Noi e i nostri partner utilizziamo tecnologie, come i cookie, per riconoscerti e mostrarti ciò che ti piace. Leggi la nostra Privacy Policy per saperne di più. Usando questo sito accetti l'uso di queste tecnologie.
Accetto.
It's been years since I've met up with Liza and when we finally did meet again it was a blast just like last time. She brought clothes she herself had made in the weekd before our session in the studio.
Topographie du Maroc est un travail en photographie argentique réalisé au Maroc durant 12 ans représentant une archive de plus de 5000 images. Cet extrait présente des images principalement d'enfants, d'adolescents dans leur quotidien que j'ai rencontré sur mon parcours Marocain.
... A LA MER
2007, Maroc
série photographies argentiques
Entre ciel et mer
La mer est leur horizon, le ciel leur seule limite
Le sable s’incruste dans leur peau
N’oublie pas qui tu es, n’oublie pas d’où tu viens, n’oublie pas où tu vas.
Vole, cours, vis : vite libère toi !
Alors, tout devient léger, tout redevient possible :
le soleil ne brûle plus, il réchauffe
le sel ne tiraille plus, il pimente
les corps n’encombrent plus, ils se délient
Tantôt alanguis, tantôt aux aguets
Tantôt allongés, enracinés sur la plage,
Tantôt virevoltant, tendus vers les cieux,
Qu’importe
Le regard porte sur l’horizon : du bleu à l’infini, du blanc un peu, du blond parsemé de brun, Du noir et blanc pour éblouir les couleurs
... A LA MER
2007, Maroc
série photographies argentiques
Entre ciel et mer
La mer est leur horizon, le ciel leur seule limite
Le sable s’incruste dans leur peau
N’oublie pas qui tu es, n’oublie pas d’où tu viens, n’oublie pas où tu vas.
Vole, cours, vis : vite libère toi !
Alors, tout devient léger, tout redevient possible :
le soleil ne brûle plus, il réchauffe
le sel ne tiraille plus, il pimente
les corps n’encombrent plus, ils se délient
Tantôt alanguis, tantôt aux aguets
Tantôt allongés, enracinés sur la plage,
Tantôt virevoltant, tendus vers les cieux,
Qu’importe
Le regard porte sur l’horizon : du bleu à l’infini, du blanc un peu, du blond parsemé de brun, Du noir et blanc pour éblouir les couleurs
... A LA MER
2007, Maroc
série photographies argentiques
Entre ciel et mer
La mer est leur horizon, le ciel leur seule limite
Le sable s’incruste dans leur peau
N’oublie pas qui tu es, n’oublie pas d’où tu viens, n’oublie pas où tu vas.
Vole, cours, vis : vite libère toi !
Alors, tout devient léger, tout redevient possible :
le soleil ne brûle plus, il réchauffe
le sel ne tiraille plus, il pimente
les corps n’encombrent plus, ils se délient
Tantôt alanguis, tantôt aux aguets
Tantôt allongés, enracinés sur la plage,
Tantôt virevoltant, tendus vers les cieux,
Qu’importe
Le regard porte sur l’horizon : du bleu à l’infini, du blanc un peu, du blond parsemé de brun, Du noir et blanc pour éblouir les couleurs
One of my favourite photos shot using a Victorian Magic Lantern condenser lens adapted to digital. Old hollow oak, now fallen printed from acetate negative, 10 minute exposure on twice coated mixed media paper.
Old church in camera Lumen... I re-edited the weak negative and found the colours came out better than before. I love the rough and ready look of this now.
Brinsley Headstocks colliery memorial taken as in camera lumen. After inverting the negative no colour adjustments, I reduced saturation because raising the contrast makes the colours more punchy. I love the way the sky is blue. This was a 1 hour exposure on wetted, expired paper.
Old church with Saxon features surviving among the Norman architecture. 1 hour exposure on wetted expired Jessops paper. Colours true to inverted paper negative. The colours are quite pleasing on this one apart from the water marks which I am undecided about. .
