Vector Works

These images show the cuttings I have had done using the roater machine, for this I have had to use Vector Works to create the vector lines.  Due to the size of the boards I have I have had to create it in two sections, which will then be plated together.  This is shown in the first image, to do this I have used a plywood plate which is screwed to secure both sections together. 

Anish Kapoor - Flashback

When I am Pregnant, 1992, mirrored surface

Her Blood, 1998, mirrored surfaces

Turning the World Inside Out, 1995, mirrored glass

I recently visited Manchester Art Gallery and got the chance to see a selection of Anish Kapoor's work, something that I have wanted to do for a while.  I saw some of his pieces from Turning the World Inside Out in a book and was instantly attracted to the highly polished reflective surfaces.  I was even more amazed by his interactive sculptures when I was face to face with them.  His sculptures are characterised by his distinctive use of materials, sense of scale and an on going investigation into positive and negative space.

He uses mirrors as a tool to project the audiences image back on themselves, the highly polished surfaces become abstract forms that have optical effects and produce sensual and beguiling sculptures.  Looking into the surfaces the image projected back is distorted and changes its distortion as you move around the sculpture, forming more moments of optical confusion.  These sculptures hold a tight link to my work and the effect that they have on the audience.  I think it is the highly professional finish that each sculpture holds that sets them above the rest, Kapoor works very hard to eliminate any sign of the artists hand, making his work appear perfect and effortless. 

Her Blood, is a configuration of three large, separate concave mirrors.  Together in the room they form an interactive sculpture, all reflecting from one another and projecting noises around the room in distortion.  I enjoyed the connection you had to each mirror even if you were stood solely looking into just ones surface.  Your eyes find it hard to focus as multiple images form a single distorted frame.  Another, piece which plays with your vision is a piece where a ballbous shape protrudes from the wall in a fluent fashion.  It is only possibel to fully see the shape from the side as looking head on it blends into the background of the wall and distorts your vision.  I enjoy this interactive element which Kapoor brings into his sculptures.

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My Chemigrams

After seeing Pierre Cordier's work at the Shadow Catchers exhibition I was interested in experimenting with my own chemigrams.  The process involves the manipulation of the surface of photographic paper, where I have used a variety of substances.  Including; oil, nail varnish, salt, vinegar, alcohol etc, while also using developer and fixer at different times to usual.  These have all created varying effects on the paper, some causing variations in depth of shadow while other brings out an orange colour in the paper.  This orange colour also appeared alongside a purple hue when I placed a piece of photographic paper into a lake for a night under moonlight.  The substances in the lake have caused a reaction on the paper creating rather abstract images.  The chemigrams I have produced so far are all random and I have had little control over the effects that I have created.  Compared to Cordier who can be so exact with his manipulation of the papers surface, maybe this si something that comes with time and patience. 

Multiple Lenses

These unedited images show the results of my multiple lens tests. I have created a cardboard construction which works in the same way as my spiral construction will.  I have placed five lenses on the exterior wall and there is a large round screen on the interior wall.  I wanted to test what happened when you focussed multiple lenses onto one screen.  I was very pleased with the results that I got, I was able to see multiple images passing over each other and forming one large image of optical illusion.  The confusion was only added to when movement could be seen and people walked past the structure.  For my final piece I am to place about five lenses focussing onto each screen.  The screens will be of a similar size to my test version, which has a diameter of about 40 cm.  I have chosen to use circular screens as they link with all my pinhole work throughout the year, as I have a keen tendency to work with images in the round, but also with the shape of the pinholes themselves.

I intend to continue my work with me test model as I love the distorted images which they capture and I hope my final construction will be just as exciting.  One thing I do wish is that I could display my piece in an outside space, as my working practice has strong links to the natural environment, but maybe this si something for the future.  

Post a pinhole

I have recently been experimenting with sending pinhole cameras through the post as a package.  I am interesting in forming photographs of light movement.  As I have used colour photographic paper in these packages I have placed coloured filters over the pinholes to see what effect this gives to the colours on the photographic paper.  I have found that a wide variety of colours are actually created, and I want to experiment with what will happen when I do the same with a standard pinhole camera.  The images created by my pinhole parcels are rather abstract pinhole photographs and show blurs of colour over the surface, and I enjoy the contrast to my normal pinhole photographs. 

