What Is Pinhole Photography
it is a photograph using A pinhole camera is a simple camera without a lens and with a single small aperture – effectively a light-proof box with a small hole in one side. Light from a scene passes through this single point and projects an inverted image on the opposite side of the box. The human eye in bright light acts similarly, as do cameras using small apertures.
Up to a certain point, the smaller the hole, the sharper the image, but the dimmer the projected image. Optimally, the size of the aperture should be 1/100 or less of the distance between it and the projected image.
Because a pinhole camera requires a lengthy exposure, its shutter may be manually operated, as with a flap made of light-proof material to cover and uncover the pinhole. Typical exposures range from 5 seconds to several hours.
A common use of the pinhole camera is to capture the movement of the sun over a long period of time. This type of photography is called Solargraphy.
The image may be projected onto a translucent screen for real-time viewing (popular for observing solar eclipses; see also camera obscura), or can expose photographic film or a charge coupled device (CCD). Pinhole cameras with CCDs are often used for surveillance [citation needed] because they are difficult to detect.
Pinhole devices provide safety for the eyes when viewing solar eclipses because the event is observed indirectly, the diminished intensity of the pinhole image being harmless compared with the full glare of the Sun itself.[citation needed]
World Pinhole Day is held on the last Sunday of April.
Up to a certain point, the smaller the hole, the sharper the image, but the dimmer the projected image. Optimally, the size of the aperture should be 1/100 or less of the distance between it and the projected image.
Because a pinhole camera requires a lengthy exposure, its shutter may be manually operated, as with a flap made of light-proof material to cover and uncover the pinhole. Typical exposures range from 5 seconds to several hours.
A common use of the pinhole camera is to capture the movement of the sun over a long period of time. This type of photography is called Solargraphy.
The image may be projected onto a translucent screen for real-time viewing (popular for observing solar eclipses; see also camera obscura), or can expose photographic film or a charge coupled device (CCD). Pinhole cameras with CCDs are often used for surveillance [citation needed] because they are difficult to detect.
Pinhole devices provide safety for the eyes when viewing solar eclipses because the event is observed indirectly, the diminished intensity of the pinhole image being harmless compared with the full glare of the Sun itself.[citation needed]
World Pinhole Day is held on the last Sunday of April.
Some History About Pinhole Photography
Early Observations and Experiments
The basic optical principles of the pinhole are commented on in Chinese texts from the fifth century BC. Chinese writers had discovered by experiments that light travels in straight lines. The philosopher Mo Ti (laterMo Tsu) was the first – to our knowledge – to record the formation of an inverted image with a pinhole or screen. Mo Ti was aware that objects reflect light in all directions, and that rays from the top of an object, when passing through a hole, will produce the lower part of an image (Hammond 1981:1). According to Hammond, there is no further reference to the camera obscura in Chinese texts until the ninth century AD, when Tuan Chheng Shih refers to an image in a pagoda. Shen Kua later corrected his explanation of the image. Yu Chao-Lung in the tenth century used model pagodas to make pinhole images on a screen. However, no geometric theory on image formation resulted from these experiments and observations (Hammond 1981:2).
In the western hemisphere Aristotle (fourth century BC) comments on pinhole image formation in his work Problems. In Book XV, 6, he asks: "Why is it that when the sun passes through quadri-laterals, as for instance in wickerwork, it does not produce a figure rectangular in shape but circular? [...]" In Book XV, 11, he asks further: "Why is it that an eclipse of the sun, if one looks at it through a sieve or through leaves, such as a plane-tree or other broadleaved tree, or if one joins the fingers of one hand over the fingers of the other, the rays are crescent-shaped where they reach the earth? Is it for the same reason as that when light shines through a rectangular peep-hole, it appears circular in the form of a cone? [...]" (Aristotle 1936:333,341). Aristotle found no satisfactory explanation to his observation; the problem remained unresolved until the 16th century (Hammond 1981:5).
The Arabian physicist and mathematician Ibn al-Haytham, also known as Alhazen, experimented with image formation in the tenth century AD. He arranged three candles in a row and put a screen with a small hole between the candles and the wall. He noted that images were formed only by means of small holes and that the candle to the right made an image to the left on the wall. From his observations he deduced the linearity of light. (Hammond 1981:5).
In the following centuries the pinhole technique was used by optical scientists in various experiments to study sunlight projected from a small aperture.
