The pinhole photography foolishly depicts the trajectory
of light. If there had been light-sensitive materials like today's in the
days when painters painted with CAMERA OBSCURA, photography might have
looked like these pictures.
I wanted to present another reality of light
by using Parisian landscapes familiar to many people through postcards
and other photographs as my subject matter, and by using my handmade camera
obscura.
The placement of a tiny aperture (pinhole)
in front of the subject determines the perspective image, that is the foundation
of photography and the Western point of view.
However, photographs taken by cameras that
have been modified as an extention of the human eye and body naturally
embody the point of view of the human eye, and the characteristics of the
lens do not fairly capture all of the subject matter.
On the other hand, a pinhole photograph taken
by a dark box placed randomly without a viewfinder is a different point
of view from the photographs we are familiar with, and reveals the infinite
depth of field in a direct and non-discriminatory way.
The pinhole photography, with its long exposure
time, makes me realize that the photography is nothing more than the depiction
of the trajectory of light on light-sensitive material. I think this is
the charm of pinhole photography despite of various inconveniences this
technique imposes me.
Mieko
TADOKORO
| Another Point of View - Paris |
 |
| Nov.13 mon. to Nov.20 mon., 1995 |
| Kodak Photo Salon Ginza |
| |
