She’s one of my favorite dancers to have have watched on stage and to have worked with in the studio. I don’t normally show my work in such large chunks but I felt compelled to after working on these photos today.
After the jump no more words, just Arolyn.
Every light modifier generally falls under the blanket of being categorized as large or small, diffuse or specular with larger light sources usually being more diffuse and small light sources being more specular. The silver PLM from Paul C. Buff and friends is one of those light modifiers that says, “No, sir. No,” and carries on about its business as though those generalities did not exist. It is soft because of its size but specular because of the silver material giving it a look which is very unique and hard to describe.
A few months ago I discovered a show called [FRAMED], a show for educating photographers in our crazy ways exposing what’s going on behind the lens and in front of the camera. So often we see the results of the shoot but not the actual work that goes into it and watching how a photographer works can be just as revealing as the frames s/he produces. So head on over and see what you can learn about me!
I love this photo for a multitude of reasons. One of them is not for the technical virtues of the photo of which there are none: it isn’t sharp, it’s not well focused, the exposure is off, the histogram is pushed way right… I could really care less.
Dance is roughly separated into three different planes of activity which form the greater whole: time, space and energy. Photography compresses down the space and energy of dance into a fraction of a second and from it we can truly begin to see the examine the architecture of the body and the energy it exhibits. A major component of dance and thus dance photography is designing that very architecture and it’s something I’ve found I do on a rather subconscious level when working with dancers.
So first off, let me say that I chanced upon this video when visiting the website of one of my favorite photographers. With that out of the way, I’ll tell you this: I’ve been doing a lot of photography lately that features the female body in portraiture but I do not and will not shoot nudes for the sake of nudes. And in respects to that, no one has spoken these opinions and views so concisely as Linda Palma in this video.
Once upon a time, I choreographed a quartet during the fall that I hoped to continue on with during spring semester. Unfortunately, one of my dancers wasn’t going to be able to join us and I found out during intermission as it happened. I had noticed this beautiful dancer with jet black hair and impeccable technique and on a whim asked her to be in the continuation of my piece for spring during that same intermission. Her name was Karina and she happily agreed.
It’s always a tricky thing picking out what you think are your best exposures of the year. As much as I try to distance myself from my art it’s nearly impossible. There is emotion and love attached to my photos, a sense of care. And sometimes that can and does get in the way of a sound mind when selecting the absolute cream of the crop. So here is my best attempt to showcase what 2010 brought in front of my lens. These I consider to be my favorites and best of the year.
Read More
Welcome to a new series on the New Dance Project (a working title). In this space I will recount every dancer I’ve worked with and what they bring to this new essay of mine. We begin with Chelsea.
