Don’t Let Airports Kill Your Film: What Happened to Me in Mexico City and What You Should do to Protect Your Film

I travel with film. Not just as some hipster hobbyist…but also as a working photographer.
I shoot for clients, for community projects, and for myself.
I document my life. I care what’s on those rolls.

I’ve always been careful. I keep film in my carry-on, I ask for hand checks, and I even quote TSA policy when I need to.

On February of 2025, flying out of Mexico City International Airport (MEX), all of that didn’t matter.

Despite my requests, my film was X-rayed…

What Happened at MEX

I was flying from Mexico City to Atlanta (ATL), then home to Charleston (CHS) with two 35mm cameras and one loaded with 110 film, plus some loose rolls.

At the security checkpoint, I requested a hand inspection—just like I have at airports all over the world. An airport employee tried to help, but his supervisor shut it down quickly.

The loose rolls were hand-checked. But the three cameras, loaded with unprocessed film? They forced them through the X-ray machine.

And while this was happening, I was literally thinking: *Has no one ever flown through Mexico with film before? I’m the first one? I’ve traveled with film in the EU, and I know what to expect there. But here? Why? *

Because I don’t speak Spanish, I had difficulty conveying my concerns. I tried. I really did. But I could tell I was being tossed around, being asked to comply. I stood my ground—until I found myself surrounded by several airport staff members.

At that point, I had to make a call: risk getting into trouble, or cut my losses. I chose not to escalate it further as the intimidation factor made me uncomfortable. I let the cameras go through the scanner. And that sucked.

I’ll be real: I blame the agents at the airport, not necessarily Delta. It wasn’t that I was making a scene—I was calm, but firm. One of the staff members was actually trying to help. He made an effort to translate and kept saying it was a misunderstanding, which to some degree it was—but I also understood exactly what was happening: they weren’t willing to do what I was asking, which was to hand-check the film.

I appreciated his effort. He was kind, and he kept apologizing for not being able to keep up with me; that’s totally understandable. Still, the reality remained: despite his help, the decision had already been made. They weren’t going to accommodate me. And the rest of the staff? It felt like they were more focused on moving me along than hearing me out. Whether it was miscommunication or policy confusion, the result was the same: I was denied a basic, reasonable request that should’ve been honored.

What Happens When Film Goes Through an X-ray Scanner?

If you’re not familiar: once undeveloped film is exposed to X-ray scanning, it’s permanently damaged. You can’t recover the images. You can’t "repair" the film. The damage is chemical—you may not see it until after developing, but it's baked into the emulsion, the intensity varying by film type and intensity of x-ray.

In my case, I lost two rolls of 35mm film, one roll of 110 film, and development costs from Darkroom Lab.

I was told at the airport that Delta would reimburse me for the damage. But I’m reluctant that they will. Their customer service later asked for a "repair" receipt, which doesn't exist for ruined film, but I guess that takes care of development costs.

Traveling with Film: What the Experts Say

According to The Darkroom, a leading film lab and authority on film safety:

“Undeveloped film is sensitive to X-ray radiation. Even though carry-on X-ray machines are less intense than checked luggage scanners, repeated exposures or high-speed films (ISO 800 and up) can be visibly affected.”

But it’s not just about multiple exposures anymore. The real threat now is CT scanners, which are rolling out at airports worldwide.

“New TSA CT scanners emit a much higher radiation dose and can fog or destroy film in just one pass.”

Airport Scanner Types: 2025 Snapshot

Region	Airport or Area	Scanner Type
United States	Atlanta (ATL)	CT
United States	Baltimore / Washington (BWI)	CT
United States	Chicago O’Hare (ORD)	CT
United States	Los Angeles (LAX)	CT
United States	Most regional / smaller airports	X-ray
Europe	Milan Malpensa (MXP) — Terminal 1	Mixed / CT & X-ray
Europe	Rome Fiumicino (FCO)	Mixed / CT & X-ray
Latin America	Most major & regional airports	X-ray

Note: Scanner deployment evolves—always verify with your departure airport.

