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Test Test Test
Untitled #1 (2014)
When printing in the colour darkrooms filters are an essential tool to make a well balanced print. Using both handheld and enlarger filters simultaneously, this series explores the methodical logic of photographic printing. Working in reverse order to get to the desired colours, everything is the inverse of what is seems; black becomes white, yellow becomes blue red becomes cyan and magenta becomes green. Additive and Subtractive colour entwine in the dark, and the transition between light to pigment is nuanced and seamless.
Untitled #2 (2014)
When printing in the colour darkrooms filters are an essential tool to make a well balanced print. Using both handheld and enlarger filters simultaneously, this series explores the methodical logic of photographic printing. Working in reverse order to get to the desired colours, everything is the inverse of what is seems; black becomes white, yellow becomes blue red becomes cyan and magenta becomes green. Additive and Subtractive colour entwine in the dark, and the transition between light to pigment is nuanced and seamless.
Untitled #3 (2014)
When printing in the colour darkrooms filters are an essential tool to make a well balanced print. Using both handheld and enlarger filters simultaneously, this series explores the methodical logic of photographic printing. Working in reverse order to get to the desired colours, everything is the inverse of what is seems; black becomes white, yellow becomes blue red becomes cyan and magenta becomes green. Additive and Subtractive colour entwine in the dark, and the transition between light to pigment is nuanced and seamless.
Untitled #4 (2014)
When printing in the colour darkrooms filters are an essential tool to make a well balanced print. Using both handheld and enlarger filters simultaneously, this series explores the methodical logic of photographic printing. Working in reverse order to get to the desired colours, everything is the inverse of what is seems; black becomes white, yellow becomes blue red becomes cyan and magenta becomes green. Additive and Subtractive colour entwine in the dark, and the transition between light to pigment is nuanced and seamless.
Untitled #5 (2014)
When printing in the colour darkrooms filters are an essential tool to make a well balanced print. Using both handheld and enlarger filters simultaneously, this series explores the methodical logic of photographic printing. Working in reverse order to get to the desired colours, everything is the inverse of what is seems; black becomes white, yellow becomes blue red becomes cyan and magenta becomes green. Additive and Subtractive colour entwine in the dark, and the transition between light to pigment is nuanced and seamless.
Untitled #6 (2014)
When printing in the colour darkrooms filters are an essential tool to make a well balanced print. Using both handheld and enlarger filters simultaneously, this series explores the methodical logic of photographic printing. Working in reverse order to get to the desired colours, everything is the inverse of what is seems; black becomes white, yellow becomes blue red becomes cyan and magenta becomes green. Additive and Subtractive colour entwine in the dark, and the transition between light to pigment is nuanced and seamless.
Untitled #7 (2014)
When printing in the colour darkrooms filters are an essential tool to make a well balanced print. Using both handheld and enlarger filters simultaneously, this series explores the methodical logic of photographic printing. Working in reverse order to get to the desired colours, everything is the inverse of what is seems; black becomes white, yellow becomes blue red becomes cyan and magenta becomes green. Additive and Subtractive colour entwine in the dark, and the transition between light to pigment is nuanced and seamless.
Untitled #8 (2014)
When printing in the colour darkrooms filters are an essential tool to make a well balanced print. Using both handheld and enlarger filters simultaneously, this series explores the methodical logic of photographic printing. Working in reverse order to get to the desired colours, everything is the inverse of what is seems; black becomes white, yellow becomes blue red becomes cyan and magenta becomes green. Additive and Subtractive colour entwine in the dark, and the transition between light to pigment is nuanced and seamless.