Pinhole photography inevitably requires long exposures. So one of the features of many pinhole images is the high contrast caused by the long exposures. I am investigating the use of Pyro developers with their compensating behaviour to reduce the overall contrast, particularly in the skies. I also want to incorporate some edge effects. Pinhole images are usually quite soft and this is not always something that I want. In the images below, the mud flats are better with some edge acutance.
There is something very enticing about stripping away complexity, going back to the source, starting again. In the case of film photography nothing can be simpler than taking photographs with a pinhole camera. But actually it’s not that easy.
This blog is about my efforts at learning film photography and silver halide/alternative printing.
Two steps forward, then one step back. Or is it one step forward, then two steps back?
For me, film photography and darkroom skills are two sides of the same coin, inseparable. Taking a picture fashions the options that you have in the darkroom. Printing a photograph tells you how you could have done better when taking that photograph. I could not do one without the other.
In fact, my time in the darkroom drives my black and white film photography. I would not consider digital photography or even film photography where I could not print my own pictures. They would not be mine.