|Digital infrared original|
Lisa had been interested in working with water from our first session working together, so it has been constantly at the back of my mind since then. Similarly, I have been driving back and forth from Halifax to Moncton for three years now and frequently noted a specific spot by the highway with a narrow ravine, cut over the ages by a small stream. For years I have wanted to work with this space, and with Lisa's visit to Moncton, followed by driving her back to Halifax, I finally would have my chance.
|Digital infrared original, 5 frame stitch|
Or so I thought. As it turned out, while I knew the exact location of the ravine from the Halifax to Moncton side of the road, on the return trip, I misidentified the location, and while Lisa and I found a river, it was not in the dramatic ravine we had hoped to work in. Unfortunately, we didn't have time to continue searching, as Lisa had to be back for a work shift, and we were already tight for time.
It turned out that the small river we found had several places where Lisa could pose successfully (being early June, the water still had not warmed up enough to model in, and as Lisa had to work early in the afternoon, it was best to keep her as dry as possible.
|Digital infrared original, 20 frame stitch|
Even though the day was bright and sunny, working under the thick foliage and trees of the riverside helped keep the contrast low, and avoid any of the bright highlights that often come with working in wood on sunny days. While the river was not flowing with any force, there was enough current to blur with longer shutter speeds, so we were able to make several compositions that made the most of the location. By the time we'd worked a couple of hundred feet upstream however, time was running short, and we had to abandon the space to head back to the car, and on towards Halifax. I will definitely return to the Cobequid pass again, to try a second time to find the ravine I'd originally sought to work in, but the images from this session definitely point out how possible it is to make successful images in the most regular of woodland spaces.