From the series 'Mensch', in which I put up a portrait set up in villages. I usually stayed there and developed and printed over night in my mobile darkroom. That way my sitters were the first to have their print. Only then I felt ok with showing it around.
I really like the look of the resulting print. This is quite the project and must have been hard work. Thanks for including the "making of" - very interesting.
Deep respect for the effort you put into getting this shot, including your mobile darkroom and on the road printing, really nice to see that behind-the-scene.
A worthy sentiment on your part . Can I ask: was the blue cast I see on my screen a deliberate choice or the result of a scanning artefact when scanning the print?
I really like the look of the resulting print. This is quite the project and must have been hard work. Thanks for including the "making of" - very interesting.
This picture was taken in 2005, the series Mensch consists of about 40 portraits taken between 2005 and 2008 in Ukraine and the Republic of Moldova.
I did continue with a quite similar approach and will post more of it soon. Also keep an eye on my Albums, as I do not want to flood the photrio gallery too much.
A worthy sentiment on your part . Can I ask: was the blue cast I see on my screen a deliberate choice or the result of a scanning artefact when scanning the print?
The blue cast is deliberate; I flash my sitters for the goldish skin tones and the daylight/shadows end up with the blue cast. I choose this because it resembles the aesthetics of orthodox icons; the people I take pictures of are kind of holy people to me....'Mensch'.
It also makes the people stand out very well.
This effect would not happen with normal film. I use Agfa RSX 100 (exp. +1) developed in C41.
When scanning (or let's say: making the digital repro) I don't do any colour corrections, I only correct for the lens distortion of my - a bit too wide - 35mm lens.