The chosen analogue negative of portrait(one of the portraits of Choreographer Elisabeth Schilling) has exposed on the negative film, and then the enlarged positive film exposed repeatedly on another negative, so 20 times of the process. Each of enlarged portraits is cut into amorphous irregular pieces with diversified sizes(fictive silver grain), mingled in a glass plate and exposed anew on the analogue baryta paper ultimately. Measurements of fictive grain(For real silver grain can be only measured through nanoscopy) and chemical process of analogue photography are inscribed respectively on the mixture of magnified silver grains derived from a portrait. It was intended to show isomorphic relation between innumerable technical duplication of a single image of the face through the analogue photographic procedure and the cell abstracted from an unknown individual in bio-scientific context. Secondly, it aims to open the discourse about the disputed point to what extent the right of the image and body should be allowed without consent and until what degree it is an abuse of the right of the owner, when imperceptible processing, modification, metamorphosis and refinement of both parts are involved. Thirdly, one can infer evidently that analogue photographic image is at the end sheer enlargement of Silver grain compounds afar from the original image(face) with the chemical mechanism whether or not the portrait has the quality that Walter Benjamin would call ‘Aura’ or Roland Barthes would call ‘punctum’. In the end, it is schemed to bring out the consistent consanguinity between the structural conception of the body induced from the discovery of DNA and the photographic Identity as Coded Body.