Abelardo Morell - Optical Illusion

This photograph shows a pinhole camera in action! I love the simplicity of this photograph and the initial confusion it causes for the viewer.  

This photograph shows another optical illusion, where the focal length of the glasses brings the background into focus.  Showing another simple way in which optical illusion can be used to create an interesting photograph. 

Abelardo Morell

I have just discovered the work of Abelardo Morell, who works with optical illusion and camera obscura, I don't know how I have not come across his work before.  He has turned maybe rooms into a camera obscura, including rooms in the surroundings of the Coliseum, Rome.  His photographs hold such simple qualities, but are magical and really draw you as the viewer into the scene projected onto the walls.  The quality shown in his photographs shows that I still have very far to go to achieve the most out of my pinhole and camera obscura work.  The projections of the camera obscura he creates really do take power over the room and dominate each photograph, merging the room and projection together making them appear as one.  Here are some images so you can see for yourself the true power of his work. 

The simplicity of this final image amazes me and takes me back to my first camera obscura in Finland where I would watch the sun rise slowly as it passed around my room and set on the other side. 

http://phillyphotobetties.com/2011/03/22/tech-tuesday-pinhole-photography/

http://minimalexposition.blogspot.com/2010/11/abelardo-morell-universe-next-door.html

http://sheilabocchine.com/blog/

http://www.burnmagazine.org/about/

http://www.abelardomorell.net/photography/cameraobsc_01/cameraobsc_07.html

3D Model Design

To develop the design of my model I have decided to use 3D software.  I have chosen to use Google Sketch Up to draw up the design.  As I have not used any kind of 3D software before I have had to acquire new skills to create the 3D model.  It has been worthwhile to work with the design of my model in 3D as it has allowed me to look at my model from more angles, where I have gained better knowledge as to how my structure will actually come together.  

I have decided to construct my camera obscura structure so that it can be dismantled after my degree show.  This gives my structure a life after the show, as it can then be erected again in different locations. My structure is a site specific piece of work however, it becomes a site specific installation where ever it is erected.  

I initially decided to split my structure into three sections vertically, however after some deliberation I came to the conclusion that it would be better to construct the structure in horizontal sections.  This means that the curve of the spiral will remain consistent during its life time, where as if the spiral consisted of three vertical sections there would be a chance the curve may not line up correctly and would therefore not be as aesthetic for the viewer. 

The design above shows the spiral structure made from two horizontal sections, each section being 4' tall.  This is due to the plywood coming in 8' by 4' boards.  However, I am going to make the sections only 2' tall, this means each horizontal section will be easier to move and can be transported easier.  The design for this model can be seen below. 

From looking at where my piece is going to be installed I have decided to place a lens in the roof of the structure.  As there is a glass roof in the gallery this creates a nice composition, this lens will be placed in the centre of the spiral.  As it would be rather difficult to construct a curved roof on a curved structure I am going to place a lens with a small focal length on the roof.  As the structure will be 8' tall people will not the able to see this added section and won't ruin the aesthetics of the construction.  The image below shows where the lens will be placed, these will be at varying heights and varying distances apart.  However, I still need to experiment with how the lenses will interact with each other.  So far I have only used one lens in a camera obscura, therefore I am unsure of the results will multiple lenses.  

Degree show proposal - immersive structure

I have turned my third design into a very basic model, which I am going to use to propose my idea for my degree show.  This design allows me to create an interactive and immersive space for my audience using the possibilities of a camera obscura.  In fact I hope that there will be many camera obscura's in the structure with different screens to view each projection.  Having varying screens at differing heights around the structure will create the immersive upside down environment I want my audience to experience.  I think my work has developed to this stage throughout my exploration of pinhole photography, and it has become about the experience rather than a physical image.  I have always had a connection with the development and revealing of images and this is the basis of what still attracts me to pinhole photography.  However, this is something my audience has never been able to experience and now I have a way in which my audience can experience what has captured me over the past few years. 

