on landscape The online magazine for landscape photographers
Issue 144 PDF
Browse On Landscape on your Tablet, iPad or Desktop
Pinhole Follow Up
Putting it into Practise
The Journey of the Autumn Leaves
A Fresh Perspective
Endframe: Gateway to the Moors II by Joe Cornish
Roger Voller chooses one of his favourite images
Subscribers 4×4 Portfolios
Chris Davis, Glen Sumner, Pete Sumner & Sara Cremer
The Three-Dimensioned Life
Consideration in our creative choices
Fleeting Reflections
An Abstract Photography Exhibition
Michel Lucas
Featured Photographer
For the Joy of Photography
It's all about the journey
John Austin: Survey II 1994-2017 Exhibition
Photographer records decades of change
Viewpoint Editor’s Letter editor@onlandscape.co.uk
Tim Parkin

As some of you may know, we’ve had a few part-time staff working with us at the On Landscape offices for the last three years. Considering we don’t pay them anything, the three brothers, Harpo, Groucho and Chico, have spent nearly every spare minute offering their services. To be fair, most of their services are in the ‘moral support’ category and it is true that they do need more breaks than most. However, very sadly, Harpo fell ill two weeks ago and passed away last week from heart disease. In his three years, he spent nearly every waking moment trying to entertain us and I hope he packed in more in that little time than many cats do in a full life. He taught myself and Charlotte a valuable lesson though. Don’t leave until later that which you can do now because you don’t know how things will pan out. If there’s something you really want to do, don’t put it off repeatedly. There will always be something else trying to put demands on your time but we only have one life and for some of us it won’t be a long one. Life isn’t measured in years though, it’s measured in memories so go and create some.

 

Click here to download issue 144 (high quality, 142Mb)

Click here to download issue 144 (smaller download, 76Mb)

Tim Parkin

Content Issue One Hundred and Forty Four
Comments0

Issue 144 PDF

There will always be something else trying to put demands on your time but we only have one life and for some of us it won’t be a long one. Life isn’t measured in years though, it’s measured in memories so go and create some. more

