Pinhole photography has for me been most satisfying and most successful when the resulting image represents the passage of time in a manner that is not immediately visible to the eye: Shapes and textures formed by water flowing in a river, by vegetation blown in the wind, by clouds moving across an open sky. It is the motion in subjects such as these, recorded over necessarily long exposure times that produce the otherwise unseen images in which I find another world to contemplate.
To achieve the images I seek, the camera is usually mounted on a stationary support such as a tripod for the duration of the exposure. I have occasionally experimented with handheld pinhole photography with mixed results but rarely as interesting as I have seen from other pinholers. It’s a direction I’d like to take further at some time, just not now!
Some time ago while reading Eric Renner’s book Pinhole Photography, I was intrigued by examples of images created within a moving van (the van was the camera) over distances of some 100 or so kilometres, and of images made with a camera attached to the wheelhouse of a boat as it pulled away from the quayside. Dreamily abstract images that brought time and distance together in a new way. I have often wondered how I might use a pinhole camera similarly … and so last weekend it came to pass!
For my experiment I chose the camera I made for Worldwide Pinhole Photography Day back in 2014. Constructed from foamcore and with a sliding shutter it takes media 5″ x 3″. Using Velcro ties I mounted it upside down to the passenger-side sun visor of my car such that it did not obsruct my view of the road when driving and that I could open and close the shutter easily and without taking my gaze from the road ahead. There was sufficient friction in the shutter to hold it open unaided.
For paper negatives I cut a few sheets of Ilford MGIV RC Satin to size, packed a changing bag and separate boxes for unexposed and exposed paper and set off on a short road trip. The light was such that I reckoned on exposures around six minutes each and my route would take in undulating, twisty rural roads, two bridge crossings and motorway. After each exposure I found a place to stop and fumble in the changing bag to swap out exposed paper for unexposed.
Although these are my first attempts and I can see things I would try to improve on, I’m happy with the images: happy to have made them and happy to contemplate what they tell me about my time and its relationship with the time and space of my subject. My original intention was to post these with an explanation of what and where each is, even with some ‘proper’ dashcam images but after much thought I have removed it all, even titles to the images as I feel that such information is irrelevant and a distraction from what the images have to say.