Took a class last summer from Connie Imboden www.connieimboden.com She believes that you need to “push in” and find the photograph that is part of the body. She likes the kind of photograph that is mostly line and light without being immediately apparent what part of the body you are looking at. The results for me (I tend toward photographs full-body) were interesting. Satisfying. Pushed my limits. Good. See what you think.
It should be obvious, by now, that I’m doing a series of red photos. Why? When it comes to fine art nudes, it’s hard to top the old classic black and white photos that we all love and remember. Those black and white images are removed from reality (we don’t see in black and white) forcing us to think about shape and light rather than skin tone and body form. With that in mind, I wanted to try color that wasn’t literal. Red seemed a good place to start.
This photo was taken on a light table with three lights, one covered with a red gel. The second figure is actually a reflection from the light table. In this kind of set-up, you’re forced to get in close because you don’t want to catch any of the table or the lights in the picture. Means you have to simplify the compostion to minimal elements, which is the charm.
This one prints medium to small, works well with a black or white matt and has sold repeatedly. Done in series of 25 with only a few numbers remaining.
I think it hangs best any place where a punch of red works.