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Danish photographer Neils Hansen shoots the RealitySoSubtle 6x6F (central pinhole and filter attachement) and 35P (35mm Panoramic).

(click images for larger view)

I have been an art photographer for around 35 year and have exhibited my work around the world.I started
with pinhole 4 years ago,and was hooked at once,the way the pinhole rendered the light was amazing!

It was often dreamy, surreal and not seldom spooky as well!

I started out with an Agfa isola I hacked, but after 3 months I bought a RSS 6x6F and that has been my main camera during the first years, it is lightweight and makes wonderful images, thanks to the superb pinholes made by James.

I often rebuild old 6×6 and 35 mm cameras to pinholes and I often use the 0.2mm pinhole from RSS – they are sharp and make “controlled” light beams against the sun (many other pinholes looks like snowstorm against the
sun.

Like all other forms of photography it is important to work in the right light often morning and evening
are the best,people often ask : how do you get these fantastic clouds,well I get it by looking at the
weather forecast when I plan a photo trip. Is there sun, clouds and a bit of wind? Then there are a good
chance of decent clouds, I always use a yellow or orange filter to give more contrast in the sky.

I like to make surreal images and pinhole is really great for that. I often make images against the sun to use the
light-beams as an element. In the images why not use it if you can control it? With the help of these simple
cameras I think I have made the best work of my photo life.

Last year film prices was very high because of the war in Ukraine, and I started to buy bulk 35mm film to keep expenses low. I converted some old rangefinder cameras to pinhole and I also bought a RSS 35p to make images that gives a panoramic image where you are using the film area with sprocket as well. This camera’s images are nearly medium format quality thanks to that!

This summer I have also been working with paper negatives in a 4×5 camera and I have been able to make images look more pictorial and it has been nice to do proper darkroom work again. My process with film cameras – I develop the film, take an image of the negative with a DSLR in raw format – that gives in my opinion full control of tones and contrast in photoshop. I print with pigmented ink on cotton paper and I also make cyanotype prints of some of my pinhole images.

This year I have shown my work on photo festivals and juried exhibitions in USA,Poland,Ukaine,Japan and Argentina. In February I started a Facebook group called:pinhole photography light and form. We have now 1800 members and I
have been so lucky that James Murray, Vicent Sebastian, Yulia Belska and Miroslav Randomski have agreed
to be co Administrators that gives super global diversity to the group.

Facebook: niels Hansen
Facebook: groups
Instagram: @nielsphotoart

Joe shoots the RealitySoSubtle 6x17f (the 6×17 with central pinhole and filter attachment) and the 6x6F (central pinhole and filter attachement). Film stocks : Fuji Acros, Ilford Delta 100, Kodak Ektar, and Kodak Portra 160.

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Hi Joe, can you tell us why you shoot pinhole rather than regular lensed photos? 

First, I love photography. It’s such a wonderful creative medium, with a lot of different practices. I started my photography journey by making lensed photos like many photographers. Yet after some time, I started getting consumed by making ‘clean’ and technically correct images. Then I discovered pinhole photography. That discovery was liberating for me in so many ways. I was suddenly able to be more present as I made photos. I was free from the prison of making ‘perfectly sharp photos.’ And in the long run, pinhole photography has allowed me to more deeply explore my relationship with the world around me.

Your work features your family prominently. Can you talk about why you shoot them with a pinhole camera? I really like that the pinhole has rendered them anonymously due to the longer exposures/movement.

There’s an old belief in photography that you should make pictures wherever you are, and thankfully I am almost always with family. I wouldn’t be able to make many photos if I waited for those few moments where I am off on my own. Initially, I always had a lensed camera when I was out with the kids – hoping to get those fleeting moments of childhood. But, I found the lens distracting. Constantly thinking of settings. Constantly protecting the lens. It ultimately created a separation between me at the moment that I wanted to soak in.

Pinhole photography rescued me from the trappings of lensed photography. Photographing my family with the pinhole suddenly reframed my entire connection with time, memory, and childhood. The pinhole challenged everything that I thought was foundational, and photographing my family in this way created a constellation in which I could orient my own being. 

Do you shoot the square format and the pano together in the same sessions or are you a one camera kind of guy. Tell us about your work-flow.

I work predominantly with the square format because it’s easy to carry and allows me to take a lot of photos. I love working the 6×17, but it typically takes extra effort to make it really sing. So, I don’t always have it in my bag when I had out. When possible, I do like to travel with both cameras assuming I have the space. I don’t really like being out and thinking ‘this would be a great image with pano’. Both cameras also allow me to use a filter, which I do use pretty regularly.  

How do your family react to your pinhole photography? in both the making/taking and them seeing the results.

