Tag Archives: camera

Making Pinhole Cameras with a Laser Cutter

This is an old project from teaching at AS220’s Fab Lab Providence (now AS220 Industries). The premise was simple, to create a pinhole camera using the Epilog Minihelix laser cutter in the Fab Lab and shoot some pictures using equipment in the Paul Krot Community Darkroom. The cameras were made and used over two Saturdays in March 2010 with the fabrication class led by myself and the photography segment led by Miguel Rosario.

The cameras are unique for pinhole cameras in that they use reloadable film holders based on old large-format cameras. This enables them to be reloaded inside a black bag in the field. The film holders are sized for 4″x5″ film or photo paper. In the class, we used black and white photo paper.

The cameras largely follow Alan Kay’s concept of self-documenting software in that in cutting the files, the instructions are etched into the surfaces for easy assembly. There are also aiming guides etched into the top surface for lining up shots.


Download and cut your own! Pinhole Camera Class Files


Assembly instructions:

Materials: 1/8″ board, hot glue and glue gun, gaffer’s tape, scissors, utility knife.

Download files and laser cut them using your preference of materials. 1/8″ Foamcor, cardboard, plywood or MDF will all work.

Assemble the camera body by laying down base and attaching the front, sides and center divider. Attach the top cover. Hotglue all edges inside and out then seal over with gaffer’s tape or other light-proof material.

Take a small piece of copper, aluminum foil or copper cladding (3M EMI Shielding Tapes 1181) and place over the aperture on the inside front of camera. Tape it in place to guarantee a fit. Take a small needle or bobby pin and carefully poke a hole in the center of the foil.

Attach the back plate, glue and light-proof.

Attach the film holder cover with gaffer’s tape.

Make folding film holders from the two holder components and gaff.

Glue the two pieces of the lens cap together. Add the lens cap to the camera. It can be attached with hook-and-loop, tape or jammed into the aperture. Jamming it in place is not recommended for field cameras as it can damage the foil, but does work for practice assembly.

Insert film into holders, load camera and shoot to your heart’s content.

Orthographic promotional view of camera.
Miguel Rosario’s images, inverted to normal view.
Joshua Gigantino, negative images.
Cut file image, film holders.
Cut file image, camera body.
Laser-cut components in archival foamcor.
Student assembling camera.
Assembly.
Interior view showing gaffer’s tape seals.
Exterior front view.
Interior view without rear plate.
Student assembling a camera.
Student assembling a camera.
Film loading slot closeup.
Various cameras during development.

Overall this project was a real success. The workshop had only two students and two instructors but we all successfully built, shot and printed using these cameras. There is a lot of possibilities for combing these kinds of very old technology with digital fabrication.

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Testing out a LensBaby Spark tiltshift lens

Tiltshift lenses are all the rage but a decent one is painfully expensive. Lensbaby offers a range of affordable tiltshit and fisheye lenses in the $90-1300 range which is a far cry from the $2500 kit I really want from Canon. Here is a quick rundown of the cheapest tiltshift lens on the market, Lensbaby’s 50mm Spark. Overall this lens is fantastic for what it does at this price point.


Included here are some exposure tests, feedback on how the lens operates and a video showing what it can do with an older DSLR camera for both video and stills used as motion graphics.

Lone poppy, February 11th, 2017, midday, filtered sunlight. f5.6, 1/80, ISO100.

Tested on a Canon T3 with no extra filters. This lens is the most fun I’ve had with a camera since my first SONY Handicam with Niteshot.

Images and Video by SM@SH and J05H, shot February and March, 2017. Video footage was captured on a pleasant evening’s sunset, March 5th, 2017. No color balancing or other image editing has been done in an effort to keep it close to the camera’s output so readers can see what kind of images the Spark produces.

Also February 11th, 2017, midday, moderate sunlight. f5.6, 1/80, ISO100.

This poppy flower sprouted among the gravel in our xeriscaping and became the subject for testing this lens. This rugged but delicate flower has gone through three phases, first sprouting a single blossom, then two and back to one.

February 15th, 2017, midday, direct sunlight. f5.6, 1/80, ISO100.
March 6, 2017, midday, filtered sunlight. f5.6, 1/400, ISO100.

All focusing and effects are done in-camera using the Spark’s manual focus ring. This is accomplished simply, by holding the lens and directing the focal plane with the fingers. It is very intuitive when shooting both video and still images. The field-of-view is fairly narrow which helps to give it the dream-like quality when combined with the fixed f5.6 aperture.

The fixed aperture means that a modern Canon DSLR doesn’t recognize a lens is attached. The aperture is fixed at f5.6, there is no autofocus or image stabilization. All photo imaging needs to be done by manually adjusting any settings. Video has a warm, close feel due to the fixed lens settings and manual, touchy focus. Shooting with the Spark is a raw, fun experience.

Exposure Tests — Fixed f5.6 aperture, 1/100th second exposure, ISO in steps from 100 – 6400.

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

ISO 6400


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