The last time Kylie and I worked together was at the beginning of July at which time it was warm enough to model in water. For this session, however, we were limited to working indoors, so we met up at her house and began exploring the possibilities it presented.
The first space we worked in was by far the most engaging - one of
the bedrooms has an tropical canopy over the bed made of a fine net mesh
which had a wonderful texture when it overlapped and overlaid itself.
The whole net, cascading down from a ceiling right, looked wonderful,
but wasn't possible to work with, due to a rather obvious wall-paper
scheme on the surrounding walls (I tried to make images of the whole
thing, hoping to be able to digitally retouch out the wallpaper, but the
task turned out to be too time consuming). In the end, the most
striking photographs turned out to be the net flowing down and over
Kylie's body - the added layer of visual complexity reminded me of the
Simulacra images, where one can look and the body, or the reflection -
here, there is the body, and the net texture overlaying it.
we had exhausted the possibilities of the tropical netting, we moved to
working in the hallway outside the bedroom. Initially, I thought the
space had little potential but as Kylie worked with the lines of the
stairway railing and walls, I started to be drawn into the space.
Normally, I don't have much of a reaction to architectural spaces which
aren't ruins, but the clean, stark lines of the walls and railing worked
nicely with the delicate light.
We finished up the session working on the main floor of the house, with Kylie lying on some comfy couches and padded chairs. A number of these compositions were fullbody, but by far my favourite were a number of closer portrait images, where I look advantage of the lovely quality of the light, as opposed to the setting or pose.