Category Archives: Artist Feature

Hunterdon Solargraphs – Jeff McConnell

In today’s digital photo rich world, pinhole photography is a bit of an obscure art form. Judging from reactions I get on the street, only about 1 in 5 folks know what pinhole photography is. Solargraphy is pinhole’s even lesser known cousin. However, the results achieved through Solargraphy are no less stunning.

[singlepic id=501 w=150 float=right][/singlepic]Solargraphy is essentially taking a pinhole camera loaded with photo paper and exposing it for a long time. Really long time. A week is probably the minimum, but many are exposed for months. This duration provides an interesting abstraction between the image of the world in front of the camera and traces of the sun as its relative path is changed by our planet’s trip around the sun. Add to that the unique coloration that happens to black and white photo paper over such long exposures, and you have a very unique image.[spacer height=”20px”]

[singlepic id=503 w=200 float=left][/singlepic]Jeff McConnell has scaled solargraphs to a level that I’ve not seen before. His Hunterdon Solargraphs project is ambitious, to say the least. He deployed more than 500 cameras, most of which for a period of 3 months or more. He started their exposures on the Fall equinox in 2015 and continued them through at least the Winter solstice – many for longer.[spacer height=”20px”]

[singlepic id=508 w=150 float=right][/singlepic]The army of cameras were deployed around his native Hunterdon County in New Jersey, mounting them to trees, poles, and other permanent structures. All of them pointed South to make the most of the sun’s journey. The result is a portrait of the place he lives, “but with an unfamiliar face.”[spacer height=”20px”]

Below are a sampling of Jeff’s comprehensive Hunterdon Solargraphy project for you to enjoy. After taking these in, I invite you to head over to Jeff’s website where he covers more of his Hunterdon project as well as his other great pinhole work. In addition, I’m pleased to announce that Jeff’s work will be featured in the OFF Foto festival, which starts today. If you’re in Europe over the course of the next month, you can see his work along with other ƒ/D featured photographers Joanna Epstein, Jesús Joglar, Stefan Killen, and Viktor Senkov.[spacer height=”40px”]

[singlepic id=514 w=600]Spruce Run Reservoir, ©Jeff McConnell, 2016[/singlepic][spacer height=”20px”]

[singlepic id=513 w=600]South Branch Raritan River, ©Jeff McConnell, 2016[/singlepic][spacer height=”20px”]

[singlepic id=512 w=600]Round Valley Reservoir, ©Jeff McConnell, 2016[/singlepic][spacer height=”20px”]

[singlepic id=511 w=600]Readingsburg NJ, ©Jeff McConnell, 2016[/singlepic][spacer height=”20px”]

[singlepic id=510 w=600]Lebanon Station NJT, ©Jeff McConnell, 2016[/singlepic][spacer height=”20px”]

[singlepic id=509 w=600]Ken Lockwood Gorge, ©Jeff McConnell, 2016[/singlepic][spacer height=”20px”]

[singlepic id=500 w=600]Five and Dime Frenchtown, NJ, ©Jeff McConnell, 2016[/singlepic][spacer height=”20px”]

[singlepic id=499 w=600]Barn on Senator Stout, ©Jeff McConnell, 2016[/singlepic][spacer height=”20px”]

[singlepic id=498 w=600]99 Days of Sun in High Bridge, ©Jeff McConnell, 2016[/singlepic][spacer height=”20px”]

Darius Kuzmickas – Multi Pinhole

It’s not that pinhole photography is a more creative embodiment of photography. It’s that pinhole photography nudges the photographer out on the creative ledge a bit more. Pinhole necessitates experimentation. Constantly infinite depth of field and long exposure times are the first couple steps out towards the ledge. Maybe the realization that one can build their own camera is another step. From there, with a new perspective, experimentation take on a more personal path down that creative ledge.

Last week I posted a 12 part creative challenge. To continue the analogy, that post might be the boot kicking you out there. One of the techniques I encouraged was step exposures – where you slowly increment the film over multiple exposures. Darius Kuzmickas is a master of step exposures, but he doesn’t accomplish it through film increments like most of us do. He has two distinct differences from most of us.

