Saturday, September 12, 2015

Week two. September 2015.

When I'm traveling on a carnival-painting trip I often take an evening away from my night-time painting to make pinhole photographs. A pinhole camera, in case you don't know, is the most basic form of a camera. It's a light-tight box with a tiny, pinpoint-sized hole on one side and some type of photosensitive film or paper (or digital computery-thing) inside the box, on the wall opposite the hole. The light that's reflected off of the exterior landscape enters the camera's pinhole, turns upside down, and is projected onto the back wall of the box where it's captured by the photosensitive stuff.

The exposure time changes depending on a bunch of variables. In my case it's how much light is out there. So when I'm photographing a carnival ride at night, my exposure can be anywhere from 30 seconds to 3 or 4 minutes. And that's the part I like, because that makes taking pinholes both very similar and radically different from making paintings.  

It's similar because I'm compressing an appreciable chunk of time, and all the activity therein, into a single visual image - about 3 minutes in the photo and 3 hours in the painting.  And it's similar because I'm standing in the space, carefully observing my subject, and experiencing and interacting with the peripheral action.

But it's also different because, unlike a painting, the photo captures and makes explicit the three dimensional space that I seem to look through instead of at. This helps me to perceive space in a way that I'm trying to bring to my paintings. 

Each of these pinholes are available for $30 unframed, $80 framed, 6" x 9" image size.
Please visit my website to purchase them and to see more of my artwork.
I also occasionally post about the happenings in my studio at

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