June 30, 2007

Miranda Models at Chebucto Head

Digital infrared original, 16 image stitch
For this session, Miranda and I headed back to the first place she'd modeled with me, Chebucto Head. The day was lovely and warm, with a rich scattering of clouds in the sky - perfect for infrared photography. Infrared cameras have such a flair for the dramatic, as evidenced in this image of Miranda lying below a perfect sky.
Digital infrared original
I normally avoid working in direct sunlight, but when there's no choice, it can sometimes be worked into a successful image; Miranda's figure in this pose is accentuated by the light, as opposed to struggling against it, which makes the final image practically sing with grace.

There is an old-world feeling to this image, perhaps coming from the beautiful taper to Miranda‘s waist. There are times when infrared images are dramatic and breath-taking, but in this case, the result is more subtle, calling attention to Miranda’s form, as opposed to the landscape around her.
Digital infrared original
While it took me almost a decade to come to working with wide-angle lenses, since 1997, they have been a major component of my work, both with the Nude, and architecture. In this image, the parallel between Miranda‘s arm and the landscape behind her is only due to using a wide-angle lens - with a longer lens, the correlation between the two would have been lost.

Overall, this was a really enjoyable session - the light was less than ideal, but the beautiful sky, combined with careful posing lead to some really pleasing photographs.

June 24, 2007

An Evening with Ingrid in Moncton

Digital original
At the end of a focused weekend of photography (four models over two days), Ingrid and I had a couple of hours before being picked up. A friend had recently finished restoring the main floor of her older home, the showcase of which was the stair case. The newel post was lovely in both form and colour, and was the focus of the first images of the session
Digital original
It was fascinating how easy it was to create dynamic images with such a simple combination of elements; a newel post, a model, and window light.
Digital original, 8 frame stitch
The final image sof the session were of Ingrid on the stairway, working with the contrast between the strongly regimented form of the stairs and railing, and the beautiful fluid lines of Ingrid; we made a handful of variations on pose, but the above image was particular pleasing.

A Final Day with Ingrid & Mirnada

Digital infrared original
Even after a couple of hours, the land surrounding where we were staying was still pretty damp, so Ingird, Miranda and I did some photos on the porch; during a pause, Ingrid and Miranda were on a deck when I noticed how soft the light was; I asked them if I could do a portrait of the two of them, and Miranda moved behind Ingrid, and everything came together perfectly. Given how often they have modeled together over the past seven years, it is no surprise that they are comfortable with each other.
Digital infrared original
Ingrid has always been a very physical woman, and couldn't resist exploring the potential of the structure of the porch. It isn't the most elegant of images, and the post behind her interrupts some of the lines of her body, but it is a great record of a model thoroughly enjoying herself.
Digital original
The real experiment of the day was a journey to a near by farm, where a friend had arranged for a horse for Ingrid to model with. When Ingrid asked if it would be possible to model with a horse, all I could think was “What is it with women and horses?”. Regardless, with the assistance of a friend, it was arranged. I am not sure how the negotiations went exactly ("I have a friend who wants to ride your horse naked, while being photographed), but Ingrid really appreciated the opportunity.
Digital infrared original
As it turned out, a nude model riding a calm horse around a field is not the most aesthetic of subjects...it looked a little silly, to be honest. Afterwards however, as Ingrid communed with the horse (who seemed totally bored with the situation) I made a number of more pleasing images, including one particularly pleasing "hug" photos.

Another Wet Morining

Digital original
The second morning of the weekend with Ingrid and Miranda was much like the first; damp; there wasn't the risk of rain, which was an improvement, so the first hour or so of the day was spent wandering around the garden with my macro lens.
Digital original
The greatest surprise of the images I made was this one of a bee on a little flower. I made a good number of images of the little guy, but didn't expect anything of any real quality to come from them...but this one has the back of his head, and the wings beautifully sharp.

June 23, 2007

Ingrid & Miranda in an Old House

Digital infrared original
As the first day of Ingrid and Miranda's weekend visit moved along, the threat of rain persisted, and we decided to head for an abandoned house I knew of. Though in rough shape, the house was still (mostly) water tight, so the first and second floor were dry enough to work in. The first set of photographs was made in an upstairs room, using the lovely direction window light to light both model's bodies, and create the above image.
Digital infrared original 
Ingrid asked what it would look like if she moved during an exposure (most of the images we’d made in this room used second-long exposures); I invited her to experiment, so she stood as still as she could, and began to move her arms slowly down the edge of the walls and window, which a distinctly haunting result. Years ago I had been introduced to the work of Francesca Woodman when I was at art college. and was always enamoured with her experiments with the body and motion, so there is no denying this image is an homage to her.
Digital original, 14 frame stitch 
I was a little hesitant when Ingrid asked me if I would like her to pose on this old car, but after examining it carefully, and ensuring there was no glass left in the windscreen, I relented, and we proceeded to make a number of different compositions.

