Progress report on the cover project. Kind of. I tend to digress a lot.
First of all about why you should never waste an opportunity to take photos and then process them to get the most out of them.
So, I went to Caloundra (Sunshine Coast, Queensland) to do an initial meet with one of my prospective models, and happened to chance upon a location possibility I hadn't known existed. Logistically sensible, since the model lives close—and she has a family and small kids! So, had a look around and found some interesting possibilities.
Google maps shows the waterfront when the tide is out.
But the tide was in. No matter; the map image gives me an idea how much dry land (sand and flat rocks) there is when the tide is out, and being there showed me what we get when the tide is in.
So, this is a shot from some distance away of the location I'm interested in. The outcrop, high and low parts. Ideal for some great poses; and subjects can usually be easily isolated against water and sky.
So, that's where we'll go.
But wait, there's more! Maybe for shooting. Maybe not. But the loaction and another one just on the other side of that outcrop provides for some cool pictures anyway. Here are some of them. And not just of the land and sea. In Australia looking up is usually worthwhile when there are trees around—and not just so you don't get crapped on!
BTW, I tend to explore the possibilities of mono-chroming suggestive images as a matter of habit. You never know what comes out of it.
But back to models. The day before the Caloundra shoot I visited my prospective assassin model. I also have other uses for him, but when I went there "assassin" was on my mind. Gave him a pretend wakizsashi as a prop and we went into a small cinema in an apartment complex, shuffled some furniture about so that I had a clear shot at the black curtain on one side. Big French door/window let in a nice pane of light; so I turned off the flash and went with what was there.
As a long-term practitioner of Japanese swordcraft, I tend to forget just how hard it was to learn how to handle what is a very specialized weapon. Even if it's pretend, the action still has to be right, or else it just looks posed. And I want to make my covers looking un-posed. Which, as world-class wedding photographers like Gerry Ghionis will tell you, is really hard; especially if you do pose them. So, we ended up with a mini sword class for Graham, which eventually gave me an unintended shot; which in turn made me think of an 'action' cover pose/configuration that I hadn't thought before.
I may have mentioned before that the secret to good photography—and film-directing as well, as I know from experience—is not just skill and the ability to 'see', but also the willingness to embrace the unexpected and allow it to nudge your creative juices.
Anyway, here's Graham, in the pose that nudged my thinking into a different direction. That seems to happen a lot. I have a sneaking suspicion that with the women there's going to be a lot of that.