Darius’s first difference is that he has architectural experience under his belt, and his passion for exploration of space radiates from his photography. Architectural experience is incredibly beneficial when photographing urban spaces. We’ve seen this before here on ƒ/D, such as Martin Martinsson’s work featured before.

Darius’s second difference is that instead of incrementing the film in his pinhole camera, he achieved a step exposure system through multiple pinholes. Darius collaborated with master camera maker Kurt Mottweiler, who’s cameras and other pieces are works of art in and of themselves. Darius designed the camera and Kurt brought his master craftsmanship. The result is breathtaking. The steps in overlapping exposures, being perfectly aligned, make the architectural subject matter sing.

 

Darius Kuzmickas has an incredible body of work at this point. The photos shared below are but a fraction of everything he has to offer. After checking out these pieces, I highly recommend that you take a look at his Flickr page for more work. Additionally, he has a project online called Camera Obscura: Outside In(n), which is just awe inspiring.[spacer height=”20px”]

[singlepic id=474 w=600]Benson Polytechnic High School, ©Darius Kuzmickas 2016[/singlepic][spacer height=”20px”]

[singlepic id=475 w=600]Castle in the Sky, ©Darius Kuzmickas 2016[/singlepic][spacer height=”20px”]

[singlepic id=476 w=600]Extended Stay, ©Darius Kuzmickas 2016[/singlepic][spacer height=”20px”]

[singlepic id=477w=600]Fences and Bridges, ©Darius Kuzmickas 2016[/singlepic][spacer height=”20px”]

[singlepic id=478 w=600]Pettygrove Medical Center, ©Darius Kuzmickas 2016[/singlepic][spacer height=”20px”]

[singlepic id=479 w=600]Portland, OR, ©Darius Kuzmickas 2016[/singlepic][spacer height=”20px”]

[singlepic id=480 w=600]Riverfront, ©Darius Kuzmickas 2016[/singlepic][spacer height=”20px”]

[singlepic id=481w=600]Rogue Hall, ©Darius Kuzmickas 2016[/singlepic][spacer height=”20px”]

[singlepic id=482 w=600]The Abigail, ©Darius Kuzmickas 2016[/singlepic][spacer height=”20px”]

[singlepic id=483 w=600]Under the Fremont Bridge, ©Darius Kuzmickas 2016[/singlepic][spacer height=”20px”]

Antonis Kioupliotis – No Lens Athens

If I’ve seen one picture of Athens, I’ve seen a thousand. Moreover, paintings, statues, and studies in art history. They just pile up. The common thread though, at least of the photos I’ve seen of Athens is that they are, not always but usually, produced by tourists.

You know you’ve truly lived in a place when you get to a point where you have to try something other than a straight on shot. When you get past the tourist shots, after you turn the camera around a few times. Then you really start to find something new in your little piece of the world.

Antonis Kioupliotis knows Athens. He was born in Thessaloniki, Greece and studied photography in Cologne, Germany before returning to Greece to work as a professional photographer. Most recently, he resides in Athens where he creates dynamic scenes with a Hasselblad XPan fitted with a pinhole and loaded with expired Kodak Double X film. The results are, to say the least, remarkable; enveloping; and inspiring. It is truly the work of a man who knows his place.

Featured below is a sampling of this project. It is a large body of work – at least 57 images all told. After checking out the below, you can find the rest of the project on his website here. You will not be disappointed.[spacer height=”20px”]

[singlepic id=465 w=600]Syntagma Square, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=455 w=600]Acropolis Museum, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=461 w=600]People I, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=462 w=600]People II, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=464 w=600]House, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=463 w=600]University, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=460 w=600]Filopappou, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=458 w=600]Buildings, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=457 w=600]Athens Academy, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=456 w=600]Acropolis, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=454 w=600]Abandoned Houses, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”20px”]

[singlepic id=459 w=600]Face, ©Antonis Kioupliotis 2016[/singlepic][spacer height=”40px”]

On Travel – Markus Kaesler

Markus Kaesler is a German photographer with a level of intent to his multi exposure work that is rarely seen. As you’ll soon see, the photos below require a care in execution that is as meticulous as it is devoted. What follows are samples from two of Markus’s projects. The first, CONTACTS, are multi exposures taken from cities connected by his travels. The second, in between, are whole travel exposures that record the experience as travel between places.