A Damp Morning with Ingrid & Miranda

Digital original
This morning was the beginning of a weekend visit of Ingrid and Miranda to Shenstone, a friend's place 40 minutes from Moncton. I'd hoped to start photographing first thing in the morning, but it had rained quite heavily during the night, and I awoke to find the world rather damp.
Digital original
Not wanting to lose the morning's photography time, I decided to explore the extensive garden with my macro lens, and make what images I could. The above photograph of a butterfly,is probably the biggest surprise from the morning's explorations.
Digital original
Eventually, the models emerged, and we discussed the options; the day continued with spots of rain and occasional downpours, so extended sessions or walking far afield was of the question. Eventually we decided to hop in the rental car and drive around, looking for settings that appealed. Eventually we found an isolated field overlooking a small valley, and set about making some photographs. The portrait of Ingrid, above, is one of the few that really stood out from the first set of photos.
Digital original
After working with Ingrid for some time, I wanted to make a set of portraits of the two women; we shifted from using the nearby woods as a backdrop to placing the more abstract view over the valley behind the two models. Ingrid stood on a stump to get high enough to stand behind Miranda, and th above portrait, one of the best of the weekend, was created.

June 22, 2007

An Afternoon with Ingrid & Tanya Continues

When I first moved to Moncton, I was told about a beautiful grave with a headless statue, and it was one of the first things I went to find when exploring around the city. It turned out to be as lovely as described, but I couldn't help think, when I first photographed it, about how it might be a perfect setting for a nude.
Digital infrared original
I was a little hesitant about asking one of the models to pose in a graveyard, but after discussing it with Ingrid, we went ahead and made the image, and waited until we saw the results to judge it. In the end, the beauty of the results overwhelmed any hesitations I had before.
Digital original
Almost all the images I've made at the gypsum silos have focused on the exterior, so when Tanya sat in one of the windows, and looked so beautiful in the soft light of the building's shadow, I just had to make a portrait...and to make everything perfect, the wind whipped fine locks of her hair across her face just as I made the image.
Digital infrared original
Though you can’t tell from this image, it was pouring with rain when Ingrid and I made it - we’d fled into the old gypsum silo to keep dry, but didn’t see the point in wasting our time just waiting, so we did some images while we waited.

One of greatest advantage of working at the old silo is the beautiful light it provides; in this case, Ingrid is right by one of the largest openings,and I absolutely love how the light flows across her torso as she arches back - a lovely contrast to the ragged concrete and wood around her.
Digital infrared original, 2 frame exposure blend
The final set of images was almost the opposite to the one above of Ingrid; where she and I worked with the highlights the large windows provided, Tanya and I finished the day's photography working with the deep shadows of one of the smaller windows, looking out over the river. Where Ingrid was well lit and almost sculptural, Tanya's figure was wreathed in shadow.

Ingrid & Tanya by the Petticodiac River

This was one of the most incredible days I have ever photographed on, even after years of photographing in the great outdoors. All through the session, there were heavy storm clouds on the Northern horizon, and occasionally a brisk, blustery wind would sweep around us in the most wonderful way.
Digital infrared original
Minutes into the session I made the above image of Ingrid walking in a sea of grain; the perfect angle of her left hand is what makes the image sing for me.

In some ways, my favourite outdoor sessions are those with multiple models; first, it doubles the variety of images of single models that can be made (with the models taking turns posing, and then just hanging out), but secondly, the presence of two models opens up the possibility of making images with both models - not an easy thing, but when the space presents the opportunities, have the resources at hand to take advantage of it is always better than having to walk away without making the image.
Digital infrared original, 5 frame stitch
The above image is a great example of being able to realize an image with two models where it might have gone unmade during a more conventional (single model) session. The composition began with Ingrid posing against the tallest wooden post; I initially envisioned it as a vertical composition of Ingrid and the weathered wood. As we were working however, Tanya asked if I'd like her to pose on the next post - it was only then that I saw the potential of the two models working on the left side of the frame, and the deep riverbank arcing up to the top right corner. After a little experimentation and refinement of pose, the above image was created.
Digital original
Once the infrared images of both models was made, I walked in closer, and switched to colour for some closer portraits of both models - this image of Tanya is all the more perfect for the unexpected gust of wind the swept aside her hair.

