I have been working hard over the last week on finalizing the new paper negative video workshop and building my new dry plate drying box. 

In the photo to the left you see a side view of my new drying box before I installed the final sideboard and the top.  I created a video right after I completed the project and I will be sharing that in a couple of days.  

I designed the box to hold my dry plates (4x5, 6.5x8.5, 8x10).  After making my silver gelatin emulsions from raw materials and coating the plates, they need to setup and dry in an environment that won't expose them to any light.  I have a busy darkroom, so I need this box so I could be drying my newly coated plates while I work on other projects.  

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I will be receiving my new Chamonix Whole Plate camera in the next couple of weeks so that I can start making plates that size.  I just coated some 5x7 plates yesterday which I use in my 8x10 camera that has a 5x7 reducing back.  I would have got a whole plate (6.5 x 8.5) reducing back for my 8x10 camera, but I wanted to backpack with this camera and the smaller format and lighter weight pushed me over the edge to opt for the camera vs. the reducing back. 

I will be making some videos in the coming weeks as I am creating my silver gelatin emulsions, coating my plates, and making prints from the new dry plates.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what interests you most about darkroom and/or large format photography.  

-Tim Layton

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As you can probably guess from the title of the article, I am going to take some time off from blogging, writing, answering emails, social media, and so on.  

It has been an incredibly hectic year selling my home, moving off the grid, building two homes (mine and my sons), a new darkroom, workshop, and garage.  We have been working around the clock for a year now and I am mentally and physically exhausted.  

Now that my darkroom is in full production, I need some quiet time to just create and not worry about anything else.  I am taking a total electronics break, to include a much-needed break away from my computer and phone.  I will carry my phone with me, turned off in case of an emergency, but that is about as close as I plan to get to technology for a while.  

Since my workflow is completely analog, I don't need any modern computers or other devices to create.  I love that actually.  

I will primarily be making custom silver gelatin negative emulsions and pouring dry plates as my negative source.  I plan to work on my St. Francois Mountain pure platinum print project and exploring some new formulas for my dry plate developer.  My platinum printing process is dialed in, so there is nothing to fiddle with there.  

I am looking forward to following whatever path presents itself during my sabbatical and enjoying the time away from life's demands. I will see everyone when I return.  

All the best,

-Tim Layton

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The "slowness" of traditional large format photography is a sort of heaven on earth for me.  The modern world is effectively digitized in just about every aspect, and this is in contrast to classic large format darkroom photography.  I view the art and craft of large format photography as an artisan's approach to creative expression.  

Large format photography allows photographers to slow down, be connected to their environment and subjects in a way that just isn't associated with other forms of photography.  It seems that many digital photographers press the shutter release button without thinking much about it in many cases.  While a digital photographer could work at the same pace as a large format film photographer, I have yet to witness this personally.  When I lead workshops where the participants are using digital cameras, I ask them to limit their exposures to no more than 8 for the day.  You should see the reactions that I get with that request... 

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MY PERSONAL BIAS & LOVE OF LARGE FORMAT PHOTOGRAPHY

A photographer is literally forced to work slower when using large format gear and therefore it creates a mood and environment this is unique to the medium.  It isn't for everyone, but those of us that see these types of things as benefits, we are hooked for life.  I like the fundamental idea of working slower, creating fewer prints, and investing myself into each exposure.  While I have no opinion on the digital vs. film or even large format discussion, I do however see many differences between the application of the tools and this is at the heart of my point in this article.  

With a few simple movements of the front and/or rear standards, I can control, alter and/or manipulate the perspective of my scene or subject in a way that is not possible with modern DSLR cameras.  My photography is about expressing and sharing the peaceful feelings that I experience while in nature and for me, it helps to work slower, soak it all in, and reflect along the way.  On the journey back home and to the darkroom, I find myself daydreaming about the exposed film and the type of prints that I want to make.  I view the time between exposures in the field, development of the film, and ultimately making the prints in the darkroom as an advantage.  In fact, I tell many people it is my secret weapon.  

