Ian Beer.

Iʼm Ian Beer.

45 years young, photographer and 1st AC in commercials .and action sports. I shoot mostly landscapes, objects and the occasional portrait.

Born and raised in Winnipeg, Manitoba Canada but have been living in and around Vancouver BC since 1992. I shoot with all kinds of cameras, but my pinhole cameras are: 8Banners MB (multi format), 8Banners Dragon 2 (6x18) and a home made beer can cameras for Solargraphy. My “regular job” is camera based, but I make zero money off of my photos. At this point itʼs strictly for enjoyment and expression, but I do dream of one day getting paid to take photos.

What and why you do what you do?

I love cameras and photography and have been around them all of my life.

In the 70ʼs my Dad had a darkroom setup in the laundry room, and put on
slideshows regularly for us. As a teen I always had a point and shoot camera
with me, an SLR in my 20ʼs, and in my 30ʼs I started experimenting with different
cameras and films.

I started trying to achieve different perspectives and to make ordinary things
look less ordinary. Iʼve calmed down on the green people and all pink everything
but my stuff is still a little abnormal.

What’s integral to your practice?

With pinhole shooting I think you have to be able to visualize the shot more than
with a normal camera. Thereʼs no viewfinder on a beer can camera, and any
pinhole camera viewfinders Iʼve used only give you a best guess at what your
field of view is. For Solargraphy I use 3D view on the Sun Seeker app to cheat
and know where the sun is going to go over time. Not sure itʼs integral but it
definitely helps.

Why pinhole?

I started shooting pinhole cameras to really explore the idea of long exposures
and for the unique point of view it provides. I tried mounting pinhole cameras on moving things like my bike, to really push the effect of the long exposure and having one thing in focus with everything else streaky and abstract. I also like that you can create odd perspectives by placing a pinhole camera very close to objects or low to the ground. The illusion youʼre standing at the base of a giant object, or somewhere you canʼt actually be in real life.

As far as Solargraphy, I’m pretty sure a pinhole camera is the only way to do it.

Are there any particular themes you pursue with your practice?

Lately itʼs been Solargraphy. 3-6 month exposures ideally. I have 21 cameras out there currently and more built and ready to go. I try to
put a couple up every few weeks. My favorite part of a Solargraph is it shows you something that happens every day, but from an unseen perspective. Capturing time in an image using the
most basic of cameras and a piece of B&W photo paper. Kinda magic.

How has your practice changed over time?

Iʼve been refining my can cameras in a few ways, like a smaller pinhole for
sharper images, and covering them with camo duct tape so they wonʼt be
found so easily. I had 7 go missing at one park in less than a month, so Iʼm also
a lot pickier about where I put up cameras.

Iʼm also trying to be more careful handling wet paper negatives after nearly
ruining a couple recently.

Is there a specific piece you’re particularly proud of?

My bike mount 6x12 pinhole might be my favorite but I like how my Solargraphs
have been working out so far.

Sometimes itʼs the imperfections that make a Solargraph stand out. A
soaking wet paper neg, a camera that moved or was partially crushed by some
jerk or animal. Itʼs unpredictable and you never really know if your camera will even be there when you go to retrieve it.

One of my photos included had the fence it was attached to break loose during
the 99 day exposure, but I think it improved the result. Good mistakes.

Who’s your inspiration?

My friend Todd Duym introduced me to swing lens, pinhole cameras and
cross processing. I also tried my first pinhole photos on his balcony years ago
with his camera and pinhole lens. Thanks Todd!

My Dadʼs photography has always inspired me as well.

Other photographers Edward Burtynsky, Fred Herzog, Ian Ruhter, Chris
Brunkhart, Leonard Fong, Jussi Grznar, E.O. Goldbeck, Tony Welch, Dano
Pendygrasse, Blake Jorgenson, Scott Serfas and J. Grant Brittain. So many
others but these are favs.

People I follow on Instagram inspire me everyday with their images. Keep
creating and inspiring!

What’s your dream project?

Being paid to travel and shoot.

Egypt is top of the list. Easter Island, Mexico/Central America, Cambodia, Peru.
Anywhere else I havenʼt been. Shooting ruins and churches, architecture and
landscapes. Big budget, loose deadline, weird cameras.

What’s the best advice you’ve ever been given?

My friend Jason and I were discussing photos years ago, and something he said
stuck with me, and somewhat changed my outlook. I asked him if the photo we were discussing was film or digital, and I was hung up on what camera etc. He looked at me and said:

“… it doesnʼt matter what you shoot with, a good photo is a good photo.”

He elaborated further but somehow that simple statement made it so clear to
me… because he was right.



Matko Vučica.

My name is Matko Vučica. I am 37 years old, born and raised in Croatia/Zagreb living and working in Estonia/Tartu. I like to identify myself with one quote that remained in my heart from the very first time I read it:

“We travel, some of us forever, to seek other states, other lives, other souls.” ― Anaïs Nin

I search for a way how to express myself. Most of the time this means exploring the world of the pinhole/camera obscura. I love medium format, panorama’s and absolutely adore slide film. In life I am a father, husband and medical doctor. Soul-wise; a dreamer and traveler. 

