Over the next pages I present original photographs created with the Camera Obscura (“pinhole” cameras) and Photogram technique.
The images were all developed in the traditional way, with chemicals in the darkroom.
Each image has a photo paper negative which can be printed a maximum of 13 times. There is no digital process involved in my works—only light, chemicals, and photo paper. Because they are developed by hand each image is unique.
Photos are signed, dated, and numbered. Prices depend on several variables—colour or black & white print, Bayrte or plastic paper, size, and print quality.

For more information please contact me at: This email address is being protected from spambots. You need JavaScript enabled to view it.

Early Work 1982 - 1983

This series presents the first work which I did with the pinhole camera.
At first I used square wooden cameras which I constructed myself but a few months later I discovered the cylindrical-shaped cans which gave me a new "form" of lines.
I liked the idea that I could change the architecture, objects and human body lines and give them a new "organic" shape and a new meaning to the final result. So I adopted it immediately.

Since 1993 I have used only round, cylindrical shapes for my pinhole cameras besides my van-car and room-space as cameras.
The work is a "study" of work dealing with space, perspective, shapes and time dimensions in order to try to see what the pinhole "sees" and creating a new reality.

Unfortunately a large part of that series I can not show on my website because it is nude work, but I can send it in to those who are interested in seeing it.

Vous trouverez plus d'informations sur la "list and description" qui s'ajoute à chaque groupe d'images.

Camera Obscura in Paris 1992-1993

After 10 years using cylindrical cans as pinhole cameras I had the chance to have a studio in Paris for 2 years and I transferred it into a Camera Obscura.
My idea was to create a new reality not by deforming the architecture, objects or human body lines like I did using my camera cans, but being inside the camera itself !!!

During 1992 I lived for 10 months inside the "camera obscura room" and posed objects and/or my own body on the photographic paper while exposing it through a pinhole in the window to the outside world.
The outside and inside "worlds" appear on one surface and create a new reality which does not exist.

In 1993 I used other studios as camera obscura as well as room-space in the "Carnevalet Museum" (the City museum) using their objects and information to create the final image.
All the photos are in negatives images together with photograms.


Vous trouverez plus d'informations sur la "list and description" qui s'ajoute à chaque groupe d'images.

Portfolio 1996

I also present a study of work on the "Stenogram" technique: a combination of pinhole (Stenope) photography and photogram techniques.
Working on smaller size images gives me the possibility to go further in the process and develop positives out of the negative images, also using different chemicals in order to give the image a new texture and form. So I control the image from inside the camera and create a new reality which does not really exist.


Vous trouverez plus d'informations sur la "list and description" qui s'ajoute à chaque groupe d'images.


This series of large size images (1.5 - 3.5 m) are made with my van - car (Renault Traffic) which was converted into a large Camera Obscura.
The idea of using the van as a camera came after I had been living for 10 months in myParisian studio which I transferred into a Camera Obscura.

Living inside a camera and creating images from inside the camera gave me the possibility to change the reality which was reflected on the walls of the camera obscura and created a new reality which did not really exist. That was achieved by putting objects or people which were actually in the Camera Obscura - room onto the photo-paper during the exposure time.

The large size images also allowed me to add new structures, movements and colours during the process of developing the images.

In classic photography we use chemicals trays where the photo paper is completely drowned inside the chemical - so it develops evenly. With an image 2 or 3 metres long it was necessary to develop it using my hands, sponges, brushes and other kinds of objects all wet with developer so a new atmosphere appeared together with the “new reality” image.

Technical details:
All images are black & white, printed on Baryte paper toned with Sepia and sometimes with more colours. Limited edition of 3 or 5 images, but each image is unique because of the developing process technique.

creation (photogram technique)

While photographing from inside the camera (my car & studio) I was revealed to the power of the expression of the photogram process. After creating the “4 elements” series (1999-2002), I started to use  nature objects (leaves, flowers…)  as well together with the human body as the subject of my works. Most work was done in my studio, using artificial light while objects were posed on the photographic paper.Some of the images I took out of my studio, during the night time using only the light of the moon - “Lunagram” technique. Technique details:All images are printed over black & white Baryte  paper, most images tonnes with Sepia and some with  other colours as well.
each image is a unique limited copy from 3 or 5.