My prints are the only evidence that I have of my emotional state when I am experiencing nature.  If it were not for large format photography, many of my experiences would be unknown to anyone else in the world.  Imagine a scenic mountain vista with some beautiful flowers in the foreground.  If I wanted the flowers sharp along with the distant mountains, it is a very simple process to apply a front tilt to get everything in sharp focus at just about any aperture.  If I wanted to exaggerate the foreground flowers for visual impact or emotionally evocative reasons, I would use a back tilt and I would still be able to get everything in sharp focus.  These are the types of opportunities that are not available with modern and small format roll film cameras.  When you combine these advantages with the slower more contemplative approach, it just feels right to me.  I feel more in control of my creative expression with large format.  

My brain is wired for large format photography I suppose and I feel like I am at my best when I am creating with these cameras. 

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what interests you most about large format photography.

-Tim Layton

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I have been waiting for a long time for my Chamonix Whole Plate View Camera to arrive and today was the day!  

I snapped a few photos with my iPhone as I was unboxing the new camera to share with my readers.  I will be writing articles in the future about the new camera and why I wanted this specific camera.

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Now that I have my Whole Plate camera, I can start cutting glass plates and making some silver gelatin emulsion. I would have gotten a whole plate (6.5 x 8.5) reducing back for my 8x10 camera, but I wanted to backpack with this camera and the smaller format and lighter weight pushed me over the edge to opt for the camera vs. the reducing back.

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most in regards to large format or darkroom photography and I would be happy to write about this topic in the future. 

-Tim Layton

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Do you want to learn how to create amazing flower photos with your mobile phone in just 5 minutes? 

It is currently the middle of October and my Cosmos flowers that I planted from seeds earlier this year are having an unexpected late run.  I am really happy to see them still blooming.  While looking at them this morning, I realized that I could quickly create some amazing photos of my flowers and share them with my friends and family to brighten their day a little.  

I will be sharing exactly how I created these photos using my mobile phone with my Nature Photography Tips Newsletter subscribers on Saturday morning.  

​I used my iPhone, but any modern phone with a decent camera will work just fine.  I did not edit these photos in any way.  I literally uploaded them directly from my phone to my web server and placed them in this article.  

I hope you enjoy the photos of my Cosmos flowers and I look forward to seeing what you create after you learn the technique.  

"I want to teach people how to create amazing photos using any camera and debunk the myth that photographers need expensive gear to create world-class images." -Tim Layton

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In my new "How to Create Amazing Flower Photos Using Any Camera" video course, I show you step-by-step how to use any camera that you already own to create amazing flower photos.  

I share several low-cost tips that will dramatically improve your photos and I demonstrate each of my suggestions.  

In the 26 minute HD video workshop, I include 23 specific tips that will transform your flower photography.  I demonstrate all of the methods using an iPhone, entry level DSLR, and a mid-level DSLR camera. 

Using common everyday items, not specific to photography, I show you how to shape and control light, understand which conditions are best for creating high-quality images, and all requiring very little money and time to master.  

WHAT DO YOU NEED?

• Any type of camera (phone, DSLR, film) 
• 30 minutes to complete the lesson
• A desire to create beautiful floral photographs​

GET STARTED NOW for only $9 USD.  You get immediate access to all of the course content and you can choose to download it or stream it online.  

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One of the things that I love most about working with analog mediums is the unlimited options that I have to serve my art buyers and collectors.  My first love is and will forever be handmade darkroom prints (e.g., classic silver gelatin fiber prints; the highly collectible pure platinum prints; and the artisan gumoil prints).  I have received so many requests for reproduction prints over the years that I finally started to offer them in addition to my classic fine art collectible prints.  But, I first had to apply the same level of rigor that I do with my classic analog fine art prints to ensure the level of quality met my criteria.   I created this exposure on October 26, 2016 in the early morning light.  

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I created this image of a Dahlia flower from my garden with my large format Chamonix Whole Plate camera using a paper negative.  For those of you not familiar with the whole plate format, it is 6.5" x 8.5" or 16.5cm x 21.5cm which provides a massive negative for either darkroom contact printing or scanning for digital reproduction pigment prints.  

