In my previous blog post I wrote about the difficulties of obtaining consistency across a construction of eight pinhole cameras in order to accomplish a single composite image. Following through on what I’d learned, I made adjustments to cameras and method and went out to give it another go.
The results this time were better than before. However, to make all eight exposures involved spending two hours or so hovering around my pincam construction in the woods on a fairly cold, breezy afternoon in fading, changing light with the sun dropping in an increasingly cloudy sky. In such conditions it’s not difficult to believe that surely the shutter’s been open long enough!
I failed to make sufficient allowance for the changing light during what were already long exposures in the two central images. Then the image showing the solarised path of the sun was too bright to match with the exposure required for the final image on the left.
I’m tempted to re-think my use of Harman Direct Positive paper with its low sensitivity and very high contrast but it is those very qualities that I love about it and I know they can be harnessed. I really just need better self-discipline. But perhaps too, I just need to take a break from it for a while.
With taking a break in mind I looked out my Harman TiTAN camera, loaded a couple of holders with Ilford FP4+ and went for another walk in the same woods. It’s a safe setup but I needed to make images that pleased me. Though made with a commercially produced pinhole camera and an easy-going emulsion, these retain the softness, vignetting and framing serendipity that to me make pinhole images special: