CINEMASCOPE NYC
A TRIBUTE TO KODAK TRI-X
I always wanted
to connect physically to the acetate surface of the film. Developing and printing in the darkroom was not enough. I did not want in post production to cut, color, burn, or scratch the negative; I wanted something between chance and artistic intervention. Processing the exposed film in hot water and finding the right time and temperature was a battlefield full of wasted photographs. However, this technique allowed me to create a new image on the melted emulsion of the film by manipulating, shifting, and stretching sections of the negative.
