Numfar
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I'll toss this out there, regarding the foot: It may not be far enough into the black. Given that the light/medium grey transition crosses the leg (on the left), It could be argued that the black/light grey transition should cross the other foot, bringing the blunted triangle through the body, and creating another triangle in the image.
But, heh - the true answer is that I give my models a fairly free reign in moving, as I prefer to get more natural looks than if I posed them. In fact, I don't really let my models pose - they have to model (ie, move) all the time. The benefit is (hopefully) images where the body looks more natural, but the trade off is lack of micro positioning control. So I block out a position and area, and then give the model permission to work the entire area. So, we get things that are just a smidge off. Here, with a very new model with little experience, I got an almost perfect (imo) light, weightless, ballet-esque arm, with a gorgeous hand, and great expression. That's why I chose this frame from the set. The leg doesn't bother me, and in fact, I kind of like it. But it wasn't directly intentional. There are frames when it's fully in white, and in fact, that's how we started.
What actually bothers me a smidge about this image is the shadow on the back arm (between elbo and shoulder). In a perfect world, I'd have frozen her, and moved that arm forward to catch the main light. But she really didn't do nearly as well with directed movement and positioning as she did with free form modelling, following some basic guidelines (one of which was 'the perfect hand', that I'd shown her earlier in the night and she nailed here).
Anyway, that's how the black foot came about. I worked hard in post to keep the separation enough for print. Hopefully that works.
How'd the image come about? Well, I have black plexiglass which I was going to lay down for the black and white look. That was the plan. But when I pulled the plexi out, it was scuffed, and I didn't bring any windex or other cleaner. So I put it back, thinking my 'black and white' shot wouldn't happen, when I saw the black foamcore my studio partner uses as part of a big softbox that he builds for some of his art stuff. I couldn't put it down, as it isn't reflective, so I thought I'd just stand it proud from the seamless and do a vertical b&w shot, in place of the horizontal one I was originally planning.
As I was lighting it, I realized I could get a shadow effect on the seamless due to the place of the main light and the foam core. This only sort of worked (I had to enhance it in post), but at least that happy accident gave me the idea to do it.
I was going to make this a colour shot (I rarely shoot to black and white with pre-intent), but when the model came out and Mallory had done this hair style, it looked SO wickedly retro, and given the wardrobe (just off-white top and black skirt, I changed gears and decided to take it to black and white. This meant I could harden up the main light - which, given her cheekbones and jaw, ended up working out pleasantly.
So that's the progression of the original shot. That said, when I was processing it, the shot (well, pose and wardrobe, more than anything) reminded me of Avedon's Elephant shot, which I first saw about a month or two ago in a magazine. Was it in my mind when I set this up? Not on the surface, but it certainly could have influenced me. And it certainly did influence my choice of the art-deco style font.
As for the Soviet Propaganda posters which Chris posted - I very much didn't have them in mind - but I have seen a LOT of that style of poster (not these in particular), and in fact, have emulated them in other work (my soviet propaganda poster, for example!). So while also not consciously on my mind, could they have been a subtle influence? Sure!
And yep, from Halifax. =)
Brent
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