Viewpoint Gallery - Sacramento Valley Photographic Arts Center (SVPAC), fine art photography exhibits & photographer education

Visual Edge 2002

Photography's Full Circle:
The Pinhole Perspective

Juried Exhibit, Page 3 of 5

Cecilia Clark
Frank Lopez
Bernadette Humphrey
Jerry Doty
Dallas P. Sells
Mabel Odessey

The images are presented in the order being shown in the exhibition.
The numbers for each print are used as references for the exhibit.
Prices shown are set by the artists

Back to Main Exhibit Page

All images copyrighted by the artist.

Cecilia Clark
Sacramento, California

26. Despair

27. Solitary Oak

Solitary Oak :
Film: Ilford Delta 400 (developed in Pyro)
Exp: 28 minutes
Camera: 8 X 10 Santa Barbara Pinhole
Process: Platinum-palladium contact print

Despair:
Film: Ilford FP4+ (developed in Pyro)
Exp: 30 seconds
Camera: 4 X 5 Pinhole camera made from a box, duct tape, velcro, &
recycled black plastic
Process: Platinum-palladium contact print

Camera used by Cecilia Clark

As I'm not exactly sure what the apertures are for my cameras (although I think they range from F500 for the 8 X 10 and F250 for the 4 X 5), I meter with my 35 mm for a starting point and refer to a chart I have developed for each camera to extrapolate the approximate exposure.

Frank Lopez
Dallas, Texas

28. Black Sun Over Letna Park $500

The image "Black Sun Over Letna Park" is a continuation of my passion for pinhole photo-graphy. The image, photographed in December of 2000, was produced on a cold day in Letna Park overlooking the city. I positioned my 6x9 pinhole camera inches away from branches blowing in the wind and directly aimed at the sun and dome structure in the distance. The most remarkable aspect of the image is the fact that the Sun has reversed itself and become a negative in a true example of solarization. This is a result of several factors, notably a long enough exposure to exceed the film's ability to hold detail and a developer which did not block up the film's extreme highlights. The "corona" effect is a delicate byproduct of the exposure. This image is a part of my "Praha" portfolio, and is supported by the generous support of the Texas Photographic Society Member's Only Grant.

Camera used: Zero Image 6x9 camera
Film/developer: Tri-X Pan professional/D-23 developer
Paper: Forte WarmTone Fiberbase.
No manipulations other than burning and dodging.

Bernadette Humphrey
McClellanville, South Carolina

29. Etowah I $150

30. Etowah II $150

These images are from the Alternative Visions series I began in 1998, using the plastic Russian Lubitel lens camera I converted into a zone plate pinhole camera. I am still able to regulate the size of the aperture to allow for a vignette. The images I make with this camera are an attempt to reexamine the cliched landscape genre.

Jerry Doty
Oakland, California

31. Landscape with Bones 4 $150

As an archaeological field technician and site photographer I have worked in Belize, Mexico, Peru, Nicaragua, the Pacific Islands, and elsewhere. I have excavated over 200 burials to date. Burials are routinely documented and this one was photo-graphed on 4x5 T-Max 100 film with a Leonardo pinhole camera and contact printed.

Dallas P. Sells
Columbus, Ohio

32. Hotel Gallup $200
Selenium toned silver gelatin print.

Mabel Odessey
Le Bez, France

33. Untitled $350

34. Untitled $350

From the Series "Games and Rituals"

I use photography as a means to come to terms with and understand a little better the world in which I live. In the series, Games and Ritual I have been examining the games I played as a child and watch my own children play. With closer scrutiny, beneath the simple actions I discovered a wealth of primitive and metaphysical symbols which these games keep potent and alive. My objective, is to make the invisible qualities of the games tangible; to construct images that touch something universal and illicit a smile of recognition in any viewer. Despite our culture which places rationality and logic above all else our sense of ritual and ceremony is profound. The games I have chosen, are imprinted with ancient pagan initiation and fertility rites, myths where fate is decided by chance and archetypes of good and evil. The narratives I construct act as signs and pose questions. Why are these simple games still played and exert such power after thousands of years? Why do they appear in different forms throughout the world, and hold a vital place in all cultures? Are there subliminal lessons we learn while playing which enable us later as adults to navigate through the more sophisticated games of civilized life.

Photography like game playing involves taking risks; in that interval between the act of making the photograph and the resulting image luck intervenes. The pinhole camera is instrumental in the process because it challenges the photographer (without viewfinder) to trust his or her intuition when making the photograph and consider the very practice of making a photograph. I choose to use homemade pinhole cameras which photograph more like our memories work than a modern lens camera. Conceptually making my own cameras allows me to conceive a personal vision for each photographic project.

Main Exhibit Page

Eric Renner and Nancy Spencer

Linda Pearson

Martha Casanave

Page 1 of Juried Exhibit

Page 2 of Juried Exhibit

Page 3 of Juried Exhibit

Page 4 of Juried Exhibit

Page 5 of Juried Exhibit

All images copyrighted by the artist.

<< HOME

SVPAC is a not-for-profit 501(c)(3) educational organization, donations are deductible to the full extent of the law.