Refraction in Light.

This began as imagery made for the launch of the 110mm tilt shift lens for Fujifilm, and then became a series I stayed interested in. The question underneath it is whether light can do the job of set design, bringing colour and life to a frame that has almost nothing built in it. The subjects do not connect. A frosted rose, a blue delphinium, a green cut-glass vase, and frames with no identifiable subject at all. What holds them together is the optical device rather than anything in front of the camera, which makes it the least product led thing here and the hardest to keep coherent. I worked refractive glass and prisms close to the lens to throw spectral streaks, flare and bokeh discs, with layered gels and heavy defocus behind. The tension I kept coming back to is one sharp botanical sitting inside a completely dissolved surround.