A pinhole camera is a simple camera without a lens and with a single small aperture — effectively a light-proof box with a small hole in one side. Light from a scene passes through this single point and projects an inverted image on the opposite side of the box. The human eye in bright light acts similarly, as do cameras using small apertures.

Up to a certain point, the smaller the hole, the sharper the image, but the dimmer the projected image. Optimally, the size of the aperture should be 1/100 or less of the distance between it and the projected image.

A pinhole camera’s shutter is usually manually operated because of the lengthy exposure times, and consists of a flap of some light-proof material to cover and uncover the pinhole. Typical exposures range from 5 seconds to hours and sometimes days. (source wikipedia. Complete article here)

As the fine art photographer Ralph HOWELL states, « virtually anything can be turned into a pinhole camera: a coconut, a muffin pan, a cowboy boot, a fishing float, etc. If a chambered object can be light-proofed, it can be transformed into a pinhole camera. I’m excited by the fact that pinhole cameras don’t restrict my creativity with a light meter, a clicking shutter, or a viewfinder. In particular, the absence of a viewfinder turns the process of pre-visualizing a shot into a serendipitous process where I can “point and shoot “ from the hip. I enjoy improvising the content and composition of the photo and risking unexpected and playful outcomes ».

Here some examples from this photographer

Eight O’Clock Coffee / © Ralph HOWELL

Mirror Reflection: Shoe as Pinhole Camera / © Ralph HOWELL

In 1998 Ann HAMILTON initiated a style of work by holding a canister containing a strip of film in her mouth and using her lips as an aperture to create each exposure.

Face to face / © Ann HAMILTON

Nice interview and video on Art:21 website

Justin QUINNELL with Mouthpiece also made a great set of pictures using this container

Dentist /  © Justin QUINNELL

Bathtime / © Justin QUINNELL

What about capturing the world through a truck ? Shaun IRVING done it and the results are stunning.

© Shaun IRVING

If Pinhole photography is a good way to experiment various containers, it is also a way to experiment very long exposure. Justin QUINNELL made a great work with his serie of ’slow light’ in which he made photographs with 6 months exposure.

SS Great Britain / © Justin QUINNELL

Various containers, long exposure… What else ? We could talk about perspectives. John FOBES have some great photographs that show how you can play with distorsion.

Pittsburgh Pinhole Serie / © John FOBES

Pinhole Dreams Series / © John FOBES

We could end this post by focusing on an other great aspect of Pinhole photography : Colors. The great work of Imre BECSI drives us in a dream-like journey.

Alexa / © Imre BECSI

Protuberencia / © Imre BECSI

Let’s focus a bit on the work of a NOI Pictures’s friend, Albin MILLOT

New York. USA. 2007 / © Albin MILLOT

Pyramide of Gizeh, Cairo. EGYPT. 2008. / © Albin MILLOT

We’ll finish this non exhaustive overview of Pinhole photography by posting some Polaroïd 59 of Boris ZULIANI, one NOI Pictures pool’s photographer

Essawira, Morroco / © Boris ZULIANI / NOI Pictures

Albatre coast, Normandie, France / © Boris ZULIANI / NOI Pictures

For those who appreciated this post, notice the nice blog of Chris Keeney who use to highlight every month a different Pinhole photographer.

And for those who feel handyman, a rough tutorial to build your pinhole camera is available on this website !

European fields / The Landscape of Lower League Football

Hans Van Der Meer is a dutch citizen born in 1955. He’s a professional photographer since the 70’s. From 1995, he starts taking photographs of low division amateur-football games. He went out looking for football in its original form, as it had started more than hundred years ago: a piece of land, 22 players, and no spectators around the pitch, just a horse in the next meadow. The image is far away from the image we know from professional football. About the idea behind this project he says: ‘Football is a part of our culture and football fields form part of our landscape. There are proportionately more grounds in Holland then in any other country in the world. Even in the smallest municipality you will find at least one club. Taking photographs for my album HOLLANDSE VELDEN I visited over 350 locations all over the country. I was looking for those situations where I could make a combination of a field with players and an interesting landscape in the background. I needed the world outside the field to show literally that football is part of our culture.’ (source official website)

First edition of this work came out during the world cup in France 1998. Hans kept moving all arround Europe and in 2006, an other book came out : ‘European Fields‘, 85 photographs in colour of amateur-football in twenty-two different European countries. Book available on Amazon.

