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Sharing my last set ahead of my critique at SPAO tomorrow.
Same approach as before. The negative is the raw material, the print is the performance. The only thing that is different is the subject.
Here are two performances of Sarah.
On the left a tight colour portrait in the spirit of Platon. On the right a 24-frame frontal grid inspired by Maggs. Both using the same light and camera position. The grid contains 24 separate frames exposed on film in a single sitting.
The close portrait presents Sarah directly. The grid slows things down. At first it can look repetitive, but spend a little time with it and small differences start to appear.
In that same sense this post repeats the last two posts. Same principle, different level.
Enjoy the performance. Let me know what you notice.

Sharing another set ahead of my critique at SPAO later this week.
Same approach as the last post. The negative is the raw material, the print is the performance. The only thing that is different is the subject.
Here are two performances of Tim.
On the left a tight colour portrait in the spirit of Platon. On the right a 24-frame frontal grid inspired by Maggs. Both using the same light and camera position. The grid contains 24 separate frames exposed on film in a single sitting.
The close portrait gives you Tim immediately. The grid slows things down. At first it can look repetitive, but spend a little time with it and small differences start to appear.
In that same sense this post repeats the last one. Same principle, different level.
Enjoy the performance. Let me know what you notice. One more set to come in case you miss it.

Some more recent work for my SPAO documentary critique later this week.
Here’s Ken shown two ways: Platon on the left, Arnaud Maggs grid on the right. The close-up stares straight at you while you’re busy decoding the grid.
Try swiping back and forth a few times and then just sit with both for a minute. Things shift when you linger. Curious what you notice. Drop a comment if something clicks.
All shot on film, partly because feeds are drowning in AI slop and partly because photography is proof someone was here. Film insists on that.