time I work with a model in water, the difference from every other
session astounds me. When I return to land-based settings with different
models, I often find myself working with the same spaces and angles,
relying upon the difference in the model's response to the space to
generate new and fresh images. With water-nudes, however, it is a
totally different experience.
the entire session, I worked between the digital and the 8"x10" camera;
in many cases, I sketched with the EOS 10D first and then brought the
8"x10" camera into play when I found an image that was particularly
successful but, surprisingly, several times it worked in reverse.
the image on the 8"x10" camera is upside down and backwards, it is a
little more abstract, and removed from reality then viewing through a
single-lens reflex camera, which shows the image the right way around. I
have always found this to be a strength of the view camera, separating
the final image one step from reality, before it is rendered onto film.
This certainly was the case for this session, with a couple of the later
images coming directly from compositions and viewpoints developed with
the larger camera and then revised on the digital. The best case in
point is the last image displayed here of Constance emerging from the
water with her hips twisted. The lines are beautiful, and all the
stronger for the flowing water but it was only when I considered the
image as a 4"x10" cropped composition that I discovered the final image -
a cropped digital image. It only took a few minutes to switch to the
EOS 10D, and then the image was made. A perfect mesh of the old
inspiring the new.
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