ALL PICTURES © HANS VAN DER MEER

Frauenhagen/Germany © Hans Van Der Meer

Warley/England © Hans Van Der Meer

Bartkowo/Poland © Hans Van Der Meer

Budapest/Hungary © Hans Van Der Meer

Midgley/England © Hans Van Der Meer

Dublin/Ireland © Hans Van Der Meer

See the official website for a wide range of his work

David Doubilet is a well known underwater photographer known primarily for his work published in National Geographic Magazine. He was born in New York and started taking photos underwater at the young age of 12. He started with a Brownie Hawkeye in a rubber anesthesiologist’s bag to keep the water out of the camera. During his summer holidays, he spent his time along the New Jersey coast. He later worked as a diver and photographer for the Sandy Hook Marine Laboratories in New Jersey. He also spent much time in the Caribbean. While a dive instructor in the Bahamas he found his motivation to capture the beauty of the sea and everything in it.

His goal is to « redefine photographic boundaries » every time he enters the water. This has helped him achieve some of his greatest shots. In order to capture all the underwater wildlife, he takes several cameras with him on each of his trips. The main obstacle in underwater photography is the impossibility of changing lenses or film underwater.

Doubilet’s ingenuity lead him to the invention of the split lens camera. This allowed him to take pictures above and below water simultaneously. This worked by having a separate focus point on the top half and bottom half of the scene. When the picture is taken, it is recorded onto the same negative.

He has shot well over sixty stories for National Geographic and published numerous books on his own. His most recent was a photo shot in Cuban waters entitled « The Last Caribbean Refuge. »

His education has helped him in his writing. He is well known for his reports on the sea and has written many books in recent years, one of which includes Australia’s Great Barrier Reef by National Geographic. He has received many awards for his works, such as The Explorers Club’s Lowell Thomas Awards and the Lennart Nilsson Award for scientific photography (2001).

Doubilet lives in Clayton, New York. Life in this small town near the St. Lawrence River is about old wooden boats, a nature studio to further his passion of the water. His second home is the small coastal town of Dekolder, South Africa. (source : Wikipedia)

ALL PICTURES @ David DOUBILET

© David DOUBILET

© David DOUBILET

© David DOUBILET

© David DOUBILET

© David DOUBILET

See the official website for a more complete range of his work

Light painting, also known as light drawing or light graffiti is a photographic technique in which exposures are made usually at night or in a darkened room by moving a hand-held light source or by moving the camera. In many cases the light source itself does not have to appear in the image. The term light painting also encompasses images lit from outside the frame with hand-held light sources. The first known photographer to use this technique was Man Ray in his series « Space Writing ». (wikipedia)

Lets get through DaveMc tutorial to learn more !

« Lightpainting is the technique of using a small hand-held light, usually a flashlight, to light a subject during a long exposure. It gives the photographer enormously subtle control over the way the subject is lit, but does require that the subject remain relatively static during the exposure. This is fine if you’re shooting an inanimate object, but can be a challenge when shooting a model. To get started you need a subject, a camera that can handle long exposures, a tripod, a flashlight, and a room that can be made relatively dark. It doesn’t have to be pitch-black, but if it’s too light you’ll find the unlit portions of your image won’t be completely black.

Mount your camera on the tripod and get the model into a pose that she (or he) can hold for an extended period without straining. Unsupported standing poses are almost impossible as the model will sway very slightly, blurring the image – reclining is probably the easiest to start with. The background doesn’t need to be black, but keeping it free of clutter that might catch the light does help.

Before attempting an exposure, use the flashlight to plan the movement of the light – it helps to do this with the room lights off. Decide where you want light, and where you want shadow, and practice the sweep of the flashlight required. As the camera shutter will be locked open, the exposure is controlled by the aperture, the distance of the light to the model and the speed you move it. Holding the light at different distances will vary both the brightness and the effect produced. Move the light at about 6 inches a second to start with – move it too slowly and you’ll catch too much movement – too quickly and the results won’t be bright enough.

Once you’re happy with the required movement, switch out the room lights and open the camera shutter. If possible, set the camera to “B” and use a locking cable-release to do this – that way you can close the shutter again as soon as you’re finished. If not, set a long exposure time – say, 30 seconds – and make sure you can get your exposure finished within that time. Get into position beside the model, make the exposure, and close the shutter (or wait for it to close). If you’re shooting with a digital camera, check the result of the shot and repeat until you get it right. This will take some time and patience.

