As the day progressed, the fog didn't lift much, but we decided to head to the shoreline to work regardless; after working on the Cassandra Portfolio I was more open to the idea of working in fog, and actually looked forward to using the soft, delicate light, and undefined horizons if possible.
|35mm transparency film|
After the outdoor work of the previous day with Victoria, I was
interested in continuing to explore the juxtaposition of the female body
against the visually rich rock. While I hadn't seen the earlier work,
the images we'd made still danced in my mind's eye and called for more.
Miranda was more then keen to follow my lead, and over ninety minutes,
we created seven 8"X10" negatives, and exposed a roll of colour slides.
typical Boutilier-Brown fashion, this session covered less then 30
metres of shoreline, from start to finish. The amount of reflection and
care that is going into each image is only part of the reason for the
small amount of ground covered in the session; the rocks and shoreline
were rich in possibility, and I was loath to move far, lest I miss an
opportunity. Miranda worked hard with the spaces that caught my eye, and
was even willing to get a little wet in the cool of a fall Atlantic
Ocean (which, truth be told, was probably at its warmest temperature all
year), all in the name of art!
What I think will prove to be
one of my strongest 8"x10" images for the year was made towards the end
of the session. I'd seen a section of rock broken off from the bedrock,
and asked Miranda if she could lean into it, drawing her body off the
level rock, and sweeping it up onto the triangle-shaped rock. I made the
first image as I had envisioned it, with Miranda's shoulders and head
the focus of the image, and the rest of her body receding.
I was pleased, but proceeded to explore the pose from other angles, and it was then that I saw the lines of her legs to hip to knee, and realized how close I'd come to missing such a dynamic image! I quickly relocated the tripod, recomposed, and made a second image (it is extremely rare for me to make a second 8"x10" negative of a pose, as it represents 1/12 of my film for a given session). With careful composition and focus (using both the front swings and tilts possible with the view camera), the entire image came together on the ground glass before me.
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