This is probably the last image I will be blogging from this urbex nude shoot. It’s another one that I L.O.V.E.D at first glance – the light on her face, how her body seems to integrate itself into the vines and the subtle hint of her breast through the fabric. Though I do still like it as a stand-alone image – as with all of the images from this session – they are more the beginning of something greater than a finished series.
This shoot – paired simultaneously with opportunity, inspired emulation and chance-meetings – has been a turning point in my photographic journey. It has led me to a creative place that I have craved for so long; I feel like I’m one step closer to enlightenment. It’s as though my mind and my body have been tapped; I’ve been amplified and cleansed with a vision, understanding and clarity that I’ve never felt before. Though I’m not ready to unveil fully where the project is going as I’m still working it out in my own head, the seed has sprouted and is rapidly growing.
Stay tuned…
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One of the more conceptual images. This is actually an outtake, not quite my original vision for the photo though I do like her form and the shape of the light that chases her across the image. I’ll be building on this one for sure!
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As I said in my previous post, Herb Ritts’ use of light, shadow and form has always fascinated me. His light is contrasty and beautiful, he uses the shapes that shadows can create as an added element of design that often give the portrait more impact. For my most recent UrBex shoot I drew some of my inspiration from this image, his famous portrait of Elton John and one of his most striking uses of form in this image. Paired with my natural love of clean lines and geometry and I created the following two portraits (among others!).
When I first looked at these I loved them.
LOVED.THEM.
I love their simplicity. I love diamond-shaped light on her face and the form the shadow makes on her arm and neck in the first image. The shapely windows in the background were – in all honesty – only first noticed in post-production; during the shoot I was more concerned with the subject – we were just shooting where the nice light (and clean floor) was! However, I love the element of symmetry and geometry they add. I love that thin shadow that draws your eye across her face in the second image. In both of them I love that her body is shrouded, her eyes are closed and we as viewers are voyeurs, visually eavesdropping on her intimate, personal moment in the sun.
Now that I’ve looked, thought and looked at the images some more I see how they could be better, finer and more striking. I see lots of minute details that ultimately add up to the difference between a good photo and a great one. But what makes me happy is that I’m still pleased with what I shot. I don’t look at them and wish I’d done something differently, I haven’t said “if only I had…then this photo would be better”. All of these images are still usable as they are. I just know they could be better.
But in order to get to where you want to go, you’ve got to be happy and accept where you are.
So I look at this session and see potential and maybe the start of something great.
I see possibility.
I see growth.
And I want to create more.
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