In the U.S., the TSA recommends that all film (especially ISO 800 and above) be hand-inspected. This includes film in cameras, rolls, and even single-use cameras. Their official guidance is here:

“We recommend that you put undeveloped film and cameras containing undeveloped film in your carry-on bags or take undeveloped film with you to the checkpoint and ask for a hand inspection -The final decision rests with the TSA officer on whether an item is allowed through the checkpoint.“

…eyeroll…

Mexico City Airport's Policy (or Lack Thereof)

According to AICM's published security guide, film is considered a sensitive material and may be inspected manually or by explosive detectors. But as I experienced firsthand, that policy isn’t consistently honored. Many travelers report the same issue: denial of hand checks and X-ray exposure against their consent. Bullshittery.

How to Protect Your Film When Traveling

One tool I recommend (and personally use) is a lead-lined film shield bag. It’s a thick, black envelope-style pouch designed to absorb radiation and help prevent film fog if your bag is scanned. While it won’t make your film invisible to scanners, it does offer an extra layer of protection.

Popular options:

• Sima Film Shield Lead Laminated Pouch – Holds up to 22 rolls

• The Domke 711-12B Medium Filmguard Bag  – Holds up to 15

• Kodak Vintage Metal Film Storage Box – Fits 35mm and 120 film. No scanning protection, but compatible with Domke bags (set of 6 colors).

⚠️ Heads up: Some security teams may flag these bags as opaque and pull you aside for a manual check. That’s actually ideal—because that’s what you want anyway.

Film Travel Tips: How to Protect Your Work

If you're flying with film, here’s how to avoid what happened to me:

• ✅ Always carry film in your carry-on bag

• ✅ Use a clear plastic bag for fast inspection

• ✅ Request a hand check clearly and early (check out this sticker template for 4x5 film)

• ✅ Print the airport film policy for other visiting countries and keep it ready to share.

• ✅ Avoid CT scanners when possible

• ✅ Ship your film home undeveloped via courier if unsure

Final Thoughts

I didn’t write this for sympathy. I wrote this because I don’t want another photographer—or anyone shooting analog—to lose work over something avoidable. I did everything right. And I still lost my images.

Am I pushing Delta for a refund? Meh, it’s around $75. The sentimental value is more. What I really want is a policy change.
I want airlines and airport security to recognize that film photography is alive and real. That our work matters. That the solution—hand checks—already exists.

If you’ve had film ruined while traveling, share your story. The more noise we make, the harder it is to ignore.

Let’s protect the medium—and each other.

-V

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UPDATE: Since publishing this post, I received responses from both PROFECO (Mexico’s consumer protection agency) and Delta Air Lines. Here's the update:

• PROFECO confirmed they do not have jurisdiction over customs or airport security staff. They referred me to the Mexico City Airport complaint form and stated that damage claims must go through the judicial system with legal representation in Mexico. Not exactly helpful—but at least it clarified the limits of their authority.

• Delta Air Lines acknowledged my complaint and opened a case. After some back and forth, Delta reimbursed me $66.95 for film development costs via ACH transfer. It’s appreciated—but this was never just about the money. It was about the principle, the miscommunication, and the effort it took to get a basic issue acknowledged.

I’m frustrated, but not surprised. It’s a reminder that relying on policy alone doesn’t always protect you, and that we often have to advocate harder than we should just to be taken seriously. There’s no clear accountability when this kind of thing happens, and that’s why I wrote this post in the first place.

How to Shoot 35mm Film in a 120 Camera (Yes, Really)

I tested it with an Agfa Shur-Shot—and here’s how it went.

Want to shoot 35mm film in a medium format camera like the Agfa Shur-Shot Special? With a couple of cheap adapters, some tape, and a little patience, you can make it happen. It’s weird. It’s fun. It works. Here’s everything I used, how I loaded it, and what I learned—so you don’t have to guess.

