As someone practiced in film photography for decades before the advent of digital camera technologies, it still sometimes stuns me the amount of information that a good modern camera can record. Such was the case the other day with this image of Leigh sitting on the edge of our front landing admiring one of the most stunning sunsets we’ve seen recently. It’s a shot that would have been impossible to capture in a single frame of film.
TECHNICAL DETAILS Leigh Making a Watercolor of a Sweet Potato, 2020Sony A7iiiSony Zeiss 16-35 f/4 G OSSISO 100, 16mm, f/11 at various exposures, blendedNatural light EASTER MORNING LIGHT We are home bound, COVID’ed into place in Centerville amid the pandemic, boxed […]
For some time, I had wanted to shoot a portrait of my wife, Leigh Beatty, working in her print-making studio in our basement. It’s a place of equal and endless interest for me and for our cats, who always lurk outside her door when she’s working, ready bolt in and flop on the floor at the slightest opportunity. They aren’t allowed in. I don’t go in, either, except for occasional trips to a storage closet in her space that holds winter clothing. Or when she’s working and I need to talk about something. But the visits are strictly needs-based and furtive.
Every now and then I’m struck with the notion of revisiting an old image. It could be from years ago. I just want to reinterpret the scene. Perhaps it’s because something never satisfied me about my original presentation, or maybe my tastes changed, or possibly just because I want to look at it with a different perspective.
