The Black|White|Green (BWG) project, promoted by Casa da Imagem and with the support of FBAUP/I2ADS, is dedicated to the development and creation of sustainable and ecological practices for the production of photographic images. It is an offshoot of another project that has been underway for several years, Bioimages, in line with which the two axes of action of the PBV were defined: technological-laboratory development and artistic-educational development.

The first axis refers both to research into biochemistry-based developing techniques - such as caffenol or other plant-based developers - and to the creation of ecobjets - devices for capturing and producing images using sustainable and/or reusable materials. Part of the development of this axis is the investigation of pre-existing techniques and objects and their exploration through creative proposals and artistic workshops. These proposals have taken place in various contexts: artistic residencies, school activities, and collaborations with a local development association and its surrounding community, thus giving shape to the second axis of action in the field of artistic education.

Following the axial approaches previously identified, BWV was based on two artistic residencies. We started with Ecolab, with Yannick Röels (Cultureghem) and Emanuel Santos, in which they developed a portable photographic development laboratory. In the second residency, Dialogues, artists Rita de Almeida Leite and Yasmine Moradalizadeh carried out collaborative artistic work alongside various workshops with groups and communities, experimenting with the portable laboratory and other objects and techniques developed in the project. 

The residencies took place sequentially, with the first taking place from October 2022 to January 2023 and the second from February to April 2023. This was followed by a period of exhibition, sharing, dissemination, reflection, and consolidation of the project’s results, which lasted until the end of November 2023.

Through these areas of action, with BWG we seek to incorporate environmental concerns and alternative approaches to the production of photographic images from an ecological and collaborative perspective, guided by a critical vision. 

In the context of this research into the ecology of photographic images, we consider it important to explore media archaeology in conjunction with the aforementioned axes of action. In this sense, rescuing so-called ‘obsolete’ techniques to mix with recent technologies proved to be a strategy for discovering sustainable alternatives for producing images. On the other hand, obsolescence opens up a territory for artistic experimentation that is interesting for considering alternative forms of production that are not yet bound by the time constraints and utilitarianism of a commercialized world and are thus closer to creation. 

Consequently, current technologies can be subverted through this detour to support alternative forms of production. In particular, the conflict between ‘low’ technology and ‘high’ technology is diluted in a DIY maker environment in search of other forms of image production.

In the course of the PBV, we have tried to understand technologies that enable research into more sustainable processes, but at the same time expand the discussion and reflection on what we do, how we do it, and the consequences of what we do. In this way, the project has moved in action-research cycles, in which the actions we
have experienced are the object of reflection to problematize and configure the following approaches.

Throughout the residencies of the Black|White|Green (BWG), there was always a present object, the pinhole, which was built with sustainable design principles, pedagogical characteristics, ecosystem, and ecology. Far from being a new object, being common in photography workshops and trainings, a pinhole was developed following ecological principles that would assist in pedagogical dynamics and enable autonomy in its construction and use. Thus, a camera was redesigned that crossed the fields of digital manufacturing technology and photography, with pedagogical perspectives in art education, providing new awareness through more ecological and sustainable practices.

The first artistic residence - Ecolab, was dedicated to the design and construction of a portable photographic laboratory, which supported the realization of photographs and enabled the mobility and operability of the pinholes.

The redesign of the pinhole marked the beginning of a work program carried out during the academic year 2020/2021, in partnership with Professor Miguel Paiva and the students of his photography classes, from the audiovisual course at the Soares dos Reis Art School (EASR). This program was the basis of a previous experience with the development and construction of a first version of the pinhole based on 3D printing with a bioplastic, Polylactic acid (PLA). A second version was carried out to refine the pinhole as a pedagogical resource and as an example of an eco-object. Its development represented an important moment in the Bioimages project because, unlike the development of the first version, this one was carried out collectively from the beginning to the end of the process. It is important to emphasize this collective work and the knowledge that is generated in a DiY environment.

Or this new version, three objectives were outlined: i) the correct distance from the pinhole to the exposure plane, so that the photograph covered the entirety of the photographic paper; ii) allowing the use of contrast filters; iii) enabling the change of focal distance. With this last objective, the student can understand, in practice, what focal distance is and the differences that exist in the formation of the image.

To address the first objective, the distance between the pinhole and the exposure plane for a 10x15 paper was properly calculated using the Pythagorean theorem, resulting in an approximate distance of 18 cm. The attention given to this detail ensured that the image would fill the entire defined area of the photographic paper.

