00

Which pictures would you put in a photographic time capsule for your future self?

In the future, much would be lost or distorted if not preserved through photographs. A moment shared with someone you’re close to, a path you take every day, or even the simplest object. These objects are often the most overlooked, yet they unnoticeably anchor us to a time and place more than we realize. Memory is not a precise recording but a reconstruction, constantly reshaped by emotion, time, and our own personal perception.

For our Kurzprojekt led by Daniela Friebel, I focused on documenting everyday objects, often overlooked items found on the street, and visual montages of routes and scenes I encountered during my time in Dessau-Roßlau. Through this work, I sought to explore how memory changes over time and how we remember in fragments, filling in the gaps with emotion. Each image captures this subtle rhythm of remembering, using a variety of techniques, such as digital photography, montage, and experimental analog processes, to highlight the layered and fluid nature of memory.

01

Moodboard / Inspiration / Idea Development

At the beginning of the course, Daniela introduced us to a range of photographers through photobooks, which gave me insight into visual storytelling and how each photographer conveys themes and messages in their own unique way. One photobook that left a strong impression on me is Abzgram by Polish photographer Karolina Wojtas. It breaks nearly every traditional rule of photography with its offbeat compositions, oversaturated colors, and aggressive use of flash, all of which perfectly reflect its theme of resisting the rigid Polish school system. Another memorable photobook is Camera Solo by one of my favorite artists, Patti Smith, known not only as a singer, but also as an author, poet, and photographer. What struck me about this book was how she captured only simple, everyday objects through a polaroid camera, yet when viewed together, the images form a cohesive narrative that reflects her personal experiences in an intimate and powerful way.

After exploring the inspirations, we then moved into group discussions to brainstorm the concept of a ‘time capsule’, listing countless words to explore the range of meanings the term could hold. This initial collection gave us a clearer sense of the themes, atmospheres, and techniques we could explore. It helped each of us identify what resonated on a personal level and set the direction for our individual time capsule projects. From there, we developed a moodboard to visually shape and refine the concept of how our final piece should take form.

02

Working in the Darkroom

Personally, this process felt like a full experimental session that allowed me to gradually become comfortable with each technique. Since I had never tried any of these methods before, it was truly fascinating to realize that we could actually 'make' our own photographs. After exploring the photo studio, the pinhole camera, and the darkroom, the technique that captivated me the most was creating photograms in the darkroom. I was drawn to the unpredictability of the process because each image could never turn out the same due to various factors, such as the length of light exposure on the light-sensitive paper or how the developer alters the image depending on how long it is immersed. Apart from this, I think this technique also allows us to be creative in composing images by placing objects on the light-sensitive paper. There are indeed endless ways in which we could experiment.

03

Process

What I enjoyed most throughout the process was creating photograms of a banana. It required patience, as I had only one banana and had to gradually adjust or eat it between each photo. The result felt like a visual transition, which surprised me. I was curious to see how all the images would come together in the end.

Another part of the process that took quite a bit of time was working on image distortion and figuring out how to present all the photos together, as I planned to create a photobook for this project. It involved a lot of trial and error, from scanning and distorting the images using software to designing the book layout. I also found the scanning process particularly interesting, especially with a photogram I made of my table mirror. Since I used four pieces of light-sensitive paper that curled up, it was a challenge to flatten them in the scanner, and the results were always unpredictable, which made the process all the more intriguing.

04

My Time Capsule

For my time capsule, I printed all the photos I had laid out and compiled them into an opaque binder. Some pages vary in size, and others are folded and can be pulled out. I added these small paper mechanisms because I wanted viewers to interact with the project, rather than simply flip through the pages passively.

05

Exhibition

In the process of exhibiting my work, I suspended my photobook from the ceiling and arranged small sets of scenic montages and fragmented photograms around it. I chose this setup to create an interactive experience, inviting viewers to move around the space and engage with the images as fragmented memories, mirroring the layered and shifting nature of the project itself.

After setting everything up, I wasn’t entirely sure how I felt about my overall work, but on the day of the exhibition, I received a lot of positive feedback. Many people appreciated the delicate quality of the photobook and how it was presented. Their responses gave me more confidence in my concept and allowed me to view my work from a new perspective.

06

Conclusion

At the end of this project, I’ve come to see that photography can be anything. It’s a powerful medium for telling stories in diverse and unconventional ways. I especially enjoyed experimenting with photograms and image distortion, even though the unpredictable outcomes were sometimes a challenge because they were hard to control. Still, that unpredictability made the process all the more rewarding. This project also sparked a deeper interest in bookmaking. Assembling the photobook became more than just placing images on pages, it turned into a quiet narrative shaped by texture and interaction. It showed me how photography and bookmaking can work together to tell stories that are both personal and layered. I’m excited to keep exploring where this dialogue might lead.