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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)

Photography: Patrick Quesnel

Rebirth of the pinhole photography.
The announcement of the rebirth of the pinhole photography has arrived in France in the beginning of 80s by the intermediary of an article of the American Jearl Walker.
It is in a scientific review "For the Science" French publishing of "Scientific Américan" that the article was published, under the rubric "experiences of amateurs", it was an invitation has the experimentation more technical than artistic. A later bit Eric Renner in its work "Pinhole Photography" opened us to the cultural wealth of the pinhole, through its history in sciences and art areas, as well as to practice them contemporary. The eighties see in photographic techniques remain silver a massive introduction of the electronics that claimed, whole to domineer, whole everything controler. In the face of these technological excess, and to normativity of industry, the photography to pinhole photography offered us the possibility to innovate to invent with very simple means. The rebirth of the pinhole is linked also to anti-authoritarian revolt, to countercultures, because it offered the possibility to have an other report, less violent, more sensitive, with the photographed subject, men and things.

by Jean-Pierre Huet


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