Page created April 16, 2005
Sitting done March 9, 2005

Using similar lighting, I put up the painted canvas backdrop, primarily because I like doing some fuller figure compositions with Kristin, and I don't like the line caused by the baseboard.  The digital camera has decided to work a bit more reliably, so we make lots of exposures with this lighting setup.   

  

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Although I have the heat turned 'way up, and although I have a little ceramic heater pointed at Kristin, she takes the opportunity to don her robe while I set up the backdrop.

I immediately like what I see.  The light is reminiscent of the kind of lighting you see in Renaissance master paintings -- a soft light on Kristin's right, a glow on the backdrop, and conditions were right for the colors to pop.  We make tons of film & digital exposures using this lighting.  

 

I've been using a pseudo-sepia tone effect on all my B&W images, and I expect I'll continue doing so for a while -- I like it that much.  I say "pseudo-sepia" because it's not a true sepia effect -- sepia effects tend to flatten the tones & wash out the highlights.  Not here.  See this FAQ question to see how I apply this effect.

 

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I'm especially enjoying the color images.  I like how Kristin's hair looks like copper wire, and I like how the sky blue robe contrasts with the ruddy highlights in the backdrop.  For all these images, I like how the shadows give shape & depth to the images.  Interesting reflections & shadows appear all over.

I am loathe to move away from this lovely lighting, and Kristin does an excellent job in finding poses & shapes for me to photograph.

 

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The above image is a favorite from this sitting.

 

I like the glow from the light bouncing off the wall onto Kristin's hip. 

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It's funny.  I processed the film images (like this one) a few weeks after I processed the digital images (like the one above), and I made different choices -- the film images have more contrast.  I guess it's a mood thing.  I don't feel bad about this -- there often isn't a single "perfect" interpretation of an image.  I remember meeting Edna Bullock (Wynn Bullock's widow) at her home near Monterey, California, and she showed me different prints made from a single, famous image of her husband's, and they were interpreted radically differently.  So, even the old masters changed how they processed their images.

 

We stayed with this lighting setup for a long, long time, because I liked it so much.  Kristin met the challenge, giving me lots of different poses & shapes.  I like some of these images where her hair hides her face -- I like how it makes her a little more anonymous. 

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Soon after this image was exposed, we started making changes to the lighting.  But it is these images that stuck in my memory -- I just love this lighting.

We made tons of images -- additional images from this sitting are available in the Out Takes GalleriesThese galleries are available to those who have made a donation to the upkeep of this web site.  See this FAQ question for more details.

 

 

We spent a lot of time with this lovely light, and Kristin did an excellent job in finding ways to pose with it.  

This sitting concludes with Standing, Sitting, Lying Down.

 

(Remember -- feedback is always appreciated) 

All images (c) 2005 Looknsee Photography

More images from this sitting are available in the Out Takes Galleries.  These galleries are available to those who have made a donation to the upkeep of this web site.  See this FAQ question for more details.
There are 70 more images in the Out Takes Gallery

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