The paper negative, in this case, helped me reach my creative vision because of the unique tonal range and how it handles the colors in this flower.

The next part of the puzzle was selecting the right lens that helped tell the story of this specific flower.  I elected to use my vintage Rodenstock Monar F3.5 lens because of its unique optical signature.  Wide open, this lens is sharp in the center and falls off to a beautiful softness.  The focus of this flower was in the center for me and this lens when combined with my choice of negative substrate made it come together.  

The center petals are tightly coupled in a pattern that represented a group of people that are all in unison.  The outer petals are supporting characters that are more mature and experienced.  It is a rare occasion in life when a large group of people come together for a single and clear purpose with a body of supporting people.  My portrait of this Dahlia represents this possibility.  

I developed the paper negative with a very dilute bath of Dektol for about 16 minutes by inspection.  This simply means that I watch the negative develop in an open tray in the darkroom and pull it from the developer when it is at a stage that meets my vision. From this point, a classic acid stop bath and fixer and archival wash is required to complete the development process.  I had to hang the negative for a few minutes to encourage the water to run off the negative before laying on a drying screen over night.  I created a total of 4 exposures and selected the one that supported the story of the Dahlia.  

In this photograph to the left, you see my camera setup outdoors on my work bench to create this exposure in natural light.  I used an articulating arm to steady the flower because there was a light wind.  I rated my paper negative at ISO 3, so the exposure is slow and susceptible to motion blur and a variety of other related and undesirable challenges.  You can view more of my behind the scenes photos and videos for this plate.  

Tomorrow, I am making the darkroom prints from the paper negative.  My plan is to first make a split grade fiber print and selenium tone it.  I may possibly explore making a pure platinum print as well, but I won't know until I complete the silver gelatin print first.  

I look forward to your comments and questions.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most in regards to large format or darkroom photography and I would be happy to write about this topic in the future.   

-Tim Layton

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I am in the beginning stages of building my greenhouse before winter sets in. 

Some of you may already know that I moved entirely off the grid this past year and my son and I built our tiny houses, my darkroom, and workshop. It has been a busy year!   My definition of off the grid means that I do not have any public utilities.  I create my electricity via solar and the wind and I source my water.  I like it this way...   

In this photo to the left, we just dug the post holes for the 4x4 posts, and we laid the gravel for the floor.  We rested the posts in their holes waiting to cement them in tomorrow.  I will be adding four more posts and then I will start on the rest of the construction process which will include clear polycarbonate panels and custom-built shelving for my flowers and vegetables.  

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I am making this investment for two primary reasons.  First, I want to be able to grow my flowers to photograph all year long.  Second, to take the next step in my personal sustainability journey, I want to be able to grow fresh vegetables the entire year.  

I was able to plant several beds of wildflowers this year, which was very nice.  I am still getting blooms from my Cosmos and Dahlia flowers in late October which are very rare.  I just photographed some of my Dahlia's earlier this week with my Chamonix Whole Plate view camera.   

I will post new photos as I get the new greenhouse built and operational.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most in regards to large format or darkroom photography, and I would be happy to write about this topic in the future.   

-Tim Layton

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In this infrared video, I show you the development of the paper negative for the Dahlia Plate I print.

By using the infrared video capabilities of my video camera, I can share darkroom techniques and processes like this with my viewers.  

The development method involves mixing a dilute developer and developing the paper negative in an open tray in the darkroom.  You don't need much space to do this, but it does need to be light tight and dark.  I use a LED red torch headlamp to help me watch the development process and determine when I want to snatch the paper negative from the developer and place it in the stop bath and the fixer to complete the process.  

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I picked up my red LED headlamp from my local hardware store and then tested it to ensure that it would not cause fogging.  To test, under safelight conditions, simply lay a coin on your paper and use the new headlamp like you would if you were developing the paper.  For me, this means that I shine the light on the paper for a few seconds every thirty seconds or so, and watch for progress.  Then develop, stop, and fix your paper like it was a normal print and see if you can see any signs of fogging around the area where you laid the coin.  If not, then you are ready to go.  This testing process can also be used to verify that your darkroom is dark too.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most in regards to darkroom photography, and I would be happy to write about this topic in the future.   

