*Blue Len*
Cyanotype Printing on SunPrint Paper
This Lensbaby portrait of my friend Leonard has a really cool, laid back feel to it, and I like the translation onto cyanotype as well. Again, I find that Lensbaby portraits and Cyanotype work well together.
*Deal with the Blue Devil*
Cyanotype Printing on SunPrint paper
Deal with the Devil is one of my favourite Lensbaby portraits, and I thought (I hoped) that the evanescent blur of the Lensbaby would marry well with a cyanotype print. In this instance, I think it worked rather well. This print was washed with lemon juice to deepen the blues.
*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.
*You’ll be a man, my son*
Fuji TX2 + Rollei RPX25
Since schools closed in HK in late January, my 16 year old son has stopped shaving. He didn’t seem to have much of a beard at first, but a few months on it turns out it’s quite bushy. I took this portrait in the sunset light on a tripod, because Rollei RPX25 isn’t exactly made for portraits… but I love the look of it. I will definitely try that film for portraits again, just possibly with artificial lights to make it easier.
*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.
*Briar King*
Fuji TX2 + Ilford FP4+
Model: Barth
It’s often hard to get a sense of how a texture will play out once double exposed. But with this one, a combination of ferns and flowers, rather cheerful, I never expected the dark and moody results. There’s something magical in all of these shots, and in this one the texture acts as a coiffe or organic crown. Truly amazing.
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