Just a short post today. I’m entrenched in my home studio, busy working on a massive backlog of images from the Bolivian altiplano and the Chilean Atacama desert.
I thought it would be fun to share with you an image of my beautiful Gepe light-table. I love working with transparencies, and laying them out in a collection like this.
I can ‘see’ the portfolio coming together a little more clearly when I do this. I’ll sometimes pick out the best images from my sheets of Velvia 50 to scan, before I go back and have a bit more of a detailed review of what else is there. It really depends on how i’m feeling. Other times, I’ll work systematically through each sheet of film one at a time, until I’ve garnered all the good stuff. On average, there tends to be around 2 images a sheet (10 shots) that I like, and want to scan.
I love how transparencies have the colours already ‘programmed’ into them. Velvia is a highly saturated film, so I tend to work the opposite way to most Raw shooters – rather than adding in the colour, I tend to scan and then decide which colours (if any) require desaturating.
If you click on the image above, you’ll see a higher resolution one.
For those of you who have never shot film, or transparencies, you’re missing out on one of the most satisfying parts of creating images: that of laying out your transparencies on a light table. There’s something about the tactile aspect that I think lends some kind of emotional investment to the work.
As for viewing the images on the light-table, the colours just glow – this alone can provide ample inspiration for the editing stage, and I’ll often find myself feeling very excited as a result.
From left to right: Salar de Uyuni, Sol de mañana geyser basin, Pescado Island, Sol de mañana geyser basin, Flamingos at Laguna Colorada, Atacama Chile, Little Italy stone desert Bolivia.