They say that photography is all about the light. I think it is about a lot of elements, just one of which is light. Still, each time I pick up a camera I am re-introduced to the light and I learn more about how we can work together in the most creative and effective manner. It is as if the light has a personality - it can be strong and harsh, it can be soft and delicate (and many ways in between). And the personality of the light can affect the nature of an image and our responses to the image.
Of course, our subjects have personalities, as well, and these can be revealed in different ways, depending on the light. But sometimes, the strength of our subject's character remains prominent and consistent no matter how it is lit. What is clear is that as we make our images together, we, our subjects, and the light engage in a complicated, ever-changing dance together.
The light is an unforgiving teacher in the early morning hours of damp, Carnivale mornings, changing its personality and requiring flexibility and patience to work with it, to dance with it. Early on, before the sun has risen, the light is grayish and quite cold. It mirrors how cold all of us who are out, performers of photographers, feel. We are chilly and our images can be, too. As the sun rises, the light becomes friendlier, warming dramatically to give a more golden appearance. Our fingers thaw and the light thaws, as well. The quality of this light, in turn, changes the emotional "feel" of the image we are creating.
As I was looking at our images, these issues about character and light and the photographer's partnership with them seemed prominent in a series we took with a particularly compelling performer. The first image was taken earlier...
Certainly, this is a dramatic look - a direct pose and those eyes - well, they are such an odd color that you are both repelled by them and drawn to them. The idea of matching one's eye color to one's costume is an interesting creative decision that certainly draws you in. They are almost reptilian. You can't stop looking. She seems a little scary.
Over and above the nature of the eyes, to me, the overall effect of this image is that it seems harsh and distant, in part because of the coldness of the light. In this light the colors are cooler, for example, the white mask has a blueish tinge. Despite the performer's head-on view, the effect (both physical and emotional) seems one of distance and discomfort.
This image was taken a little later, as the sun was rising...
In this image, of course, the pose is different as well as the light, and both of those elements effect the viewer's perception and experience. The eyes remain dramatic: The color seems even more apparent and in a way it seems more dramatically disconcerting. But overall, in this image the colors are much warmer and softer - the white mask has a warmer tone to it. While this image still seems disturbing - there is no getting around the oddness of the eyes - there is a way in which she seems a little less harsh and somewhat more inviting.
It is true that no matter what the nature of the light, this character remains a puzzle and she evokes puzzling emotional responses. In part this is related to the combined effect of the beauty of her costume with the incongruity of her eyes. Her appearance is disconcertingly lovely, but in both cold and warm lights, I still feel a little frightened of her.
In the end, the strength of her character overshadows the character of the light, in an effect that is troubling but captivating. In this instance, she is the leader in our morning waltz with the light. She has been an interesting partner. I still think about her. I am pleased to have had the opportunity be part of her dance.
