*Mean Machine*
Canon EOS300 + Fuji Acros ii
Model: Dylan
My initial thinking when I initiated this trial with industrial textures was that the textures that were too well defined wouldn’t work. I’m glad to say I was wrong. This one immediately made me think of an infamous character in the 2000AD Judge Dredd comics.
*Twisted Spine*
Canon EOS300 + Fuji Acros II
Model: Dylan
One interesting finding from this first session of industrial double exposures is the fact that – despite their relative regularity – the textures can still blend with the body shapes. I like here how the curve in the pipes follows the curves in the back.
*Respirator*
Canon EOS300 + Fuji Acros II
Model: Dylan
Back in December I shot one session of Photovoltaic, based on industrial and mechanical « textures » shot in a harbour junkyard in Cheung Chau. I wasn’t super confident that it would deliver good images, and like often with multiple exposure experimentation, it didn’t quite deliver what I thought it would, but it still delivered some really interesting images. Unsurprisingly, many of these were visually disturbing, but none more than this one.
*Rustface #2*
Canon EOS300 + Fujifilm Acros II
Model: Sandise
These rusty metal sheets are graphically interesting but visually disturbing when used in double exposures. The end result here may be a little less dramatic than Rustface, but I quite like the pose.
*Automatic Man*
Canon EOS300 + Fujifilm Acros II
Model: Sandise
When I shot my textures in Cheung Chau for these trials, guided by Christina through the jumble of ship engines and other industrial junk, I told myself that the excessively structured textures wouldn’t work. I was wrong clearly, since this one is, in my opinion, the strongest image in the initial test roll. Bonus points for whoever spots the title reference.
*The New Tinman*
Canon EOS300 + Fujifilm Acros II
Model: Sandise
(In 2022 I’m starting to use the techniques learned through Photosynthesis to apply them to other projects. This one is tentatively called Photovoltaic, where I use industrial textures instead of plant textures in my portraits. Work in progress.)
My main concern, shooting industrial textures, was that the degree of abstraction of what I shot would be too low, the structures too recognizable, and therefore the double exposure effect wouldn’t work too well. Turns out I was only partially right, but I shot these sheets of crumpled cans in the hope of finding a texture more akin to the plant textures I normally aim for. And this one, unsurprisingly, worked really well.
*Rustface*
Canon EOS300 + Fuji Acros II
Model: Sandise
(In 2022 I’m starting to use the techniques learned through Photosynthesis to apply them to other projects. This one is tentatively called Photovoltaic, where I use industrial textures instead of plant textures in my portraits. Work in progress.)
I knew from the start that using industrial textures would result in more disturbing pictures. I also suspected that just shooting random textures, like I did in this shipyard in Cheung Chau a few weeks before leaving Hong-Kong wouldn’t yield anything workable. I was wrong on that, thankfully. But I was certainly right about how disturbing the images could be: the rust on Sandise’s face here makes him look diseased. But it’s striking.
*Catholic Cemetery*
Fuji GW690iii + Fuji Neopan 100 Acros ii
On the tiny Island of Yim Tin Tsai, there’s an abandoned Hakka village that was evangelised in the XIXth century. The island was abandoned in the middle of the XXth century but can still be visited. In addition to the derelict houses, there’s a chapel (still in use) and a catholic cemetery. I liked the hillside cemetery a lot, with its mix of Chinese and Catholic iconography.
*Waterfall Abstraction*
Fuji GW690iii + Fuji Neopan Acros II
When I headed out to the Silvermine Waterfall I had my GW690iii loaded with Acros film and a tripod. I normally aim for exposure times higher than 1/30s and lower than 1s for moving water as I find that anything more tends to make the water look too supernatural for lack of a better word. Metering of the local scene however limited me to 1/30s here, and probably 1/15s or 1/10s would have been better to direct the waterflow. Still, I like the results, verging on the abstract.
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