KUD Artotipija (SLOVENIA) “Preserving Love”- Pinhole photography on wood @ Pinhole Atelier

Miša Keskenović

PRESERVING LOVE – photographic project

Project carrier: Cultural-artistic society Artotipija

Curator of the project: Breda Špacapan

Photographer: Miša Keskenović

Project Preserving love was created with the intent of fullfilling the basic goals of the Cultural-artistic

society Artotipija – preserving, reviving and informing the public about old photographic processes

from 19th century and about analog photography in general. Also to combine old photo techniques

with new/modern ones for the purpose of creative exploring and expression in artistic photography.

Project Preserving love is made in a way that is accessible in each part of creating an artistic

photograph and at the same time it shows the public the photographic skills that are today mostly

forgoten or considered as a part of the history. Because of the popular digital era it is getting very

hard for the general and proffesional public to recognize what is genuine artistic photograph made

also with old photo techniques, her artistic and material value.

Love is the only authentic emotion that feeds us, nurtures us and is the source of our creativitiy. And

love is not just one kind – the one between man and a woman, there are many loves, as many as we

have loving people around us. How could we preserve this love forever?

How the project works:

You choose a partner (housband/wife, brother/sister, doughter/son, mother/father, friend, etc.) with

whom you will be in a huging or kissing gesture for a certain period of time – from a couple of

seconds to couple of minutes. The reasons for long exposure and being still is because of the nature

of the camera we are taking photos with – we are using camera obscura (pinhole)* and paper

negative that we manualy develop, and the other reasons for using this kind of photo process is 1. for

participants to stop for a moment and fully give their attention to the emotion and person with

him/her 2. to get an experience with old photo techniques and the whole process of making a photo

and to show how a artistic photographer works. All participants can join the photographer in his

mobile darkroom and witness the process.

The goal of the project is to make 100 salt prints** on maple wood panels and an exhibition.

Participation is free. Participants get a digital reproduction through mail.

Donation: if you would also like your camera obscura photo made on maple wood you can donate

25€ to the CAS Artotipija and you will recive it in one month through post.

*Camera obscura (from Latin "camera": (vaulted) chamber or room, and "obscura": darkened, plural: camerae obscurae),

also referred to as pinhole image, is the natural optical phenomenon that occurs when an image of a scene at the other side

of a screen (or for instance a wall) is projected through a small hole in that screen as an reversed and inverted image (left to

right and upside down) on a surface opposite to the opening. The surroundings of the projected image have to be relatively

dark for the image to be clear, so many historical camera obscura experiments were performed in literally dark rooms.

The term "camera obscura" also refers to constructions or devices that make use of the principle within a box, tent or

room. Camerae obscurae with a lens in the opening have been used since the second half of the 16th century and became

popular as an aid for drawing and painting. The camera obscura box was developed further into the photographic camera in

the first half of the 19th century when camera obscura boxes were used to expose light-sensitive materials to the projected

image.

**The salt print was the dominant paper-based photographic process for producing positive prints during the period from

1839 through approximately 1860.

The salted paper technique was created in the mid-1830s by English scientist and inventor Henry Fox Talbot. He made what

he called "sensitive paper" for "photogenic drawing" by wetting a sheet of writing paper with a weak solution of ordinary

table salt (sodium chloride), blotting and drying it, then brushing one side with a strong solution of silver nitrate. This

produced a tenacious coating of silver chloride in an especially light-sensitive chemical condition. The paper darkened

where it was exposed to light. When the darkening was judged to be sufficient, the exposure was ended and the result was

stabilized by applying a strong solution of salt, which altered the chemical balance and made the paper only slightly

sensitive to additional exposure. In 1839, washing with a solution of sodium thiosulfate ("hypo") was found to be the most

effective way to make the results truly light-fast.

Project is co-financed by the Ministry of Culture Slovenia.