It turned out that the second space was right where I'd parked the car. The huge highway bridge which we'd parked under was quite awe-inspiring but both Elisabeth and I were unsure if it could be used as a setting for a figure session, given the massiveness of the scale, and the limited elements involved (basically, the huge concrete base and two pillars).
Throwing hesitation aside, I helped Elisabeth up onto the concrete
and began walking around it looking for angles to photograph from. Very
quickly I realized the 12-24mm lens would be the best lens to use, as it
was the only one capable of showing the bridge and Elisabeth with any
sense of scale. I let Elisabeth know that I thought it would work, she
undressed, and we started working.
In actual fact, over the
entire session Elisabeth probably moved less than ten feet; she started
standing next to the left-hand pillar, then shifted to lying on her back
below the pillar and finally to working standing on the inside edge of
the concrete. Almost immediately, I saw that the real strength of the
images would come from the contrast between the deep blue sky, the
warmth of Elisabeth's skin, and the gray concrete. The limited range of
poses that were possible was a little frustrating, forcing me to work
more with composition and framing, but the graphic qualities of the
bridge, combined with the rich colours made this more than possible for
the twenty minutes we worked.
In the end, the bridge images were in some ways more engaging than the river Nudes we had done at the beginning of the afternoon. Where those images were comfortable and familiar, the lines and stark colours of the bridge were totally new and invigorating, something that is near impossible to plan to build into an image.