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The camera is just a box with a hole on it. I described it as such, to all
my friends whom were interested to know more about the magic box, what we
usually call photographic camera. The elementary instrument able to
reproduce the image was in fact known even in ancient times and it was
called stenos opaios, EQUIPED WITH A SMALL HOLE, translated from Greek.
An empty dark box, with a millimetric hole on it in one side and a paper
treated with a material sensitive to the light in the other side. Nothing
more. The principle of the image creation projected on a surface using a
hole is known thousand of years before.
Aristotle speaks of the stenopheich hole, while the Arab sages used it in
astronomy to observe the solar eclipses . ...
Marubi 2003 was accompanied for the first time in the history of this
activity by a pavillion of Pinhole Photography Camera Obscura
Pinhole Photography has also its winner. The Special Prize Pinhole
Photography is awarded to Gregg Kemp from USA. The prize is sponsored by
Zero Image (Hong Kong)
Aparati fotografik ėshtė njė kuti me vrimė. Kėshtu do ta pėrshkruaja kohė
mė parė pėr miqtė e mi qė interesoheshin tė dinin diēka mė shumė pėr atė
kuti magjike qė quhet rėndom aparati fotografik Instrumenti mė elementar i
aftė pėr riprodhimin e imazhit nė fakt ėshtė njohur qė nė kohėt e hershme
dhe quhej stenos opaios I PAJISUR ME NJE VRIME TE VOGEL i pėrkthyer nga
Njė kuti bosh e errėt, me njė vrimė milimetrike nė njėrėn anė tė saj dhe
njė fletė e trajtuar me njė material sensibilizues ndaj dritės e vendosur
nė anėn tjetėr. Asgjė mė tepėr.
Principi i formimit tė imazhit tė projektuar mbi njė siperfaqe, duke
shfrytėzuar njė vrimė, ėshtė i njohur prej mijėra vjetėsh. Aristoteli flet
pėr vrimėn stenopeike dhe dijetarėt arabė e kanė pėrdorur nė astronomi pėr
vrojtimin e eklipseve diellore. ...
Marubi 2003 u shoqėrua pėr herė tė parė nė historinė e kėtij aktiviteti
nga njė pavion i fotografive Pinhole nė Camera Obscura
Fotografia Pinhole pati gjithashtu fituesin e saj. Ēmimi special i
fotografisė Pinhole ju dha Gregg Kemp nga SHBA. Ky ēmim u sponsorizua
nga Zero Image (Hong Kong)
Exhibition : Retrospective Ymer Bali - Albania
PHOTO BALI THE SIGNATURE OF LOVE FOR HUMAN BEINGS
Ymer (Mer) Bali will forever remain in the Pantheon of the best Albanian
photographers. The Albanian art of photography incorporates a rich
collection of this masters work who lived and worked during the XIX
century and the mid XX century.
For its historic, artistic and professional values his work is ranked long
aside with the other Albanian masters of photography such as Marubi,
Idromeno, Sotiri, Pici, Burda, Kallfa and other co-living artists.
The work of Balit, a rich and diverse collection belongs to the white and
black photography. You can notice in Balis photography lyric emotions, as
regards to his paysages or when he focused human behaviour or the life of
animals and the dead nature of objects. He was one of the masters of
portraits, individual or family ones, distinguished for the clear play
with effects and light and shadow interferences, including the
compositional concept as well.
Approximately 500 photos of Ymer Balit are preserved in the private
collection of the well-known collector, Thimi Nika. From this collection
the Curator Ilir Butka selected 38 works, which are exposed for the first
time in Marubi 2003 for the Albanian and the International public.
Ekspozitė : Retrospektive Ymer Bali
FOTO BALI - NENSHKRIMI I DASHURISE PER NJEREZIT
Ymer ( Mer) Bali do tė mbetet pėrherė nė Panteonin e fotografėve mė tė
mirė tė Shqipėrisė. Arti i fotografisė shqiptare mban njė koleksion tejet
tė pasur tė krijimtarisė sė kėtij mjeshtri, i cili jetoi e punoi nė fund
tė shekullit XIX dhe deri nė mes tė shekullit XX. Pėr nga vlerat historike,
artistike e profesionale, ai rradhitet me dinjitet perkrah Marubeve,
Idromenos, Sotirit, Picit, Burdės, Kallfės dhe fotografėve tė tjerė
Krijimtaria e Balit, njė fond tejet i pasur dhe i larmishem, i pėrket
kohės sė fotografisė bardh e zi. Ajo tė pėrball me emocione tė shumta
lirike, si kur shikon peisazhet e fokusuara mjeshtėrisht nė aparatin e tij,
ashtu dhe kur ndjek dokumentimin tradicional, korrekt e realist te botes
sė njerėzve dhe sendeve, ngjarjeve e situatave tė pėrditshme e nga mė tė
ndryshmet e kohės. Po kėshtu, nėpėrmjet objektivit te tij, Bali ka
modeluar dhe fiksuar bukur portrete tė shumta e tė pakrahasueshme
familjare apo individėsh, qė shquhen pėr njė botė tė pasur dhe
kėndvėshtrime artistike origjinale, pėr vlera tė spikaturadhe tė
pėrcaktuara qartė si nė lojėn e efekteve dhe tė inteferencave dritė-hije
ashtu dhe pėr anėn kompozicionale.