The second objective increased the versatility of the pinhole. The filter holder and the device embedded inside the camera body allow for the variation of the pinhole size and contrast filters. Thus, an additional pedagogical function was added to the camera: obtaining diverse results depending on the used pinholes and/or contrast filters. The filter holder and pinholes were designed taking into account the limitations of the 3D printing type used - Fused Deposition Modeling (FDM). The filter holder is located 28mm from the base, and to avoid the need for supports when printing the pinhole body, a 45° chamfer was made on the base of the filter holder and the pinhole. The same technique was used for the pinhole cover on the exterior part.

Regarding the third objective, the pinhole was designed to include two focal lengths: the “normal” focal length, equivalent to 50mm, and a second distance representing a wide angle, approximately 24mm. A fitting system was designed to facilitate the attachment of two backs (flat and curved). The established length for this pinhole camera allows for the creation of future models with other focal lengths.

The technical knowledge applied to the design and construction of the second pinhole demonstrated that it is possible to build a device capable of producing well-defined images with few distortions. By resorting to DiY, the process is open, documented, and can thus be learned, replicated, and adapted. The use of bioplastic can further open the discussion and reflection on the sustainability of the process. Above all, it is about prototyping a model that can be developed on other scales and materials. In this sense, some of the characteristics that the pinhole provides can be rescued, namely the uncertainty and variability of results, combined with the possibility of using any object to produce images. Nevertheless, this prototype allows for modifications to the camera itself, capable of instigating the exploration of the most diverse variables.

This ecobjet - from its conception as a pedagogical instrument enabling learning and environmental awareness - is an example of how to produce an image-making device through digital manufacturing, which fits into an ecosystem of photographic image production using biodegradable and more sustainable developers.

*Extract from an interview conducted by Tiago Mateus with Emanuel Santos and Yannick Roels in December 2022.

What is the project and how did it start?

Casa da Imagem and Fine Arts School of Porto University (FBAUP) were working on developing a process to develop pictures without chemicals and more ecological. How do we democratize this idea. They went to the streets, schools and other places, to do workshops and they needed some kind of portable photolab. That’s how it came to us. How can we make something that’s practical that can do the photo development in the public space without taking too much space to transport? How do we include some ideas about the history of photography and about ecology in the design of this object?

How long did you have to prepare the residence and when did you start to have ideas for the project?

We started thinking about the project itself, the portability and the materials and the necessities of the project. So we could assemble all the ideas together in creating one piece. It was a process. Amongst other things we kept thinking about this how it could work

What challenges are you facing? The timing? The materials?

Time is always a challenge. We need to be a lot more conscious about the materials we’re using. It can be replicated in a lot of materials. We have an ecological consciousness in this project and that restrains us a little bit, not in a bad way but we wanted to also do something that was portable light and not very heavy. so yeah the materials went to those premises.

How is the creative process going?

We think about what we build and what we do. Then afterwards people need to use it. Then it will be the moment where it will become more interesting. Will they be able to understand the idea? yeah and would they have imagined. because the thing that we do well is make things. 

What do you hope for the future of this project? Will you continue to work on it after the residency at Casa da Imagem?

It’s not a closed project so it’s open to lots of variations. That’s one of the main issues. We’re trying to build a fractal thing so it can be oversized or diminished, amplified. can suit a lot of questions too. I think it’s the beginning of something that can improve. Whether this project continues or not I spent a week learning origami. And this project can become another project or several other projects. It shouldn’t close on itself. That’s one of the issues we were discussing, we’re trying to build this and put it on an open source so that anyone can build the same  or with the same materials or other materials. It will be a free template for other who want to build something like this. They have the beginning of it.

Can you explain some of the techniques used or are they too complicated?

It’s just folding. The challenge is basically, what they need is a dark room. We’re trying to replicate something like that, but foldable. Folding has a lot of potential to create spaces that can be small. So then you start trying. It’s trial and error. As it should.

What other curiosities can you tell us about the prototype?

We based our work on some origami and kirigami techniques of folding paper and folding cardboard. in this case. so it will be an object that is transportable and light and with materials that are accessible and affordable and not very complicated. try not to do something very industrial, so that anyone can replicate it. It’s one of the main principles. and also try not to use materials that are non ecological and plastics.

Can you tell what this object is going to look like?

I think it’s a mix of several objects. but is more like a pop up book or a pop up library.