Why Shoot 35mm in a 116 Camera?

The Agfa Shur-Shot Special was designed for 116 film, which is long discontinued. While 120 film is a common workaround, 35mm is even more accessible and gives you a unique look. When used in a medium-format camera, the sprocket holes of 35mm film become part of the final image, creating a raw, full-frame aesthetic you can’t get from standard 35mm cameras.

I chose Fujifilm Fujicolor Superia 400 for this experiment—a color negative film known for its versatility and vibrant tones. It was a perfect fit for this hybrid setup.

The Tools You’ll Need

These are the exact tools I used to load 35mm film into a 120-format box camera:

🧰 Here’s what I used:

• 35mm to 120 Film Spool Adapter
This adapter holds the 35mm roll in place on a 120 spool so it fits in the camera’s film chamber.

• 116 to 120 Film Spool Adapter Kit
Converts the larger 116-size chambers (common in old box cameras) to accept 120 spools.

• Fujifilm Superia X-TRA 400 35mm Film
Reliable color film, 400 speed, good for various lighting.

How to Load 35mm Film Into the Agfa Shur-Shot

Step 1: Insert the Film

Drop the 35mm film (fitted with the 35mm-to-120 adapter) into the film chamber on one side. On the other, place an empty 120 spool (with 116-to-120 adapter) to take up the film.

Step 2: Tape It

Use a small piece of clear tape to attach the film leader to the take-up spool. Make sure it’s secure but smooth so it winds evenly.

Step 3: Advance the Film

Manually wind the camera to get past the film leader before starting your first shot—about 3–4 full turns should do it.

Advancing the Film: Preventing Overlaps

Since this camera wasn’t designed for 35mm film, you’ll need to manually control frame spacing. Here’s a rough guide based on my tests:

• Using 35mm Film: Turn the advance knob 0.85 full turns (or 1.7 half turns) per shot

• This gave me about 12 usable frames per roll

💡 Pro Tip: Use a scrap roll to test. After a few advances, open the back in a darkroom or changing bag to check spacing. Adjust accordingly. Watch the video.

Things I Learned (So You Don’t Have To)

🔧 Frame Spacing (a.k.a. The Trial & Error Part)

Because the camera wasn’t built for 35mm, you’ll have to eyeball the frame spacing. Based on my tests:

• Advance 0.85 full turns (or 1.7 half turns) for each shot

• Expect around 12 usable frames per roll

💡 Test first. Use a scrap roll, wind a few frames, then check spacing in a darkroom or changing bag.

💥 What I Learned (a.k.a. What Went Weird)

• Light leaks are inevitable

  Tape up seams and especially the red film window. Black gaffer or electrical tape works great.

• Frame spacing takes practice

  Your first roll might be a mess. That’s part of the fun.

• Sprockets look incredible

  Those exposed sprockets and film edges? Chef’s kiss. Keep them in the scan if you can.

Tips for Development & Scanning

When you send your roll to a lab, let them know it was shot in a medium format camera so they don’t crop out the sprockets during scanning. Not all labs are equipped to scan full-width 35mm with sprockets showing, so double-check before sending.

Alternatively, if you’re scanning at home, a flatbed scanner or DSLR scanning rig gives you more control over the final image crop.

Final Thoughts

Shooting 35mm in the Agfa Shur-Shot was clunky, unpredictable, and kind of magical. If you’ve got an old box camera collecting dust, this is a low-stakes way to experiment and fall in love with film all over again.

The results? Full of light leaks, dreamy borders, and that sweet analog imperfection.

Try it. Break the rules. Make something weird.

And tag me if you do—I want to see it.

-V

Film Soup: 10 Recipes for Unique Effects

Film soup is an experimental analog technique where film rolls are soaked in liquid mixtures—anything from household products to more unexpected ingredients—to create unpredictable, often surreal photographic effects. It’s a way to let go of control and invite chaos into your creative process, whether you soup before or after exposing the film.

