Ingrid and I have not often had the chance to head out and work together on our own for a variety reasons; this isn't to say that working with her when other models or photographers are present is a problem in any way but I have no doubt that it does affect the tone of a session. On this day, however, it was just Ingrid and me planning to work along the coastline of Polly's Cove, on what I expected to be my last chance to work outdoors in Nova Scotia for the year.
|Digital infrared original|
The day was perfect; the air was a pleasant temperature and it was
sunny with a scattering of high clouds moving through the sky, providing
occasional shade to the shoreline if I was patient. The first set of
images Ingrid and I made was a couple of stitches of her posing with the
rocks at the top of the bluff overlooking the ocean, but these felt as
if they weren't taking advantage of the magnificant scenery around us,
so we picked up and headed down to the coast. I'd hoped to work on the
rocks beside where the ocean met the shore, creating images of the
breaking surf behind Ingrid. It took a while to find the pose and camera
position, but once all was in place, it took perhaps two minutes until
the right wave presented itself, throwing a fan of foam high into the
sky behind Ingrid.
After finishing with the ocean surf (our
experiments were cut a little short when a wave actually broke over
Ingrid, soaking her thoroughly) Ingrid and I spent a little time
exploring the massive bedrock forms along the shoreline, making a series
of images in the crevasses and cracks in the stone. At this point, the
sun was dancing between the clouds, and the images were swiftly changing
between being harshly lit, and delicately described, which made it a
little frustrating to work (with every change in the light, a new
exposure was called for, which dramatically slowed down the working
process, and caused a number of images to be lost, as I couldn't get the
right exposure before the light changed for a second time).
|Digital infrared original|
last portion of our day was spent working on the seaweed, working with
the hard lines of the direct light, and the luminous quality that
infrared sensitive cameras give to dark brown rockweed. By this point,
the sun had settled high above the clouds, and the light was even and
consistent, if a little contrasty. Most of the images we made on the
seaweed were multi-frame stitches, with and angle of view wider than
that of my widest lens (12mm, equal to 18mm on a 35mm camera). In most
cases, I was stitching less for resolution than composition, as the
spread of the seaweed and sky before me was just to dramatic but, for a
couple of the images, I used a longer lens (50mm) and made higher
resolution stitches to facillitate printing at much larger final sizes.
|Digital infrared original, 6 frame stitch|
The end of the session came somewhat reluctantly. I still had a three hour drive back to Moncton ahead of me, and the afternoon was growing cooler, so as the tide slowly drew the seaweed back under its blanket, Ingrid and I climbed back to the high ground and headed back to Halifax.