-Tim Layton

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The tips that I will be sharing today have absolutely nothing to do with cameras or gear.  The most common mistake that I see new photographers make is focusing on the camera as opposed to their subjects.  

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MY 5 TIPS TO PHOTOGRAPH LIKE A PRO
1 - Understand that a camera is a tool and getting a more expensive one won’t make you a better photographer
2 - Persistence - I frequently have to visit a landscape many times to ultimately create the exposure and print that I know best communicates the unique characteristics and/or messages from the landscapes. 
3 - Study and understand weather - everyone thinks they know the weather, but very few photographers know the important details. 
4 - Be patient - in the modern world that produces more photos in a single day than was previously created in the 19th century, patience can be challenging.  I often say that patience is my secret weapon.  
5 - Research and know your favorite subjects intimately.  By knowing the details and nuances, you are making one of the best investments in your photography that is possible.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most in regards to photography, and I would be happy to write about this topic in the future.   

-Tim Layton

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I view photography as a tool to help me accomplish two main goals.  My primary goal is to raise awareness about the challenging issues related to nature and its relationship to humanity and why nature matters in the modern technology-focused world.  

My secondary goal is to inspire people to connect with nature and get involved in their local communities.  I believe that people protect what they love.  If we can help people understand the issues, then many of the right actions will be taken because the vast majority of people care about things that matter.    

If we can get people connected to nature in a positive and meaningful way, I believe that we have a better chance of protecting and conserving our natural resources for ourselves and future generations.  

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My passion areas include trees, flowers, and the vast landscapes in national parks. There is no world for humans without trees, flowers, and habitats for wildlife. Trees, flowers, and wildlife are more critical to humanities long-term survival than most people realize.  In the section below, I share some key reasons why trees are important.  

WHY ARE TREES IMPORTANT?

• Trees combat climate change - Excess carbon dioxide (CO2) caused by many factors is a building up in our atmosphere and contributing to climate change. Trees absorb CO2, removing and storing the carbon while releasing the oxygen back into the air. In one year, an acre of mature trees absorbs the amount of CO2 produced when you drive your car 26,000 miles.
• Trees provide oxygen - In one year an acre of mature trees can provide enough oxygen for 18 people.
• Trees conserve energy - Three trees placed strategically around a single-family home can cut summer air conditioning needs by up to 50 percent. By reducing the energy demand for cooling our houses, we reduce carbon dioxide and other pollution emissions from power plants.
• Trees save water - Shade from trees slows water evaporation from thirsty lawns. Most newly planted trees need only fifteen gallons of water a week. As trees transpire, they increase atmospheric moisture.
• Trees help prevent water pollution - Trees reduce runoff by breaking rainfall thus allowing the water to flow down the trunk and into the earth below the tree. This prevents stormwater from carrying pollutants to the ocean. When mulched, trees act like a sponge that filters this water naturally and uses it to recharge groundwater supplies.
• Trees provide food - An apple tree can yield up to 15-20 bushels of fruit per year and can be planted on the tiniest urban lot. Aside from fruit for humans, trees provide food for birds and wildlife.
• Trees heal - Studies have shown that patients with views of trees out their windows heal faster and with less complications. Children with ADHD show fewer symptoms when they have access to nature. Exposure to trees and nature aids concentration by reducing mental fatigue.
• Trees provide heat - In suburban and rural areas, trees can be selectively harvested for fuel and craft wood.
• Trees help prevent soil erosion - On hillsides or stream slopes, trees slow runoff and hold soil in place.
• Trees mark the seasons - Is it winter, spring, summer or fall? Look at the trees.

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi" and introduce yourself.  Let me know what part of the world you currently live in.  

-Tim Layton

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I view photography as a tool to help me accomplish two main goals.  My primary goal is to raise awareness about the challenging issues related to nature and its relationship to humanity and why nature matters in the modern technology-focused world.  

