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35mm transparency film |
The second morning session with R_ picked up where the first session ended, but was augmented by the addition of a sunny bright day on the other side of the sheets. This provided exactly the tones I love on Astia (which was in my 35mm camera) so I proceeded to work with the camera hand-held, either exploring the poses R_ found on her own, or those that grew out of my suggestions. It is surprising how many images can be found in such a small space, but with the great quality of the light, it was almost hard to stop at times, drawn in as much by the colours and tones as by the lines
of the body on which they appeared
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35mm transparency film |
Compared to the first session the day before, this one was everything I
look for in an indoor colour session. The light was perfect, with a
wonderful even highlight to the whites, and wonderful detail in the
shadows. In some ways, it is hard not to repeat myself in this setting,
given that I worked so much with colour indoors in 1999, but at the same
time, as I said above, every model brings something unique to a
session, and as long as I can draw this out of them, everything else
falls into place. That said, I tried hard to work with the poses that R_
came up with, in ways that I hadn't approached before such as working
directly above; framing her back and waist against the light yielded
particularly strong results.
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35mm transparency film |
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