After viewing these, I implore you to take a look at Markus’s website for more of his work. Markus first reached out to us through our Call for Entry and will be included in the upcoming ƒ/D book. If you’re so inclined, I recommend that you also consider responding to our Call for Entry!

CONTACTS.

//crossing cities is a visual melting pot of cities. It links pairs of cities in different countries and unites them in a unique photographic way; one part of the pinhole images is taken in one city, the other part in its corresponding. On the same sheet of film. Every place has its very own character, determined by cultural values, religion and geographical settings. Keeping this in mind, the overlaying of cities in two different countries into a series of images that contains essential parts of both places does not only mean the physical crossing of borders. By using a technique of twisted double exposures, images are created that may be looked at from both sides. Depending on whichever side you look at, you may focus on different patterns of the image. And oversee others. The diversity of the places is shown in the same way as new ties are revealed. New forms and structures become visible, while the specific character of the places remains. The previous known adds up and leads to the unknown. The exposures float into each other. A kind of in between appears. The alphabet serves as a pattern. The cities are selected by the first letter of their names in english spelling. From that results the extent of 52 cities in 52 different countries.

Berlin//Bucharest 01
[singlepic id=426 w=600]CONTACTS Berlin//Bucharest 01 – ©Markus Kaesler 2016[/singlepic][spacer height=”20px”]

Paris//Prague 02
[singlepic id=431 w=600]CONTACTS Paris//Prague 02 – ©Markus Kaesler 2016[/singlepic][spacer height=”20px”]

Berlin//Bucharest 04
[singlepic id=427 w=600]CONTACTS Berlin//Bucharest 04 – ©Markus Kaesler 2016[/singlepic][spacer height=”20px”]

London//Lissabon 07
[singlepic id=429 w=600]CONTACTS London//Lissabon 07 – ©Markus Kaesler 2016[/singlepic][spacer height=”20px”]

London//Lissabon 08
[singlepic id=430 w=600]CONTACTS London//Lissabon 08 – ©Markus Kaesler 2016[/singlepic][spacer height=”20px”]

Berlin//Bucharest 10
[singlepic id=428 w=600]CONTACTS Berlin//Bucharest 10 – ©Markus Kaesler 2016[/singlepic][spacer height=”20px”]

 

in between

„in between“ shows the space between two places. The whole time of a journey banned on light sensitive paper. You see the resulting light traces that are painted on light sensitive paper during its journey crossing borders of countries and continents. The exposure starts in one country and ends in another. What you see is the “ in between“. Why do I care so much about the materials I use? If you consider photography as a storytelling art, you will recognize that the used material is part of the story. It makes a difference if a sheet of light sensitive paper actually has travelled thousands of miles while being exposed or if its just a piece of paper where the visual impression of a voyage is printed on. Some may say, that for the final visible impression it doesn’t matter how an image has been created. I oppose this, that the creating process is part of the resulting work. The true story may only be told by the one who experienced it.

BKK-SIN
[singlepic id=432 w=600]in between BKK-SIN – ©Markus Kaesler 2016[/singlepic][spacer height=”20px”]

FRA-BKK
[singlepic id=433 w=600]in between FRA-BKK – ©Markus Kaesler 2016[/singlepic][spacer height=”20px”]

FRA-IST
[singlepic id=434 w=600]in between FRA-IST – ©Markus Kaesler 2016[/singlepic][spacer height=”20px”]

TPE-HKG
[singlepic id=435 w=600]in between TPE-HKG – ©Markus Kaesler 2016[/singlepic][spacer height=”20px”]

Howard Moiser – Relative Movement

Pinhole isn’t the only form of photography I practice, but it’s one of my favorite forms because of the unique creative challenges that it presents. Other forms of photography will give you controls that allow you to slow down the shutter speed and/or extend the depth of field towards infinity if you so choose. But there is something unique in the challenge when you have no choice in the matter – you have to work with that constraint on your control.