June 16, 2007

A Waterfront Field Trip

Digital original
Over the years that I have been leading photo field trips along the Halifax waterfront, one of the most consistent sources for successful images has been the tugs which service the commercial traffic in the harbour; the hulls in particular, with layers of paint, rust, and in the above case, chains and tires, are a neverending source of inspiration.
Digital original
The real surprise for this field trip was a number of tulips which had suffered heavily in an early morning rain shower; their petals had been bent down, revealing the usually hidden pistil and stamen, and providing a very unusual look to the flower. I decided to have some fun with the image, and made a number of different horizontal compositions, focusing at different points. When I got home, I combined all the images, selectively choosing where the sharpest elements were, and created an impossible photograph. Ah the joys of digital!
Digital original, 4 frame focus blend, 3 frame stitch

June 13, 2007

A Forest & River Session with Fern

While I spent some time first thing photographing int he Irving Gardens, the real reason for driving to Wolfville was to spend the afternoon working with Fern. After picking her up, we drove to a space along the highway her father had described to us, and proceeded to hunt for a waterfall he'd provided directions to.
Digital infrared

As we walked through the forest towards the waterfall, we came across a small clearing filled with ferns; knowing how luminous the space would be in infrared, I asked Fern is she'd be interested in starting the session working with her name-sake. She was more than keen , and the above image was one of the most pleasing from the explorations.
Digital infrared, 5 frame stitch
As we hunted for the waterfall (the directions were only general, and it took some hunting), we eventually found the river that fed into it, and made a number of images as we followed it downstream. The above image was a compromise of sorts; we both expected that Fern would eventually work within the river itself, but wished to keep her from getting cool too early in the afternoon (there by bringing the session to an early end), so we found a way for Fern to pose with the river, without getting wet!
Digital infrared, 13 frame stitch
The above image was made  at the top of one of the steepest waterfalls I have seen in Nova Scotia; I really love the interplay between Fern's figure and the rocks around her, made all the richer for the luminous quality of the grasses on the rocks. I’m quite glad we stopped to work at the top of it, as after a good ten minute clamber down the sides, we arrived at the bottom to realize it was REALLY hard to make an image with such a larger, and vertical waterfall.

A Morning in Wolfville

Digital original
One of the many treasures in Wolfville Nova Scotia is the Harriet Irving Botanical Gardens which occupy more than six acres on the campus of Acadia University. The Gardens feature a wide range of flora native to the Acadian Forest Region. I had some time free after my drive to Wolfville, so I spent an hour working my way through the gardens with a macro lens.
Digital original
I absolutely LOVE the above image - the incredibly shallow depth of field, combined with the out of focus red on the lower left side really appeal to me. Though I always experiment with deeper depth of field in my macro explorations, images like this just make my heart sing.
Digital original, 2 frame focus blend
I have recently been experimenting with combining different images with different apertures, in an attempt to get both sharp and detailed portions of an image combined with incredibly shallow depth of field elsewhere - and in this image, it really paid off!

June 10, 2007

More Macro & Micro

Digital original
It has been a long time since something photographic has both engaged me, and frustrated me - but macro photography has provided both. I have been spending more and more time on my knees (or lower) pushing my understanding of the process, and working out my own preferences and vision.
Digital original
The greatest question in macro photography is how to approach depth of field; in a basic sense, there are two options, more in focus, or less; whenever I can, I have been making images at both extremes, hoping to learn which I prefer. Almost all the time, I find myself gravitating to those images with shallow depth of field (as in the above two), but I find the question of where to focus so crucial when the depth of field is this shallow so important (and frustrating) that  I keep making the alternative just in case, once in a blue moon, I find a subject that better suits deep depth of field.
Digital original
I'm continually experimenting with more and more magnification; the above image of forget-me-nots combined a macro lens and several extension tubes, to move the lens into a micro lens...creating a larger magnification that life-size on the camera's sensor.

June 06, 2007

The Halifax International Tattoo

Digital original
I was given the opportunity to photograph a performance of the Halifax International Tattoo, which was a great deal of fun. By far my favourite image is the above, of His Majesty's the King's Guard Band and Drill Team of Norway; the rich combination of the moving ring and the still piper is great.

June 02, 2007

A Waterfront Field Trip

Digital original
When taking students of field trips, I often turn my cameras to making "compositions" as I call them - photographs that are more about the use of composition and camera decisions than subjects.
Digital original
I have always loved shallow depth of field, but usually use it on portraits or images of the Nude; in this case however, the brass pins on the tall ship were too lovely to pass by - and the shallow depth of field was just perfect to focus the attention on the lead pin.
Digital original
On the walk back from the field trip, I noticed a lovely sky - just perfect for infrared - and quickly found a composition to take advantage of it.

June 01, 2007

Further Macro Explorations

Digital original
Working with flowers in a garden is very different from working with cut flowers; in this case, the only way I could get so close to the pansy, and keep it in sharp focus, was to lean the bottom of the flower on a rock…only then was the flower stable enough to get accurate focus on the centre of the bloom.
Digital original
I found this plant really interesting - it was very "flat" - like someone sat on it. I worked hard to get the camera absolutely parallel to it, so the plane of focus would match the plane of the plant, which in turn meant I could work at an even larger aperture than usual (f/2.8). The end result was a beautifully soft background, behind a tack sharp plant!
Digital original
The final images of this garden exploration were made with the camera almost at ground level, looking into plants, and through them. I found working this way really engaging, as composition became crucial to the success of the images.