - 5.0

Before you go on: note that we only recommend that you do this with specific pieces of film that you don’t care about.

If you’ve got rolls of film scanned already, found a bit of it at a thrift/vintage store, or just have a bit of it that you don’t particularly care for anymore, then why not recycle it? Besides using them for possible window decorations, another option for you would be to cut up a strip of it and make it into  bookmark. Simply take the film, surround the edges and back in paper, and then give it a bit of clear tape.

Just like that, you’ve got a brand new bookmark for your weekend reading material.