Kinomorphic : the shape of movement.
With this project, I am hoping to add another perspective to the conversation between the painted and photographic art disciplines.
Specifically, I’m using current technologies to try and capture the dynamic and enigmatic atmosphere of Impressionist paintings.
These shoots deliberately involve random factors, including the interpretation of the model in relation to the lighting, and the point and depth of focus.
Most importantly – the passage of time.
So, each shoot will intentionally produce different results. Ambiguity is the result of the process, rather than the subject matter.
This is a process of discovery.
All of the images use a long exposure, and capture the model’s movement during that time. Sometimes, a rapid movement may be directed, other times a gentle change.
Because the camera is tripod mounted, and the exposure time dictated by the light, control is surrendered to serendipity.
For the models, this is very different from their normal work. By moving them from their comfort zone, I hope that each will bring their own personality and interpretation to the shoot.
We break at regular intervals, to review and reassess options.
I had planned to try motion-blur for some time, but was prompted by Ilaria Facci‘s wonderful, rich self-portraits to organise a shoot.
I loved the results, which combined the dynamics of Impressionist paintings and the a soft abstraction of skin tones and detail.
Some of the images will also refer to photography of (and shortly after) that period.
For this project, I decided to set myself some ‘rules’ for the process.
The main constraint I took for myself is to refrain from detailed or localised image editing – in order to retain the organic nature of the effects. In particular, all of the blur is generated in-camera.
Global adjustments I allowed myself : exposure, contrast and white balance adjustments, colour toning, image cropping.
A film grain texture may be added.