MIND JACKER: March 2009

31 March, 2009

Pseudo-Solarisation in Color

"Everything can be transformed, deformed, and obliterated by light. Its flexibility is precisely the same as the suppleness of the brush."

Man Ray

For theirs solarisations Man Ray and Lee Miller and other photographers used resp. use the light for overexposures in the darkroom. Photoshop is the digital darkroom, which doesn't need the light to create solarisations. This process is called "pseudo-solarisation". Certainly the "pseudo solarisation" is an other notion for the Sabattier effect. But the real solarisation doesn't exist in the digital photography, only a pseudo one. For that reason even a color-picture can be transform into a pseudo-solarisation.

My brushes are the light and Photoshop.

"transformation act", germany, 2004/2008

"ihme towers in a fog", germany, 2005/2008

"human and/or nature", brasil, 2007/2009

an example in black and white:

"caCTUS", germany, 2005/2008

29 March, 2009

A little creek behind my house.

"timeless 1 - 5", brasil, 2007

The creek "Rio Picto":

The flood in 2008:

The Paulista waterfall in Doutor Pedrinho, SC, Brasil

I used for the paulista-session an EXA 1b with a Domiplan Auto 2.8/50mm and a Kodacolor VR+200.

"between waters", brasil, 2007

a little "panorama" work with Photoshop CS:

1.step: 9 or more 35mm-pictures come together.

2.Step

3.step

4.Step: "the paulista", brasil, 2007/2008

making of - pictures (by Patricia Schmidt):

just a fairy tale.

camera: Canon EOS 10, lens: Canon 4-5.6/28-90mm, film: Kodacolor 100, software: Photoshop CS

making-of "just a fairy tale":

stop and go.

nowhere. is here. where i live.

http://www.fabricio-photoartist.com/where_is_nowhere.htm

"Um gegen die Abstraktion kämpfen zu können,...

... muss man ihr ein wenig gleichen."

Albert Camus, "Die Pest"

"coringa II", germany/brasil, 2005/2009

27 March, 2009

kate - the broken camera.

I bought this Porst Compact Reflex S, which was produced by Cosina, 2005 on a flea market in Hannover, Germany for 15 Euro.
But I didn't know that the whole electronic of the camera was totally damaged. The only exposure times that still work are B (bulb) an M (mechanical - 1/60s).
Certainly this camera is trash, but I love her shit!

example shots:

"the walk of shame", germany, 2005

"haesslicher reiz", germany, 2005

both: exposure time: 1/60 (M) - aperture: f 1.7 , lens: Porst MC 1.7/50mm, film: Kodak BW400CN

"the shadows need the light to survive", germany, 2005

Double exposure and with Photoshop 7 Sandwich from 3 pictures
exposure times: 10-30sec. (B) - apertures: f 2.8+3.5 , lenses: Porst 2.8/55mm + Porst Tele 3.5/135mm, film: Rossmann HR100

"blurred landscape", germany, 2006

exposure time: 1/60 (M) - aperture: f 2.8 , lens: a broken Domiplan 2.8/50mm, film: Schlecker 100

"timeless 1", brasil, 2007

"timeless 2", brasil, 2007

both: exposure time: 10sec. (B) - aperture: f 22 , lens: Porst 2.8/55mm + sky-filter + lens hood, film: Kodacolor VR+200, tripod and cable release

"photographers survival-kit basic", brasil, 2008

"camera in the desert", brasil, 2008

both: exposure time: 1/60 (M) - aperture: f 22 , lens: Porst Tele Japan 3.5/135mm, film: Kodacolor VR+200, tripod and cable release

26 March, 2009

the new xerography!

In the 1970/80s many photo artists like Esta Nesbitt, Judith Christensen, Sonia Landy Sheridan, Peter Astrom, Joan Lyons and Suda House used a copier instead of a camera or in other words as a camera.
Today i use several scanner to create surrealistic photographs.
It is an other way to photograph and the results are different from a normal picture, but this is the reason to make a xerography!

here are two examples: