Return to form work

When Mark first approached me about doing a form session I was not sure what he meant. He then sent me some previous work he has done and I was immediately intrigued. The photos of the Greek sculpture-like bodies drew me in. Although I was asked to do the shoot Mark, as usual, left me completely in charge. I was completely comfortable the entire time and excited to see the results…which were AMAZING! Seeing just body parts captured in that way is amazing to see. All the hard work from training of each little groove and cut was caught on camera. I’m already looking forward to the next one. – Amira

The human form is a thing of absolute beauty to me. I am endlessly fascinated by the way it works, how it moves and the million little details that are unique to each of us. To elevate a single form to a work of art is the ultimate experience in my eyes. Any chance anyone gives me to explore, document, and bring out the beauty that is the human body is chance I’ll gladly accept.

form 3
form 3

Form work – at it’s essence – is all about the human form. There is no face in the images as the appearance of one, or any identifying mark, makes it immediately about the individual. Nor is it in any way pornographic. It’s not about showing the “naughty bits” at all. I actually like it when viewers think they are seeing one thing when they actually are seeing something entirely different.

Amira gave me that chance recently. Admittedly, it has been more than a number of years since I last tried my hands at such art – since my BFA days lo those many years ago. So, to be open and honest here, I was more than a little nervous. Would I remember how to do it? Would I be able to find those quiet little moments in the most unexpected places again? Would my uncertainty make her feel uncomfortable?

Well, after a discussion about what to expect, how I worked, and answering any questions she had, we got into it. For the model the hardest part was just being able to relax. I have a system of working. She would move this or that and I’d move the lights into a position that causes the light to “drag” across the body, creating the effect I need. Then I’d move around the subject looking for the interplay of light and shadow.

I use photofloods – aka “hot lights” – so she was comfortable temperature-wise and I could see what was going on. At first I was timid and uncertain as I was more than a bit rusty. Then I started to see things and photographed them which boosted my confidence which in turn allowed me to explore more. Soon I was back in business. – apparently the old adage about riding a bike still holds true.

Amira was wonderful. We talked and joke while I moved and shot, moved and shot. She didn’t hesitate when asked to move something. There was more than a couple times where the camera would be inches away from something and she didn’t twitch. This is why I love doing this kind of work with someone I’ve worked with a few times as it takes a good dose of trust and confidence from both parties. Not to mention she is a Greek goddess ;-).

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