Double Exposure

Double exposure, Fuji X-E1 and XF 35mm f/1.4 R lens.

This is a double exposure using a Nikon D2Xs. The jeans were initially photographed hanging in my wardrobe; for this image I photographed the original from the computer screen. They form the background to the girl where the stitching nicely follows the contour of her spine. I can't remember who took the girl's photo; it is some time since I first saw and admired it and I hope I will be forgiven for taking a liberty with it here. The whole was processed in Lightroom which provides a dizzying array of options for this sort of thing. A possible entry for the Magnet School of Joinery Digital Collage and Multiple Exposure 2019 Exhibition.

Linda Thorson was born Linda Robinson in Toronto, Canada, in 1947. Her professional name is based upon her first married name, Mrs Barry Bergthorson. This is a double exposure. The pattern overlaid on the image of Ms Thorson is a marbled paper designed by Compton Marbling of Tisbury, Wilts. I used a Fujifilm FinePix S3 Pro + an AF-S Nikkor 35mm f/1.8 G DX lens for this picture.

The background is a photograph by Manfred Kage which (apparently, for I have not seen it, only a reproduction in "Photographs '69", a secondhand book bargain) was used on the cover of an album of suites from Grieg's 'Peer Gynt' circa 1968. Manfred Kage is known for his work in microphotography - the technique of combining cameras and microscopes. Using the double exposure technique, I added a black-and-white portrait from Wykeham Studios which was made during the 1930s in London. I used a Fujifilm FinePix S3 Pro + an AF-S Nikkor 35mm f/1.8 G DX lens for this picture.

A double exposure made from two photographs displayed on a monitor. I used a Nikkor 50mm f/1.4 AI-S on a Nikon D2Xs. The peace campaigner was originally photographed with a Nikkor-H 300mm f/4.5 lens on the same camera seven years previously whereas the spinney in front of the houses was very recently shot using a Nikkor AF-S DX 18-70mm f/3.5-4.5 G ED lens again on the D2Xs. A bit of post processing in Lightroom for effect.

A double exposure made from two photographs displayed on a monitor. I used a Nikkor 50mm f/1.4 AI-S on a Nikon D2Xs. The peace campaigner was originally photographed with a Nikkor-H 300mm f/4.5 lens on the same camera seven years previously whereas the spinney in front of the houses was very recently shot using a Nikkor AF-S DX 18-70mm f/3.5-4.5 G ED lens again on the D2Xs. A bit of post processing in Lightroom for effect. She is more to the forefront in this edit. Daring. Defiant. Courageous. Majestic.

A further edit of a double exposure made from two photographs seven years apart.

The poem in this double exposure was printed in the "Daily Mirror" during 1969. What appears here is incomplete but sufficient to gain a flavour; the writer is Daniel Pinter who was an adolescent at the time yet with a gift for expression in this often difficult medium. This is not how it appeared in the newspaper; it appeared then without a background. I think the "Daily Mirror" was better in those days. It had a bit more intellectual width.

I was there. Many times I was there. Yet many clouds have passed over since, and the trees are taller now.

Both period covers: a 'Camera' magazine and a Corgi poetry anthology. The latter, being vibrant colour, has the upper hand.

There was more blood than I had expected.

On the third day of their holiday, Julian revealed he had an important personal announcement to make, and George surprised everyone by deciding to go skinny dipping.

This started from an advertisement for a beauty product called Proteinail which appeared during 1969. There may have been a colour version, but the one I saw was in black and white. I thought it would make a pretty picture if the model was repeated four times, like a tetraptych, so I found a way of doing that. I left it that way for several years. More recently, on a whim, I combined the still black and white tetraptych in a double exposure with a vivid colour close-up photograph of an old matchbox. It's not apparent in this depiction, but for information, the matchbox featured a cartoon-like painting of six dancing girls. It is very attractive on its own, just as the original Proteinail advertisement was. I think this is probably the culmination of the project, but you never can tell.