My local church, in camera lumen captured in gentle September sunlight. Seemed to turn out better in the gentle sunlight. 90 minute exposure on wetted, expired Kodak Polycontrast paper
In camera lumen photo captured in my recently adapted Coronet 44. The small negative size and poor quality meniscus lens gives a very low resolution image that gets the FEEL of the place, even if light on detail. These print out nicely and have a pinhole look to them?
Ancient hollow oak captured with a snapshot camera adapted for lumen photography. I stripped the shutter and aperture plate out of a Coronet 44 resulting in a camera that can only capture the FEEL or sense of place. I like the results but was unsure to start with.
Cyanolumen using Kodabrome long expired RC paper. Single coat of cyanotype solution. The solution does not flow well onto the resin coated paper. After drying in the dark, I placed an acetate negative of a 35 mm photo I shot on a Recesky camera. Shot at Bridlington Fun Fair, Yorkshire, UK. This would work better on fibre based paper I think? I still like it though. Exposed for 25 minutes under a self made UV light.
Old Oak in bare winter splendour. In camera lumen of 2 hour exposure in a 4" x 4" self made box camera. Long expired Kodabrome paper give nice colour tones and the heavy vignette is from the Braun Paxina 29 lens designed for 6x6 frame size. I think it is a happy accident as I just didn't think it would vignette so strongly!
Old Ash trees in a farmer's field with bungalows on the skyline. In camera lumen on long expired Kodak Polycontrast paper and a 2 hour exposure. This was taken using my newly converted Coronet F20 pseudo TLR wide open with shutter and aperture removed. A 'nothing special' camera punching above its weight when used differently to original intended purpose.
Beautiful hollow Sycamore tree still clinging to life.... originally a digital photo (a Sony DSLR and Tokina 11-16mm) put onto acetate negative and exposed for 15 minutes under self made UV light. The fixing process gave a much nicer look to the print with sepia tones and a far better result on old darkroom paper than the original which was flat and boring.
Mexican Lily flower lumen on 40 year + expired Kodabrome paper. I knew these were a delicate flower so I wetted the plant material and clamped it under glass before leaving them for 12 hours in subdued light with only a little direct sunlight. I like the way they turned out with an X-ray feel to them! Will they come out the same next time?.... probably not :-)
Begonia flowers and leaves on 40 year + expired Kodabrome paper. At least 4 hours exposure in full sun as every part of the plant was thick and fleshy so I knew it would need a lot of light. I wetted all the plant material and clamped it tightly under glass. Colours are not enhanced other than the effect of increasing contrast which intensifies them a bit. My first attempts with Begonia were a dismal failure but I kept trying!
Cyanotype from acetate negative produced from old photograph. This may be my elderly friend's grandmother rowing on a fjord. 8 minute exposure on twice coated watercolour paper.
A gorgeous hollow Sycamore tree at Kedleston Park, near Derby UK. I took the photo using a 1950's D mount Kern Paillard 5.5mm cine lens on a Pentax Q10. Twice coated watercolour paper and 8 minutes under self made UV light box.
Lovely hollow oak at Calke Abbey National Nature Reserve, Derbyshire, UK. Taken using an old 6x9 box camera and put onto acetate. 8 minute exposure under self made UV light, twice coated watercolour paper.
Hazel leaves lumen photogram on long expired darkroom paper, a splash of vinegar and all day exposure in indirect light. Colours as seen after scanning. I love the rich tones and still have no way of knowing how to get consistent and repeatable results! I am not sure you can guarantee anything in this process other than unpredictability?
Iconic tree called 'Stumpy' at Sherwood Forest, Nottinghamshire, UK. Taken with the characterful Bencini Koroll 3 half frame 120 camera. A strange and quirky camera giving 24 really distinctive images per 120 roll.
Cyanotype from acetate negative of one of my favourite half frame photos. Cuckney, Church, Nottinghamshire, UK. Taken with a Chaika 2 camera and transferred to acetate. Twice coated watercolour paper exposed for 11 minutes under self made UV light.