This process can result in vibrant color shifts, chemical burns, dreamy textures, and other-worldly distortions that make each frame one of a kind. It’s a favorite for artists who want to break the rules and explore new aesthetics beyond what traditional film offers.

In this post, I’m sharing 10 unique film soup recipes I’ve used (or been curious to try), along with some key tips on how long to soak, what ingredients to use, and what to expect when it comes time to develop your film.

Understanding Film Soup

At its core, film soup is about chemical reactions. The substances you soak your film in interact with the emulsion—the light-sensitive layer on your film—and alter how it reacts to light or how the image is processed later on.

You can use common items like lemon juice, soda, salt, vinegar, or dish soap… or you can get a little weirder with things like wine, hot sauce, energy drinks, or even detergent pods (yes, seriously). Each combo yields totally different results.

There are a few variables to play with:

• Pre- vs. Post-Exposure: You can soup film before shooting or after. Before exposure tends to give you more subtle effects, while post-exposure can be more intense and chaotic.

• Soaking Time: Some people soak for 5 minutes, others for days. More time usually means more dramatic results—but also a higher chance of damage.

• Temperature: Warmer temps tend to intensify the effect. Some artists even boil their film (carefully).

• Dry Time: After souping, you’ll need to let your film dry completely—typically 7–10 days—before sending it to a lab or developing it yourself.

One important note: Film souping can ruin your film if you’re not careful. But that’s kind of the fun of it. It’s part art, part experiment.

Film Soup Before Shooting

Pros:

• Predictable effects: Soaking the film before exposure allows you to anticipate how the soup will interact with the images.

• Creative planning: You can make strategic decisions about subjects and compositions based on expected alterations.

Cons:

• Increased risk: Pre-soaked film may damage your camera if not fully dried or cleaned properly.

How-To:

1. Soak your film in your chosen solution.

2. Allow the film to dry thoroughly, ideally for about 10 days, ensuring no residue is left that might damage your camera.

3. Load and shoot your film as usual.

Film Soup After Shooting

Pros:

• Safer for equipment: The film is exposed and rewound safely in its canister, minimizing any risk to your camera.

• Surprise elements: Soaking the film after exposure often results in more unpredictable and surprising effects.

Cons:

• Less control: The random nature of the results can be less predictable.

How-To:

1. Shoot your film as you normally would.

2. Once completed, soak the exposed film in your chosen concoction.

3. Allow the film to dry completely, keeping in mind the same precautions for drying time.

How Long Should I Soup My Film For?

The duration of your film soup is flexible, ranging from minutes to several weeks. Here are some general guidelines:

• Mild Effects (Subtle changes):

  • Soaking Time: 1–8 hours

  • Ingredients: Lemon juice, salt, coffee, soda

  • Description: Produces slight color shifts and mild effects. Good for beginners wanting to see the impact of film soup without drastic changes.

• Moderate Effects (Pronounced changes):

  • Soaking Time: 8–12 hours

  • Ingredients: Tea, cola, light vinegar

  • Description: Creates more noticeable color shifts and textures. Suitable for those looking to experiment further.

• Strong Effects (Dramatic changes):

  • Soaking Time: 12–24 hours

  • Ingredients: Strong vinegar, detergent, hot sauce

  • Description: Results in bold, vibrant effects with significant color and texture changes. Perfect for experienced film soup enthusiasts seeking dramatic results.

• Extreme Effects (Highly altered images):

  • Soaking Time: 24 hours to 1 week

  • Ingredients: Floor polish, strong acids, or a mix of potent ingredients

  • Description: Yields extreme and often unpredictable results, with the risk of losing detail. Best for those who enjoy high-risk, high-reward experiments.

Temperature Considerations

Temperature can significantly affect the outcome of your film soup. Here are some tips:

• Hot Water Soak: Running your film through hot water for 10–20 minutes before soaking in your chosen mixture can enhance the effects and speed up the chemical reactions.

