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Katrina Rodrigo (Filipiny) Tarja Trygg (Finlandia) Raimo Virtanen (Finlandia) Alain Bacouël (Francja) Rachel Brown (Francja) Claude Cogny (Francja) Alain Gayster (Francja) Daniel Gourribon (Francja) Jean Pierre Heuet (Francja) Eric Marais (Francja) Marie-Noëlle Leroy (Francja) Jean-Philippe Pernot (Francja) Patrice de Santa Coloma (Francja) Henry Thomas (Francja) George Tsagareli (Gruzja) Unai Ruiz Amestoy (Hiszpania) Siqui Sánchez (Hiszpania) Hugo Keizer (Holandia) Feransis Mati (Indonezja) Deni Sugandi (Indonezja) Mark Doxey (Ireland) Toshi Hayashi (Japonia) Edward Levinson (Japonia) Halto Mori (Japonia) Ayamo Suzuki (Japonia) Delio Ansovini (Kanada) Bob St.Cyr (Kanada) Philippe Fournier (Kanada) Fabrizio Rosato (Kanada) Arunas Kulikauskas (Litwa) María Luisa Santos Cuéllar (Meksyk) Christoph Just (Niemcy) Volkmar Schelle (Niemcy) Thomas Töpler (Niemcy) Des Brough (Nowa Zelandia)

At work on the streets of Montreal. My sincere apologies, a digital camera was used in the making of this photograph.

Delio Ansovini
Toronto, Ontario, Canada
Web Site:

It was only recently that I decided it was time for me to take up pin-holing. After thirty years amusing myself with lens photography while working and travelling in my day job as a professional engineer, I viewed photography as a pastime in my retirement with somewhat limited enthusiasm.

Although I was familiar with the theory of pinhole photography, it was my daughter who provided the impetus to start some practical experimentation. Three years ago she presented me with a birthday gift of a 1950s hardcover volume of Prose and Poetry for Appreciation (15x22x3.5 cm. thick) with all pages glued together and carved out to form a virtual "camera obscura" cavity.

The inside of this cavity was painted black, the front cover had a 15mm hole and the back cover a film holder on the inside face, while two elastics held the assembly closed. The camera was not quite light-tight and in urgent need of a real pinhole, but it was all I needed to get started. I joined the online community f295, was immediately hooked and have loved every minute of learning new techniques and sharing experiences. Now my daughter has all the glass with the cameras; I have all the pinholes - I consider that a fair exchange!

I design and make my own pinhole cameras, or modify vintage folders. This satisfies the engineering left in me and offers some certainty that the tools will work before I commit to the creative part of the process. I mostly use a variable focal length 4x5, with three chambers with options of three different pinholes of f151, f250 and f313. I have others, but to spare myself embarrassment I shall not elaborate further. I do develop all my black and white negatives with various developers and processes; large prints and colour films are all done by the local laboratories in the city.

The proverbial question; why do I use pinhole cameras as the photography medium? Because the challenge is excitement - to me it offers the freedom to do what I like best in trying to show what I see. And, if I can engage the attention of a viewer with a pinhole photograph, I think we both gain in knowing that it can be done with the help of a little hole in a black box.

by Delio Ansovini

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