Olive Hoover

Francesca Woodman, Self-deceit #1, Rome, 1977-1978. Gelatin silver estate print 25.4 x 20.3 cms, 10 x 8 inches.

Chantal Akerman, Mirror Still, 1971-2007, Mirror, 16 mm transfered to DVD

Joan Jonas kép, jonas a frieze-ben, az artpool-on (itt tükrös darabjairól Beke Lászlóval beszélget)

cross processing notes

By: Jim Causey

film notes (unrelated to photo)

Fuji Sensia 100 – Red
Fuji Sensia 200 – Green
Fuji Sensia 400 – Green

Fuji Provia 100 – Green
Fuji Provia 400 – Green

Fuji Velvia 50 – Green/Blue
Fuji Velvia 100 – Red

Agfa CT Precisa 100 – Green/Blue

Kodak Ektachrome 100 – No colour shift, increased contrast & saturation
Kodak Ektachrome EPT 160T – No colour shift, increased contrast & saturation

via, crossprocessing.

Pushing & Pulling Film:
you can read the full thread, or keep reading for my condensed version.

Pushing film involves deliberately underexposing your image, then asking your lab to push (over-develop) the film 1 or 2 stops to compensate. This results in higher contrast than you would get shooting and developing a film at its rated speed.

Pulling film involves deliberately overexposing your image, then asking your lab to pull (under-develop) the film 1 or 2 stops to compensate. This results in lower contrast than you would get shooting and developing a film at its rated speed.

Bear in mind that cross processing already increases contrast, so you may have to consider pulling the film to compensate. Here are a couple of real world examples:

• Its sunny outside, and what you are shooting is very high contrast. You shoot 200 ISO film as if it were 100 ISO. You then drop your film off and ask the lab to cross process it, and to pull 1 stop. This results in your pictures having more normal contrast while still leaving room for colour casts.
• You are shooting something indoors, and there is low contrast in your scene. You shoot your 400 ISO film as if it were 800 ISO. You subsequently drop your film off at the lab and ask them to cross process it, and to push 1 stop. This results in your pictures have higher contrast than they would have done normally.

Types of cross processing

• E6-C41: taking slide (colour reversal) film, and processing it in colour negative chemicals. This is the most common type of cross processing. It usually results in increased contrast with strong colour casts.
• C41-E6: taking colour negative film and developing in slide chemicals. This usually results in muted pastel colours with very little contrast. As a result you may want to ask your lab to push 2 or 3 stops to increase the contrast.
• E6/C41-B&W: taking colour reversal or negative film and processing as black and white. This results in a black and white negative. As colour film is usually more expensive than B&W, you may want to only use this technique if you are out shooting colour and decide you'd rather have B&W.

via, holgacrossprocessingtechniques


some cross processed images:
- The film used was Fujifilm Sensia 400/cross processed.

*First of all, cross processing may overexpose your image by about one stop. Therefore, you need to account for this when shooting. If you’re shooting 100 ISO film, just set your camera setting to 200 ISO. This will allow less light in, taking care of the overexposure. It’s best if you run a roll normally, with no adjustments, to determine if you even need to worry about this.

The first roll I did was processed pretty much on target, without any ISO adjustments.

via, photogformula.


some more enjoyable links:

Ten Reasons to Love Cross Processed Film

Stairwell collages

Stairwell collages (magazine images on mylar) by Kirsten Kindler at ADA Gallery via Lorraine Glessner.

thankoon hair

Lindsey Wixson backstage at the Thakoon fall 2011 show in New York on Feb. 13.
Photo: Getty Images

psychadelic drips

Holton Rower pours paint over objects, & makes pretty, psychedelic paintings.

Beast Needs iPod, metallic C-print mounted on Plexiglas, 2008.

Read the rest at Vice Magazine: THE VICE GUIDE TO MIAMI ART FAIRS - NAOMI FISHER - Vice Magazine

Lucky Dragons-Mirror Friends

Joanne Lee 'Synergy series'

Joanne Le

I heavily experimented with the materiality of sumi ink and different surfaces that it can adhere to, but eventually found duralar to hold the most alluring possibilities. I was focused on the push and pull of these two elements together, which had its own energy that needed to be released. Some areas formed naturally, through the way the ink dried or with its reaction with salt, while other areas were purposefully connected with my touch. There was a
 certain sensibility I had with these materials that allowed me to move the forms in and out of themselves.

This show took place in the Gateway Gallery at the Maryland Institute College of Art, from September 20-October 15, 2010.

Joanne Lee
Sumi ink, graphite, and salt on duralar
2009

By juiceboxgasoline Alexandra

One of These Nights

in loving that girl

gyotaku

gyotaku is an ancient form of print making, 'gyo' meaning fish, and 'taku' meaning printing, is where the practice got it's name. The practice originated as a way for fisherman to verify what they had caught before the age of photographic reproduction.

some marbling history and information

felted inspiration

& Felting Stones: A Free Tutorial

Heatwave-bradfordcox

Marcint Wardowski

PUBLIC IMAGE / STREET KNOWLEDGE 2

PUBLIC IMAGE 2010 AUTUMN & WINTER COLLECTION STREET KNOWLEDGE 2 Directed / Filmed / Edited＞ Rikki Kasso Produced＞ Ryujiro Tamaki (PUBLIC IMAGE) Cast＞ Aira Shimizu Akihito Yamazaki Damian Anthony Young Daisuke Nakayama Ebby Hayase Shouta Kishita Kairi Matt Donnelly Moose Oreo Takeo Yatabe Wardro