My secondary goal is to inspire people to connect with nature and get involved in their local communities.  I believe that people protect what they love.  If we can help people understand the issues, then many of the right actions will be taken because the vast majority of people care about things that matter.    

If we can get people connected to nature in a positive and meaningful way, I believe that we have a better chance of protecting and conserving our natural resources for ourselves and future generations.  

I share exclusive articles and information like this with my newsletter subscribers.

My passion areas include trees, flowers, and the vast landscapes in national parks. There is no world for humans without trees, flowers, and habitats for wildlife. Trees, flowers, and wildlife are more critical to humanities long-term survival than most people realize.  In the section below, I share some key reasons why flowers are important and nice to have in our personal living spaces.  

WHY ARE FLOWERS IMPORTANT?

• Flowers' importance in nature is everywhere-they can feed insects, birds, animals and humans; provide natural medicines for humans and some animals; and aid in a plant's reproduction by enticing outside pollinators. Without flowers, plants would merely be green, and the world would be a duller place.
• Virtually all of the world’s seed plants need to be pollinated. This is just as true for cone-bearing plants, such as pine trees, as for the more colorful and familiar flowering plants. Pollen, looking like insignificant yellow dust, bears a plant’s male sex cells and is a vital link in the reproductive cycle.
• With adequate pollination, wildflowers:
  • - Reproduce and produce enough seeds for dispersal and propagation
  • - Maintain genetic diversity within a population
  • - Develop adequate fruits to entice seed dispersers
• Pollination is not just fascinating natural history. It is an essential ecological survival function. Without pollinators, the human race and all of earth’s terrestrial ecosystems would not survive. Of the 1,400 crop plants grown around the world, i.e., those that produce all of our food and plant-based industrial products, almost 80% require pollination by animals. Visits from bees and other pollinators also result in larger, more flavorful fruits and higher crop yields. In the United States alone, pollination of agricultural crops is valued at 10 billion dollars annually. Globally, pollination services are likely worth more than 3 trillion dollars.
• Flowers offer more to the planet than merely natural artwork and beauty. 
• Flowers are essential to removing carbon dioxide and toxins in the air. 
• Flowers feed the honeybee population that’s responsible for promulgating food crops. 
• To most people however, flowers carry enormous symbolism, provide soothing sympathy and are an integral part of many of life’s ceremonies.
• Many flowers are used for medicinal purposes. 
• Beautiful flowers kept in hospital rooms can reduce the stress of patients and improve their recovery.
• Flowers are helpful because they represent higher planes of consciousness.
• Flowers play a critical role for bees that produce honey as a byproduct of their work.
• Planting flowers is one main way that you can attract beneficial insects to your garden.  These not only include the pollinators, but also the ones that eat other harmful bugs.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi" and introduce yourself.  Let me know what part of the world you currently live in.  

-Tim Layton

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I decided to write this article today because I have been in a "creative rut" lately.  I am an advocate of consistency, quality, and control over the creative process, but I am also an advocate for exploring new techniques, even if it is for fun.  

I have been a student of pictorialism and 19th-century soft focus large format lenses for many years.  The ethereal aesthetic from some of the original Pictorialists resonates with me.  I have done my fair share of traditional soft focus landscape and still life large format photography, but I have recently been exploring new territory, and I thought it might be helpful or even possibly inspiring for some of my readers.  

I began thinking, "what if"... What if I did this... and this unlocked some new creative freedoms in me, even after three decades of experience.  

For the photo at the top of this article I used a 1/15th shutter speed and employed a slight panning motion that went with the direction of the trees.  The "keeper ratio" is pretty low with this technique, but when you get one that you like, it is really something very unique.  You can use any format of camera ranging from large format to the camera on your phone.  

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Impressionist Style Nature & Landscape Photos

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know if this article was helpful for you and what new areas you are exploring in your photography.  