Some people get frustrated by this creative challenge. Others, however, fully embrace the form and find fantastic ways to leverage the constraints, turning them into strengths. Today’s featured artist, Howard Moiser, is such an artist. He is a prolific photographer, and his Flickr feed is overflowing with great pinhole work. Even further, he’s an experimenter, with whole albums dedicated to experimental approaches to image making in pinhole and other formats.

The result of all this work, of course, is hitting upon some truly phenomenal series of photos. One such series is his work titled “Relative Movement”. From the sampling below, I think you’ll agree. After taking in the photos below, I encourage you to take a look at his expansive collection on Flickr.

 

 

Relativity
[singlepic id=406 w=600]Relativity, ©Howard Moiser 2016[/singlepic]

 

Dinosaur Chase
[singlepic id=402 w=600]Dinosaur Chase, ©Howard Moiser 2016[/singlepic]

 

Workman
[singlepic id=408 w=600]Workman, ©Howard Moiser 2016[/singlepic]

 

The Axe Man
[singlepic id=407 w=600]The Axe Man, ©Howard Moiser 2016[/singlepic]

 

On The Move
[singlepic id=404 w=600]On The Move, ©Howard Moiser 2016[/singlepic]

 

Flying Low
[singlepic id=403 w=600]Flying Low, ©Howard Moiser 2016[/singlepic]

 

Relativity
[singlepic id=405 w=600]Relativity, ©Howard Moiser 2016[/singlepic]

 

Dangerously Stupid
[singlepic id=401 w=600]Dangerously Stupid, ©Howard Moiser 2016[/singlepic]

 

Want to see other great featured artists? You can find them here!

Have great pinhole photos of your own? Take a look at our Call For Entry!

Lena Källberg – Decisive Movement

The potential for versatility in pinhole photography is often overlooked by the general public. Most people have an idea of pinhole images being somewhat fuzzy and flat, a poor substitute for a digital camera. Maybe a poorly exposed and dirty attempt at an otherwise normal photo. A school project to teach about light and exposure, and where photography began, before jumping straight into DSLRs and Photoshop. But then they see some of the truly inspiring pinhole work on Flickr, 500px, or a dozen other sharing sites. Or they come across some of the amazing artists that’s been featured on ƒ/D or other publications, and imaginations are opened.

Lena Källberg is a pinhole artist sure to take the imagination one step further. Her series, The Decisive Movement, taken with a handheld matchbox type of pinhole camera, brings us into the moments of our time that slip away. Many of these photos were presented in a solo show she had, called “The art of remembering exactly what it was like” – a title that was borrowed from a 1970’s Agfa Swedish advertisement. However instead of remembering “exactly what it was like” in a direct sense, her work seeks instead to recall the times we have to let go, when we cannot hold on. It is “the passing of time…not isolated to 1/125 of a second.”

Lena’s images below thoughtfully explore the evaporation of our time here; our time together. Each image is filled with a tension for what may never happen again, what should have been said, or who we’ve lost. They are wondrous language to express these emotions, and therefore a wondrous example of what pinhole can do.

After enjoying these images, you can explore more from the series, see other work on her website, or peruse the other wonderful imagery on her Swedish pinhole site.

 

Fan Vi Glömde Tryffel
[singlepic id=377 w=600]Fan Vi Glömde Tryffel, ©Lena Källberg 2016[/singlepic]

 

Herr Gårman
[singlepic id=378 w=600]Herr Gårman, ©Lena Källberg 2016[/singlepic]

 

Ljusets Hastighet
[singlepic id=379 w=600]Ljusets Hastighet, ©Lena Källberg 2016[/singlepic]

 

PicknickI Berlin
[singlepic id=380 w=600]PicknickI Berlin, ©Lena Källberg 2016[/singlepic]

 

Southbound
[singlepic id=381 w=600]Southbound, ©Lena Källberg 2016[/singlepic]

 

Suit And Tied
[singlepic id=382 w=600]Suit And Tied, ©Lena Källberg 2016[/singlepic]

 

Vägen Hem
[singlepic id=383 w=600]Vägen Hem, ©Lena Källberg 2016[/singlepic]

 

Vid Trappen
[singlepic id=384 w=600]Vid Trappen, ©Lena Källberg 2016[/singlepic]

 

 

Olle Pursiainen – Finland

Last year we were honored to bring you a sample of Olle Pursiainen’s work. He is a photographer who has a solid track record of producing dramatic imagery from his native Finland. As his Flickr and Lomography galleries show, he’s become very skilled at finding great images to collect in his own neighborhood. As we’ve seen before, Finland works very well in the pinhole format.  

