NO.LENS
The Making of Pear No. 1 - 3
Digital P&S photo of the pinhole camera setup used to make the Pear No. 1 - 3 images. The black box is my homemade, foldable 8x10" Camera Obscura ("Stenobscura #1", 190mm, f.540). The pinhole is looking straight down onto the dish with the sliced pear. The "Octopod" construction is very similar to that used for my first "Weathered Wood" photo: two wood-horses, two support beams, four screw clamps to fix the beams to the wood-horses. This time I've rotated the beams so that their thin sides face up, a mechanically more rigid configuration. The dish with the pear sits on a little table on top of a plain white cloth. The table cloth itself was attached to the wood horses with clothes pegs. Natural daylight enters the scene from the top-left side through an attic window. Light distribution was very even throughout the up to 6 hours exposure; light levels pretty constant (around EV10 on a bright Spring day). As expected, the camera blocked some of the incoming light and cast a little shadow. I've therefore placed a mirror to the right, resting on the table edge and the back of a chair, to bounce some light back onto the dish. Centering the camera over the dish initially looked a bit tricky, but using (a) the wooden beams as a reference and (b) looking down from the camera edges worked quite well.
The Making of Pear No. 1 - 3
Digital P&S photo of the pinhole camera setup used to make the Pear No. 1 - 3 images. The black box is my homemade, foldable 8x10" Camera Obscura ("Stenobscura #1", 190mm, f.540). The pinhole is looking straight down onto the dish with the sliced pear. The "Octopod" construction is very similar to that used for my first "Weathered Wood" photo: two wood-horses, two support beams, four screw clamps to fix the beams to the wood-horses. This time I've rotated the beams so that their thin sides face up, a mechanically more rigid configuration. The dish with the pear sits on a little table on top of a plain white cloth. The table cloth itself was attached to the wood horses with clothes pegs. Natural daylight enters the scene from the top-left side through an attic window. Light distribution was very even throughout the up to 6 hours exposure; light levels pretty constant (around EV10 on a bright Spring day). As expected, the camera blocked some of the incoming light and cast a little shadow. I've therefore placed a mirror to the right, resting on the table edge and the back of a chair, to bounce some light back onto the dish. Centering the camera over the dish initially looked a bit tricky, but using (a) the wooden beams as a reference and (b) looking down from the camera edges worked quite well.