When lighting the model (or background), be aware of your own position relative to the camera. If you get between the two, you’ll block the camera’s view of the light and leave a dark “hole” on the image. Similarly, if you’re in shot during the exposure, as my leg is in the first two shots in this sequence, you should make a point of moving at least once during the exposure. This will reduce the chance of you leaving a dark patch in the image where light reflected from the model was not able to illuminate the floor. The camera only sees the portion of the scene that’s lit, so you can be in front of unlit areas so long as you move before lighting them.

You also need to be aware of the position of the light. So long as it’s kept pointing away from the camera, the light itself won’t appear in the image. If you allow it to point backwards like this, it will leave a streak in the image, and if shone directly into the lens, will probably cause lens-flare. Lastly, when lighting a model, try not to go over the same area twice with the light. If you do you’ll probably get a double image. Slight movements are inevitable, so the less you emphasise them the better.

With enough time, and a patient enough model, you should end up with something like this. The main light comes from the right as shown above, but I then switched the light off and moved around to light her face from the other side. Give it a go and see what you come up with. »

Original tutorial here

Boris ZULIANI one of our pool photographer is used to this technic and focus mainly on fashion shoot to bring creative atmospheres:© Boris ZULIANI / NOI Pictures for Wedding Plaza

© Boris ZULIANI / NOI Pictures for Isalyna

Raphaël OLIVIER, also a photographer of the pool, joined his friend Hervé BACCARA to achieve a personnal artistic project to celebrate the 1000 years of Hanoi. This project called Hanoi Light Writers was an attempt to make a personal « portrait » of the city.

They chose the graffiti as an angle of approach. But far from them the idea to physically deteriorate the places they wanted to « visit ». So rather than paint and air-brushes they chose to simply use light to decorate a few key-places.

© Raphaël OLIVIER & Hervé BACARRA / NOI Pictures – « The Perfume »

© Raphaël OLIVIER & Hervé BACARRA / NOI Pictures – « The Coffee »

We also would like to highlight some other artists for their nice work :
Steve Bella – ALL PICTURES ©Steve BELLA
© Steve Bella

© Steve BELLA

More pictures and information about Steve Bella here.

We can’t post this thread without talking of the amazing Lichtfaktor Collective that pushes the concept very far!
ALL PICTURES © LICHTFAKTOR

© Lichtfaktor / SpaceHopper blue

© Lichtfaktor / CPD International Fashion Fair / Impulse

Visit their website for a wide range of pictures and video

We are also glad to show the fantastic work of Julien BRETON, calligrapher. ALL PICTURES ©Julien BRETON

© Julien BRETON /  ‘Knowledge’ / St Méen

© Julien BRETON / ‘The silence’ / Lybie Desert, Egypt

Visit his website to contemplate more light calligraphs.

ALL PICTURES © David Lachapelle

« Referred to as the Fellini of photography, his ability to create scenes of extreme reality using rich and vibrant colors makes his work instantly recognizable and often imitated. He continues to be inspired by everything from art history to street culture, creating both a record and mirror of all facets of popular culture today. »(official website)

See his biography on wikipedia
See the official website for a wide range of his fabulous work

Elton John

Madonna

Sylvester Stallone

Angelina Jolie

Sharon Gault

Skyy

Maybach

Flaunt / Inflatables

Milla Jovovich

Marilyn Manson

BASIC INFORMATION
With the current US copyright laws as they are applied now, artists own all rights to their created images and sell/transfer rights to agencies and their clients. All questionable negotiations have historically defaulted in favor of the artist. Technically, even minor modification of the art requires the artists’ permission. You are RENTING, not buying an image unless explicitly stated on the contract. Generally, think of usage costs reflecting the amount of exposure a particular image may receive. The more exposure, the higher the price. Exact terminology may differ, but the semantics remain the same if all of the information is included in each negotiation. You can phrase it any way you want, but be clear about the INTENT by including information from all categories outline below. Talent usage is similar, but there are differences in how each medium is priced out: talent usage tends to be much more specific. Again, it is based on exposure. European terminology will differ from US terminology, particularly in the “Print” category. In Europe, “Print” includes anything that is not broadcast.

Usage is defined by the following:
TIME PERIOD or LENGTH OF TIME
This is the length of time an image or images will be used: one year, two year, one time, etc.. It is best to specify “from date of first use” when negotiating a contract for an image. Standard use generally defaults to one year use {from shoot date} in a specific medium unless terms are otherwise negotiated.