Olle started his photographic journey while studying Statistics and Mathematics at University in the 1970’s. He learned to develop film and work a darkroom on his own, and continued analog until the early 2000’s. After a brief stint with digital, he went back to analog – preferring to stick with his roots. He’s often lugging several of his many many pinhole cameras – from small format to 4×5 – as well as point and shoots and SLR’s. I have the same problem – so long as there’s room in my pack, I’ll stuff it with another camera.

He is drawn to pinhole because of the “freedom to control everything and nothing.” Indeed, this is one of the largest attractions of pinhole, and has been mentioned by other photographers as well. In addition, Olle is drawn to the pinhole format by the “wide angles and warped perspectives,” which offer a degree of creative outlet unrivaled by any other photographic format.

After enjoying the scenes from Olle’s work below, you can find a lot more at his Flickr page and on his Lomography home.

 

Pack Ice
[singlepic id=329 w=600]Pack Ice, ©Olle Pursiainen[/singlepic]

 

Brändö Sund
[singlepic id=325 w=600]Brändö Sund, ©Olle Pursiainen[/singlepic]

 

Double Sun
[singlepic id=326 w=600]Double Sun, ©Olle Pursiainen[/singlepic]

 

 

Sandö
[singlepic id=330 w=600]Sandö, ©Olle Pursiainen[/singlepic]

 

Self Sufficiency
[singlepic id=331 w=600]Self Sufficiency, ©Olle Pursiainen[/singlepic]

 

The Southern Customs
[singlepic id=333 w=600]The Southern Customs, ©Olle Pursiainen[/singlepic]

 

Korsholm Church
[singlepic id=327 w=600]Korsholm Church, ©Olle Pursiainen[/singlepic]

 

Observation Towers
[singlepic id=328 w=600]Observation Towers, ©Olle Pursiainen[/singlepic]

 

 

Vaasa Mill
[singlepic id=334 w=600]Vaasa Mill, ©Olle Pursiainen[/singlepic]

 

Silos
[singlepic id=332 w=600]Silos, ©Olle Pursiainen[/singlepic]

 

 

Corine Hörmann – Test of Time

Nature landscape photography can be deceivingly hard. Not the composition or the exposure, or even the expression, but rather the challenge of telling the viewer something new about the natural landscape. Even once you nail the composition, exposure, and expression that you were aiming for, there’s a massive body of work produced by the photography community that you are measured by – not least that 800lb gorilla that is revered both inside and outside the photographic community: Ansel Adams.

There are thus two ways to excel at nature landscape photography today: go somewhere exotic; or excel at bringing subject, form, and content into harmony. The problem with the former is it’s not really about the art, it’s about deep pockets. Thus the latter is where art shines through as it doesn’t matter where the photo was taken – it tells its own story, with any setting being happenstance. It’s with this backdrop that I’m always impressed by the natural landscape photographer that tells me something new with their photos.

This creative challenge is a large factor in my affinity to pinhole photography. The limited toolset knocks a person off balance and forces the photographer to consider the variables differently, learn to use those limitations as strengths, and think about what is being put into an image more thoroughly. I strongly believe that from this extended experience, a photographer who uses both pinhole and lensed photography will be able to see more photo opportunities. But I digress…

Corine Hörmann is a nature landscape photographer who, in her series Test of Time, has shown me something new. She’s a Dutch photographer who was introduced to pinhole by one of her Art School teachers in 1997, and hasn’t looked back since.

