National Geographic Article

Rooms With a View
Photographer Abelardo Morell’s camera obscura turns darkened rooms into magical landscapes.
By Tom O’Neill
Photograph by Abelardo Morell

Something strange and wonderful happens when light enters a dark space through a tiny opening. Aristotle described the phenomenon back in the fourth century B.C. Leonardo in Renaissance Italy sketched the process. In Coney Island and other 19th-century seaside resorts, tourists lined up to see the magical results. Shift to a Boston classroom, the year 1988. Cuban-born Abelardo Morell, teaching an introductory photography course at an art college, was curious to step back in time. On a sunny day, he covered the classroom windows with black plastic, making the space as dark as a cave, cut a dime-size hole in the material, and told his students to watch. Almost instantly the back wall came alive like a movie screen, its surface covered with a fuzzy image of people and cars moving along Huntington Avenue outside. Then the double take: The image was upside down, sky on floor, ground on ceiling, the laws of gravity seemingly gone haywire.

Morell had turned his classroom into a camera obscura, a dark chamber, the Latin name for perhaps the earliest known imaging device and the ancestor of the photographic camera.

Explaining the optical principle behind the device is probably the most complicated thing about it. A camera obscura receives images just like the human eye—through a small opening and upside down. Light from outside enters the hole at an angle, the rays reflected from tops of objects, like trees, coursing downward, and those from the lower plane, say flowers, traveling upward, the rays crossing inside the dark space and forming an inverted image. It seems like a miracle, or a hustler's trick, but it's high school physics. The brain automatically rights the eye's image; in a regular camera a mirror flips the image.

A portable version of the camera obscura—the chamber was now a box, the hole was fitted with a lens—first became popular in the 17th century and was adapted by painters like Johannes Vermeer and Canaletto as a drawing aid. Scientists used it to observe solar eclipses, just as children do today with pinhole cameras made from shoe boxes. To capture a projected image, innovators in the early 1800s began inserting chemically treated paper or metal plates at the back of the boxy camera obscura, and the art of photography was born.

For Morell, a professor of photography, that day in the classroom was a revelation. "When I saw how these savvy, techie students were charmed and disarmed by the image on the wall, I knew this was something very potent."

His first project, conceived as a teaching aid, was to photograph the process itself. The result was "Light Bulb" from 1991. Using simple household materials, Morell illustrated the shape-shifting workings of a pinhole camera, conveying with the elegance of a Dutch still life how a photographic image forms.

Morell next set the challenge of photographing the apparition-like image that forms inside a room that's been turned into a camera obscura. To his knowledge this had never been done before. It took months to engineer the technique, to figure out the right size of hole to allow both brightness and sharpness and to determine the right exposure time, for detail to emerge on film. Then he had to choose a room—with a view.

Morell's breakthrough came in his own house in Quincy, a Boston suburb. He set his large-format view camera on a tripod in his son's bedroom, with only a pinprick of light entering, and opened the shutter. He left the room and waited. For eight hours. The result was mesmerizing. The developed picture showed inverted trees and houses from across the street hovering over the boy's toys like a scene from a fairy tale. "I was giddy," Morell said. "It felt like the moment photography was invented."

From that eureka moment, Morell has gone on to produce with his camera obscura one of the most original and enthralling bodies of work in contemporary photography. His views range from brazen New York City panoramas to warm Italian vistas. A few years ago he switched to color, enjoying its intensity, and began turning images right-side up with a prism.

Replacing film with a digital sensor, which is more light sensitive, he cut exposure times from hours to minutes, permitting him to capture clouds, shadows, and other fleeting atmospherics. He is most excited about his work with a floorless tent, a portable camera obscura that he takes to rooftops or parks or city streets to project images directly onto the ground, giving his latest photos a rough-textured grandeur.

"I want to refresh how people see the world," says Morell. Melting boundaries between landscape and dreamscape, his images wake up our eyes.

Article from the National Geographic, May 2011

Abelardo Morell: Camera Obscura

"I made my first picture using camera obscura techniques in my darkened living room in 1991. In setting up a room to make this kind of photograph, I cover all windows with black plastic in order to achieve total darkness. Then, I cut a small hole in the material I use to cover the windows. This allows an inverted image of the view outside to flood onto the walls of the room. I would focus my large-format camera on the incoming image on the wall and expose the film. In the beginning, exposures took five to ten hours.

Over time, this project has taken me from my living room to all sorts of interiors around the world. One of the satisfactions I get from making this imagery comes from my seeing the weird and yet natural marriage of the inside and outside.

