Geez. Some interesting commentary yesterday, ranging from feminine physiques to Photoshop to posing to pixels. In the interests of advancing information here’s a production snap from the lagoon, taken by our buds Rob and Jen Lace. There’s another version of the shot below.
Hopefully these snaps confirm a few things. A) Sara does have a left arm. B) She is on an island of sorts. C) The c-stand used in this picture is still sort of rusted out and has a hint of a sulfur smell. D) We are on location and I didn’t shoot this on a green screen. E) It’s only the combination of the lens and the angle of the above production picture that makes me look like Shamu wearing a cap:-)
Here’s another pose of her on the rock, sans, jacket. I didn’t like the pic nearly as well. In fact, for all the debate about her positioning, I have to say, I loved it. When she curled up, somewhat impossibly, on that rock, she balanced the frame and became a counterpoint to the lighthouse, graphically. It’s one of my favorite pics in the new book. This one below, not so much. But folks might like this. Or not. It’s okay. That’s the eternal beauty and damnation of photography. There’s no real right or wrong.
But there is passion, that’s for sure. Lots of people had interesting takes, and some advice, some of it even sort of medical. (Talk of extended or flexible hip joints and the like.) The fact is, I have often asked people to curl up, contort, or curve for a picture, for all sorts of reasons. There was Mary Ellen Clark, the famous diver. I shot her nude for LIFE, and this pose, a simulated tuck, was a good way of making sure, as she put it, nothing was hanging out.
Then of course, there was Pilobolus. But, this sort of contortion is cheating really, ’cause this is what they do.
I asked Jada Pinkett Smith, somewhat improbably, to hug a wall.
And Michelle Yeoh to crawl across the desert floor.
And the basketball giant Greg Oden to bend way over to fit into a frame. And then I gave him a tiny basketball to make him seem even more outsized than he is.
Also, the whole idea of incongruity is one I’ve been in love with since momma dropped my on my head. I like taking disparate physical elements and placing them together, in unlikely context to each other, in hopes of creating something serenely surreal and beautiful. Or just plain odd. (Why is she on a rock in a lagoon? I don’t know.) The idea is to arrest the eye of the viewer. I took, for instance, this homespun clad, magnificently voiced trio from the New York City Opera into a Japanese pachinko parlor during the opera’s historic tour of Japan. They were styled for “Little Women,” a quintessentially American opera. So, I took them someplace quintessentially Japanese. The fun thing? These folks are in full throttle, singing beautifully in the parlor. Not a single person even looked up from their game.Wonderful.
This whole thing is about having a restless eye, one that is never patient, or self-satisfied. One that keeps pushing, and is happier thinking about what it will see next than it is dwelling on that which it has already seen. Win, lose or draw, the eye has to be an ever hungry hunter.
There was lots of talk, as there always is, about the pixels and the PSD and various digital whatnot. That’s okay, too. It’s important to discuss and assimilate the mechanics of all this. But it’s important to remember that the how exists only to serve the why. The how addresses the infernal machine, and the bells, whistles and dials. But the why is the real deal. Why pick up a camera at all? Why do we let ourselves in for all this frustration in the first place? Why go to the lagoon in the freezing cold? (That coffee house was much more comfortable.) There’s a ton of “how to” in Sketching Light,” but the larger, more important discussions dwell on the why of all of this.
It’s important to dive into the mechanics, to be sure. But not too far. When we pick up every pixel, and hold it up to a magnifying glass, looking at it every which way, like a precious bauble we just found during a walk on the beach, it is self defeating, not to mention boring as shit. There’s an old phrase that describes that type of discussion and examination. I can’t remember it exactly, but it has something to do with the forest and the trees.