*Aluminium Bluebeard*
Cyanotype Printing on SunPrint Paper
Aluminium Beard is one of my most recent shots in the Human Nature(s) series, and one of my favourite. I hoped it would work well as a cyanotype print, and I think it did. For some reason, this one came out a little light, but I think it works very well indeed.
*Treescape on Blue Skin*
Cyanotype printing on SunPrint Paper
Treescape on Skin was one of the early successes in my Human Nature(s) project. I thought it would make a good candidate for some cyanotype experimentation. The print lacks a little contrast, but I like it a lot nonetheless, especially the fact that the left shoulder and arm are no longer visible in the print, which give it an even more surreal look.
*Verdant Profile*
Fuji TX2 (XPAN) + Ilford FP4+
Model: L.
When I first started this project, my goal was to burn the white background entirely to have the subject stand out as much as possible. But since studio lighting is an inexact science (and I’m an imprecise scientist), quite often a little bit of the texture remains on the edges of the shot where the light on the background wasn’t quite bright enough. I could photoshop that out easily, but I’ve grown to like it, a reminder that this is film.
*Aluminium Tattoos*
Fuji XT2 (XPAN) + Ilford FP4+
Model : M.
The impact of subtle differences in relative exposure on the textures appearing or not fascinate me. Here, the low contrast between my daughter’s blonde hair and her pale scale was not enough for me to overexpose the skin too much and have strong texture only in the hair, but I love how the taxture shines in the less exposed parts of her back.
*Amaranth Back*
Fuji TX2 (XPAN) + Ilford FP4+
Model : N.
This semi-improvised session of double exposure I did with my family as models was mostly to test some slightly more scientific exposure approaches. I did each shot three times at three different exposure settings, and this particular photo gave me an a-ha moment both in terms of textures and exposure. I’d shot two different textures for this session, aluminium plant and globe amaranth. The former was as textured and structured as the latter was low-contrast and chaotic. With this shot I realised that low-contrast and chaotic still worked, but only for silhouettes and underexposed.
*Patterned Youth*
Fuji TX2 (XPAN) + Ilford FP4+
Model : M.
When you cannot find models because of social distancing (and because the ones you know will pose are 10000 miles away), you work with those closest to you, so last week-end I shot textures on my wife and kids. My 8 year old daughter wanted to be silly at first, but took some serious and quite lovely poses in the end! Her skin and hair lack contrast for a truly striking effect, but that’s not her fault!
*Aluminium Beard*
Fuji TX2 (XPAN) + Ilford FP4+
Model : L.
This is very much a COVID-19 era shot. My son let his teenage beard grow wild during lockdown, I didn’t have any models for further double exposure experimentation, so the two combined to form a sort of session in my mind. This was a bit of an experimental session, with the idea of trying different exposure levels for each shot. I really like how this one came out, with the texture lightly imprinted on pale skin but starkly visible in the beard and hair. Oh, and the leaves are from pilea cadierei, aka the Aluminium Plant.
*Schefflera Imp*
Fuji TX2 + Rollei RPX100
Model: Victoire
So this is another attempt at side lighting. I had two issues with the side lighting. The first was that it required two lateral lights plus blowing the background, and the studio only had three lights. Bad prep on my part on this one. That’s why the left side of the shot shows texture in the background. I could photoshop this out, but I don’t find it unpleasant. The second issue is that my side lighting was really on the side. So the front of the subjects (ie. where I’m shooting from) is quasi backlit. Is it an issue though ? I don’t know. I think if I could subtly light just the face a little more, it would work so well. But then that would mean 5 lights !!!
*Clear Eyes & Leaves*
Fuji TX2 + Ilford FP4+
Model: Fox
When I shoot textures for this project I’m always on the lookout for contrast and shapes. I try to focus on leaves that are neither too small not too big, and that have either a contrasted edge (clearer or darker) or some contrast patterns. These leaves here are quite contrasty although a bit longer and more messy than I’m normally comfortable with. Still, here they work nicely, weaving into Fox’s beard.
*Schefflera Woman*
Fuji TX2 + Rollei RPX100
Model: Pauline
I think the lighting scheme of having two lateral lights but no front lights is really interesting. It creates a sort of backlighting but not quite. Lots of texture, but a better defined figure. I’m definitely going to explore further.
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