Corine Hörmann.

“In these images I am trying to give the viewer another gateway to reality.”

The aesthetic that Corine achieves within works such as ”The Wadden Sea” and ”Test of Time” is simply awe-inspiring. Her imagery transcends time. 

I had to know what drew her to pinhole photography…

“I started pinhole on the advice of one of my teachers in art school, Philippe Moroux. When I was a second year student he told me that as a viewer, he could not get into my world. I was making table top landscapes in the studio at that time. The reason why he couldn’t get into my world was because of the very small depth of field. He used a pinhole camera himself and advised me to do that as well; because of the infinite depth of field.

I took his advice and started using the Robert Rigby pinhole camera we had in
school and I instantly fell in love with the whole pinhole process. Having no
control, the amount of time it takes to make an image, and of course the
atmosphere it adds to the image.”

‘Time’ seemed to be an overarching theme through Corine’s work (as I suppose it is for all pinhole photographs?), but I wanted to know whether there were any other themes she follows.

“Yes, there is always this theme of time, and also emptiness and loneliness. The form
in which you see it has evolved over the years but the themes in themselves have not. In the very beginning after I finished art school my themes were slightly
different. I wanted to show emptiness and went to empty, open and desolate
landscapes to show that. But I always looked for this small details on
the ground to show in the foreground of the image. It could be a little flower
or a stone, some moss or whatever. The theme of time wasn’t there yet. Showing these small details on the ground is also the reason that I started to
take images from a low perspective.”

If I could encourage you to do one thing today, it would be to absorb Corine’s art and feel yourself transported to another dimension. Every time I view this work I am immediately lost within the world it creates.

Thank you Corine.

Get lost in her website by clicking here. Make sure you pay special attention to ”Iceland”, because it is absolutely bloody gorgeous.

Benjamin Postlewait.

Benjamin’s imagery evokes an enormous, nurturing calm within me. His peaceful and idyllic landscapes boast a gorgeous array of colours, touched by such delicate light.

I asked him what it was that he believed to be integral to his practice. He told me; “Light. Purists will say you can take a good photo at any time of day.  That’s true.  But I’d rather shoot in the first hour after sunrise, or the last hour before sunset.  That’s where special light can be found and that’s where you’ll find me.”

On the topic of what drives him photographically, he confessed; “I think my motives and influences kind of go back to my very first moments with a digital point-and-shoot camera years and years ago which coincided with my introduction to photography in general, and I was particularly smitten with this idea that I could take one of my own images and within seconds make it the desktop wallpaper on my computer.  So that wired my brain to search for clean, arguably sparse, scenes that gave themselves as pleasant backdrops.  A kind of minimalism I suppose.   All this time later I don’t think I’ve really strayed from that.  I’m kind of still just looking for desktop backgrounds.”

Needless to say, I had to find out what drew him to pinhole photography…

“Well, first I’d say I just love the aesthetic of the images.  
Second, I’d say the time I spend at the doorstep of some beautiful landscape while I stand next to my pinhole as it takes an eight minute exposure is kind of like a form of meditation.  I can’t and don’t want to go anywhere else or do anything else while it does the exposure, so I just sit there and take in the scene much like the camera does.  Silently.  Just absorbing what’s in front of me.  It’s therapeutic.  They’re my favourite moments.”

“Lastly, I think it’s all just in the evolution of simplicity for me.  I switched from digital to film for the simplicity of it - to eliminate the hours spent post-processing in Photoshop, to eliminate the habit of frantically trying to fill a memory card while I never stop to appreciate what’s in front of me, and to eliminate the senselessly wasteful gadget-centricness of buying and upgrading gear all the time as digital photography wants you to do.  When I switched to film I noticed that I started packing multiple film cameras everywhere, and that was arduous and cumbersome, so I kind of challenged myself to just start packing around the pinhole camera and a 35mm film camera to meter with and I just fell in love with it all after that.”

I’m in love with Benjamin’s perspective on light and his choices of how he utilises it within his art. I thoroughly urge you to make your way over to his website, where you’ll be able to give your eyeballs a right good treat.

Thanks again,

Dan @ The Pinhole Society

Moni Smith.

Moni encompasses everything I believe to be true of pinhole photography in her work. Her and her practice are inherently innocent, her work evokes a sense of simplicity.

“I use my pinhole camera to tell the story of my world.”

I asked Moni why she does what she does. She told me that this quote, by dancer and choreographer Martha Graham, explains why; “There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.” 

Please, do take the time to visit her website by clicking here. You’ll find links to all her social medias where you can shower her with love.

Chat soon,

Dan @ The Pinhole Society

Using Format