-Tim Layton

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As a long-time large format photographer, my brain is wired to seeing my subjects with total control over the focal plane.  I used a previous generation of Lensbaby lenses, but I lost interest because of the requirement of manually installed magnetic apertures.  I kept losing them and that basically interrupted my creative workflow.  

I recently bought the new lineup of Lensbaby optics because the aperture is now in the lens and they further improved the product line by implementing an optic swap system.  

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In the photo at the top of this article, I used the Edge 50 lens with an extension tube attached to allow me to fill the frame with the flower.  I was able to tilt the lens to mirror the plane of the stamen and get that sharp while the rest of the flower was soft because I used the aperture wide open.  The creative possibilities with this lens, just like large format, is only limited by the photographer's imagination.  

I am not into the miniaturization effects that are possible with this lens and other tilt-shift lenses.  I use this lens as a tool to communicate the essence of my subjects in a portable was that was only possible with my large format view cameras before.  Now I have another tool that I can use that is highly portable and fun to use.

The flower in this photo is from my Zygocactus, which I grow in my greenhouse.  I use this lens and the other Lensbaby optics on my Nikon F100 and F5 film cameras and my Nikon D810 DSLR.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know if you use Lensbaby optics and how you use them in your style of photography.  

-Tim Layton

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In our technology-driven busy world, it seems increasingly difficult to be still, quiet, and peaceful.  When I visit a mall or shopping center, I watch people.  

I am amazed at how many kids and adults, that are mesmerized by their technology gadgets.  Almost like walking dead people... I went to a shopping mall over the Thanksgiving holiday, and I watched people walk across busy traffic areas with their face buried in their phones and totally unaware of their surroundings.  People were driving in high-traffic areas with their noses in the phones and only occasionally looking up!  I must be getting old to notice these things!  

Today, I hope to help you slow down and think about something simple and fun...

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Nothing is more simple in the photography world than an entirely mechanical roll film camera.  My very first camera was a Mamiya C220 TLR.  I still own and use this camera to this very day, and it produces incredible photos.  Many years ago I picked up a Nikon F 35mm camera along with some Nippon glass and it is one of my absolute cameras to use when I am out exploring.  

I purchased a Pentax 645N and Mamiya RZ67 II new back in the late 1990's, and I still use both of them on a regular basis.  While these cameras are not quite as simple as the C220 or Nikon F, by today's standards they are very basic.  But for simplicity and freedom, the Nikon F is my go to camera loaded with either Tri-X or HP5+.  Using the Sunny 16 rule for the exposure simplifies the experience to the purest form making it something that I cherish and appreciate in a very busy world that is replete with technology gadgets.  

Lately, I have been hiking with my Nikon F100 or F5 and photographing wildlife with HP5+ rated up to ISO 1600, and for color, I am using Portra 400 rated up to ISO 1600 as well.  I am testing the upper limits of these two films right now, so stay tuned for new articles on this in the near future.  I have thoughts about putting a telephoto lens on my Pentax 67II or my 645N next.  

Coming home and developing the film and making a contact proof sheet is a great way to finish up the day.  I typically look at the contact sheet for a few days or a week before I make any decision on which print or prints I want to make.  

What is your favorite "simple camera"?  Tell me why you like it and what you like to create with it.  

-Tim Layton

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Over the last year, Robert Morneau has set aside his traditional 4x5 and 5x7 large format view cameras and focused on pinhole photography.  Robert uses a variety of black and white negative, color negative, and even color transparency films in his work.  Robert uses Ilford Delta 100, Ektar 100 and 400, and Velvia 100 films.

I like Robert's approach of building his own pinhole cameras.  To make the lens boards, he pokes a sewing needle through a thin sheet of aluminum.  This is a simple and highly effective way to create pinhole images on large format sheet film.  

Robert has over 35 years of experience creating fine art images with large format cameras.  "I began my field of study in photography at Brooks Institute School of Professional Photography in 1975 with an emphasis in Industrial and Color photography. Soon after graduation, I began working in northern California’s Silicon Valley as a staff photographer and lab technician in a major studio. I have taught commercial photography courses at De Anza Community College and Gavilan College as well as head the photography program at Gilroy High School for twelve years."

