gauthier

Well, it's yellow enough. It is easy going in spirit, but it would probably work better if it was bit more provocative - perhaps a more self-counscious, sexier pose. The tree messes up a bit with the clean composition. In short, not the strongest picture by itself, but nice enough to fit in the thematic collection you're gathering.

Composition is nothing special, but you're definitely on something with that lighting. Keep experimenting!

Nice composition. The progressive burning is a good idea, but it is way overdone here, it should be more subdued and shouldn't reach Zone I or II, like it does in the corner. Too dark... Zone III (mid-way between pitch dark and average grey) would be enough, with a bigger bright zone around the cross.

Weird! But I kind of like it.The radish make it definitely un-classic, adding some ironic touch to the theme. The pose, deliberately unflattering to the model, is also interesting. How do you convince them to enter into this???

Competent composition. But the random burned patterns are gimmicky and the lighter corners are counter-intuitive. Try burning the corners and edges slightly (5 to 10%) while keeping and even center - it usually leads to eye to the center of the picture very well.

Shot with a 75 year old folder camera on Delta 3200 film (processed

for 800). Background was burned to reduce the distraction and to make

it look darker, more frightening. And yes, it is a bear skin she wears

on her bare skin. Better nude AND wearing skin. :)

Medium format B&W picture. Printed using a high contrast filter. Some

burning of the background. My feeling is that the high contrast

treatment emphasizes the fragility of the model. Low contrast versions

of this pic sort of lacked in character. What do you think?

The pose is really a classic. Well done. The low contrast doesn't look gimmicky here, as it often does on highly post processed picturesé

Very nice effort, the blur effect doesn't look natural at all and need to be redone (I assume that it is either Photohop or some darkroom trick, I never saw any lens that really had that sort of signature). In short, the blur effect starts too far away from the center and the loss of definition is MUCH too brutal. Start closer to the center and make the blur effect much more gradual. Also keep in mind that soft focus or badly corrected lenses tend to make the highlights "glow". You should perhaps play with this effect as well.

Very stylish, the lack of contrast works because of the overall dark tones and because there a little details to be observed anyway (soft focus).Where did you get this great dress? I feel that the pose is a bit too modern, though. Some of your other work show a great eye for classic "era" poses.

Good era feel, I like it. Just to nitpick: I would have removed the plastic thing that hold her hair - it doesn't look too 1900-ish. I would pump up the contrast a bit more. I know that many pictorialist shots are rather flat, but with all the middle grey leaves, the visual effect is too subdued. An alternative strategy that works well is to keep the low contrast, to print the white dress a bit lighter, and to significantly burn the rest (the bush less than the tree, you must keep some logical relations in the tones).

Still experimenting with the rare Pentax 67 120 mm soft focus lens.

Aperture set to f/4.5, background massively burned (+100% exposure) to

emphasize the subject and to make the setting more moody. I'll

probably split tone this print to keep black low values and to get

sepia highlights when I have some time. I'd also be inerested in

blowing the 6x7 negative into a 8x10 digital negative and making some

tea toned cyanotypes on textured paper.

Great stuff, very powerful and evocative. The grain and high contrast add a pictorailist touch and a hint of abstrction to the picture. Very good work.

Film was over-processed in warm water, resulting in a very contrasty

negative. Printing required a 00 filter, some pre-flashing of the

paper, and some heavy burning in some areas. The contrast and tones

remain a bit strange, making for an eerie picture. The print was

slightly split toned in sepia, for cold blacks and warm whites, then

selenium for some extra punch (it doesn't carry very well on a

computer monitor).

Never has a fancy Gandolfi been fitted with such a crappy piece of plastic. The effect is great, though, and I hope that you'll use this combo for some more fine shots. This composition is good, I like the way the model melts into the background, but the model looks sort of bored, as if it was a test shot.

Cyanotype contact printed from a 4x5 negative, partially bleached with

a sodium bicarbonate solution (girl, rocks) and then toned in hot

chinese green tea for about an hour. The negative was very dense and

the sun was gradually hidden by clouds, resulting in an exposure of

about five hours for this print. What you see on screen is probably a

bit larger than the actual print.

 

My feeling is that the loss of some highlight detail makes the picture

very expressive; it certainly look mightier than the original stream,

yet it adds some mystery. What do you think?

Tea toned cyanotype, contact printed from a 8x10 negative made with my

100+ years Seneca view camera. The cyanotype process is itself more

than 160 years old (1842).

Shot on a crappy Diana camera. Printed on Ilford RC paper processed in

Ansco 130 (Ansell Adams version) and sepia toned in some other home

brew known as Kodak T-10.

 

Does the mood fit the classic theme?

The Agfa RC paper didn't answer too well to lith printing, but I was

able to use the streaks and developer turbulence to good use with this

print. What do you think?

Simple, but nice concept. I think we should see the guitar a bit more and from the front.

Not bad considering the harsh lighting situation. Such situations are to be avoided.

This was shot with a crappy Diana plastic camera. The print was

processed in a home brewed Lith developper, which accounts for the

uneveness of the processing. My feeling is that the technique is a

good match for the cimetary theme. Do you share this opinion? You can

also check the two pictures of the same series found in the same folder.

A good picture, in my opinion, but does the composition take full

advantage of the intense gaze of this girl? How would you direct/use

such an exceptional model for maximal output?

Shot in the woods during a sunny day. I normally try to avoid that

because the high contrast is too much too handle, but I had to deal

with it here. At least the model is entirely in shadows. I have a

lighter version of this, where the model doesn't seem to be in shadows

as much. What do you think? How would you handle this printing job? It

is currently mostly printed on a #2 filter, with a few more seconds

with a #0 zero filter to get more flesh tones.

I toned this one with a home brewed sepia toner. The color is a bit

more violet than sepia. I could tweak the formulation to get brownish

sepia, but I'd like to know what you think og the color first.