Design One

This design will incorporate the use of a lens with a screen for the image to be projected onto, being made from opaque tracing paper.  The structure will be on a curved surface so that my audience will be surrounded slightly and from where they stand behind the structure they can see various degrees of the exhibition.  My problem with this design is that I wanted to really create an immersive space, which would work better if it was more room like and would encapsulate my audience.  

Design two

The design for these camera obscura's means that there would be single camera obscura's spread around the gallery space, creating an many interactive points around the gallery giving varying views.  I have thought that these could maybe be made from large tree trunks which would stand vertically, with a hole drilled through them to create the camera obscura.  They would become larger versions of the camera obscuras I have already created.  My problem with this is what relevance do the trees have to work, and why have I actually used trees? But, also what relevance does any object have, whether it is a tree or a tea pot?  Will there ever be any connection other than it is an object which I am turning on its head to be used for another function??

Design three

This structure is created from two spirals which will come together while containing a fixed space in between them.  This space will create varying focal lengths for the lenses I have, these will be placed in the outside spiral of the structure.  It will be necessary that these focal lengths are precise, so that focused projections are created.  The images will be projected onto screens made from opaque tracing paper, which will be placed on the inner spiral in line with the lenses.

This design would become an immersive space which my audience would walk into and be faced with various screens projecting images of the outside gallery space.  A spiral shaped room would work best for my camera obscura because this would cut of a lot of light in the inside space, ultimately this creates better viewing conditions for my audience, as the projected image will appear brighter in a darker light.  A roof will also be placed on the structure, which has the advantage of creating an even darker space but will also give stability to the structure.

The structure would have to be made from a bendable material, maybe a thin MDF.  As this is the structure I want to pursue the most, the next step is to build a model of this structure to get the scale and proportions correct and to see if the structure will actually be feasible. 

Initial degree show propsal

It is now coming to the time where we have to think about what we are going to do for our degree show and up until now I have been struggling with ideas which will actually work in an exhibition space.  The space I will be exhibiting my work is the university's main gallery space and becomes a central point to the degree show.  With lots of open space it is possible to create large structures as well as to hang things from the walls so it gives room for lots of opportunities.

My initial thoughts for my degree show were to create a room inside the gallery, which I would turn into a pinhole camera.  People could walk into the room and would be immersed in the projected image of the outside gallery space in the darkened space.  However, this idea soon came to nothing when I realised that it would not work due to the low light levels in the Holden Gallery, where my course would be exhibiting their work.  For a pinhole room to work it is essential to have enough external light, so that the image projected is bright enough to be seen by the naked eye.  I did a test on a blacked out room in my studio, which has similar levels of light to my exhibiting space and no image could be seen by the naked eye at all, so it would therefore not work for my exhibition.

One way in which I could display aspects of my camera obscura work would be hang photographs of camera obscuras which I have created elsewhere.  I would probably display a series of photographs all from the same view point, whether this would be three images or maybe up to nine.  Although, these don't create a way in which the audience can interact with my work and really get to understand the genius of camera obscura, which is what I really want.

Another, way I thought I could use to overcome the light levels in the gallery would be to create camera obscuras in places around Manchester.  My exhibition space would then be used as a point to display information and a map of all the camera obscuras.  I do quite like this idea however, I am not sure how many people would actually go to see my work if it was not based in the university surroundings and finding rooms in which would work for this could also be difficult.  My reason for wanting to create a camera obscura in the gallery space was that it could interact with the gallery space and give another view of the exhibition.  It would become a gallery inside the gallery space.

Since I have been on my camera obscura workshop I have found that there is a more simple way of producing a successful camera obscura inside and it would only involve the use of a few lenses and screens.  Incorporating lenses in my pinholes and the use of a screen for projecting the image means that I can create a camera obscura for a low light space.  Although, technically my audience won't be immersed in a new upside world, like in my pinhole rooms, there is still a way for them to experience the wonders of camera obscura first hand.  My aim is to create a structure, which people can enter and they will be presented with a series of screens showing projections of the gallery space, upside down.  Or to create a few standing structures which can be placed around the gallery showing various angles of the gallery, however this goes further away from my idea of immersing my audience. 

Influential experiences from Berlin

During my visit to Berlin I visited an exhibition called Extended Atmosphere, you were invited to enter a white room within the gallery, which had a large window looking down onto the street below.  Inside you were faced with a foggy atmosphere and immersed in loud, haunting sounds, leaving you feeling very bewildered.  But, you were soon encouraged to interact with the space by lying on a large bean bag placed in the centre of the room.  Lying in the room encouraged you to become relaxed in the space and soon my feelings changed towards the piece and I started to enjoy the sounds which started off as haunting.  I enjoyed the control here that the artist has over your feelings and how they can change so rapidly, this has given me great inspiration and ideas for the kind of piece I want to create for my final degree show.

During my time in Berlin I also visited the Jewish Museum, where unexpectedly I found much inspiration for my final degree show project.  I entered the holocaust tower and found I became contained within a large dawning space.  As the walls towered above you with only a slight vent at the top you were literally trapped and had no escape, giving you quite a life like feeling of what is must have been like.  As a chill swept through you, you became aware of the noise from outside echoing around, this agin must of been quite daunting.  It felt quite disconcerting been able to hear what is happening yet not being able move anywhere other than the trapped dark space.  I enjoyed the notion of an outside world happening around you, which you can not interfere with and it has made me think about ideas for my degree project.  As wish to have some correlation between the inside and outside of a space.

Another area that I enjoyed was the Garden of Exile, for me this evoked great feelings yet also made me feel uncomfortable as the titled floor gave you a feeling of being off balance.  As the garden actually towers above you, pouring out of concrete blocks, you are a world away from actually being in a garden.  The garden is growing in all its glory but you are trapped away from this in a distorted world of containment.  

Edited 20th April - Experiencing this immersive piece gave me a better understanding of the experience I wanted my audience to have and how I would coordinate this.  As the space was only quite small and only a certain amount of people could fit lying down on the bean bag it was important to limit the amount of people allowed in the room at once, otherwise the atmosphere would not have been quite the same.  This is an important aspect that I will have to think about for my piece as I want it to be quite a personal space.  Seeing the Extended Atmosphere piece developed how I thought of my own work and what I wanted it to achieve. 

Hand Held Camera Obscuras

I attended a workshop with artist Michael Fairfox at Rosliston Forestery Centre today, where I was given the opportunity to create hand held camera obscuras! I was interested in learning about the use of lenses with camera obscuras and also the possibility of using a camera obscura inside, as this is something I would like to do for my degree show, and so far I have been unable to gain good results.

Michael Fairfox was extremely interesting and engaged well with all participants. It came about that he started his art practice with camera obscuras after the eclipse a few years ago, I think maybe 2001? It is since then that camera obscura really grabbed his attention and he has worked with many possibilities of creating them. He is currently working on a project to create a public camera obscura at the forestry centre where the workshop was held. This is something he has said I can become involved with, as they will do a weeks workshop where volunteers can help in the creation of the camera obscura!

Michael displayed an array of his own camera obscuras which we could look at to understand the principal of camera obscuras and hand held camera obscuras. The delicate and organic designs of his camera obscuras work well with the projection of an upside down world onto the surface of the screen.  In the workshop we were to create hand held camera obscuras from a log which had been provided, but essentially they can be made from anything. All that is needed is a lense and a screen in which the image can be projected onto, which is made from opaque tracing paper. To create a focussed image it is important that you get the focal length accurate, this being the distance between the lense and the screen. If the focal length is slightly out then the image will appear distorted.

My Hand Held Camera Obscura

I decided I wanted to create a camera obscura which would have multiple view points, I chose to have three different view points at varying points down the log I chose to use. These would all be slightly different and would allow me to experiment with the possibilities of how to create a hand held camera obscura.

As I wanted three different view points it was decided that I would first drill the three holes into the log, these holes had to be about the size of the lenses I was using, but could not be too large otherwise the lense would fall out of the hole.  Once the holes were drilled I decided to cut the log into three sections, this meant I would be able to have three separate parts which could be held together with dowels and be able to move.  All three camera obscuras had the same lense, but I found different ways in which to attach the screen each time.  I think the most successful is the screen which appears to be inside the log, as it is more secure and gives a better detailed image, due to the one placed over the front has a slight curve to it and distorts the image slightly.  To place the screen inside the log I first had the split the log (if you are having to split a log it is better to have drilled the hole first so that measurements are exact.) and then glue the screen in place.  Once this was secure I nailed the front back onto the camera obscura.

