In my experience, the practice of pinhole photography can be as rewarding as the achievement of finishing and presentation of the final prints.

It is a time consuming activity, dependant on the intensity and direction of the sunlight in relation to the objective of each photograph.  The logistics of using the one shot cameras that I make determine a specific methodology, relatively drawn out compared to contemporary photographic technology.

When I am using my hand made cameras, they are loaded with the light sensitive photographic media in a darkroom, taken to the desired location and then placed to capture the selected situation. The exposure times can vary from 5-6 minutes in bright sunshine outdoors, to a span of hours in indoor areas. The lack of human presence in the images is a result of their fleetingly minimal presence in relation to the period of time the camera is recording the scene.

I usually take up to 10 cameras with me on a pinhole shoot, using more than one for each scene I am addressing. I monitor them, taking in the atmosphere, watching for change in the lighting, assessing the time required, while their shutters are open.
When all the cameras have been used I return to the darkroom, process the negatives immediately, examine the results and reload them for the next shoot.

I usually find that I am getting results relatively close to what I had envisaged, often discovering an unexpected and stimulating element that could alter the direction or introduce a different objective in a project.

Frequently I shoot the same scene several times, slightly adjusting the camera position or exposure time, or selecting a different time of the day for a specific angle of the sunlight to achieve another result.

There is a strong element of chance in the practice, constantly informing, revealing alternative narratives, and opening the possibilities for new directions to explore.  The long duration of the exposures, the engagement with the processing and proofing of the images helps establish a meditative activity.  It is during this pursuit that ideas are examined, and the content of the work developed, and new projects emerge. 

In essence each photograph I take becomes a residency, allowing me time to reflect on my engagement and develop the practice.

I also use a manufactured camera which takes 120mm film, allowing five exposures per film, which facilitates making the work where there are no darkroom facilities available. The long exposure times, and the setting up of each shot without a viewfinder also enhances the engagement  with each situation.