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We are working
in a little "dead space" by the back stairs:
the back stairs goes up four steps to a landing, turns right
(the back of this space) & goes up another four steps,
turns right again & goes up nine steps to the top floor.
To light
this space, I put a boom arm on a lightstand on the second
landing. The boom arm swings over the little dead
space & holds a small soft box, pointing straight down
to Carlotta.
On the
previous page, I was down there with Carlotta. Now,
just to check, I climb the stairs to the first landing &
hold the camera directly above Carlotta, pointing straight
down.
It's
awkward & uncomfortable, but the images are unique &
worthwhile. So, we make several exposures. Take
a look.
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A little naughty,
but not too much. I have no objection to more erotic
images, but they are difficult for me to do with new-to-me
models.
These
images here, from above, are a little weird (which is often
nice) -- it's difficult to figure out which way to orient
the camera. Here, I put Carlotta's head at the top,
but I could rotate this image in any direction, and it will
still make some sense. Take a look:
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When working
with a model & a setup, it's good to explore the possibilities.
Here, I continue to point the camera straight down, but
we have Carlotta sitting up. This doesn't quite work
for me, but we try to make it work.
On a
technical note, it's interesting -- my camera is set to
produce both a RAW and a JPEG file for each exposure.
The colors of the JPEG version are a lot more orange; the
RAW version is much closer to what I see. This image
is based on the RAW image.
Anyhow,
there are moments. I really like the image below --
I like the unusual perspective, the unusual cropping, and
how the light glows.
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I don't like
the "pointing the camera straight down" setup.
It's awkward for me to hold that camera out, and I'm guessing
at its aiming. I can't really see exactly what's going
on. So, I go back down & work closer to Carlotta.
I've
got to admit that Jessica took a turn working with Jessica,
and she moved in really close & focused on Carlotta's
lovely face for many of her images. So, I had to see
what she saw, but I couldn't bring myself to move in quite
as close as Jessica did.
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I like these
closer-in pictures -- there is a nice, intimate feeling
for these.
Sometimes,
I'm asked for tips by other photographers. Recently,
I've been asked a couple of times for tips about making
images with two or more models at once. My tip is
simple: the models need to invade each other's personal
space without appearing uncomfortable -- everything else
will take care of itself.
So, I'm
close enough to invade Carlotta's personal space here, and
she is perfectly comfortable. Again, that comes with
experience, or is it just natural talent?
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I've
shared models with other photographers before, but I don't remember
a time when I shared a model with another photographer while using strobes.
With the strobes, we can only go one at a time, and it was difficult
for one photographer to jump in for a quick couple of exposures.
Worse, this setup used confining space, which meant that the other photographer
really couldn't observe too well.
In any
case, it's Jessica's turn -- she spends time using this setup, and she
develops the next setup on her own. She actually uses the curtain
in my home theater room as a backdrop for some burlesque like images
(which, while interesting & fun, didn't interest me). So,
I knew that I wanted to get Carlotta into my shower for my second setup.
I had to wait before I could do that. Waiting was hard.
This sitting continues
with Steamy, Page 1.
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