Due to the use of lenses you are able to create good quality images in most light conditions, although results are improved when the lense is facing an area of bright light and the screen is in a darker area.  This darkness means the image can be seen more clearly. However, discovering this technique has given me options for my degree show and will allow me to create a camera obscura which my audience can interactive with.

Pinhole Room in Holiday Inn

To continue my experimentation of pinhole rooms I decided to turn a room at The Holiday Inn hotel, Manchester, into one when I was staying there.  I was staying on the 5th floor, but unfortunately I was given a room on a side of the hotel which didn't have the best view and much was blocked by a tall building by the window.  Light conditions were also very poor the day I was staying there due to dull weather and this did not create good conditions for a successful pinhole room.  Little could be seen by the naked human eye inside the pinhole room, but a some information was picked up by a long exposure using my digital camera, but results were still rather poor unfortunately.

This is the first time I have experimented with using people inside my pinhole rooms when I take a photograph. In some ways I think I prefer the images where there is no one present as the focus is taken away from the disorientation of the outside world being projected upside down in the room in this photograph. The viewers eye is drawn to the person rather than the detail of the projection. The person also gives a third perspective to the photograph, where as without anyone in the photograph it can sometimes be confusing as to which way the photograph should actually be viewed.

I want to continue with my experimentation of pinhole rooms and photographing inside them, however I think I need to improve my technique to overcome the low light levels.

Paper cameras

Here I have done a design which will make a rectangular shaped box and should function as a camera, when made form photographic paper.  The design has been formed so that it can be constructed in a darkroom under only red light.  Therefore, the deign has to be as simple as possible and involve as few steps as possible. Now that I have the design for the shape of the paper camera, I now need to experiment with ways in which I can keep the camera light tight during exposure and how long I should expose it for. 

What can a camera be?

For a while now I have been looking at the idea of what a camera can actually be and taking the camera  to its bare minimum.  Making a camera out of photographic paper itself is a way in which you can reduce the camera to its bare minimum.  The photo paper forms the camera structure and produces the photograph and eventually becomes the photograph itself.  I have made a few small versions where I have created a box like shape and created a hole in the photographic paper with a pin.  However, non of these versions were very successful.  I think that the pinhole will have to made from aluminium tin and then removed once the photograph is developed.  This would focus light more precisely into the camera and would hopefully form on image.  Another, problem is stopping light from getting into the camera from other places, like the joins.  To stop this it is essential to keep the paper camera in a black dark until exposure and then still have the main body covered.  This is an issue I am going to have to experiment with during the process of making my photo paper cameras. 

The images above show experiments for making the structure of a camera out of photographic paper. 

http://www.slowlight.net/blog/?p=87

Space_Surrogate ii (GSG 9)

During my visit to Berlin I saw this piece of work at Hamburger Bahnhof.  At first I thought that it was just a projection of a photograph into a darkened space, however after a while I noticed that the photograph was actually a moving frame.  It was only really noticeable when you focused your attention on one aspect, for example a moving foot.  This slow movement adds a new dimension of seeing to the film footage, for me it was interesting to see the mens exact movements, which we would never really notice in a normal speed piece of footage.  During the time I spent viewing the slowed film it was obvious that many did not realise that it was actually a film and most thought it was a photograph, like my first reaction.  I enjoy the fact that some could jut pass this by without realising its true meaning while others find the wonder it created for me.  The piece has a lot of political connotations which I know from the write up, however this is of little interest to me as I purely enjoyed the aesthetics of the slow moving footage.  The piece of film was initially a five second sequence and it was digitally reworked to become an eight minute long piece slowly altering still or a freeze frame.

Photogram Experiment

After seeing the work of Floris Neususs and his life size photograms I decided to experiment with photograms myself. I have used various materials of differing densities to create this photogram, including film strips, leaves, a tea bag, tape, a drawn image and a measuring cylinder.  Doing this has given me a good idea of how photograms work and how light travels through different objects.  I enjoy how simple it is to actually create a photogram and the possibilities that it gives. I think it would be interesting to involve movement of objects and maybe to include photographs projected onto the surface, mixing two techniques together. 

