|
Plates 10, 13, 39, 18, 12, 11,
& 20 (From top left to bottom right)
All these photographs have been created, without any
darkroom processing, and without a computer. It is
the projector that provides all the magic!
See
the Portfolio plates ( 10
13 39
18 12
11 20 )
use your browser 'Back' button to return
|
|
Projection
Photography
The first and easiest way to begin is to experiment with
the projected image, try projecting a favourite portrait
on to a textured surface, to be used as a screen. Be sure
to have a selection of different white materials to hand
such as; linen, damask, or watermarked fabric, for fine
textures. For coarse texture try loosely woven mohair, or
a heavy knitted wool pullover. It will soon become
obvious that the size of the image projected, is another
way of making the texture appear coarse, or fine.
The next stage is to test some films, in order to find one
that produces the best results. Project the portrait on to
the selected texture. Then photograph what can be
seen. The room should be fairly dark. Experiment
first with different types of film, to see which results
are liked best. There are advantages in having made a
choice to stay with that film, as experience gained under
these rather special light conditions, will save film from
being wasted. Sometimes a film balanced for daylight with
a blue filter is much better than a tungsten film. So much
depends on the projector used.
An enormous variety of textures are possible to use, they
do not always need to be white, nor do they always need to
be flat. Even a parquet floor could be used, once one has
mastered how to stay on the ceiling with a camera and a
projector! Have a look at plate 10 (above).
There is likely to be an element of distortion, as it is
not possible to have the camera lens in exact alignment
with the projector, but do not worry about this yet,
distortion is the subject of the next chapter.
Plate 8.
A
projected portrait but not on to a screen.
(See Portfolio plate 8.)
Use
your browser 'Back' button to return
The use of a texture in
portrait work is particularly attractive some of the
beauty and character found in painted portraits is
lacking in photographs. This is due partly to the
interest an artist can arouse in the beholder, by the
abstract quality, created by the choice of paints used
and by their application. The palette knife for coarse,
or the brush for fine texture.
The realism of the photograph becomes more abstract,
simply by adding a texture, and this can bring out more
expression, or character than was evident
before. This does not mean that one is copying
paintings, as totally different images are created from
those ever painted, but that this abstract quality that
so enriches portraits, can also now be applied to
photographs.
The accidental projection of
a portrait on to the fabric instead of the screen, that
started this whole concept, resulted in the creation of
plate 13 (top picture). The portrait, plate
8 (above) the author's wife, was projected on
to a blue watermarked silk, the stars were added by a
second projector. It was necessary to project a
relatively small image in order to gain the strength of
texture required. Plate 11 (below) is a
portrait of the author's mother that has been projected
(at an angle) on to an ostrich feather.
An old piece of canvas, that had been used to clean the
brushes of an oil paint artist, was used to create plate
12 (top picture). This piece of canvas was
streaked with many colours and it was a matter of trial
and error, to find an area that worked well with this
image.
Plate 11.
A projected portrait on to a feather was then
photographed as seen.
(See Portfolio plate
11)
Use
your browser 'Back' button to return
|
![[Catalog]](../images/b_catl.gif)