Why do you do what you do?
It brings me to a totally different level of being, not occupied with life issues but functioning in a parallel universe. An escape, one could say. Shooting with pinhole cameras offered me new perspectives on time - its essence in one frame. Its unpredictability, the experimenting, constructing your own cameras and above all taking photos with them.

What is integral to your practice? 

Ideas. Having time to think and explore and read. It is then when in a blink of a moment something is born, an emotion or thought,  that makes me produce on top of it. The final picture/series can be something completely opposite and on a first sight not connected, but for me the original emotion stays the same as in beginning. Another thing that is crucial for me is retrospection, going back through the archives, watching it over and over.  Being subjective can cause you overlook certain stuff, this way I give myself and my work time to mature to get maybe some other meaning.

Why pinhole? 

The feeling of time in one frame, almost palpable. Wide perspectives and endless possibilities getting lost in them.

Has your practice change over time? 

Small stuff fluctuates and changes over time, maybe those who know me and my work can say more objectively. One thing is for sure my process got a lot slower. Lack of time killed creativity and pushed me spending more time in archive. But do not get me wrong, I like to get lost in the “past”! In the last year or so I got interested more in alternative processes; cyanotype, salt print.

Is there a specific piece you’re especially proud of?

Airport series. 

And why? 

Because it is complete (there is a sense of closure) and it is very fulfilling to go through it from time to time. 

Again, in background of it there is love. Because of love I traveled often and being stuck in airports I documented it. For some it might seem like “street photography” in confined space, but for me it is emotional because that love changed my entire life.

From whom do you draw the most inspiration?

I am lucky that in period of formation as an “artist” I was surrounded by wonderful friends and artists whom from I learned and they are still an endless source of inspiration to me! Dario Matic (the one responsible for my street photography and the one who introduced me to pinhole), Tomislav Kruljac (a poet and bohem who uses and abuses photography) and Ksenija Spanec (her work is poetic and a true inspiration - also a pinholer) and many others as well…

What is your dream project? 

Panoramas. For some reason I am drawn to panoramic format. I would also like to be more involved in wet printing and alternative methods.
What’s the best piece of advice you’ve been given?

Find time and just shoot. Follow whatever the emotion you have in that moment and it will reward you, maybe not immediately, but in time.



Megan Woods.

“Megan Woods is a convergent media major
and photography minor at Morehead State University, whose work is generally
experimental - focusing on a combination of principles such as light and
shadow, as well as experimental film processing. She is currently focusing her
work on experimental processes. Woods recently displayed her work in the 2019
University Open at LexArts in Lexington Ky, the 2019 Morehead State University
juried Spring Showcase at the Rowan County Arts Center in Morehead, Ky, the 2018
Morehead State University juried Student Art Exhibition at the Gateway Regional
Arts Center in Mt. Sterling, Ky.”

What is your name? How old are you? And, where are you from? In
your own words, what do you do?

My name is Megan Woods. I am 22
years old and am from San Diego, CA and currently live in Kentucky. I am
currently a convergent media major and photography minor at Morehead State
University.

Why do you do what you do?

I do what I do because
photography is something that I live for. Without it, I wouldn’t really know
what do to, as was the case before I started it. I want other people to see my
work and love it, of course. But I do it for me. If people don’t like it, oh
well. I do and that’s really all that matters to me.

What is integral to your practice?

Something that is integral to
my practice I would say is just finding beauty in things that most other people
overlook. My work often tends to be soothing to my audience. I like simplicity.

Why pinhole?

I came to like pinhole due to a
project I had in an alternative process class. We were required to make one
small pinhole for 4x5 images or smaller and one big one for 8x10 images or
larger. I am busy with other projects now, but plan to keep pursuing pinhole in
my spare time.

Are there any particular themes you pursue with your practice?

I love abstractions, nature, and animals. It just depends on
what I feel like at the time. But it primarily revolves around abstractions and
nature.

Has your practice changed over time? If so, how?

I am kind of all over the place. I do digital, film and
alternative processes. I lean more towards the analogue side of things rather
than digital, however. It started out as being digital though. I feel that I
connect with my work a lot more when I use film or an alternative process
rather than with my digital camera. I love the feeling of curiosity and wonder
they give you. It’ not really something that I get with digital. I love seeing
the happy little surprises. It often times leads to my best work.

Is there a specific piece you’re especially proud of? And why?

There’s a few pieces of mine that I especially like, so it’s
hard to pick one. But there is a diptych photogram that I did recently that I
am particularly proud of.

From whom do you draw the most inspiration?

I draw the most inspiration from my photography professor, Dr.
Robyn Moore. She has taught me a lot in terms of how to become a better
photographer. She also has really helped me see photography in a way that I
didn’t before, by making me think of it on a physiological level.

What is your dream project?

My dream project would probably
be to travel the world and take pictures of animals in the wild and capture
them in such a way that it makes my audience connect to them on a physiological
level, and create them as salted paper prints.

What’s the best piece of advice you’ve been given?

The best advice I’ve been given
is to just pursue whatever it is I want to do. When I first started photography
I was really worried because people always say “you won’t make any money”. But
I’ve learned that I need to ignore it and just do me. If I don’t end up making any
money when I graduate, oh well. At least I am doing what I enjoy most.


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