Planes

How close you are to the glass makes a difference, its not just angle, your distance from the glass is what balances the exposures. 

Its multiple exposure photography, just you have to work it all out on the spot by moving your body 🙂

Simplicity

Despite the crazy complicated reflection photos I’m posting right now I really do have a thing for really simple images.

Trying to do too much with an image usually leads to a mess. On the other hand I don’t think I’ve ever heard anybody say that an image is too simple.

Chaff n’ wheat n’ pearls n’ swine n’ mixed metaphors n’ whatnot. AKA Editing

This isn’t really that attractive a topic to many people, but I really enjoy the process of editing. It could be because I have a gathering methodology of just wandering about and snaffling up whatever takes my fancy – I take a lot of really shite photos, every so often I stumble over a good one. Editing is also a bit like that, it’s an exploration.

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Ominous signpost with a crow – it’s a metaphor… Actually if you look carefully it’s a sign for the loo – must photoshop that some time.

So after a year or three I have some reason to go through a set of my files – So I’ll let you in on a little secret, I take a lot of different photos… No really, I shoot everything from Ultra large format through to micro formats, Digital, film, plastic cameras, infrared, scanners, I’d love to get my hands on a thermal camera. But in this case I’ll talk about mobile phone pics. I take a lot of these, it’s probably the camera type I use most often. I have a particular penchant for an app called Vignette – it’s a bit like having a holga in your pocket (I’m sure there’s a joke in that somewhere).

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It’s not always the ideal tool, but I pretty much always have my phone handy – the helicopter was shaking water off the cherries so as they could be picked and to stop the skins from splitting. Serious business. Cellphone shots of things in the distance often don’t work.

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Big things in the distance on the other hand. Havelock in the Marlborough Sounds in New Zealand – it’s acceptably pretty I guess.

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Random Raptors.

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And things which probably only amuse me – I love this sign Smile

Anyhow – Editing…

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I’m aware that these are film…

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and I was talking about cellphones…

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and there’s no segue from cellphones to film, but this is where my methodology comes from. I like to see prints.

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And clunk, back to cellphones – those ‘contact sheets’ on the wall go round three walls by the way & and you can see a second select on the floor where I can walk around on them and kick them about into different patterns – I need to move things and see patterns.

I also use video for the same thing – I make a video from stills and play it at five frames a second – which is just enough for me to gain an impression, but not long enough to ‘look’. It’s interesting how peoples brains work – these methods will be great for a few people, but for many more people they will not work at all, each person is different – you have to try things till something resonates.

Through these methods of selecting, and kicking things around into different patterns I make selections and suchlike – it’s a process of exploration as much as elimination – the irony is that the stand alone images which I really like seldom make it through this stage, they might be nice images, but the don’t play nice with others.

One day I’ll find a use for this image… My favorite chippie in the west end of Brisbane. (Georges).

 

Fiddling

I’ve been playing a fair bit recently with different ideas and antique processes. In large part because I’ve no access to running water in my current studio space, thus my re-visiting physautotype. It’s a nice process for me in that it doesn’t require water at all, and it’s really not terribly sensitive to light (I also have no capacity to black out my space during the day, closing the curtains and working quickly is sufficient ).

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This was a bad pour, the imafe is from a lith negative I had lying about. It was very thin, it seems that physautotype likes thin negs.

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This is from my digital infrared series, I finally found an output from these files that I like.

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This was a test exposure, it gives you a decent idea of what the plate looks like without any special holder. There’s a lot of detail there when it’s displayed correctly.

So the next step is re-jigging my negatives to be a bit thinner, which should preserve the shadow detail.

I’ve also been playing with an idea about dageurrotypes.IMG_20160322_155900

This is as far as I’ve gotten, not so special really. But in this case I’m trying to use cheap silver plated flatware and I’m using iodophor steriliser with a wet treatment to create the sensitive plate, so even this level of success is pretty surprising.

It’s not something I expect to work out very quickly, but it is fairly cheap to do.

 

Physautotype… again.

So I’ve started working with physautotype again. right now I’m gettting some decent results, not quite perfect, but it’s starting to happen.

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These are made with one gram of violin rosin which is crushed to powder, then heated till liquid, cooled, crushed to powder again and added to 100ml of ethanol alcohol. (I’m using purple meths, seems to work fine).

This solution is put to the glass plate with a syringe (the glass plate held level on the fingertips of the opposite hand), the solution is swished around till it covers the whole glass plate, then swished around some more before it’s poured off the corner.

After the plate is poured off and stops dripping I turn the plate by 90 degrees so the next corner is down (the plate being held vertically at this point) and I use a paper towel to mop the bottom two edges of the plate till no more solution beads at the edge (note; the edge, not the surface of the plate).

Soon after this the plate will pass from transparent to a light frosted look, when this light frost covers the whole plate (it can be sped a little by fanning or lightly blowing on the plate) the plate is put down and over the next few minutes a secondary frost will occur. If the coating is uneven or the glass wasnt clean it will be obvious.

I’m using overhead transparencies for the negative (it’s direct positive, so the negative is actually a positive), which seems to work, though I still have a little work to do there, I give it three hours under a nail polish setter and then develop using mineral turpentine fumes.

The mineral turps fumes incidentally don’t need to be concentrated, I put a small splash on some black card in a pyrex dish and that’s enough to last a few days, if you can smell it then it’s probably strong enough.

Then leave it somewhere that it can air and get some sun, and it’s fixed. hold in front of a black surface and the image will show up nicely.

More later…