Corine is a natural landscape photographer who is always seeking to capture a sense of wonder in the world. In the Test of Time series of photos, she’s attempting to capture the passing of time in a single image. The exposures are made over the course of 8 to 48 hours, creating contrasty scenes that show the passage of a day or days. Not quite solargraphy, but further extended than your average photograph, there is a peaceful glow in her photos that is only disturbed by the burning passage of the sun. Corine explains further in her project statement:

“This series was created from the desire to visualize the passage of time. I started looking for possibilities to photograph landscapes with a one day exposure time. After doing some research I started experimenting with an exposure of 12 hours using film negatives. In order not to overexpose the film I used several layers of neutral density filter. After weeks of experimenting with different exposure times, film and neutral density filter combinations the first exposures were successful and it is an ongoing project now. I leave the light to affect the film from 8 until 48 hours. The path that the sun describes in the sky and its reflection on the water constructs the image and the result is dependent on this. The line is sometimes interrupted which means that it was cloudy at that specific moment. During the progress I discovered that I am attracted by the cyclic movement of time and water as an important aspect of our human existence and as the most mysterious thing there is. In these photo’s I try to concentrate on the contemplative nature of water in connection with the theme of time. Where is the past gone and where does the future come from? Time flows like water and at the same time water is the primeval sea in many creation myths and the source of all life. It works like a mirror that reflects the universe. In these pictures water and light are like metaphors to visualize the passage of time. In the photos the difference between the seasons is quit clear. You will see the water with a frozen surface and a low sun but also the reflective surface of liquid water while the sun is high in the sky. So the cyclic movement of time is not only shown in a single photo but also in a series of images.”

Please enjoy the following selection from her Test of Time series – if you’re hungry for more from the series, you can satiate that need on her site. The rest of Corine’s work, as well as further background, can be found on her website. You can also follow along on Instagram or Facebook.

 

Test of Time 1
[singlepic id=286 w=600]©Corine Hörmann 2016[/singlepic]

 

Test of Time 3
[singlepic id=294 w=600]©Corine Hörmann 2016[/singlepic]

 

Test of Time 5
[singlepic id=296 w=600]©Corine Hörmann 2016[/singlepic]

 

Test of Time 6
[singlepic id=297 w=600]©Corine Hörmann 2016[/singlepic]

 

Test of Time 8
[singlepic id=299 w=600]©Corine Hörmann 2016[/singlepic]

 

Test of Time 10
[singlepic id=287 w=600]©Corine Hörmann 2016[/singlepic]

 

Test of Time 11
[singlepic id=288 w=600]©Corine Hörmann 2016[/singlepic]

 

Test of Time 13
[singlepic id=290 w=600]©Corine Hörmann 2016[/singlepic]

 

Test of Time 14
[singlepic id=291 w=600]©Corine Hörmann 2016[/singlepic]

 

Test of Time 15
[singlepic id=292 w=600]©Corine Hörmann 2016[/singlepic]

 

Studies in Motion – Jean-Christophe Denis

One of my favorite features of the pinhole camera is its blurring of time. In other photographic pursuits it is not unusual to see motion blur used creatively. However in pinhole, it’s nearly a constant aspect of the resulting image, which results in us having to always consider the passage of time as an unspoken subject of the images.

Jean-Christophe Denis is a French artist from Strasbourg who wields his pinhole camera to bring us some unique representations of motion and time. He describes himself as “keen on alternative photographic techniques. [His] world carries us off into dreamlike images, or staggered delicate portraits. By constantly pushing [his] practice of photography into a corner, [he] reveals [his] vision of the visible.”

The following images are a sampling of a couple avenues of approach that Jean-Christophe (or JC) has explored. First are some of the “staggered delicate portraits” which show the beauty of human movement in stutter-step detail. The second are from a stunningly energetic series of self-portraits while riding his bike.

He provides the following intro to the “Ride My Bike” self-portraits:

“For someone hidden behind a camera it is not easy to find yourself on the other side, the first self-portrait of a photographer is full of meaning, Hippolyte Bayard, the pioneer of photography represents suicide in his first staged photograph.

While integrating egocentric codes of contemporary society, like the  selfie and Gopro phenomenon, I nevertheless take the opposite view of technology with the aim of building an image to fit into my time, my way.”

I hope you enjoy the following selection from JC as much as I have! To discover more of JC Denis’s excellent work, head over to Flickr or check out his personal website – he has more great pinholes and other photographic works.

