This morning found the world cruelly shrouded in a chilly grey fog; the idea of a final session with Victoria with the morning light on the rocky coastline was quickly revised into an indoor session. This was not really objectionable, as I was more focused on working with Jeff's 12x20 camera, more then the location of the images themselves.
As much as my main interest was in making images with the 12x20
camera, I began the session with Victoria using my 8"x10", a decision
made for two reasons. First, with the 8"x10" I can make twelve images a
session, as compared to the four possible with the 12x20, and second,
for any vertical image, the current configuration of the 12x20 precludes
vertical images (Jeff has expressed interest in solving this problem by
next summer). As much as I am drawn to the 12x20 as a format, I have to
admit that the strong horizontal aspect ratio is somewhat of a
limitation, and as such, isn't appropriate for every image and certainly
precludes it being my main camera for an entire session.
about an hour, Victoria and I played with the soft, even light provided
by the fog, and made portraits and bodyscapes within the main room of
the house. Usually I avoid including specific references to a space in
my images, preferring instead the more sterile, universal appeal of a
neutral, featureless plane. Since working with Cassandra on the white
couch however, I have slowly revised this position, including from time
to time a specific reference to a space - usually obscured and somewhat
out of focus, but none-the-less present.
All of the images made
with Victoria on this morning have some reference or other to place,
which is a marked departure for me. I think part of this is a larger,
conscious effort to push my work forward. My passion for photographing
the figure is certainly as strong as ever, but more and more, I have
found myself taking risks and making experimental images in the hopes
that the results will propel my work forward.
I'm not sure if these images stick out as unique from my larger body of work, or simply function as a continuum of an overall direction, but I am certain they met the objectives I'd set out for them. As part of the large body of work Victoria and I have been creating since 1998, these images contribute a new perspective, which in tandem with our other work, certainly make the whole series richer.
By the time I'd run out of film for the 12x20, we'd also run out of time, and Victoria had to leave for Halifax, an hour away.
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