Mummy 400 in the Stone Cube.

Some of the impetus for making Sarah a camera for spooky season was the introduction by the Film Photography Project of new horror films in 120 format — last year Wolfman 100 and this year Mummy 400. When they introduced the faster film this summer, they had special introductory sale price. In addition to the roll for Sarah's blog, I got a few rolls to try out myself. The Stone Cube needed another fair try after the incident with the darkroom error.

There was distinctive sunlight filtered through very light clouds. The sun was already quite low in the sky six weeks after the equinox, coming from the southwest in the Central Standard Time afternoon. The extra hour past the meridian makes the sun's location a lot different.

The front door of the Oshkosh Mosque on Church Street, although the little signs on the doors direct visitors to the side entrance.

The Morgan House still looking spooky even after Halloween,

The side entrance by the parking lot at Trinity Episcopal Church.

A side window of the Oshkosh Northwestern Building.

A courtyard and entrance at what once was the world headquarters of Oshkosh B'Gosh.

The next morning with a sharper sun coming from the other direction. The side door of the first Evangelical Church.

The side door of St. Mary's Church. This looks like a modern addition. That dark brickwork is actually flush with the walls. The space enclosed by the dark bricks is indented, creating some odd to interpet shadows.

I sat looking at this wall for several minutes wishing those guy wires weren't in the way. Then I thought "Would that have stopped Picasso?" This is behind another uniquely Oshkosh business, the headquarters of the Naturist Society.

I read and watched a few reviews of the Mummy 400 film, most of which said it was rebranded Fomapan 400, although they don't admit to that. After using a roll of Arista.edu 400 last week, which I think is also Fomapan, it seemed the same, but I rarely use ISO 400 films. One person said it should be rated at 250, and another that you could get away with 6 stops overexposure with the 4x5 and a lens. The sunlit walls with side-lit tree against the shadow seemed to call for that kind of latitude, but it did not like the overexposure. I think the inherent diffraction of pinhole kind of overwhelmed it. It also got noticably grainier, not that there's anything wrong with that.

The Stone Cube has about .30mm pinholes on the axis and 15mm above the axis, 6cm from a 6x6cm frame. These were all done with the rising pinhole. The film was semi-stand developed in Rodinal 1:100.