Jane Long has adapted these black and white wartime portraits in an almost unimaginable way. Here, she speaks about her creative process. <br />"The 'Dancing with Costică' series initially came about when I decided to brush up on my retouching skills. First, the original image is restored. Then, I'd spend quite some time recoloring them, before putting them in a different context."<br />
"All Hands on Deck" —
Jane Long has adapted these black and white wartime portraits in an almost unimaginable way. Here, she speaks about her creative process.
"The 'Dancing with Costică' series initially came about when I decided to brush up on my retouching skills. First, the original image is restored. Then, I'd spend quite some time recoloring them, before putting them in a different context."
Costică Acsinte/Jane Long
"Depending on how many elements there are and the quality of the original image it takes me anywhere between 10 and 40 hours to complete each piece."
"Flock" —
"Depending on how many elements there are and the quality of the original image it takes me anywhere between 10 and 40 hours to complete each piece."
Costică Acsinte/Jane Long
"I try to use props and background pieces to make the subjects interact more with their environment. This creates a more cohesive composition and keep things somewhat ambiguous."
"Beacon" —
"I try to use props and background pieces to make the subjects interact more with their environment. This creates a more cohesive composition and keep things somewhat ambiguous."
Costică Acsinte/Jane Long
"If the people in these portraits saw my work, I hope they would be okay with it. One of the things I try to do is to remove them from the fashion and requirement of long exposures at the time (which was) to be very serious and sombre. These people laughed and loved the same as we do, and I'd like to think that this is something they would welcome."
"Sweetheart" —
"If the people in these portraits saw my work, I hope they would be okay with it. One of the things I try to do is to remove them from the fashion and requirement of long exposures at the time (which was) to be very serious and sombre. These people laughed and loved the same as we do, and I'd like to think that this is something they would welcome."
Costică Acsinte/Jane Long
"The inspiration behind bringing new color to these timeless photographs was a bit of an accident really. I was looking for images I could practice retouching and recoloring when I came across Costică's archive. The first image was of a multiracial couple and I so wanted them to be happy that I had to put them in a different context."
"Tall Poppies" —
"The inspiration behind bringing new color to these timeless photographs was a bit of an accident really. I was looking for images I could practice retouching and recoloring when I came across Costică's archive. The first image was of a multiracial couple and I so wanted them to be happy that I had to put them in a different context."
Costică Acsinte/Jane Long
"If I could, I would ask Costică what he thinks of my work. I'd also ask whether he understands how unique his body of work is."
"Burn it Down" —
"If I could, I would ask Costică what he thinks of my work. I'd also ask whether he understands how unique his body of work is."
Costică Acsinte/Jane Long
"When it comes to determining what elements of color and design to bring to the images, it depends on several things. Sometimes I'm inspired by the original image and sometimes I have a concept that I want to execute and go looking for relevant images."
"Corvo" —
"When it comes to determining what elements of color and design to bring to the images, it depends on several things. Sometimes I'm inspired by the original image and sometimes I have a concept that I want to execute and go looking for relevant images."
Costică Acsinte/Jane Long
"The colors have to make sense for the period or it just doesn't work. You can't put someone in a florescent color and expect it to look real so I tend to stick to a more subdued palette for the recoloring of the originals."
"Farewell" —
"The colors have to make sense for the period or it just doesn't work. You can't put someone in a florescent color and expect it to look real so I tend to stick to a more subdued palette for the recoloring of the originals."
Costică Acsinte/Jane Long
"I do what I do with no disrespect intended to the subjects and if people like it, that's fine but I don't really care anymore if they don't. They're entitled to their opinion but they don't have to look at them if they don't want to."
"Neptune's Bride" —
"I do what I do with no disrespect intended to the subjects and if people like it, that's fine but I don't really care anymore if they don't. They're entitled to their opinion but they don't have to look at them if they don't want to."
Costică Acsinte/Jane Long
"I think 'Innocence' and 'Underneath' are my two favorites but not necessarily because they have a distinct message. They both have a sense of ambiguity which I like. Are they nice children or are they something out of a horror movie?"
"Innocence" —
"I think 'Innocence' and 'Underneath' are my two favorites but not necessarily because they have a distinct message. They both have a sense of ambiguity which I like. Are they nice children or are they something out of a horror movie?"
Costică Acsinte/Jane Long
"The images have a mixed response: people either love them or hate them. I've been accused of being unethical and disrespectful but I think it's really about your intention. I have no intention of being disrespectful. The ones with animal ears and duck feet particularly polarize people."
"Underneath" —
"The images have a mixed response: people either love them or hate them. I've been accused of being unethical and disrespectful but I think it's really about your intention. I have no intention of being disrespectful. The ones with animal ears and duck feet particularly polarize people."
Costică Acsinte/Jane Long
"I haven't experimented with Costică's style yet, but I think it's a good idea. Most of the images are shot in his studio so there is a very consistent lighting setup, which is something I need to match carefully for props and backgrounds."
"Musica" —
"I haven't experimented with Costică's style yet, but I think it's a good idea. Most of the images are shot in his studio so there is a very consistent lighting setup, which is something I need to match carefully for props and backgrounds."
Costică Acsinte/Jane Long