There is a beer can attached to the side of my house which has been there for a month and will continue to hang there for the next five months.
Just to see what happens during these long exposures I left a couple of cans tied to sticks for a week and brought them in to process last night. Six months is just too long to wait for deferred disappointment.
The line at the right hand side of my house is the rising sun traced over the course of the week. Not much movement but there it is. That tin was pointing about north west.
The image made looking south east over the garden was enhanced by pigeon which landed on the tin about four days in and altered the angle of view causing a double image.
That’s the sun setting over the right hand corner of the photograph.
We travelled in France and it was warm and fabulous. I took with me a large ca
ra, a small camera, a video camera, a film camera (loaded with film), a beer can (large) and a soft drink can (small) both loaded with photographic paper and punctured by pins. These are some of the images made with the cans.
It is very difficult to make photographs of the Eiffel Tower which have any freshness in them. I have many photographs and none of them until this one has an ounce of interest. There is a grave misunderstanding which devils photography and insists that when we arrive at a place which is famous we must instantly capture it in the camera. In most cases the word capture is without doubt the right one to use. Like a wild animal captured and kept for all time in a little box the iconic object in front of the snapper gives up the ghost and lets a pale copy of itself be carried away.
Instead of the ancient fear that a photograph could capture the soul of the subject, snapping famous buildings, objects and sites usually leaves the soul of the place untouched and untroubled.
Holding views like these renders me deeply unpopular at home when we return from holiday with no record of the wonderful places we have visited.
These pinhole images are the result of the simple action of the sun disturbing the surface of photosensitive paper. They have no ambition to be representational. They are, in the main, more the result of chance actions, scratches, fingerprints and mistakes. Indeed one or two of them are quite free from a subject in the normal photographic scheme of things. I think these chance encounters between the sun and photographic paper are beautiful. I believe my wife thinks the same but they irritate her when she would rather have good clear record of our journey.