Tag: anne duffy

This is part twenty-one in a series of blogs on my photographic adventures in Todos Santos, Mexico.

It was almost exactly a year ago as I write this that my ZoeFest X adventure began. You’ll recall I received several emails from the incredibly talented photographer, Zoe Wiseman, about her annual artists retreat that would be taking place in Todos Santos, Mexico in the Fall.. After agreeing to her invitation, I clicked over to one of Zoe’s websites, ARTnudes network and began to investigate the portfolios of some of the international models who were also invited. I had some research to do and names to learn.

One of the first portfolios that jumped out at me was the work of Australian model Anne Duffy. It’s not exactly that I have a type of model I prefer to work with, but one look at my own portfolio reveals that I do have a penchant for photographing brunettes. Something about the contrast of hair and skin that rings my bells. And Anne is the brunette-iest of brunettes. With lovely porcelain skin. She immediately went to the top of my wish list months before I would arrive at ZoeFest.

When we all arrived in Baja six months later, I’ve mentioned that we all got a chance to meet and re-meet for those ZoeFest veterans, but the Aussies were delayed a bit coming from the other side of the planet. So late in fact that I was walking out of the party, just as they were all walking in. But a flood of mental snapshots flooded to the front of my brain as soon as I picked Anne out from within her group. Every bit as lovely as I imagined. Even for being jet-lagged.

A few days later, we caught up under less noisy circumstances and firmed up our plans to shoot together. Anne and Anoush, who I had photographed a few days earlier, were staying at Casa Bentley, another of the boutique hotels in Todos Santos that our group had taken over for the duration of ZoeFest. It was a lovely paradise, just down the road from where I was staying at Todos Santos Inn.

Driving to meet Anne at her hotel, I realized I had lingered a bit longer than I probably should have with Brooke after our tremendous shoot earlier in the day and arrived a few minutes late for my shoot with Anne. Luckily, she was also running a bit behind and I had a few minutes to catch my breath and collect my thoughts before we would begin. We were all of us, slowly melting into Baja-time. Always a few minutes late, but arriving in a delirious state of peace and relaxation.

Anne invited me into her beautiful little room snuggled under a huge shady tree. When I walked through the door, I had to laugh. After shooting with nude models all week, I was surprised to see what looked like a collision between two wardrobe trucks spread out from wall to wall. Anne caught my amusement and reminded me that she and many of the other models had arrived at ZoeFest, mid-world-tour, and they basically had to bring everything they owned to be ready for anything that might transpire at their gigs before and after ZoeFest.

Ah yes. I stood corrected.

And since I was standing ankle deep in some lovely couture, it seemed like a good idea to deviate from the literal meaning of an art nude shoot and consider accessorizing for a something different. So Anne and I started hunting through everything, looking for things that I thought might be interesting to work with. It was difficult only in that Anne has excellent taste and my sorted “good pile” was quickly becoming more of a mountain than we could possibly shoot in one afternoon.

Eventually we narrowed it down to a more reasonable collection. Now, what to start with?

I had planned to take Anne back to Casa Dracula to photograph her there, but since I had barely scratched the surface of Casa Bentley as a location during my shoots, I wanted to find something there before we moved up the road to Casa Dracula.

I started to focus in on a vintage black lingerie set that we had put aside. Then I noticed a period lounge sofa near one of her windows. Anne was reading my thoughts as she pulled a string of pearls out of one of her cases. And there it was. Our first set up.

I took a few meter readings and adjusted the blinds a bit to even out the light. I switched to a shorter lens that had been giving me some trouble a few days earlier on the trip, but was the right focal length for the size of the room. I decided to fight through it’s ill-tempered nature and try to make the best of it.

Anne reclined on the lounge and suddenly I was in 1940. She was stunning. I framed up a composition of her looking up and back over her shoulder… and… click…

A quick review of the first frame was perfect except for the fact that it was completely out of focus. I was shooting wide open with a small depth of field, but literally nothing was in focus in the entire frame. Another frame was the same. Hmmmm. It was going to be a battle I could tell. Perhaps it was the sand or the heat from a week of shooting Mexico, but this lens was not cooperating.

However, sometimes you can take a bad situation and turn it into a good one. I flipped off the autofocus, which clearly wasn’t communicating with the focus point I was selecting in the viewfinder and switched to manual.

You may be saying, “But Billy, why don’t you shoot in manual focus all the time? Isn’t that a more professional thing to do?”

Well, yes, I guess. But there are a lot of things to delegate in my head when I’m shooting. I’m looking for lines and angles and how they flow together in the composition. I’m watching my model’s face, getting into a rhythm with her as she poses and adjusts and gives me another. I’m absorbing the feeling she is emoting, making sure the photograph I’m making is capturing that essence.

I’m watching to see if the light is changing if I’m relying on the sun for illumination. Has it just gone behind a cloud? Do I need to slow my shutter speed to compensate? In fact, with the exception of focus, my camera is already set for completely manual operation. The ƒstop, shutter speed, ISO, color temperature and other camera settings are all set by me manually before I click the shutter.

Even the exact focus point in my viewfinder is something I’m choosing. When everything is working properly, I usually let the camera and lens do the math and make sure that exact point is in focus for me, so I can concentrate on everything else. Except when it doesn’t.

Years ago, when I was learning how to be a photographer, none of my cameras or lenses had autofocus. Some of those old film friends that I still occasionally use to this day are completely manual cameras. Shooting with them requires a slightly different rhythm. An extra beat to rotate the lens focus ring back and forth between each shot to confirm focus. It’s not necessarily a bad thing, it’s just a different pace.