This series is a collection of various works in idea and techniques. There are all in a big format presenting landscape, objects and people. Some of the works done with my van car as camera (landscape), other series made using photogram technique (objects) and the “family series” is a combination of pinhole camera (oil barrel) and photogram. Some images was create by the light of the moon (human + objects) - a “Lunagram” technique.

Technique details:
All images was printed on Black& white baryte paper, tanned with Sepia and some in more colours. limited edition of 1,3,5,& 9 copies but each copy is a unique work.

“NATUROGRAM“ (photogram technique)

Naturogram is a series of work which made with the first photography technique - the “Photogram” . There is no camera involved during the process, only light as energy, photo paper and objects which are posed on the paper during the lighting.

I call this series “Naturogram” not only because I use nature as my photographic objects, also because the way of developing the images. I developed those works in a “nature” way and not in a trades fool of chemicals - like in classic photography. By using my hands with different objects like brushes,brooms, combs which are soaked with developer - a new environment is creating.
There are 2 series, one print on Plastic black & white paper and the second series was print over Carton Baryte black & white paper. Some of the images were pass sepia or other colour toning.

Obviously the prices are different as well because of the paper quality. Each image is a unique piece even there are the same object, limited to 5 example max. each image.


These series gave me a new approach while using “Photogram” technique. A new way of creating photography image without using light as an energy - but insted - heat energy for The “Calorigram” technique.

During more then 5 years I worked over the 4 Elements series using only light or heat as energy to create those images. Water & Air with light energy and Earth & fire with heat energy. No camera is involved in the process.

All the works were done on black & white carton Baryte paper, using fire as heating energy - a Calorigram, and artificial light as energy for Photogram. The colours in the images are a result of an chemical reaction between the photo paper and the energy which come from the objects (stons & metal pieces). Some of the “Water” elements are blue! - Because I coloured it with a bleu pigments.

Finely, I present these series to the public in a very attractive prices. Only the “Water” element have 5 examples of each image, because this series is a positive images. All other elements: Air, Fire and Earth are unique - Negative images.


While living and photographing in New York City my main goal was to try and give a “personification” to the buildings and the skyscraper in the city, by curving the perspective lines of the buildings and creating kind of “human-contact” between them.

I was choosing several places which I use to come back several times during my time there to photograph again and again. One of my favourite places was the W.T.C. - those two high towers look like a couple for me.

Beside I can’t ignore the human people which live and work there walking or visiting in that “concrete jungle” and so I try to put them in another perspective in comparison to the skyscraper.


Ten years ago I photographed the Andalusia region of Spain with pinhole cameras for the “Centre Andaluz de la fotografia" in Almeria. From that project was created a film, “Camino in Verso,” and a traveling exhibition.
I am now publishing those works on my website, together with a catalogue of the photos. Images are available for sale - each one handmade, signed, and dated - at very attractive prices.
In Analogical photography we have two kinds of paper - a “Baryte” paper (Carton) where the process of developing and washing is longer and more expensive, and a plastic photo paper process which is much shorter and less expensive. The different quality between those papers is almost impossible to see by eye. However, in carton paper there are more nuances in the grey and colour tones, and carton paper also keeps its image quality for hundreds of years. That is why I have created two sets of images and lists: “Plastic paper images” and “Baryte paper images.” Details for each image are written on the back of the original piece.

All images are copyright protected.

150 years of photography in Europe

In the year 1989, Europe celebrated 150 years anniversary of photography
Many different projects were done in different countries and so, I took part in different projects through the year.

One of the biggest project for me was to photograph Dublin and west of Ireland. Traveling from Amsterdam with my van car (my darkroom) and all my cameras and the equipment which I needed to developing the images through England to Ireland.
Discovering a new place using an old - primitive technique is all ways exciting… You take the attention of the public! The people in the city or in the country side are not use to see a photographer using just metal cans as cameras, van- car which functions as darkroom….. and so interesting stories and relationships are developing.

Creating communication with the local people is one of the most exciting experience in traveling.

France (through the pin hole)


Paris images is a result of exploring the city during those years living there but also before living there. As a second home in Europe after Amsterdam, I was attached not only for the monuments and the big architecture projects which done in the city during the ’80 - ’90, but also to have Paris as more intimate place like home. The result here is out of different projects done through the ‘90th.


Obviously going out of the “stress life” in Paris to the country side, France for me, was like another world. A perfect world were nature and human are merge together…. So the images are about nature, small villages, castles and his surrounding with human touch. This is a results of my different projects in France during the ’80th - ‘90th

Germany in the ’80 - by pin hole camera

During the ’80 while living in Amsterdam, I had several photography projects in Germany but the most exciting project I had was for the “Stern” magazine.

