Page created May 30, 2003

Leona returns for her fifth sitting, in May, 2003.  Originally, we were going to try to work with some liquid latex, but when we opened the can, we found that the latex had hardened.  So, we quickly improvised, trying some simply down lighting.

  

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(I like this one, above)

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This is Leona's fifth sitting with me.  Like many of you, I browse the web looking at fine art photography, and I do notice that many photographers work with a model only once or twice.  I'm not that way.  Truth be told, I started making nude photographs because I was somewhat shy around women.  I don't have that problem any more, but it still takes me a while to get to know a person.  My approach is gentle, and my attitude is that I collaborate with a model, creating images via mutual consent.  That can be a problem -- I hire (and pay) models, and they typically are here to do what I ask them to do, and most are unprepared to take responsibility for images -- sure, they can be creative in their posing, but as the photographer, it's my job to take control of the sitting.  So, for me, it takes a few sittings before I feel comfortable trying new concepts that might not work.  It's a bonus if the model likes the pictures we create together, but pleasing the model typically isn't an objective of the sitting.

 

So, there are a lot of "Pros" and "Cons" to working with a model multiple times:

Pros:

  • There's a good chance you'll be happy with the photographs.  (A model wouldn't be invited back if you didn't like the previous results).
  • You get to know the model fairly well.  That includes how they carry themselves, how they move, their best features, etc.  
  • Previous concepts can inspire future concepts.

 

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There are also some challenges working with a model multiple times:

Cons:

  • You can easily fall into the habit of wanting to please the model.
  • You can fall into the tendency of retrying past successes, as opposed to trying new concepts.
  • You can become complacent & spend time socializing, as opposed to raising the bar higher each time.

 I think about stuff like this a lot, and that's probably good.  If you are aware of these pitfalls, you probably can take steps to avoid them.

 


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I'm not sure which cropping I prefer.  Do you have an opinion?

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I thought I'd finish this page with one of my favorite images from this particular set-up.  Can't really say why I like this image more than the others, except to note that I've managed to move closer to the model.  (I notice that I tend to position myself at a consistent distance from the model -- I'm trying to break that habit).

 

Assessment:  I had some problems printing these pictures -- they are a bit darker & flatter (lower contrast) than I am used to.  I had some trouble figuring out why until the enlarger lamp bulb blew a little while after I finished printing these pictures.  A new bulb seems to work, but I haven't had the time or the inclination to go back & reprint these pictures.  (I find it difficult to spend much time in the darkroom when the weather is nice outside -- that's why I'm more prolific in the fall & winter months).

While I like the concept of soft down lights, I don't think I pulled this off very well.  Make no mistake, Leona is as lovely as always, but the lighting just doesn't pop for me. 

More pictures of Leona from this sitting on the Leather Pants page.

(Remember -- feedback is always appreciated)