Lynn Marie Models in a River (Ingramport River, Nova Scotia)
Lynn Marie and I worked together in May, but, as is often the case, it wasn't until three months later that we managed to co-ordinate our schedules enough to return to working together.
The day was bright and sunny, so I decided to try to work at Canaan
River, where I knew there was good tree cover over part of the river,
which would provide enough shade to soften the light of the afternoon.
As I had hoped, when we arrived Lynn Marie found the water more then
warm enough for full immersion, which greatly increased the number of
poses open to us. While the river was not as high as I would have
wished, there was still enough moving water to provide the white
highlights that I enjoy working with so much.
As Lynn Marie
and I worked, she became more and more comfortable working in the water.
At first, her poses were hesitant and cautious, as she moved gingerly
on the small rocks and boulders to find spaces in which she felt
comfortable. As the first couple of images were made however, Lynn Marie
gradually grew more accustomed to what I was looking for in a pose, and
grew in confidence. This very swiftly changed the images from ridged,
posed looking compositions to photographs that took full advantage of
the flow of the body and the landscape both.
The real jewel of the session arrived as we were working in a shallow
patch of fast-moving water. Working with a wide-angle lens, I was
exploring the flow of the river over Lynn-Marie's back and hips, but was
frustrated by how much of the forest above the water I was capturing in
my composition - if I framed the image without the forest, the
distortion of Lynn Marie that resulted from pointing the lens downwards
was quite pronounced, yet when I pointed the camera forwards to keep the
perspective on the Nude figure correct, there was too much above her to
make the image as I intended.
It was only after a couple of minutes of struggling that I remembered by split dark-slide, that permits me to make two 4"x10" images one above the other on a single sheet of 8"x10" film. Very quickly, I composed the image on half of the film, and made an exposure that totally ignored the upper part of the image on the ground glass. The results were exactly what I sought after, and even better, because I could get two images on the sheet of film, I made a second exposure with an even longer eight-second long exposure. The right tool at the right place helped me make the most striking image of the session.