The basic optical principles of the pinhole are commented on in Chinese texts from the fifth century BC. Chinese writers had discovered by experiments that light travels in straight lines. The philosopher Mo Ti (laterMo Tsu) was the first – to our knowledge – to record the formation of an inverted image with a pinhole or screen. Mo Ti was aware that objects reflect light in all directions, and that rays from the top of an object, when passing through a hole, will produce the lower part of an image (Hammond 1981:1). According to Hammond, there is no further reference to the camera obscura in Chinese texts until the ninth century AD, when Tuan Chheng Shih refers to an image in a pagoda. Shen Kua later corrected his explanation of the image. Yu Chao-Lung in the tenth century used model pagodas to make pinhole images on a screen. However, no geometric theory on image formation resulted from these experiments and observations (Hammond 1981:2).
In the western hemisphere Aristotle (fourth century BC) comments on pinhole image formation in his work Problems. In Book XV, 6, he asks: "Why is it that when the sun passes through quadri-laterals, as for instance in wickerwork, it does not produce a figure rectangular in shape but circular? [...]" In Book XV, 11, he asks further: "Why is it that an eclipse of the sun, if one looks at it through a sieve or through leaves, such as a plane-tree or other broadleaved tree, or if one joins the fingers of one hand over the fingers of the other, the rays are crescent-shaped where they reach the earth? Is it for the same reason as that when light shines through a rectangular peep-hole, it appears circular in the form of a cone? [...]" (Aristotle 1936:333,341). Aristotle found no satisfactory explanation to his observation; the problem remained unresolved until the 16th century (Hammond 1981:5).
The Arabian physicist and mathematician Ibn al-Haytham, also known as Alhazen, experimented with image formation in the tenth century AD. He arranged three candles in a row and put a screen with a small hole between the candles and the wall. He noted that images were formed only by means of small holes and that the candle to the right made an image to the left on the wall. From his observations he deduced the linearity of light. (Hammond 1981:5).
In the following centuries the pinhole technique was used by optical scientists in various experiments to study sunlight projected from a small aperture.
How To Make A Pinhole Camera
Steven Pippin
Steven Pippin was borin in 1960 at Red hill,Surrey he is known as an English Artist. Pippin was known to work with converting or improvised equipment and kinetic sculptures.
mechanical was the strong interest in Pippin's work. from an early childhood memory he said he remembers seeing he father surrounded by the tubes and wires of a television set he was repairing. converting furniture and everyday objects into a makeshift pinhole camera which he then uses to take sympathetic photographs.Pippin typically has to plan and construct a significant amount of supporting equipment in order to achieve his pictures. Frequently the resulting photographs are distorted or otherwise compromised by the manner of their construction, but the imperfections are seen as an important characteristic of the image, giving a link back to the object which was used as a camera. The photographs are always shown alongside an image of the converted object, and for later works, much of the equipment used in the conversion along with supporting documentation
n 1999, Pippin was short listed for the Turner Prize at the Tate Gallery in London. His entry was based on the work Laundromat Locomotion, in which he converted a row of 12 washing mechanise. in a laundromat into a series of cameras triggered by trip wires, and then rode a horse through the laundromat to recreate Edward Muvbride's The Horse in Motion (1878). Pippin's more recent work also includes kinetic sculptures , these are sculptures in which movement is perceivable by the viewer.
mechanical was the strong interest in Pippin's work. from an early childhood memory he said he remembers seeing he father surrounded by the tubes and wires of a television set he was repairing. converting furniture and everyday objects into a makeshift pinhole camera which he then uses to take sympathetic photographs.Pippin typically has to plan and construct a significant amount of supporting equipment in order to achieve his pictures. Frequently the resulting photographs are distorted or otherwise compromised by the manner of their construction, but the imperfections are seen as an important characteristic of the image, giving a link back to the object which was used as a camera. The photographs are always shown alongside an image of the converted object, and for later works, much of the equipment used in the conversion along with supporting documentation
n 1999, Pippin was short listed for the Turner Prize at the Tate Gallery in London. His entry was based on the work Laundromat Locomotion, in which he converted a row of 12 washing mechanise. in a laundromat into a series of cameras triggered by trip wires, and then rode a horse through the laundromat to recreate Edward Muvbride's The Horse in Motion (1878). Pippin's more recent work also includes kinetic sculptures , these are sculptures in which movement is perceivable by the viewer.