My family has been very supportive of my pinhole work. Although, I think they still wonder what they’re looking at when they see the final image. The atypical qualities of pinhole can challenge what one might expect from a photo. Pinhole photography can also be liberating for people that I photograph. People are no longer burdened by how they look, and the kids certainly appreciate not being constantly told to ‘stand still and smile.’  The whole process creates this curious intersection of anonymity and familiarity. You might not be able to see someone’s face, yet we can often find meaning in that special moment depicted through the pinhole. 

Why did you choose the RealitySoSubtle cameras? What do you like about them and what would you like to see improved?

RSS cameras have a lot to offer. Mutliple formats and features. Reliability and useability are important to me. Honestly, I put these cameras through their paces. I occasionally drop the camera. I get them wet. I get them dirty. The kids knock them over. And the RSS keeps on working. I can easily put my 6x6F in my pocket when I head out. I regularly use filters with my B&W photography. All aspects that are helpful for me. I don’t have much to offer in terms of improvements, but it might be fun to see some anamorphic cameras in medium format.  

Thanks Joe! You can follow Joe on instagram : @ditchphoto_pinhole

A new feature on the Blog.. a regular (weekly if possible) Spotlight on the work of RealitySoSubtle customers. First up is John Farnan.

I asked John about his pinhole photography and feature some of his work with the RealitySoSubtle cameras. I love John’s panoramas made with the RSS 6×17 dual pinhole camera. He seems to be perfectly in tune with the camera. He also shoots the RSS 4x5z, 35P, 35R and 4x5C.

Thanks John!..and ‘Stoat’ about – love that!

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Hi John, can you tell us why you shoot pinhole rather than regular lensed photos?

I got into pinhole photography a few years back, a friend gave me a loaner. I have never looked back since.

There is something about the direct connection between whats inside my head and the view without lenses that just clicked with me. I adore the way it is so basic and without anything other than the pinhole and me.

Your work consists of mainly landscape and street/architecture. Can you talk about why you shoot those subjects with a pinhole camera?

I live in a built up area and this is what I am surrounded by, I have always been drawn to architecture with lensed cameras but I was never able to capture the wide vistas I saw in front of me, even with my 17mm lens. So I bought myself a RealitySoSubtle 6×17 with 2 pinholes. This literally turned my photography upside down, its ability to present the expanse of a city whilst conveying the height, using the top pinhole to draw down the buildings was remarkable.

I have never looked back since. Pinhole adds an element of the ethereal to my photography, people are either slightly out of synch or just not present at all. You can feel their presence but can’t always see it.

Do you shoot several cameras together in the same sessions or are you a one camera kind of guy? Tell us about your shooting style and work-flow.

That’s a difficult one to answer. I sometimes take a single camera / format with me and other times I take multiple. I used to think it was easier to stick to a single format but now I am so used to my cameras that I see the scene and bring a camera out for it, with practice you get used to judging what the best camera is for the scene you have.
Shooting style: I stoat about with a camera and a small tripod. I see things and I make images.

Years ago, someone gave me a bit of advice. Stop looking and start seeing. I give this same advice to aspiring and experienced photographers who are stuck in a rut. What it means to me is, rather than looking everywhere for something to shoot, just be more in tune with what’s around you, keep your eyes open and you will see the opportunities.

There is no such thing as perfect light, there is the kind of light you have in front of you, see the opportunities it has rather than worrying about the ones it doesn’t.
If you think you could revisit at a different time or season for a different light, then great take a few phone snaps with geo-location on so you know where and what it is. My workflow is simple I see it I frame it in my head, I work out the exposure and I hang around till the exposure is complete.

How do your family/friends react to your pinhole photography?.. in both the making/taking and them seeing the results.

Ambivalence probably. They on the whole don’t care about process, cameras, film or anything else. Just the end result looking good and making me smile!
My wife kinda puts up with my continual carrying of a camera when we are out, though I am not a daft guy I know my limits and don’t push it. I try to shoot my pinhole work if we are together only when she is doing something else.

Why did you choose the RealitySoSubtle cameras? What do you like about them and what would you like to see improved/introduced?

Initially by accident I suppose. I got my first RSS camera and was hooked, that was my 6×17 twin pinhole.

I have since purchased a fair few of them in various formats, I like the simplicity and reliable way they just work and produce stunning images every time. Anytime I have spoken with James on modifications or improvements to the cameras he’s always been very receptive and accommodating.

I am also a massive fan of supporting small businesses like my own.
Improvements: A 3 hole 6×17 made from solid wood J but that’s super niche. (Super challenging but maybe one day!)

Cylindrical Pinhole cameras

The 4×5” (10x15cm) , 5×7” (13x18cm) and 8×10”(20x25cm) are now available to order.

Designed for paper negatives they work best with matt paper (gloss paper or film can cause unwanted reflections off the emulsion).

We are on holidays from now until 1st August. Any orders will not ship during that period.

The 4×5 ‘Atomic bomb’ now available to order along with its sibling Film Store.