• Room Temperature: Most soups are done at room temperature, providing a baseline for the reactions without accelerating the process too much.

What Are the Best Ingredients for Film Soup?

Creating a film soup recipe is a DIY project with no strict rules. You can experiment with various ingredients, but experienced film soup enthusiasts often use:

• Water, cola, juice, wine, beer, coffee, contact lens solution, vinegar, soy sauce, and more.

• Acidity in the mix can enhance the chemical reactions.

10 Creative Film Soup Recipes

1. The Citrus Twist

• Ingredients: Lemon juice, lime juice, and a pinch of salt.

• Soaking Time: 5 minutes.

• Expected Effects: Boosts contrast and adds a slight yellow to green tint, giving photos a warm, vintage look.

2. The Color Burst

• Ingredients: A teaspoon of dish soap, a few drops of food coloring, and warm water.

• Soaking Time: 3-4 minutes.

• Expected Effects: Adds random splashes of color and subtle light streaks, making each photo unique and vibrant.

3. The Vintage Sepia

• Ingredients: 2-3 black tea bags in boiling water.

• Soaking Time: 10-20 minutes, depending on the desired intensity of sepia tones.

• Expected Effects: Softens images and adds a brownish tone, mimicking the look of old sepia photographs.

4. The Dreamy Blur

• Ingredients: Rubbing alcohol, a few dashes of sea salt, and warm water.

• Soaking Time: 5 minutes.

• Expected Effects: Softens sharpness, creating a dream-like blur around light sources and edges, adding an ethereal quality to photographs.

5. The Fizzy Pop

• Ingredients: Cola and a splash of vinegar.

• Soaking Time: 1-2 hours.

• Expected Effects: Enhances colors and adds a bubbly texture to the images.

6. The Coffee Kick

• Ingredients: Strong brewed coffee and a dash of salt.

• Soaking Time: 6 hours.

• Expected Effects: Adds warm brown tones and enhances shadows, giving a vintage feel.

7. The Spicy Twist

• Ingredients: Hot sauce and lemon juice.

• Soaking Time: 30 minutes.

• Expected Effects: Creates fiery red and orange streaks and enhances contrast.

8. The Sweet Treat

• Ingredients: Soda (any kind) and a splash of fruit juice.

• Soaking Time: 2-3 hours.

• Expected Effects: Adds random color shifts and a sugary sheen to the images.

9. The Alcohol Splash

• Ingredients: Beer or wine.

• Soaking Time: 4 hours.

• Expected Effects: Introduces random color shifts and a grainy texture.

10. The Vinegar Wash

• Ingredients: White vinegar and water.

• Soaking Time: 1 hour.

• Expected Effects: Adds high contrast and a gritty texture, with potential for bold, unpredictable color changes.

Check this shawtys videos for more recipes and tips:

My Favorite 35mm Films for Soups

Different films react to soup in their own unique ways, and that’s part of what makes the process so fun. Some films hold up better under pressure, while others completely fall apart in the best possible way. Here are a few of my go-to 35mm stocks that consistently give me dope results:

1. Kodak Ultramax 400

Why I ❤️ It: Ultramax is reliable, easy to find, and holds color well—even when it’s been through the wringer. It has a nice balance of saturation and grain, which makes it super versatile for film soup. I’ve had the most fun with this one when using acidic ingredients like lemon juice or cola—it brings out rich oranges, neon reds, and dreamy hazing effects without totally destroying the emulsion.

2. Fujifilm Superia X-TRA 400

Why I ❤️ It: This one has a clean, vivid palette that leans slightly green, and it responds really well to organic, subtle soups like tea, coffee, or even herbal infusions. It enhances those Fuji greens and reds in a soft, painterly way. I love souping this film post-exposure—it keeps detail while still letting the chaos in.

