I'm working my way to shooting out in the elements, but circumstance dictates that I eventually work my way out. Heavy overcast clouds and chance of rain made me decide not to shoot outside today and step back into the studio and to work with the windows and daylight. I didn't work with the single window to left or right for the Rembrandt look I almost exclusively use. I have a favorite wall that is a corner with a window along the wall and a smaller window on the opposite wall. It makes no logical sense to shoot this way, but I am finding I love the shapes it creates on a face.
I am finding I love the thought of moving even further and further away from the idea of perfection. I guess my love for Wet Plate Collodion was an early indicator and now in a more subtle direction, how I am thinking of light. It maybe isn't even the idea of perfection, but a more non traditional way of the use of light. I've often thought about how a painter sees light in so much of a different way a photographer does. Now into more than 30 years of photography on a series basis, I have only cracked the shell. It is all about being aware of subtlety. The art has been lost to see beyond the surface, to notice the delicacy, faintness underlying characteristic of what might be called a soul.
I will admit that this image for me didn't take the long road of study to notice how fantastic the light is upon the subject. But the tenuous ideas I have in my head regarding this subject certainly was the basis to my revelation.
What is life but shadows and light? Light creates shadows and shadows are created by our form.
