Film testing another camera for my mystery project revealed that the summer sun was strong enough to bludgeon it's way into the film chamber despite a double layer of cardstock and template everywhere.
Not all cardboard is sufficiently resistent to the passage of photons to make a successful camera. White cardstock seems to actually amplify the passage through the camera walls. Most brown or grey packaging cardboard with printing on the outside, combined with a decent print of the template will make a camera light proof. If the printing on the cardboard includes large areas of white, it's a horse apiece whether it's dense enough to be truly opaque under the summer midday sun. I've made cameras where the box had a lot of white that were perfectly fine, and some with the areas printed in white showing up on the negative. In relatively dimly lit situations, you can get away with some of this, but the bar for a camera is set pretty high by the prolonged full onslaught of a nearby big star.
It took a while in the sun to create a base fog that was bad enough to create an unrecoverable negative, so I got some exposures.
Beginning with a refreshing beverage on a hot day.
When I was on the Lensless Podcast several years ago, one of the photographs they liked was an arrangment of glass decanters under the Tiffany Lamp. Inspired by the Frick Collection's video series Cocktails with the Curator, we've gotten a more expansive display, but it's still very sparkly, and once again, the exposure made while we were having lunch.