3. Ilford HP5 Plus 400

Why I ❤️ It: Even though it’s black and white, HP5 reacts beautifully to more extreme soups. Think vinegar, dish soap, hot sauce—stuff that’s a little more aggressive. Instead of color shifts, you’ll get unpredictable contrast changes, soft washes, streaking, and sometimes ghost-like halos or distortion around your subjects. It’s great for moody, textured work.

4. Lomography Color Negative 400

Why I ❤️ It: Lomo 400 is already a little wild on its own, so when you soup it, it really takes off. It’s super responsive to just about anything—wine, pickle juice, detergent—whatever weird combo you throw at it. The colors can shift dramatically, sometimes unpredictably, and it adds a lot of grain and texture, which feels perfectly on-brand for Lomo lovers. It’s forgiving, fun, and always a surprise.

5. Cinestill 800T
Why I ❤️ It: Okay, this one’s a little riskier—and a bit more expensive—but when it works, it really works. The tungsten balance and halation effect give souped Cinestill a cinematic, alien-world vibe. It plays well with cooler soups like tonic water, gin, or aloe vera juice, and the results can be hauntingly beautiful or straight-up warped. Just make sure it’s fully dried before scanning—Cinestill’s anti-halation layer makes it more delicate.

Can I Give My Film Soup to a Lab?

Some labs will take souped film, but not all of them will. The chemicals you use can leave residue that might mess with their equipment—or worse, ruin someone else’s film. Always let the lab know you’ve souped it and be upfront about what you used. Then they can decide if they’re comfortable developing or scanning it.

If you’re planning to send it in, make sure it’s totally dry—like 7 to 10 days dry. Otherwise, you can always develop it at home and have full control over the whole process (and the chaos).

Final Thoughts

Film soup is wild. It’s unpredictable, messy, and one of the most fun ways to get weird, beautiful results with your photos. Whether you soup before or after shooting, just lean into the chaos and see what happens.

Have fun with it.

-V

DIY Photography: Crafting Your Own Pinhole Camera from Everyday Items

You don’t need expensive gear to make something beautiful. I know that’s hard to believe in a world where every camera release feels like it’s promising a new version of “better,” but some of the most interesting images I’ve seen—and made—come from the simplest setups.

A pinhole camera is about as stripped down as photography gets. No lens. No screen. No autofocus. Just light, time, and a small hole letting the world in. It’s one of the most accessible ways to get into analog photography, and honestly, one of the most fun.

The first time you shoot with a DIY pinhole camera, it feels a little like a magic trick. You’re working with something that shouldn’t really work—like a shoebox, a tin, or whatever you have lying around—and somehow, it does. The images come out soft, imperfect, and a little unpredictable in a way that digital photography rarely allows anymore.

If you’ve been curious about film photography, or you’re just looking for a beginner-friendly photography project that doesn’t require a big investment, this is a really good place to start. Building your own pinhole camera is cheap, low-pressure, and a reminder that photography isn’t about the gear—it’s about paying attention.

And honestly, sometimes slowing down enough to let the image come to you.

Lego Camera Mark II with 4×5″ Instant Film Back by Brendan Barry

What You’ll Need

You probably already have most of what you need sitting somewhere in your apartment. That’s part of the appeal—this isn’t precious, and it doesn’t need to be.

Here’s what you’ll want to gather:

• A light-tight container

  A shoebox, a coffee can, or a cookie tin all work. Anything that can fully block out light is fair game. This is your camera body.

• Black paint or matte black paper (optional, but worth it)

  Lining the inside helps absorb stray light and gives you cleaner images. Not required, but it makes a difference.

• Aluminum foil

  This is where your pinhole lives. It becomes your “lens,” technically speaking.

• Photographic paper or film

  This is your image surface. If you’re new to film photography, photo paper is usually easier to start with.

• A pin or needle

  The smaller and cleaner the hole, the sharper your image. This is the entire mechanism.

• Scissors

  For cutting your foil and making small adjustments.

• Tape (electrical tape works great)

  You’ll use this to seal edges and control light leaks. Think of it as part of the build, not just an afterthought.