Comments4

Pinhole Follow Up

Following on from my previous article on pinhole photography I decided to create my own film pinhole photographs using a large format camera and a converted Copal 1 shutter (I removed the lens elements and inserted my pinhole, mounted on a suitably sized circular plastic sheet, into the back of the shutter). This conversion allowed me to try some full frame 5x4 pinholes and also some 6x12 pinhole photographs using a Horseman back. At the end of this instalment, I am also going to give a few links to books, photographers and resources that will help you along. To begin with, my experience of pinhole photography was quite intriguing. There wasn’t much ‘accurate’ framing going on. On most pinhole cameras you get ‘lines’ that show you the field of view for your camera. On my large format conversion, I had a couple of choices. Firstly, I could use an equivalent focal length lens to check my composition if this didn't match the focal length I could just stop it down to get an idea of the framing. This won’t be 100% accurate for the frame edges (because many modern lenses don’t have the exit pupil at the same plane as the lens board) but could help get the balance of a picture right. Secondly, I could take the pinhole out of the back of the copal shutter and check the position of my corners using the 'chopped' corners on my ground glass. In the end, neither of these techniques were 100% satisfactory and I came to the conclusion that a camera with diverging line markings to show the field of view is a pretty good compromise and fits with the philosophy of pinhole photography e.g. see the Reality So Subtle camera below. RealitySoSubtle 6x12 Camera (link) With my 5x4 camera I was unable to take exceptionally wide photographs, the widest I could manage was approximately 60mm (equivalent to about 16mm on full frame 35mm cameras). The light fall-off on these photographs should be about two stops, which looks about right based on the results I got. The Results What surprised me most was just how sharp some of the results were. If you are one of those people who characterise pinholes as generally blurry or having an out of focus look, think again. In this particular photograph of Achnambeithach at the bottom of the three sisters, the detail in the house is quite incredible considering there is no lens involved. In fact, the detail is probably too much and a few people commented that if you want sharp photographs shouldn’t you be using a lens? Well, that’s a pretty good argument but the pictures do have a certain aesthetic that I haven’t seen from a straightforward optical photograph. I surmise that there is probably a sweet spot in terms of film size and this is probably in the medium format territory. I'll probably make or buy a 6x12 camera with masks. Here’s another photograph look directly at the Three Sisters in Glencoe and displaying the flare that is characteristic of pinhole photography. These ‘rays’ are presumably tiny reflections from the imperfections in the pinhole (which goes to show you that even a £55 hole isn’t aberration free). Also, with flare in mind, you are still best to shade the pinhole if the sun is outside of the field of view of the photograph as light rays can still be bounced onto the film via these imperfections. Here’s a photograph that is about as wide as I could get with the large format setup, taken from the bridge over the river Coe at the bottom of the three sisters. Another surprising thing that I discovered whilst developing and scanning these photographs is the amazing latitude of Ilford HP5! I overexposed most of the photographs by at least two stops (in order to ensure no blocking up in the corners) and yet the highlights were clearly captured on film without excessive grain, witness the Three Sisters photograph looking directly into the sun with the shaded hills. Here are a couple of results using the Horseman 6x12 back on the Ebony. I have to say I'm very pleased with the results from the pinhole photographs I have taken so far and will be looking at making or purchasing a simple box camera pinhole when I get a chance. Resources for the Pinhole Photographer Whilst I was putting together the article on pinhole photography, I invested in a few books to research the genre. Here are a few favourites. Pinhole Photography by Eric Renner (2008) An excellent treatise on the history, techniques and application of pinhole photography. A must buy for those interested in pinhole photography. ISBN: 978-0240810478 The Pinhole Camera by Brian J Krummel(2009) Covers a lot of ground including things like how to develop film and also includes some very nice pinhole work in a gallery in the back ISBN: 978-1442187665 The f/D Book of Pinhole by Kier and Libby Selinsky (2016) A global survey of pinhole photography. A digital print book with an eclectic collection of practitioners represented. ISBN: 978-0692837337 Poetics of Light by Eric Renner and Nancy Spencer (2014) A very well put together and varied portfolio covering a wide range of practitioners and techniques. ISBN: 978-0890135884 I also looked around at various websites and here is a selection of ones I found useful. F/d. Exploring the art of pinhole photography - fslashd.com Historical articles on pinhole photography - idea.uwosh.edu The pinhole gallery. Photographers and resources - pinhole.org The pinhole manual - pinholemanual.wordpress.com And finally, you can find some calculators on the Mr Pinhole more

Comments8

The Journey of the Autumn Leaves

For nature and landscape photographers autumn is obviously also a great season, offering all kind of possibilities for moody and colourful pictures. But it is not so easy to make something new out it. more

Comments4

Endframe: Gateway to the Moors II by Joe Cornish

I can still somehow remember the moment of engaging with this one in a quiet yet glowing contentment a few years ago. I don't really remember when and where precisely just the conscious engagement. more

Comments0

Subscribers 4×4 Portfolios

Our 4x4 feature is a set of 4 landscape photography portfolios from our subscribers: Chris Davis, Glen Sumner, Pete Sumner & Sara Cremer more

Comments12

The Three-Dimensioned Life

As viewers, we may not care, but as creators, I believe that this should be of primary importance and consideration in our creative (and professional) choices. more

Comments3

Fleeting Reflections

The sense of energy at Canary Wharf is palpable; it’s not a place that is often associated with quiet contemplation. more

Comments3

Michel Lucas

I am drawn to the vision & words of Jack Dykinga about contemporary landscape photography. In one of his recent interviews, he pleads for so-called ‘whispering images. more

Comments9

For the Joy of Photography

Like all art, our photography develops as we change and progress in our lives. more

Comments0

John Austin: Survey II 1994-2017 Exhibition

The timeframe for Austin’s retrospective begins with the photographer’s move to Quinninup, a small forest town in the South West of Australia, & also marks the start of his engagement with anti-logging protests in this area. more

On Landscape is part of Landscape Media Limited , a company registered in England and Wales . Registered Number: 07120795. Registered Office: 1, Clarke Hall Farm, Aberford Road, WF1 4AL