Doing kind of a “reportage” over Germany during one month, using my pinhole cameras and a van which converted to a darkroom. The story “Ein ganze land im Iemer” was published in “Stern” on 22 Mai 1986.

Most of the works which I present here I did during this journey in Germany for the “Stern”. But big part of the works are made in Hamburg because those years I had a presented gallery in Hamburg (“Art & Book”) and that why there are many images of that city.

Finely 35 years after this Journey, I’m publishing those works on my web-sit together with a lists of the images so each person who like an image could buy an original piece - hand made, sign and date by me in a very attractive prices.

All images was create with pinhole cameras and printed on RC colour photo paper, developed by hand, sign and dates with no. of print (max.13 copies per image)

AMSTERDAM - The beginning

In Amsterdam I start to develop the Camera Obscura technique….this work which I present here are the beginning of my career as a pinhole photographer.

This way of working was for me a “discovery” to a new photographic world. A world, were I could just with an metal rotten can create a “new reality” out of the existing. Curving (Distortion) lines of perspective and creating a movement with long exposure are the typic character of “Pin Hole” camera. Most of my works I did over RC colour paper, which I use also as negatives, that why the colours on the images are different. Because of not using film as negative I create “distortion” as well in the colours.

Finely after almost 40 years of experience with that way of working I’m publishing those works on my web-sit together with a lists of the images so each person who like an image could buy an original piece - hand made, sign and date by me in a very attractive prices.

España in Sepia

In the same time, I’m publishing all of my other works which I did in Spain during the years together with a list. All my black & white works are passing an process of “Sepia colour toning” (it’s come after the developing process). Some images have more dominant brown colour and some are more yellowish colour or very little brown - hardly to see.

I could re - print an image with more Sepia colour or just Black & white image, if the client wish so!

SWITZERLAND in the 1990s

Several trips to Switzerland during the 90s led to this series. I didn’t have a specific subject, but I photographed landscapes and cities across the country using the pin hole (Camera Obscura) technique.

I used coloured and black and white photo paper, installing the paper inside the camera. Because I don’t use normal negative film the images have unusual colours but there is no manipulation of the tints during the developing process. The black and white images received a sepia (brown) toning after developing to give the images a special time dimension.

All works are handmade, signed, and dated on the back - and are in a limited of edition of 13 max.

JERUSALEM (through the pin hole camera)

Most of the images in Jerusalem I did in 1984 which was just my beginning years using the Camera Obscure out doors, and the first time in a big city.
For me it was like a discovery, like going back in time tunnel to the bibalic city of Jerusalem with the pinhole cameras (the Camera Obscura technique) on the streets of Jerusalem.

Many new aspects which I didn’t have before while working in my studio came out. Movement of people and vehicle on the streets are disappear, shadow and light of buildings creating dramatic composition, the reaction of the public to the way I’m photographing and working in different and difficult condition sometime.

Finely it was a perfect marge between the subject and it’s atmosphere and the Camera Obscura technique. looking back on some images take me back also in history.


This project was create for the 150 anniversary of Photography in 1989, sponsored by the minister of culture of France in Paris. This project gave me the possibility to spend several weeks during two years in the Negev desert with my darkroom and discovering another world of the nomad people - the Beduins.

Here again 6 years after photographing Jerusalem, I realised the marge between the subject - the way of life of the beduin people comparing to our modern style of life, - in comparison with my pinhole cameras (Camera Obscure) -an ancient technological in the “Hi- Tec" photography world today.


While living in Paris I was cycling through the city with a big rucksack on my back with approx. 30 small pin hole cameras (conserves cans ) together with a small tripod. A friend lent me a small attic above his apartment so I could transfer it to a small darkroom were I could developing the negatives and positives on colour and B&W paper.
The small size (10x15 cm -15x25cm) images presenting for me the period were I “adopted” the city of Paris as my   home.


With no limitation of the Camera Obscura technique each object can become a camera. The form / shape of the object (later pinhole camera) can influence the final result .

A bottle of whisky sold normally (in the “duty free”) in a long carton or metal can  - This object can be use as a 3 pinhole camera because it is very narrow and long. This shape give an amazing effect - 3 images which dissolved one in the other. All images here was made with “Whisky cameras”.