• Something to use as a shutter

  A small piece of opaque tape or cardboard works perfectly. This is how you control exposure—literally just covering and uncovering the hole.

The Gingerbread Pinhole Camera by @diaboli — proof that anything can be a camera if you believe hard enough

quality of image result example

How to Build Your Pinhole Camera

If this is your first time making a pinhole camera, don’t overthink it. This is one of those rare photography processes where imperfection actually works in your favor.

Step 1: Prep Your Container

Start with your light-tight container—shoebox, coffee can, whatever you’re working with.

Paint the inside black to reduce reflections and help prevent light leaks. You can paint the outside too if you want it to feel a little more intentional, but that part’s optional.

If painting isn’t your thing, line the inside with black construction paper or a dark fabric. The goal is simple: absorb as much stray light as possible so your image stays clean.

Let everything dry fully before moving on. This part matters more than you think.

Step 2: Cut and Cover the Pinhole Area

Pick one side of your container to act as the front of your camera.

Cut out a small square—this is where your “lens” will live. From the inside, tape a piece of aluminum foil over that opening. Make sure it’s flat and sealed tightly so no extra light sneaks in.

This is the most “technical” part of your DIY pinhole camera build, even though it’s still very low-tech.

Step 3: Make the Pinhole

Take a pin or needle and gently poke a tiny hole in the center of the foil.

Try not to force it—the cleaner and smaller the hole, the sharper your image will be. If the hole is too big, your photo will come out soft and a little muddy.

This is your lens. That’s the whole system.

Step 4: Load the Photographic Paper or Film

This part needs to happen in total darkness, or under a safelight if you have access to one.

Tape your photographic paper or film to the inside wall opposite the pinhole. That surface is where your image will be captured.

If you’re new to analog photography, photo paper is usually easier to start with—it’s more forgiving and gives you quicker feedback.

Step 5: Make a Shutter

Now you need a way to control light entering the camera.

Cover the outside of the pinhole with something opaque—a piece of black tape, folded paper, cardboard—anything that can fully block light and be easily lifted.

This is your shutter. Simple, but it does the job.

How to Take a Photo with a Pinhole Camera

This is where things slow down—in a good way.

1. Place your pinhole camera on a steady surface or tripod.

   Any movement will blur your image.

2. Point it toward your subject.

   Think about composition here—you’re still making a photograph.

3. Remove the shutter to begin the exposure.

4. Count your time.

   On a bright, sunny day, start around 30 seconds. In shade or indoors, you’ll need longer—sometimes a few minutes.

5. Cover the pinhole again to end the exposure.

There’s no perfect formula here. Pinhole photography is a lot of trial and error, and that’s part of what makes it interesting.

How to Develop Your Pinhole Photo

What happens next depends on what you used inside the camera.

If you’re working with photographic paper, you’ll need a basic darkroom setup: developer, stop bath, and fixer. There are plenty of beginner darkroom kits out there that make this pretty approachable.

Handle everything in a light-safe environment until it’s fully fixed—otherwise, you’ll lose the image.

If you’re using film, develop it according to the film type. Black-and-white film is the easiest place to start if you’re developing at home.

Pro tip: keep everything light-tight until it’s developed or scanned. This is one of the easiest ways to accidentally ruin a shot.

Elizabeth Rangel’s pinhole camera made from an axolotl flower pot

Elizabeth Rangel’s pinhole photograph.

Making your own pinhole camera is a reminder that photography, at its core, has very little to do with gear.

It’s light. It’s time. It’s patience. It’s paying attention.

Pinhole photography—especially when you build the camera yourself—pulls you out of the habit of chasing sharpness, speed, or perfection. You’re working slower. You’re guessing a little more. You’re letting the image reveal itself instead of controlling every part of it.

And honestly, that’s where things start to feel interesting again.

There’s something grounding about using a DIY camera—something made from a box, a piece of foil, and a pin—and still ending up with an image that feels intentional. It reminds you that the process matters just as much as the result.

