Pinhole Photography
Pinhole photography is photography without using the camera, instead of a lens there is a pinhole which also controls the amount of light which is reflected directly onto the photographic paper, which captures the image. The inside of the container must be painted or sprayed black so that no light enters the container. The images made with pinhole photography are always black and white and the texture is grainy and the focus is in the centre of the image because the light from the pinhole is centred there and .
The History Of Pinhole Photography
The early pinhole cameras originally come from China, they were discovered in Chinese texts from the fifth century BC. Chinese writers had discovered by experiments that light travels in straight lines. The philosopher Mo Ti (later Mo Tsu) was the first – to our knowledge – to record the formation of an inverted image with a pinhole or screen. Mo Ti was aware that objects reflect light in all directions, and that rays from the top of an object, when passing through a hole, will produce the lower part of an image (Hammond 1981:1). According to Hammond, there is no further reference to the camera obscura in Chinese texts until the ninth century AD,
How to make a Pinhole Camera
ensure that your container is clean dry and light-tight. the inside of the container needs to be sprayed/painted black including the cap, this is to prevent any light from entering. using a scalpel cut a small i-inch square hole inside the container. place a piece of foil on the underside of the square hole and secure with black ducttape. puncture a pinhole in the centre of the foil- this hole will act as your aperture and how much light enters the container. place a small piece of tape to cover the window to protect the pinhole; this will act as a shutter. load the paper in the darkroom, and ensure that the shiny side of the paper is facing the shutter. the paper needs to be secured against the back of the container directly opposite the pinhole.
Artist Evaluation
steven pippin born 1960, at redhill surrey is and english pinhole artist. pippin's early work was based on converting furniture snd everSteven Pippin (born 1960 at Redhill, Surrey) is an English artist. Pippin works with converted or improvised photographic equipment and kinetic sculptures.
Pippin's work shows a strong interest in the mechanical, which he has said stems from an early childhood memory of seeing his father surrounded by the wires and tubes of a television set he was repairing. Pippin's early work was based on converting furniture and everyday objects into makeshift pinhole cameras which he then uses to take sympathetic photographs.[clarification needed] This sounds simple, but often involves a significant amount of planning to overcome the practical problems posed by the chosen object. Pippin typically has to plan and construct a significant amount of supporting equipment in order to achieve his pictures. Frequently the resulting photographs are distorted or otherwise compromised by the manner of their construction, but the imperfections are seen as an important characteristic of the image, giving a link back to the object which was used as a camera. The photographs are always shown alongside an image of the converted object, and for later works, much of the equipment used in the conversion along with supporting documentation.[1][dead link]
In 1999, Pippin was short listed for the Turner Prize at the Tate Gallery in London. His entry was based on the work Laundromat Locomotion,[2] in which he converted a row of 12 washing machines in a laundromat into a series of cameras triggered by trip wires, and then rode a horse through the laundromat to recreate Eadweard Muybridge’s The Horse in Motion (1878). Pippin's more recent work also includes kinetic sculptures, these are sculptures in which movement is perceivable by the viewer.
Pippin's work shows a strong interest in the mechanical, which he has said stems from an early childhood memory of seeing his father surrounded by the wires and tubes of a television set he was repairing. Pippin's early work was based on converting furniture and everyday objects into makeshift pinhole cameras which he then uses to take sympathetic photographs.[clarification needed] This sounds simple, but often involves a significant amount of planning to overcome the practical problems posed by the chosen object. Pippin typically has to plan and construct a significant amount of supporting equipment in order to achieve his pictures. Frequently the resulting photographs are distorted or otherwise compromised by the manner of their construction, but the imperfections are seen as an important characteristic of the image, giving a link back to the object which was used as a camera. The photographs are always shown alongside an image of the converted object, and for later works, much of the equipment used in the conversion along with supporting documentation.[1][dead link]
In 1999, Pippin was short listed for the Turner Prize at the Tate Gallery in London. His entry was based on the work Laundromat Locomotion,[2] in which he converted a row of 12 washing machines in a laundromat into a series of cameras triggered by trip wires, and then rode a horse through the laundromat to recreate Eadweard Muybridge’s The Horse in Motion (1878). Pippin's more recent work also includes kinetic sculptures, these are sculptures in which movement is perceivable by the viewer.