This absolutely lack of control in a lot of aspects is what make these cameras a different way of understanding photography. For some authors, the lack of sources and technological commodities let them and lead them to an exciting game, where some part of that implied creativeness in each picture is let a little bit ”to the hazard”.

Here you have the five points I consider the most important ones.

The pinhole camera invites us to make the picture without the need of a viewfinder and so without the need of frame. So, it opens an unexpected experimentation field and graphic configurations. It seems, as J. Lyons used to say, that “the eye of the photographer is not necessary any more for the photographic process”.

The pinhole represents a limit diaphragm value that gives the most depth of field possible. The opportunity of focusing from cero ad infinitum is one of the most genuine sources of the pinhole system.

The lack of sharpness that the pinhole gives in comparison with an optical lens can be, far from a defect, an adequate quality to determined expressive rhetoricals.

Far from the “decisive instant”, here we must consider the temporary interval. Such a minuscule diaphragm needs a very long exposure, a “defied instant”.

But it is here where we can play with the film sensitiveness. Depending on our intentions, we can opt for 25 ASA to 3600 ASA (exposure times).

The pinhole camera let us arrange the projection shot in a curve or a wavy way. It also lets using focusing distances extremely short in the style “porthole”. So we will be able to “give form” or to “deform” the image.

In the 35 mm pinhole camera, this is not possible, as the own situation of the sensitive material (the film), limits us in this aspect.