I decided to use an “old
school” approach to this series one that has been around almost as long as
photography itself – a pinhole camera. The reasons were simple I wanted to slow down
in my work and to allow the longer exposure time to revel the oceans meditate
The pinhole forces me to use
a tripod and find my spots with care rather than just randomly shooting the bay
with out much thought as it often the case with 35mm digital or film
cameras. I wait for the light to change
and the tides to begin. I carried my
camera with me always keeping an eye on the water and the changing weather
stopping when conditions warranted.
I chose the diptych format,
because it accentuates the movement of the water – you see rocks until the tide
washes over them only to be uncovered a minute or two later. The process duplicates itself repeatedly, as
it has for generations – a record of the passage of time. The film’s colors are subdued through long
exposures, overcast days and the pinhole’s lack of a real lens, my pinhole has
a pinprick in a piece of copper for its lens.
I was inspired to create
this series after seeing Richard Diebenkorn’s Ocean Park paintings. I drove along Ocean Drive i
every day for a year and witnessed the bay as it constantly changed not just
daily but, also every mile.