I shot "Corrugation" and the others last December (I think. I keep lousy notes). I had been waiting for a day in which a cold front and snow were predicted, and Mother Nature did not disappoint me. I loaded up my Zero2000 pinhole camera with some 120 black and white Shanghai GP3 film and headed to one of my "go to" places that I have been visiting since I was in high school.
The front came through right on time as the weatherman predicted. But I wasn't expecting the raw wind that came with it. I was dressed warmly, just not warmly enough. Standing next to lakes and streams, bits of sleet and snow slapping my face, I could only take a couple of shots at a time before I had to return to the car to warm up. Because of this shoot, I ordered fingerless gloves that very afternoon.
When I got home, I announced that I had suffered for my art that morning. My fingers became so cold I could not bend them. I could barely see through my glasses covered in snow and ice. And several times I had to close the shutter with my finger because the cable release became frozen.
I shot the GPS at ISO 50, and most images took several minutes to expose. I was hoping for lots of blurry trees waving in the wind, but the disparity between sky and ground was so great that the tops of the trees disappeared, giving most shots an alien world look. Overall, these happy accidents turned out to be interesting. I particularly like "Corrugation" because of the way the clouds look corrugated.
I have been avoiding the dreaded "Artist's Statement," but one was required for submission. I tried not to be too pompous. Here it is:
"I use cameras the way painters use different brushes. I am intrigued by the way light is rendered by a camera in general, and the way light is rendered by different cameras using different films in particular. As a writer, I am dedicated to using language to precisely tell a story. I strive for the same effect in photography. I shoot primarily black and white because I grew up with family photos that were black and white, because that was how I learned to shoot, develop and print film, and because black and white decontextualizes the viewing experience. I dream mostly in black and white, and this greatly influences my perception. I have recently begun to explore the possibilities of the infinite depth of field offered by pinholes. It is an additional challenge to see the way these lensless cameras render the world. My photographs are almost exclusively full frame and in camera, with limited adjustment in either a wet or digital darkroom."