Artist's Statement
Over the last 2 years I've been conflicted by a personal need to make very large format images of the Sierra Nevada of California and a deep sense of fatigue. Schlepping 8 x 10 in. films, pet food container-pinhole cameras, safe bags, safe boxes, all the cumbersome photographic paraphernalia as well as hiking gear usually up into the mountains was taking it's toll on my spirit and my vision. I finally reached a frustration point of no return. If I was to take a camera at all, it had better be lightwieght, a pinhole equivalent of the "point & shoot". It is simple enough to create a pinhole camera out of a tradional lens camera: remove the lens and cover the opening with a pinhole in a sealed cover. However, I have taken a position against using this method. While infinitely more convenient, the traditional camera converted missed the magic of the empty box that captures the entire world.
Clearly, I had to reassess; 8 x 10 in. format was out, however I could mirror the vistas I was hiking into with wider but shallower panoramas. So back to my cookie tins with longer but more portable medium format films. The set-up fit in a daypack, could be stocked with it's own fresh film storage. My morale improved; not to brace for each shot, anticipating major set-ups and tear downs.
Unexpectedly, I found myself celebrating my new un-encumberment by playing more with the placement; setting the cameras in bushes and trees, occasionally allowing blurring of the subject and camera movement.
I stopped aspiring to dramatic but unwieldy 19th century landscape view camera imagery. These photographs have always been powerful for me. They were designed to take a representational mural of the wilderness, to educate and inspire those who could not see the original landscape. However, I now wanted to enhance the unique way the pinhole camera becomes what it sees, is more pro-active, takes the earth's or tree's eye view and merges the boundary between itself and the outside world. This is what I hoped to capture in this series.
After my trips are over,back in the darkroom, I've always enjoyed playing the mad scientist when I develop the films. Perfectly controlled conditions tend to create predictable results. To a certain point unpredictability is a desired goal for me, however the line between conscious serendipity and total disaster can be razor sharp. Lately I'm pleased with the saturated colors from cross-processing: developing color slide film as though it were color negative film. I've added a few variables into the traditional recipe, including radical timing and temperature shifts and altering the perscribed chemicals. For the most part I've found the results unrepeatable. I find this a blessing in that it mirrors the humility I feel in the wilds and that relinquishing control can allow wonderful surprises to occur. The down side is I could never exactly recreate a successful outcome. Lately, I simply try to make my peace with this. I enjoy the hikes more and try to create imagery that will be unexpected but referential at the same time." .
- Claudia Wornum