La vida brinca--life jumps--and yet we strive to capture its
passing moments by creating images. One of the simplest yet most
evocative techniques for image-making is pinhole photography. Using
a tiny aperture without a lens to shine light on a piece of film,
pinhole cameras accumulate light until an image forms. Bill
Wittliff calls the cameras he makes tragaluces, "light swallowers."
By controlling only the size of the aperture, the distance to the
film, and the length of the exposure, he makes images that forsake
the documentary realism of traditional photography to disclose
instead the presence of the mystical in the everyday world.
The tragaluz photographs in La Vida Brinca record iconic images
of Hispanic life. Wittliff photographed fiestas, religious
observances, street scenes, people's faces, and enduring rural
landscapes. But with the soft focus and surprise elements that
typify his tragaluz photographs, these images become
dreamlike--scenes from a world where, as Stephen Harrigan says,
"reassuring touchstones are likely to dissolve, and where the
unseen is always startlingly on view." The accompanying essays by
Harrigan and Elizabeth Ferrer discuss the history and techniques of
pinhole photography, as well as Bill Wittliff's artistic choice to
work in this medium. As a work of art, La Vida Brinca reveals that
pinhole photography is an ideal vehicle for finding profound
meaning in the commonplace, for seeing beyond what the eye can
see.
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