We wrapped up working at Spion Copp after just over an hour, taking
Miranda back to the car, and driving down the coast to Peggy's Cove for
lunch. All through lunch I kept gazing out the window, watching the
drizzle and fog roll past, and wondering if it was my eyes, or if it was
getting brighter. As it turned out, by the time we finished lunch, the
rain had abated, and only thick fog shrouded the coast - but to make it
even better, the morning wind had died down, making the foggy afternoon
more then feasible for a figure session at the coast.
the first time I photographed a model at Peggy's Cove in 1990, the
decision to work was informed by the fact that we were a party of three,
increasing the number of people would could keep an eye out for
unexpected visitors. It was also mitigated by the poor weather, which
meant the popular tourist destination was sparsely populated. We set off
to work, walking for a while down the rocky coast, until all trace of
civilization was lost in the fog behind us.
Because of the wet
day, almost all the poses we worked with were of Miranda standing,
either leaning onto rocks, or set along against the backdrop of the
surging ocean, which was still quite active from the morning's winds. It
just wasn't practical to work with poses that involved lying on the
rocks because of how quickly they leeched the warmth out of Miranda.
The session, and indeed the day, was great, for all the rain that fell upon us. The morning space, at Spion Copp hints at possibilities with Miranda (I hadn't realize she'd never worked in that space) and the afternoon session at Peggy's Cove was the icing on the cake, with the striking compositions being made with the foggy atmosphere and wonderfully textured granite rock as a counterpoint to the figure.
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