Peoples relationship to their surroundings

To continue with my camera obscura practice I am interested in forming a context behind the camera obscura and relating them to peoples surroundings. Living in my camera obscura in Lapland gave my room a completely different feeling and allowed me to relate to my external surroundings on a deeper level. I am planning to ask for volunteers who will allow me to use their room to turn into a camera obscura and then photograph them in their new internal/external world. I will have to consider which rooms would work best and if anyone would actually volunteer for me to use their room.

Susan Derges - Water and the photogram

Susan Derges uses the conventional photogram technique but, takes it into unusual environments to create her photographs.  Derges uses water as her format for creating the image projected onto the surface of the paper, doing this by placing large sheets of photographic paper into rivers, lakes and ponds.  Her photographs bring another element to the everyday motion and movement of water. The photograms hold little detail compared to a digital photograph however, they are much more intimate than a photograph.  Here photograms of moving water hold an ghostly feeling as the light and dark tones flow over the papers surface.  Like my current practice Derges creates her photograms at night, where I have been creating pinhole images of the moon at night, the moon becomes her light source as well. 

Pierre Cordier - Chemigram

For me, Pierre Cordier's work was the most intriguing at the Shadow Catchers exhibition.  This is due to the fact that I have never seen the process he uses before.  The process of the chemigram was discovered by himself in 1956, where he experimented with the surface of photographic paper, like a painter would a canvas.  He applies developer and fixer to various areas of the paper to create lighter and darker tones and went on to explore the effect of 'localising' areas to create shapes and patterns with the use of products such as; glue, varnish wax, oil and syrup.  These products protect the surface of the photographic emulsion or "can be incised to create a drawing, graphic motif or written text." (Shadow Catchers exhibition leaflet)  For me this technique leaves the viewer pondering over how such a photograph could possibly be created.  Some details are so precise it is hard to believe that it is not a painting with its exact application of chemicals to the surface.  I don't think you can fully understand the process and the quality of the work until you have experimented with the chemigram technique, which is something I plan on doing. 

Floris Neususs

Untitled, Photogram, Berlin, 1962

Untitled, Photogram, Kassel, 1967

Floris Neususs is one of the artists currently exhibiting at Shadow Catchers.   Neususs has devoted his career to the investigation and teaching of the photogram, pushing the concept to the limits.  I have created small scale photograms by placing objects over photographic paper and exposing it to light, but they do not compare to the intensity of Neususs’ work.  He shows a new ambition in scale and the visual treatment of a photogram, often dealing with opposites in his work; black and white, shadow and light, movement and stillness, presence and absence.  His playful life-size photograms of people express sexual and sensual connotations, as the person seems trapped in a suspended state in each photogram.  Seeing the images as a collective creates a poetic dialogue between presence and absence drawing the viewer in.  I enjoyed the stillness of the images though which the essence of movement could be perceived. 

Floris Neususs - Gewitterbild

Along side Neususs' photograms he also exhibited a selection of his other camera-less work. I enjoyed his set of work, which again involved the photogram technique, however this time he simply placed a piece of photographic paper outside during a thunder and lightening storm.  The photographic paper becomes the canvas and light becomes the paint.  The varying depths of shadow and light create an abstract image, which one would never guess had been produced by thunder and lightening.  For me this set of work has opened my thinking about photographic paper and what it can be used for.  I do not need to place it inside a pinhole camera for it to produce an image and the image doesn't have to be contrived like a photogram.  It simply needs to be exposed to any light source and you get the surprise of what may be created. 

Shadow Catchers Exhibition, V & A, London

What is a photograph? How do you create a photograph?  The boundaries of these questions are pushed by all artists exhibiting at Shadow Catchers – Camera-less Photography.  The essence of each photograph created by the five artists lies in their ability to fix shadows or light on a light sensitive surface, without the use of a camera.  Each artist works in a very different mode of practice and manages to transfix the viewer into some kind of stupor with the rarely known techniques.  With many links to painting some of the photographs hold little resemblance to what most would perceive as a photograph.