So if you’ve been feeling stuck, or overthinking your work, or like you need better gear to make something worth sharing—this is a good place to reset.

Grab a box. Poke a hole in it. Let it be imperfect.

-V

From Holga to Cyanotype: A Complete Step-by-Step Guide

Combining the soft, dreamy look of Holga photography with the rich blue tones of cyanotype printing is a rewarding way to create one-of-a-kind analog prints. In this guide, I’ll walk you through the full process—from capturing an image on film to printing it as a cyanotype on fabric. No darkroom required.

What You’ll Need

Here’s everything you’ll need, including links to find them on eBay for convenience:

• Holga Camera (120 film)

• 120 Format Film

• Inkjet Transparency Film – for printing negatives

• Jacquard Cyanotype Pretreated Fabric Sheets – no chemicals needed

• Disposable Gloves – to protect your hands

• Picture Frame Glass – to hold the negative flat

• Painter’s Tape – to cover glass edges

• UV Lamp or access to sunlight – for exposing your cyanotype

• A tub or large sink for rinsing

• Rubbing alcohol (for clearing residue during rinse)

Step 1: Capture Your Image on a Holga

Start by loading your Holga camera with 120 film. The Holga’s signature softness, vignetting, and occasional light leaks add character that translates beautifully into cyanotype prints.

Take your photos as usual, then have your film developed at a local lab or at home (if you’re set up for that).

Step 2: Create a Digital Negative

Once your film is developed:

1. Scan the Negative or Print – Use a flatbed scanner to digitize your image at high resolution.

2. Invert the Image – Open the scan in Photoshop or another photo editor and invert the image so it becomes a negative (light becomes dark, dark becomes light). Convert it to black and white if it isn’t already.

3. Resize – Match the size of your final cyanotype (typically 8.5x11” if using standard pretreated sheets).

4. Print on Transparency Film – Use inkjet-compatible transparency sheets and print your inverted image using your home printer’s highest quality black-and-white setting.

Step 3: Prepare the Cyanotype Fabric Sheet

Jacquard Cyanotype Fabric Sheets come pre-sensitized, meaning no chemicals or mixing is required. They’re light-sensitive, so follow these precautions:

• Work in a dim room or under low, indirect lighting

• Only open the sealed package when you’re ready to expose

• Wear gloves to avoid damaging the coating

Place the sheet on a flat surface, emulsion side up (usually the slightly shinier side).

Step 4: Assemble and Expose Your Print

1. Lay your transparency negative over the cyanotype fabric, aligning it as desired.

2. Cover with glass from an old picture frame to press the negative tightly against the fabric. Use painter’s tape around the edges of the glass to make it safer to handle.

3. Expose to Light

• Direct Sunlight: 10–15 minutes

• Cloudy Day: 20–30 minutes or longer

• UV Lamp: Adjust time based on your lamp’s wattage

Watch the print: The areas exposed to light will shift from greenish-yellow to gray-blue. Avoid overexposing to keep detail in highlight areas.

Step 5: Develop Your Cyanotype

After exposure:

1. Move indoors to avoid further exposure

2. Rinse the fabric in cool water in a tub or sink

3. Add a splash of rubbing alcohol to help clear unexposed chemicals

4. Continue rinsing for 5–10 minutes, or until the water runs clear and all yellow has washed away

5. Lay flat or hang to dry – Your print will deepen in blue as it dries

Tips for Better Results

• Use a test strip (a small piece of fabric) before committing a full sheet

• Try toning with tea or coffee after washing for alternative colors

• Store your remaining cyanotype sheets in a dark, dry place

• Scan your final prints to archive or share digitally

Final Thoughts

This process brings together the unpredictability of Holga photography and the tactile joy of alternative printing. Each step invites experimentation, and every result is a unique, hands-on piece of art. Whether you’re looking to get off the screen and back into the craft, or just want to explore a slower, more physical form of image-making, this is a great place to start.

Happy printing.