Rreth 500 foto tė Balit ndodhen nė koleksionin privat tė koleksionistit tė
njohur Thimi Nika. Kuratori Ilir Butka pėrzgjodhi 38 prej tyre dhe i
paraqiti pėr herė tė parė nė ekspoziten Marubi 2003.
Special Guest / Tė ftuar
Exhibition : Special Guest Joachim
Ekspozitė : I ftuar Special Joachim Ladefoged
From "Camera Obscura" to the Pinhole photography
camera is just a box with a hole on it. I described it as such, to
all my friends whom were interested to know more about the magic
box, what we usually call photographic camera.
The elementary instrument able to reproduce the image was in fact
known even in ancient times and it was called stenos opaios,
EQUIPED WITH A SMALL HOLE, translated from Greek.
An empty dark box, with a millimetric hole on it in one side and a
paper treated with a material sensitive to the light in the other
side. Nothing more.
The principle of the image creation projected on a surface using a
hole is known thousand of years before. Aristotle speaks of the
stenopheich hole, while the Arab sages used it in astronomy to
observe the solar eclipses.
Alchindus, the Arab scientist of the IX-th century wrote an
important treaty on this argument with precise references to the
mathematical rules which have an impact on the correct functioning
of the camerae obscurae, made known through a translation of
Gherardo da Cremona in the XII-th century.
Another Arab sage of the same period as Alchindus who describes the
camera obscura in another important writing is Abu Ali al Hassan
al Haitam, otherwise known as Al Hazen. References for the
instrument used by him are found in the writings of Bacone
(1214-1294), as well as in those of Levi ben Gerson (1320). While in
1521 Cesare Cesarioano publishes Commentari a Vitruvio describing
the experiments made with the stenopheich hole.
The most clear and detailed description is made by Leonardo da Vinci
(1452-1519) in his work named Codice Atlantico where for the first
time, the structure of the human eye is commented as a camera
Another knowledgeable called Giovan Battista Della Porta (1538-1615)
suggests for the first time that a lens may be applied to the hole.
This was the initial step for the creation of the portable camera
obscura as a working tool for the outliners of that time.
By the years 1600, the camera obscura indeed constitutes the most
useful tool for the outliners and the painters. One of the most
typical examples is Antonio Canal known as Canaleto, who had perfect
knowledge on how the objective functions, the correct application of
the focus, etc. Since that time many camera obscura were equipped
with a mirror placed in 45 degrees position which would deviate the
image transmitted through the hole and directed to the upper part of
the box, in other words, what would later be called the REFLEX
While the involvement of chemistry in photographic developments
belongs to a much later period (1839). The first results came in
1856 when Sir David Brewster for the first time mentioned the
instrument called Stereoscope and the working method described as
The most antique preserved photos are made in 1880 by Flinders
Petrie (archaeolog 1835-1942) during a discovery campaign in Egypt.
The stenopeich photography reached its peak in the period known as Pittorialista.
In 1890 George Davidson (creator and director of the Eastman
Photographic Materials Company later to be named KODAK) won the
first prize in the yearly exhibition of the Photographic Society of
London, with a photo realized through this technique.
During the same period various models of stenopeich photo cameras
were commercialised. Judging from the characteristics and the price,
those cameras would be compared to the contemporaries use and throw
away. The most popular were Ready Photographer and Glen Pinhole
Camera, but the first project of the commercial stenopeich
apparatus is the one of 1887 branded Dehors & Deslandres, made by
six holes with different diameters and produced in three various
models. After a long absence from the scene of photography, during
the years 30 of the XX-th century, this stenopeich apparatus was
reintroduced by Frederick Brehm of the Rochester Institute of
Technology by taking already the form of a PHILOSOPHY with
representatives such as Paolo Gioli in Italy, Gottfried Jaeger in
Germany, David Lebe, Wiley Sanderson and Eric Renner in United