Three Pinhole Photographs (Tuesday)

Church Street / SLD f.400 / 1 minute 15 seconds exposure using photo paper.

© Sean Halligan

This exposure demonstrates the limitations of (orthochromatic) photographic paper as opposed to panchromatic sheet film which can faithfully record all colours in tones of gray. On considering this viewpoint I was aware of a clear distinction between the tonality of the cash dispenser and the blue sky. Photo paper reads blue as white light which results in these areas blocking up quickly once the exposure begins. Less well lit areas within the same view will require more generous exposure to see what's there. Sometimes a compromise is possible that results in acceptable detail in all areas. Notice in this photograph the blur of pedestrians in the background. This the result of the 75 seconds or so that the 'pin cover' was removed.

N.B. Taken using a tripod.

The Bluecoat / SLD f.400 / 1 minute 15 seconds exposure using photo paper.

© Sean Halligan

I decided to create a multiple portrait by stepping quickly into the well lit position in front of the deep shadow area. I occupied the first position (centre leftl ) for about 30 seconds. The grizzly profile took about 20 seconds and the pose at the left of the frame was roughly 10 seconds. This kind of multiple pinhole portrait works best with the subject very well lit in front of a dark background. By planning your self portrait in advance and by moving quickly from one position to another having first estimated the optimum exposure time and removed the 'pin cover', interesting results can be achieved.

N.B. Taken using a tripod.

Seel Street / SLD f.400 / 1 minute exposure using photo paper.

© Sean Halligan

José, sporting a bright red tie and who possessed the poise of a head waiter, had been standing perplexed a few meters away to my left as I quickly set up the tripod close to the kerb near the top of Seel Street. He asked me, in what might have been a Spanish accent, what the box (with the purple lid) was. I told him it was a pinhole camera, a 'Camera Obscura' I found myself saying, and explained that I was about to take a photograph using photographic paper. Indicating the tree with its strong shadow and the dappled light falling on the wall, I went on to tell him that I'd intended stepping into the scene myself to make a self portrait, but that his sudden appearance and interest had given me another idea. "Will you be my subject... and stand just 'there' (I indicated the spot) for one minute?" He joked that I might '...give the photograph to the police' and I promised him that I would. We laughed and he kindly agreed to play his part. "Keep absolutely still if you can, for just one minute." He was an extremely good subject, inasmuch as he seemed to recognise the role that I was playing and also because of his trusting me by fearlessly entering into the spirit of the occasion. It could have been another minute 120 years previously, in the same spot.

N.B. Taken using a tripod.