A few years ago, in order to push the visual potential of this process, I began to use color film and positioned a lens over the hole in the window plastic in order to add to the overall sharpness and brightness of the incoming image. Now, I often use a prism to make the projection come in right side up. I have also been able to shorten my exposures considerably thanks to digital technology, which in turn makes it possible to capture more momentary light. I love the increased sense of reality that the outdoor has in these new works .The marriage of the outside and the inside is now made up of more equal partners."

http://www.abelardomorell.net/index.html

I love these photographs, I think the camera obscura is a simple yet very effective method. I came across an article on Morell in the National Geographic magazine in May 2011. After reading the article, I created my own camera obscura in a room in my house. The results were fascinating and I was very stunned. However, unfortunately, the sun had gone in therefore there was not much light outside. I am looking forward to experimenting with it again on a sunny day.

Light Bulb 1991

Manhattan View Looking South in Large Room 1996

View of Central Park Looking North-Fall 2008

View of the Brooklyn bridge in Bedroom 2009

View of the Times Square from Hotel Room 2010

Website?

I am interested in designing a website for my photographs but I am not sure where to start! I have found some helpful websites and forums about setting up your own website:

http://www.thesitewizard.com/gettingstarted/startwebsite.shtml
http://www.build-your-website.co.uk/starting-a-website.htm
http://the-best-web-hosting-service.com/blog/2011/02/how-to-start-a-website-the-easy-guide/


I would like to upload all my photographs on to the website then people can look through them. Hopefully a website will soon be up and running!

Degree Show Exhibition

New Photographs

Assessment Criteria

Creative Practice Research
This unit is concerned with the interrogation of ideas,
experimentation, exploration and evaluation related to
the students defined territory of interest, as described in
the Learning Agreement.

40 CREDITS AT LEVEL: 6
TOTAL AMOUNT OF STUDENT LEARNING (NOTIONAL HOURS OF LEARNING) 400 hours

UNIT LEARNING OUTCOMES
On successful completion of this unit students will be
able to have attained or demonstrated that they:

• Have, through practice and study, developed a
generative working method, through which, they can
experiment, explore, exploit, evaluate and monitor
ideas, processes and technologies.
• Have understood the importance of a research
based approach in developing original creative ideas.
• Developed a conceptual / practice based vocabulary,
enabling them to produce original work.
• Show a high level of creative independence and
developed transferable skills.

LEARNING & TEACHING ACTIVITIES
Self directed study, supported by individual and group
tutorials, group crits, presentations, regular staff led
meetings, and visiting speakers. Students are
encouraged to capitalise on the unexpected problems
and discoveries as a means of identifying potential
opportunities for further development in the Creative
Practice Resolution Unit.

ASSESSMENT CRITERIA
• Evidence of learning, demonstrated through an
appropriate body of work as defined by the
curriculum outline.
• The work, reflecting the level of interrogation and
exploration and a fluency of approach towards the
development of original creative ideas.
• Evidence, that individual attitudes have been well
informed through a developed sense of curiosity and
on-going realisation that research, (experimental and
academic) is a fundamental part of the creative
process.

Creative Practice Resolution
This unit is concerned with the further development of student’s ideas, based on the Learning Agreement. Students, build on the discoveries made in the CP Research unit. Students, through a high level of creative practice, take their ideas towards a sense of resolution.

CREDIT VALUE 40 CREDITS AT LEVEL: 6
TOTAL AMOUNT OF STUDENT LEARNING (NOTIONAL HOURS OF LEARNING) 400 hours

Self directed study, supported by individual and group tutorials, group crits, presentations, regular staff led meetings, and visiting speakers provide learning for this unit’s 400 hours in total. A large percentage of this unit will be based on individual student preference, (as described on the Learning Agreement),

UNIT LEARNING OUTCOMES On successful completion of this unit students will be able to have attained or demonstrated that they:
• Have exploited and extended their capability for creative practice within a given or self initiated context.
• Have located their practice within a personally defined cultural territory.
• Have thoroughly exploited, through a developed working method: materials, technologies, processes and concepts, in the forming of their ideas.
• Have exploited and critically evaluated possibilities in resolving the formation of their work.

ASSESSMENT CRITERIA
• Evidence of learning, demonstrated through an appropriate body of work as defined by the curriculum outline.
• The work, reflecting the level of interrogation and exploration and a fluency of approach towards the development of original creative ideas.
• Evidence, that individual attitudes have been well informed through a developed sense of curiosity and an on-going realisation that ‘development’ is a fundamental part of the creative process.

Liquid Emulsion

Liquid Emulsion experiments on fabric: