Saturation
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This was the project that got me started with Revolog, and looking back, it set the tone for a lot of the experimental work that came after it. The whole thing was shot in an apartment studio I put together myself, using tinfoil as a makeshift reflective backdrop.
The idea here was to treat color itself as the subject rather than something layered on top of a portrait. I wanted the images to sit in that space between documentation and abstraction — recognizable enough to still be a photograph of a person, but distorted enough that color and light started to feel like the actual content, not just style. Broken CD-ROM fragments, fashioned into wearable accessories, acted like tiny prisms, scattering light across the frame in ways I couldn't fully predict or control.
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Shot on Kodak Gold 200 and Revolog Volvox. Volvox has a built-in circular, bubble-like color distortion baked into the film itself, which became the foundation for everything else layered on top. Gold 200 gave the images a stable, warm color base, which mattered because it let Volvox's unpredictable shifts read as intentional rather than chaotic.
Colored plexiglass filters were positioned to refract light before it hit the film, working directly with the Volvox pattern already present. The CD-ROM fragments, broken down and turned into small wearable pieces, multiplied that effect further, throwing rainbow fragments of light across the frame. Combined with the tinfoil backdrop bouncing light unpredictably around the small apartment studio, this ended up being one of the more technically layered, trial-and-error-heavy series I'd shot up to that point.
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Model | Veronica Avina
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Behance Curatorial Feature (2015)