For me the exhibition was about the discovery of varying techniques around the world of camera-less photography. The exhibition has made me think of photographic paper in a more literal sense; it is not actually necessary to use a camera at all when creating a photograph.  Photographic paper can be used like a canvas in which light is the source of paint and can be captured and preserved.  Breaking the boundary between making a photograph without a camera has allowed for some very interesting dreamy and textured photographs to be created.  I am interested in becoming familiar with some of these techniques and really discovering the potential of photographic paper and not only the possibilities of a pinhole camera.

Change of light in Rovaniemi

During my time in Rovaniemi, Lapland, I became intrigued by the sudden changes in light during the time I lived there.  I lived in Rovaniemi for just over four months and experienced the darkness of the winter to the end of spring where the days were getting longer and longer.  I expected the short days during the in the winter and was prepared for this, as well as the days getting longer.  However, I was shocked at how suddenly it could become lighter or darker.  I was away from Rovaniemi for three and on my return from Manchester back to Rovaniemi I was shocked at how much lighter it was.  I did however enjoy the extreme contrast in seasons, not only because of the extreme temperatures but, also the extreme light changes.  It made everyday so different to the other, with such varying levels of light the landscape would change in dramatic ways and this was exaggerated by the winter snow conditions as well.  As the sudden changes of Lapland had such an impact of me I have decided to keep a personal diary, taking a copy of a web cam image from Rovaniemi each day.  These have then been put together to form a show reel of the seasonal changes.  So, far the video consists of images dating from October 2010 to present.  I will continue this personal diary of images for as long as I can, hopefully one day I will have at least a whole years of images and maybe more. 

As the web cam adjusts the lighting slightly so that the images are clearer they do not completely justify actual darkness of the winter days in Lapland.  But, they do give a great suggestion of the sudden changes throughout the year, which make it such an interesting place to live. 

Exhibition in The Link Gallery

Continuing with my pinhole photography practice I have started to use my pinhole cameras at night to photograph the moon.  I expected hazy photographs to be produced from the moons light however, only the path of the moon was photographed as it passed over the tree the camera was placed beneath.  This is shown in the first pinhole photograph on display.  Without an explanation many people would not be able to tell what the photograph is, but I quite like the curiosity around it.  

Pinhole photography at night is something I want to explore, this came about after the darkness and change in light I experienced during my time in Lapland.  For my exhibition in the Link Gallery I have started with my moonlight photograph and continued to photograph the same point throughout a 12 hour period in the day.  This expresses the light change during the day through pinhole photography.  I like the contrast in the images from actual reality, as the pinhole photographs are a negative.  Therefore, the bottom photograph, which was taken at the brightest point in the day actually looks like it has been taken at night.  This has caused much confusion to those looking at my exhibition and it has to be explained.  I have continued to make my pinhole camera so that it produces a round image, I enjoy the aesthetics of the round image as it can't be created using a usual film camera and also adds to the confusion of the pinhole photograph.  

To continue with my pinhole photography at night I am going to use colour darkroom paper, as it is more light sensitive than black and white paper.  Therefore, it should take a photograph with more detail of the night sky and its surroundings.  I will also try using film in a manual pinhole camera, which will allow me to take a greater amount of shots in a shorter amount of time, again due to film being much more light sensitive. 

Second camera obscura

This is my second attempt at creating a camera obscura in a room, this is my current bedroom. Due to the windows being loft windows, they disable light from entering the room fully, which is a slight disadvantage. But, this has got me thinking about other places I could create a camera obscura and the relationship of the room. For example, a relationship between the occupier of the space with the room and the outside image projected inwards. This is something I want to look further into, as I think it is always good to form some connection with my camera, the photograph and the place and is something I have been trying to do for a while. To start this project I would have to find a set of people who would be willing to be photographed and have a room which can be turned into a suitable camera obscura. 

Camera obscura car

I have been attempting for a while to turn my car into a camera obscura so I would then have a portable camera obscura. I have managed with quite a lot of struggle to black out my car, however I found that it has hard to create any kind of image in the car due to the furnishing being too dark. You can slightly see the image when you take a long exposure with a camera however, nothing is visible withe the naked eye. For this I think I will have to try and find a larger vehicle with a lighter interior. I think a van would work well, so this is the next step in my portable camera obscura.