![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTCwtsVkKm9pPbErWUjMGB1l6bNaV-xsH3T9uAEUpHEy-Obbkq_0vsOV58acmg-I0EEyn0K7JtBV8RpSxcwrcFfi4gRvJk8S4RdoMjId7Zzfl2nzlYrjORE8Txvl_Km47sQk-jKI8CfAc/s1600/fm1.jpg) |
Digital original |
A_ contacted me to ask if I'd be interested in working with her; after
some back and forth, we set of a time, crossed our fingers for good
weather, and when the day dawned cool and wet, we opted to work indoors.
Almost
by default, when I work in doors, I fall back on one of two approached -
portraits, or super shallow depth of field. In this case, I did both,
but it was the shallow depth of field which really shone.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj_QySSF30n1_UFHQPax-dWJhLnrQ0adMM0WiHTDhJsmezmOCC38M_7gfv3bB2QVyEhmeSEu6zXDdGmlR4Iil1NAKlwL9BQtG9giIgE2tSnr5mOKFT3Ij0qsjiN553Az0xgogssZDy-Yc/s1600/fm2.jpg) |
Digital original |
Working
indoors is like a double-edged sword; it is perfect for poor weather,
but by the same token, most poor weather brings with it poor (meaning
low) light. This is probably one of the reason I tend to fall back on
shallow depth of field so often when working in doors - but when I come
across a composition like the above, I question why I'd make it with
more depth of field, even if I could.
The last image of the
session was actually inspired by a reflection I caught of A_ in her
television; it took some effort to move the TV and get the camera to
have the same view, but it was worth it, making one of the few full-body
compositions of the session.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqtfzOYsPutr8rvvyD6urbP8nfby7LB3R8ZbmGm2gkOI8SVsR9tjDoKAvndl3UzuxsasllX6mRB9vGPLreriEWcqmGMZFQ0h-K63ogDbRWruJSCsf77z5mFq7HqSPNNy06nnq2b4I17SY/s1600/fm3.jpg) |
Digital original, four frame stitch |
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