Haré Pola
[singlepic id=263 w=600]Haré Pola, ©Jean-Christophe Denis[/singlepic]

 

Untitled
[singlepic id=270 w=600]Untitled, ©Jean-Christophe Denis[/singlepic]

 

Untitled
[singlepic id=271 w=600]Untitled, ©Jean-Christophe Denis[/singlepic]

 

Ride My Bike
[singlepic id=269 w=600]Ride My Bike, ©Jean-Christophe Denis[/singlepic]

 

Ride My Bike Front Back
[singlepic id=268 w=600]Ride My Bike Front Back, ©Jean-Christophe Denis[/singlepic]

Ride My Bike 3
[singlepic id=264 w=600]Ride My Bike 3, ©Jean-Christophe Denis[/singlepic]

 

Ride My Bike 4
[singlepic id=265 w=600]Ride My Bike 4, ©Jean-Christophe Denis[/singlepic]

 

Ride My Bike 5
[singlepic id=266 w=600]Ride My Bike 5, ©Jean-Christophe Denis[/singlepic]

 

3 Beers Later
[singlepic id=262 w=600]3 Beers Later, ©Jean-Christophe Denis[/singlepic]

 

Ride My Bike Color
[singlepic id=267 w=600]Ride My Bike Color, ©Jean-Christophe Denis[/singlepic]

 

Csaba Kovács – Out of the Fog

One of the earliest concepts that many of us photographers learn is the power of lines in a photograph. Most often, this concept is demonstrated with a shot looking straight down some train tracks or maybe rows of crops in a field. It’s a powerful effect, and easily reproducible. Therefore, if a photographer makes converging lines a significant portion of their body of work, they better be damn good at it.

Csaba Kovács is a Hungarian photographer who is damn good at converging lines. He’s based in Budapest, a city that has a firm grip on his heart, where he roams looking for interesting places with what he calls “pinhole eyes”. Csaba has a love for analogue photography, reveling in the “magical world” of the silver-based process. Like many pinhole and analog photographers, he’s attracted to the opportunity to get away from the precision of digital and focus on the unique aesthetic of pinhole photography. He’s been practicing pinhole photography since 2013, and uses a Zero Image 2000 primarily.

Many of the compositions below will feature multiple converging lines. In addition, you’ll note that Csaba likes to get out into the city in the early hours of the morning, when the fog is still thick. This blanketing provides, for many of his compositions, a transmuting background which allows for his subject to come forward with a simple clarity.

After enjoying the images below, we encourage you to check out more of his work at his personal website.

Business Center
[singlepic id=230 w=600]Business Center, ©Csaba Kovács 2015[/singlepic]

 

Elisabeth Bridge
[singlepic id=231 w=600]Elisabeth Bridge, ©Csaba Kovács 2015[/singlepic]

 

Foggy Liberty 1
[singlepic id=232 w=600]Foggy Liberty 1, ©Csaba Kovács 2015[/singlepic]

 

Foggy Liberty 2
[singlepic id=233 w=600]Foggy Liberty 2, ©Csaba Kovács 2015[/singlepic]

 

Megyeri Bridge
[singlepic id=234 w=600]Megyeri Bridge, ©Csaba Kovács 2015[/singlepic]

 

Paris 1
[singlepic id=235 w=600]Paris 1, ©Csaba Kovács 2015[/singlepic]

 

Paris 2
[singlepic id=236 w=600]Paris 2, ©Csaba Kovács 2015[/singlepic]

 

Secret
[singlepic id=237 w=600]Secret, ©Csaba Kovács 2015[/singlepic]

 

Up
[singlepic id=242 w=600]Up, ©Csaba Kovács 2015[/singlepic]

 

Triangles
[singlepic id=240 w=600]Triangles, ©Csaba Kovács 2015[/singlepic]

 

Simple Symmetry
[singlepic id=238 w=600]Simple Symmetry, ©Csaba Kovács 2015[/singlepic]

 

To The Nothing
[singlepic id=239 w=600]To The Nothing, ©Csaba Kovács 2015[/singlepic]

 

Under The Sky
[singlepic id=241 w=600]Under The Sky, ©Csaba Kovács 2015[/singlepic]