I hadn't worked with Trisha since 1999 when she left for British Columbia in 2000; when I heard she was back in Nova Scotia for the summer and interested in modeling, I kept all of Sunday free. Truth be told, the day dawned bright and sunny, and my heart sank, as that yields some of the most difficult lighting possible.Given the innate changeability of Maritime weather, I decided to go ahead with the session as planned. We met up at West Dover and headed out onto the rocky shoreline to work for the afternoon.
|Digital infrared original, 3 frame stitch|
Because of the harsh light, the first place we worked was actually in
a shadowed cave under a rocky outcrop. The light was beautifully even
and the rocks had strong lines and shape to work with. Initially I had
been concerned that Trisha's tan lines would cause a problem (her job
has her outdoors for many hours a day), but they barely registered on
the infrared modified camera, making the whole process easier. Once we
finished working in the shade, we moved out into the sunlight, with
Trisha modeling on several seaweed covered rocks right by the sea; in
infrared, the dark brown rockweed practically glows, giving a surreal
quality to the images. I ended up making several multi-frame stitches,
though these proved challenging to assemble, as the ocean swept in and
around the rock several times over the making of the image. That being
said, through the patience of both Trisha and I, the final images worked
|Digital infrared original |
All through the seaweed images, I wanted
Trisha to be immersed in the water but the open Atlantic, even in
August, was just too cold for that to be practical. Around the corner in
a cove, however, we found the perfect space, cut off from the receding
tide by a line of rocks was a shallow basin, sun warmed and perfect for
the final location for the session.
|Digital infrared original, 8 frame stitch|
One recent addition to my DSLR equipment was a right-angle viewer for my Nikon D70. This permits photography at a very low angle without having to look straight through the viewfinder itself. I'd used this the previous evening at Martinique Beach for the first time, but it was during this session that it came into use heavily – with myself standing in the water, it would have been impossible to have the camera at water level and stay dry enough to use it. With the right-angle finder, I could simply bend over and use a hand under the camera to keep from accidentally immersing it in the ocean. This permitted me to make a whole series of images with the camera at near-water level, while still keeping myself, and all the other camera equipment around my waist, completely dry.
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