You can view Robert’s pinhole photography on his website at http://robertmorneauphotography.com/pinhole2.php

"My philosophy on photography and the visual arts is simple: Our creativity in producing a piece of art is defined by our ability to “see” an image within its artistic values. That is, to visualize a scene within the context of light and shadow, of composition and perspective, and of the ability to project an emotional response to the viewer. I photograph to document what I “see”, whether it be landscapes or urban settings, and to convey a sense of meditative quiet to those who view my photographs"

You can contact Robert via email at robert@robertmorneauphotography.com

About Pinhole Photography
A pinhole camera, also known as a camera obscura, is a simple device consisting of a light-tight box or container with a small hole used as a substitute for a lens. When light enters the small hole, its rays are inverted to project an image on the opposite wall of the box. This is the very basis of how an image is recorded in a modern-day camera.

A pinhole photograph requires a long exposure due to the small diameter of the hole. As a result, the photographer creates an image that may contain a great deal of movement while maintaining an infinite degree of depth of field. Pinhole cameras can be constructed out of any kind of container, from shoe boxes to paint cans, provided the container is made light-tight.

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Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi" to introduce yourself.  I enjoy featuring the artwork and photography of my subscribers, so connect with me via email if you are working on something interesting.  

-Tim Layton

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I am excited to share the large format work of Stéfane France with you.  Stéfane photographed the former coal mine and miners of Arenberg in the north of France with his 8x10 view camera using a Rodenstock 360 lens on HP5+ sheet film developed in D23.  I can see the effects of the soft developer in the high contrast images.  D23 was an excellent choice for this project.  

There is a total of 21 plates in this body of work and you can view all of them on Stéfane's website.  Notice the large format sheet film notches in the corner of the images... 

Director Guillaume Levis, created a short film of Stéfane working that I know you will enjoy.  Sit back and take a 10 minute break to enjoy watching Stéfane create his art.  

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Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi" to introduce yourself.  If you are working on a film/darkroom project, please let me know and I would like to interview you and create a feature article.  

-Tim Layton

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I thought it would be fun and interesting to ask my global audience what their two favorite darkroom or large format photography books of all time?  

Here is the only rule.  If you could never buy another photography book covering darkroom or large format topics, which one or two books would you choose?  

You can view the complete list of darkroom video workshops on my main workshops page.

Scroll down to the bottom of this article and click on the "Add comment" button to enter your books. Then share this article with your photography friends and let's find out what books make the cut.  

-Tim Layton

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There has been a long and wonderful history of Nikon making just about every lens backward compatible with all of their cameras.  Well, that end of that reign has come to an end unfortunately.  

I discovered today that the new Nikon AF-S NIKKOR 300mm f/4E PF ED VR Lens does not fully function on the F5 and F100 35mm SLR film cameras.  I called Nikon technical support and they confirmed what I was seeing and the rep told me that they the lens is not compatible.  

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I mounted the new 300 PF on the F5 first and it focused just fine.  Then I put the camera in aperture priority and noticed that I was not able to change the aperture.  Just to make sure something was not amiss with the F5, I mounted the lens on the F100 and the same thing happened.  I knew at this point there was something wrong.  

So, I called Nikon technical support and they confirmed the new lens was not compatible with any of their film cameras.  That was a sad moment for me actually.  It felt like the end to an era was very obvious to me in that moment.  The new E FL super telephoto primes may not work as well, but I can't confirm that at this time.

You can view the complete list of darkroom video workshops on my main workshops page.

On the B&H Photo website it lists the lens as being compatible with film cameras "Format Compatibility: Nikon FX/35mm Film, Nikon DX".  I can verify that the lens does not function on two of Nikon's premier film cameras.  

This does not impact me too much because only a small fraction of my work is done with 35mm, but I thought my readers would want to know this in case they are considering buying the lens.  The lens is compact, focuses super fast and it would be a welcome addition to the family, but it is going back tomorrow.  