RIGHTS/QUANTITY
This is the number of times within the time period that the image will be used.
Limited: A limited number of times such as “2 insertions” or “run of 5,000” within the time period purchased. By the time you reach multiple insertions in publications such as Tuoi Tre or Dep, you may as well buy unlimited rights.
Unlimited: Can be used an unlimited (unspecified) number of times within the time period purchased. This does not allow a transfer of copyright to you or to your client, nor does it mean the same as “unlimited time.” You both have only the rights to use the image, not to resell it or allow a third party to use it.
Total Buyout: You have purchased the copyright to the image and have full rights to do whatever you want with the image. You own it, basically. In the case of illustration, you own the rights, but you do not necessarily own the final art. That usually requires a very specific, carefully worded purchase agreement. Expect to pay dearly for this usage!

EXCLUSIVITY
I recommend purchasing exclusivity of all images to prevent the resale of any images during the time period you’ve purchased. Unless otherwise stated, an artist has the right to sell an image to another client at any time—even if it is one currently licensed to your client. Usage defaults to non-exclusive of the selected images only if not otherwise stated.
Exclusive: The image (and the outtakes, if specified) cannot be sold to anyone else during the time period purchased.
Exclusive to Industry: The image cannot be sold to anyone else within the same industry (Liquor, Banking, etc.)
Non-Exclusive: The image (and the outtakes) can be sold to other clients at any time

GEOGRAPHIC REGION
This is the area in which the images will be seen.
National: Vietnam only.
South East Asia: Includes Vietnam and its provinces, ASEAN countries.
Global or International: Throughout the world (internet is automatically global).
Local: Specific city or area (Ho Chi Minh City Area, etc.)
Regional: Specific region (North America, Europe, Middle-East, etc.)
By Country: Specific countries can be purchased, but if the exposure is large, such as Europe, it may be wiser to go with Global to make sure you are covered.

MARKET
This category also gives the artist an idea of the degree of exposure. Consumer advertising generally receives more exposure and at a premium cost. Trade is not as expensive, nor as far-reaching in exposure. Editorial is relatively cheap.
Consumer: Markets to “people who buy things”; it is purely commercial (sells things) in nature and the artist want a piece of the action because of the high degree of exposure.
Trade: Markets to “people who sell things to others”; it is lower down on the food chain, and therefore not as expensive.
Editorial: Informational in nature, not commercial. Magazine layouts and textbooks fall into this category.

USAGE REALM
This category further defines how the images will be used. These categories are then segmented even further by defining specific mediums for each.
Advertising: A medium that sells something, like an ad or an outdoor board.
Promotional: A medium that promotes something, like a poster for an event like a concert.
Public Relations: Similar to Promotional, but more awareness-driven and less commercial.
Corporate: Annual reports or internal materials like sales kits.
Editorial: Again, informational in nature, not commercial. May accompany an article or be included in a textbook.

MEDIA
Media usage describes where an image will be seen and can be defined as precisely as you choose. As with photography, when negotiating with talent the specific media included will directly affect your price. Broadcast use is seldom needed, but can be purchased if necessary. Remember that sometimes being TOO specific may come back to bite you later.
Any And All Media: Covers EVERYTHING: all print, OOH, POS, Electronic and Broadcast. “Any” and “All” are somewhat redundant, but it drives home the idea that everything is covered.
All Print: Generally, anything printed onto paper that you can hold in your hand: newspaper, magazine, collateral, direct mail. You may expand your negotiations to include POS or OOH by adding it specifically, otherwise they are generally not included under this category. Exceptions may include GO cards or similar limited exposure items.
Newspaper: Use this category in conjunction with Geographic Region. Size also plays a role.
Magazine: Use this category in conjunction with Market and with specific publications. Collateral: Includes anything in print that “goes along with” the campaign but is of secondary importance. Things like brochures, some mailers and bill stuffers fit under this category.
Direct Mail: Pieces that are mailed to people. Quantity of pieces and Geographic Region affects pricing. Where the image is seen also makes a difference, whether it’s on the cover, envelope, etc.
Point-of-Sale (POS) or POP (Point-of-Purchase): Things that will be seen where the product is sold. Banners, signage, counter cards, displays, in-store posters, table tents, hang tags.
Out-of-Home (OOH) or Outdoor: Virtually anything seen outside of your home: outdoor boards, bus sides, trans stops, rail cards, GO cards.
Trade Show: Trade show booths or materials used in a trade show. Show attendance and how the image will be used must be discussed.
Electronic: Media that is not printed: Internet, C Ds for distribution, Asset Management System, screensaver. Unless rights are specifically purchased, images cannot be resold.
Internet: Global internet use. Where it will be seen (home page or inside page)may affect pricing. Sometimes numbers of hits makes a difference also.
Miscellaneous: Things like Ad Planners must be negotiated apart from the other media because of the potential for wide-spread, undetermined use.

