forostenopeico

The photographs of Barbara Bigozzi, Eleonora Ciampelli Vitoria and Maria Paci, were made during the course of photography “from analogue, with darkroom, the digital” organized by Centro Cultural ArtCamera in the current year 2009. The school protagonists of the exhibition, among other components of the course, having shown particular interest in and commitment, especially the part concerning the study of applied Pinhole deserve the laudable result from them, is shared with those of that and unusual and suggestive way of “writing with light” are not aware of, and thus may be inspected and curiously find that the magical efficacy ee size that returns the “pure essence of light” incorporated into a simple black box or ” camera obscura.

But what emerges is above a specific custom imprint throughout each artist has infused into each of pictures taken, not only in construction techniques of the Forum, but also immortalized in the choice of subjects, from which emerges a sometimes romantic, minimalist, or sought , a mirror of their specific and distinct personalities. Rita Carioti

THE Pinhole
The principle of formation of an image projected onto a screen through a small hole has been known for millennia. It mentions Aristotle (384-332 BC) in his writings. The Arab scholars practiced in the opening in the wall of a darkened room to make accurate observations of eclipses that projected on the wall opposite the hole their image. This form of indirect observation of the phenomenon they avoided the glare had blinded them if they turned their eyes to the sun.
References to the operating principle of “camera obscura” (as she was known in medieval times) are also contained in the works of Francis Bacon (1214-1294), Levi ben Gerson (or Bagnois de Leon), Dom Papnunzio, the Benedictine in Monaco experiments are reported to Vitruvius published in 1521 by Caesar Caesars.

But the most clear and detailed description of the darkroom, which is contained in the Atlantic Codex, was written by Leonardo da Vinci (1452-1519) who provided an exact description of how it should be the hole in the wall to get satisfactory results and raccomandòl’uso paper thin screen so that, placed not too far from the Forum itself, enabling it to clearly see, from behind, the image zoomed out what was on the outside and the room was lit by the sun. It also explains how the intersection of the rays in the hole to determine the formation of an inverted image and surprisingly gave the first precise description of the perfect analogy between the principle of operation of the camera obscura and the eye.
Since the sixteenth century, the information about the use and refinement of the darkroom by scholars thickens gradually. In particular, Gian Battista della Porta (1538-1615) who among other things suggested to apply before the hole, a concave lens-a lens-that would have helped expand the size of the hole by increasing the brightness. This became in 1600 one of the main uses of the camera obscura, whose dimensions were gradually reduced to those of a wooden box easy to carry anywhere. In the seventeenth century, you enter and perfected systems of focus and the SLR system (interior mirror placed at 45 °) that reflected the image on a translucent horizontal. The Venetian Daniello Barbaro, among the features described in his book “The practice of perspective,” deepened the relationship between image definition and diaframmatura. The dark room, then had to wait until the nineteenth century only because he put up some paper on which the image could imprint itself without the intervention of the designer in order to be promoted “camera”, but it was technically ready to perform the task long before this happened.
Excerpted from “Teaching Photography” – Ed Ilford School

The exhibition will remain open daily from 8:00 to 20:00

More info:
tel. 0575 to 23,171