|35mm infrared film|
As we walked upriver, however, my evaluation of the situation rapidly changed, as the river opened up into a couple of shallow pools, each of which had a gently rippling surface surrounded by dark trees. I instantly thought of how well a model's skin would be set off in contrast to this, and we set to work. As it happened, the surroundings were so dark there was almost no detail left in the water surrounding the model. Initially, these images were a little disconcerting, but the more I live with them, the more they are growing upon me.
The best image of the session (and one of my favorite of the year) came when we were working on a large expanse of bedrock, through which the river had carved a narrow waterway. In the spring, I am sure the entire rock is underwater, but with the low water level of mid summer, it was just a rush through the narrow cut. We made a few experiments, and then hit on a stunning pose - Fern lay back in one of the smooth hollows formed by the water, and instantly the image came together. I switched to the 150mm wide angle lens, positioned the camera almost directly above her, and make the image.
A major source of frustration on the earlier beach sessions was how limited I was in vantage point - it was impossible to get higher then two meters off the ground. While a low perspective can be quite striking, it quickly lend a homogeneous look to the work that would be better avoided. With the river spaces, the option of working from a higher vantage point is not only present, it is often obligatory, with there not being enough room in the space for the model and the camera.