From Shadows to Saturation: My Pinhole Return to Colour

After years of blissfully wandering the grayscale landscape with my pinhole cameras, I’ve decided to dip my toes (and film backs) back into the world of colour. Yes, colour. Actual hues. Saturation. The whole rainbow.

So, why the sudden chromatic craving?

Well, blame it on my RealitySoSubtle 6x17. Every time I take it out, compose a shot, and open the shutter, a little voice in my head whispers, “This would look amazing in colour.” And it's not wrong. There’s just something about that sweeping panoramic format that begs for more than fifty shades of grey. Sunsets, cityscapes, autumn leaves — they’re all taunting me to capture them in their full-colour glory.

I picked up two boxes of Kodak Gold 200 — arguably the most budget-friendly colour negative film still on the shelves. It might not have Portra’s dreamy pastels or Ektar’s punchy saturation, but it’s reliable, forgiving, and most importantly, doesn't make my wallet cry, well it does, just not as much as some other films currently on the market.

To complete the dive back into colour film, I’ve got a CineStill CS41 colour developing kit on the way. Yes, I’m planning to soup this stuff at home. I’ve developed C-41 and even slide film before, and I already handle all my black and white processing myself — so this isn’t entirely uncharted territory, just a return to slightly warmer (and fussier) waters.

So here we go: from years of moody monochrome to the bright unknown. Will I regret it? Maybe. Will I miss the calm, meditative simplicity of black and white? Almost certainly. But don’t worry — I’m not giving it up. I’m definitely not about to shell out for 4x5 colour film, and I still love the timeless look of B&W in my 6x6 pinhole shots. This is more of a side quest than a full conversion. Still, sometimes you’ve got to let the colours in — even if just to see what your pinhole world looks like with a little extra sunshine.

A Look Back: Colour Pinhole Experiments from the Archives

Before I fully committed to the world of black and white, I did occasionally flirt with colour film — and I’ve dug into the archives to prove it. 

It’s interesting looking back now with fresh eyes, knowing I’m heading back into the world of colour. These images remind me why it’s worth the effort.

So here they are: my previous dalliances with the rainbow, captured through a pinhole. 

Paddleboarding  - ONDU 6x12-  FUJICOLOR PRO 160S

Beachy head - ONDU 6x12 - FUJICOLOR PRO 160S 

Bugzy attacking the lawnmower - ONDU 6x12 -  FUJICOLOR PRO 160S

Pylon - ONDU 6x12 -  FUJICOLOR PRO 160S

Beachy head -ONDU 6x12 - FUJICOLOR PRO 160S

Bypass - ONDU 6x12 - FUJICOLOR PRO 160S

Abandoned Boats - ONDU 6x12 - Fuji Astia

The Seven sisters - ONDU 6x12 - Fuji Astia

Looking back at these earlier colour experiments, I’m reminded just how unpredictable — and occasionally magical — colour film can be, especially when paired with the quirks of pinhole photography. Colour shifts, odd flares — somehow it all adds to the charm.

This little retrospective has only reinforced my excitement (and mild fear) about jumping back in. With fresh rolls of Kodak Gold in hand and chemicals standing by, I’m ready to see what new colour chaos awaits. Who knows — maybe this time, colour will stick around a little longer.

Stay tuned for the results... or the glorious failures. Either way, it should be interesting.