So, since I was already standing in the 1940s world that Anne and I had created, I took a breath and slowed down. Anne adjusted to my extra beat and slowed her movement down as well. We were settling in at last. And the images were in focus.

About a dozen shots into the set, I was sure I had the photograph I was imagining and I shot another dozen or so, just to see if I had missed anything, but they really weren’t necessary. Anne was perfect and we had nailed it.

We packed up the rest of the couture pile and headed off up the hill to Casa Dracula. I had spent so much time there in the last week that I had already picked out a few places where I wanted to work with Anne. We headed upstairs to the survey the large and small bedrooms. The afternoon light was coming in the windows in a very inspiring way. Bright, but not direct, so the shadows would be subtle.

One of the pieces Anne had brought along was a vintage jacket with beautiful decorative fringe. It had a decidedly Mexican feel. Staying with the accessorizing theme, we decided to have her wear that instead of being completely nude. I could tell she really liked the jacket and I did as well. It just added a little something.

I had her sit on one of the beds in the large room, close to one of the open windows. I really love the flavor of light coming from a window like that. Directional, without being too harsh.

While setting up, I had misjudged my light reading and made a test exposure two ƒstops darker than I had originally wanted. Anne was almost invisible in the frame as I reviewed it, just a suggestion of light here and there to fill in her outline. A happy accident and I decided to keep the underexposed look for this setup, knowing I could most likely open it up a bit later in post if I changed my mind.

After the less than stellar performance of my uncooperative 50mm lens back at Casa Bently, I switched to my go-to lens for making beautiful portraits, a 100mm lens. I had much more space to work with now and could use something longer. Zoom with your feet, is one of my mottoes, and it was quite easy to find just the right composition by simply changing my distance from Anne in the large room.

After only about ten photographs, I once again felt we had the shot, but decided to continue a bit longer, making a dozen or so more photographs to give Anne a little time to explore before abruptly moving on. Always good to leave a little room for creative discovery when collaborating.

For the next set up, we continued with the jacket as Anne moved into one of the balcony doorways that overlooked the rear grounds. Still using my longer 100mm lens, I stepped into one of the adjacent bedrooms and photographed Anne through another doorway to give my compositions a little extra natural framing, which I like to do from time to time. I find it can give an image depth and it creates an interesting perspective for the viewer.

Anne continued to be wonderful. She gave me a series of natural poses that enhanced her smoldering beauty. I was having a difficult time deciding whether I preferred her looking directly at the camera or averting her gaze to something outside of the frame. Both options were gorgeous. Looking directly is always a more intimate relationship with the viewer, sometimes more than what I’m looking for, but her stare is so arresting that it just pulls you into the image in a very powerful way. I decided to shoot both and decide later.

We moved to another of the bedrooms where I had mentally reserved a smallish round chair near one of Casa Dracula’s front arched balcony doorways near a very plain wall. Beautiful soft light was entering the room once again and I told Anne I wanted her to try coming up with something acrobatic on this particular chair.

She looked at the chair, thought for a moment and figured it out in short order. As she inverted herself, carefully balancing on the none to stable chair, she beautifully arranged her limbs in a complementary direction that only a model of Anne’s caliber can do without looking, and upside down to boot. Making it all feel effortless.

After a few minutes of the blood rushing to her head, I had her return to vertical again and she found more lovely subtle poses as I made another dozen or so photographs. Another success.

We moved into yet another of the second floor bedrooms near where I had photographed Keira in the red mosquito netting. One of the beds in that room was against a slightly distressed wall painted in a very dark green. I thought Anne’s beautiful pale skin would be a strong contrast for the dark wall and she continued to find exquisite positions to stand and lean as I balanced my compositions with her inspiring movement.

I was feeling very satisfied with what we had done and asked Anne if she was ready to call it a day. It was a hot afternoon as usual and I try to avoid melting the models whenever possible.

“Really?”, she asked, surprised that I was considering stopping. “I have this other piece you might find interesting.”

She pulled out what I can only describe as a inventively knitted spiderweb and held it up in front of her. No, we were suddenly definitely not done shooting for the day.

“Ooh. Let’s head back outside for this one,” I suggested.

We returned to a location I had now photographed several times already on the grounds of Casa Dracula, but as is the case in Todos Santos at these magnificent locations, the light at different times of day reveal entirely different looks depending on where the sun is in the sky. Now nearing late afternoon, the wall was completely in the shade and where Anne was beginning to get set up, a sublime soft overhead light was doing wonders for the glow of her skin. Splendid soft illumination.

Anne against the gray wall was almost already monochromatic in its look even with my own eyes. Where some of the photographs of Anne in the bedroom I definitely knew would be color images, these I knew would be B&W.

Anne continued to find lovely poses in the empty environment. Sometimes balancing on one leg in the same effortless way I had grown used to seeing. We continued to work as I changed my distance from her a few times, experimenting by adding some natural elements into the composition besides the wall. But it was clear Anne needed nothing else to create a compelling image. Once more, beauty in simplicity.

Finally, we did call it a day and I was thrilled that I finally had a chance to collaborate with the first model whose portfolio had jumped out at me six months earlier. Anne was incredible to work with. A captivating beauty with a strong sense of who she is. I was very pleased we had decided to explore her traveling wardrobe. Something different for one of my final shoots at ZoeFest.

Thank you Anne for dragging so many suitcases so many miles. It was worth it.

Next, a slight detour from shooting as I accidentally damage the rental car.