Scroll down to the bottom of this article and click on the "Add comment" button and say "Hi".  Let me know what you struggle with the most and I would be happy to write about it in a future article.  

-Tim Layton

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INTRO TO B&W DARKROOM PHOTOGRAPHY : (4 Spaces Available)

In this video-based workshop, I walk photographers step-by-step through the process of how to properly expose and develop 35mm and 120 medium format black and white film at home and then make a darkroom print and create a digital file for a hybrid workflow without using a scanner!  

We work together every step of the way as I show you every part of the process in each video lesson.  I want to demystify the black and white film photography process for everyone that has an interest and share my years of experience to help photographers create amazing black and white images.  

You can register right now for $25 by going to my PayPal page and submitting $25.00 USD.  Please list the course title in a note for me so I know which course you want.

You can view the complete list of darkroom video workshops on my main workshops page.   

PRE-REGISTRATION DETAILS

I am holding an open registration for this course at this time.  As soon there are 20 people pre-registered for the course, I will close the registration and produce the final course.  I reward early adopters by offering a 75% discount off the regular cost of the workshop.  You can register right now for $25 by going to my PayPal page and submitting $25.00 USD.  Please list the course title in a note for me so I know which course you want.

I will be sending you updates with private access to the course materials as I develop them.  I will also be asking for your feedback, input, and comments to help shape the final materials in the workshop. Email me with any questions.  

You can view the complete list of darkroom video workshops on my main workshops page.

INTRO TO B&W DARKROOM COURSE OVERVIEW

I gently guide you through the entire process of exposing, developing, and making your first darkroom print from beginning to end.  With over 30 years of experience, I can save you a lot of time and help you from making unnecessary mistakes.  

I share important insights and tips about the exposure and development process that will help you make consistent images that meet your creative vision.  By understanding the technical underpinnings, you are able to exercise your creativity and create the type of black and white artwork that you have always wanted to be able to do. Even if your plan is to convert your film images and bring them into a digital workflow, film-based images are definitely different than DSLR images that were converted to black and white.  Film images are full of emotion and character because of the analog process.   

If you have ever wanted to take control of your creative process and develop your own black and white film, this is the course for you.   

WHAT DO YOU NEED?

• The desire to learn and create beautiful b&w darkroom prints
• Any 35mm or 120 medium format film camera and film to create exposures
• B&W film of your choice (I demonstrate Ilford HP5+ in the workshop)

WHAT WILL I LEARN?

• Movie # 1 - Introduction & Welcome to B&W Darkroom Photography (Review of Materials & Supplies)
• Movie # 2 - Discussion and review of 35mm and 120 Medium format film cameras 
• Movie # 3 - Technique to get good exposures with roll film without performing technical film testing
• Movie # 4 - Development techniques and process for developing B&W film at home (expose for shadows and develop for highlights) (PDF File Included)
• Movie # 5 - Choosing a developer for your B&W film (PDF File Included)
• Movie # 6 - Field Event - Expose some B&W film and discuss my creative and technical choices real time in the field. 
• Movie # 7 - Demonstration - Step-by-step of how to develop B&W film at home
• Movie # 8 - How to read a film negative and make future adjustments based on the feedback 
• Movie # 9 - Demonstration - How to establish DMAX (max black) in the darkroom for your film and paper combination 
• Movie # 10 - Demonstration - How to make a contact proof sheet in the darkroom and select good candidates for printing
• Movie # 11 - Demonstration - Step-by-step process of how to make a darkroom print using variable contrast filters
• Movie # 12 - Demonstration - How to increase/decrease contrast in your darkroom print
• Movie # 13 - Demonstration - How to dodge and burn local areas within your print to make it sing 
• Movie # 14 - Demonstration - How to convert your film negative for digital workflow without a scanner
• Movie # 15 - Demonstration - Tips on how to adjust a digitized film negative in Adobe Lightroom
• Movie # 16 - Summary and discussion of ideas for further exploration 

I share exclusive articles and information like this with my newsletter subscribers.  

You can view the complete list of darkroom video workshops on my main workshops page. 

-Tim Layton

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