The Star News, The Anoka Union, The Coon Rapids Herald
(April 2005)
Life through a pinhole
by Britt Aamodt
For the most part, Coon Rapids photographer Tom Miller gave up lens photography in 1996. That’s when he discovered pinhole cameras—cameras with a design so simple a person could slap one together at the kitchen table.
Gather a box, a small metal plate and some electrical tape, and you’ve got the rudiments. Bore a hole in the metal plate; stick a square of film inside the box, and presto—a camera with no lens, viewfinder or timed shutter.
Miller will exhibit his pinhole photography at the Sherburne County Government Center in Elk River until May 6. In the exhibit, sponsored by the Elk River Area Arts Alliance, the photographer explores the creative possibilities of the pinhole camera through images.
Miller photographs Minnesota, but one viewers might not recognize.
The Mississippi River winds through a starkly lit Minneapolis where it wouldn’t be out of place to expect Humphrey Bogart acting out a film noir scenario. Like the detective films of the 40s, Miller’s images in the Dark Light series create mood through contrasting light and shadow. The Twin Arch Bridge spans desolate shores heaped with black snow. Miller created these ominous cityscapes by using negatives, rather than positive prints.
Along with the Dark Light series, Miller’s exhibit A Pinhole Sampler brings together three projects that challenge the pinhole camera’s primitive design.
“Pinhole photography’s less about taking what’s there,” said Miller.
Pinhole photographs lack the sharpness of lens photographs, but it’s in the giving up of exactness, of sharpness, Miller believes, that the human desire to articulate “things that are beyond words” finds expression.
The artist and pinhole camera have to work together to interpret, rather than reproduce, a setting.
Elongating pinholes into slits and then pairing them, one in front of the other, produces the funhouse-mirror shapes of the Iconoclast series.
“With the Iconoclast series,” Miller said, “I wanted to examine the proliferation of icons in our life and culture.”
Like the inverted black and white of the Dark Light series, Miller’s sequence of traffic signs and signboards takes reality and turns it on its head. Common symbols—the yield sign or pedestrian crossing—are given a fresh and fun reexamination as they ripple, twist and bend across the picture plane.
In photographs made with a blender camera, multiple pinholes are used simultaneously to create in-camera montages. The resulting images step the viewer through the looking glass to visit a hallucinatory Twin Cities metro where multiple viewpoints coexist and overlap.
In one example, “Harriet’s Charms,” the Lake Harriet band shell splits in half, each half retreating to a corner but connecting in the middle by a tranquil stretch of blue water and moored boats. It’s as if the viewer has mentally divided the building to take a peek behind at hidden realities.
The last project included in A Pinhole Sampler, “The Flying Pinhole,” incorporates the work of eight pinhole photographers, Miller among them. The 10-inch by 10-foot banner presents a storyboard of sixteen images. The pictures slightly overlap, adding continuity to an otherwise diverse tableau. Miller’s photographs, one of a seated man and one of a pumpkin, nestle in the center.
Miller himself is deeply centered in his art form. And he wants to share it with the world.
Besides teaching classes on pinhole photography at the Minnesota Center for Photography in northeast Minneapolis, Miller helps coordinate the annual Worldwide Pinhole Photography Day.
This year on April 24, “anybody anywhere in the world who makes a photograph on Pinhole Day can scan and upload an image to our online gallery,” said Miller, who estimates that, in 2004, 1,515 people from 46 countries participated.
The Government Center will exhibit Miller’s A Pinhole Sampler weekdays 8 a.m. to 4:30 p.m. until May 6. For more information, contact the ERAAA at (763) 441-4725 or elkriverart@sherbtel.net.
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