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©
Luciano Franchi de Alfaro III |
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Graphic
details are also painstakingly created when Luciano
taps out design elements by puncturing the print with
a needle, first through the front, then through the
back of the photograph. The design is tactile! Similarly,
scrawling text into the emulsion, he surrounds and isolates
his models or obscures their bodies with a visual flood
of words. We wonder what the message is. |
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The
20x24-inch prints are Polapan black-and-white photographs
that needed to be coated with fixer after exiting the
camera. Not inclined to follow this rule, Luciano saw
this as another creative opportunity. Some prints he
left to the elements, allowing them to oxidize selectively
by masking parts of each print's surface, then immersing
them in sepia toner. With the mask removed, the tonal
range of a print would run from sepia to black and white,
from light to dark. Using Marshall oils, he'd hand color
the flesh of one nude, yet leave the other in its original
black-and-white tones to jar your sense of reality. |
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Staged
studio photography seemingly needed an occasional energy
boost, a feat that Luciano performs with images shot
on the streets of New York City and Miami with a 35mm
camera. He enlivens his studio work by projecting his
slides' street scenes onto backdrops and the nude itself. |
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©
Luciano Franchi de Alfaro III |
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©
Luciano Franchi de Alfaro III
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