BODY OF WORKS
This means all of the images shot for the project, not just the selected image or images. Some photographers will automatically sell you the rights to the entire body of works, but most will sell you the rights to only the selects. You will need to clarify at the beginning of the negotiation because usage will default to the selected images only if not specified. You will also want to include a clause that outtakes may not be sold as stock until the rights on the selects expire.

REUSE
It is in your best interest to include verbiage in your initial use statement that covers future reuse. Legally, unless otherwise indicated, an artist can sell an image to another client at any time, with an increased risk after the original use expires. Because the exact date of first use may not be known at the time rights are purchased, it follows that the date of expiration may not be exact. With the proper verbiage, you can create a checks-and-balance system to at least have an opportunity to decide if you want to purchase reuse before your client sees it in another ad. I recommend stating that your “client reserves first option of reuse upon expiration of current rights.” If you and your client do not renew your option, then there is a possibility that the image will be purchased by someone else.

MISCELLANEOUS
You will want to include the right to use images for your agency to use in self-promotion. Those rights are technically not granted past the original usage period without express authorization. Although usually not a problem, it doesn’t hurt to have it stated officially. To get the maximum amount of usage time of an image, include the phrase “from date of first use” or “effective date of first use.” That way, if an image is not used for several months, your usage won’t begin until then. Otherwise, it may be a point of contention a year from the shoot date. This is especially important with talent. If the photographer is coordinating the talent, do not automatically assume that the usage for the talent matches the usage you are contracting with the photographer. You must clarify talent usage at the estimate stage.

EXAMPLES OF USAGE VERBIAGE
Here are some samples of how to phrase your usage statement: One year unlimited exclusive international advertising and promotional rights and usage in any and all media for entire body of works, effective date of first use. Artist retains self-promotion rights forever, as does the agency. Client reserves first option of reuse upon expiration of current rights. Two years unlimited exclusive regional (Minnesota, Wisconsin and Illinois) advertising and promotional rights and usage in any and all media for entire body of works, effective date of first use. Artist retains self-promotion rights forever, as does the agency. Client reserves first option of reuse upon expiration of current rights. Image will be digitally enhanced in post-production. Unlimited exclusive global advertising and promotional rights and usage in any and all print for an unlimited time. Includes entire body of works. All images, including outtakes, may not be sold as stock until all usage expires. Client reserves first option of reuse upon expiration of current rights. Artist retains self-promotion rights forever, as does the agency. Total buyout of rights, usage and copyright. Artist retains self-promotion rights. {The word ‘buyout’ by itself is meaningless and will not hold up in court}

This information was provided to A Photo Editor by Former Art Buyers and current photography consultants Amanda Sosa Stone and Suzanne Sease. Usage terms guide created by Kat Dalager. Thank you very much !

We would like to share the work of Bernd & Hilla Becher.
ALL PICTURES © Bernd & Hilla BECHER

The Bechers first collaborated on photographing and documenting the disappearing German industrial architecture in 1959, and had their first Gallery exhibition in 1963 at the Galerie Ruth Nohl in Siegen. They were fascinated by the similar shapes in which certain buildings were designed. In addition, they were intrigued by the fact that so many of these industrial buildings seemed to have been built with a great deal of attention toward design. Together, the Bechers went out with a large format camera and photographed these buildings from a number of different angles, but always with a straightforward « objective » point of view. The images of structures with similar functions were then displayed side by side to invite viewers to compare their forms and designs. These structures included barns, water towers, storage silos, and warehouses.
The Bechers also photographed outside of Germany, including buildings from the United States and other areas of Europe. Bernd taught at the Düsseldorf Art Academy and influenced students that later made a name for themselves in the photography industry. Former students of Bernd’s included Andreas Gursky, Thomas Ruff, and Candida Höfer.

From Wikipedia

Figure 3: Gas Tanks 1982-1992

from left to right and top to bottom:
Wittingen, Niedersachsen, Germany, 1979
Verviers, Belgium, 1983
Crailsheim, Germany, 1979
Ilsede, Hannover, Germany, 1984

Grube « Caerau », Caerau Südwales, Großbritannien, 1966, Silbergelatine

Reparation Plants, 1966-1976.