Close
A portrait essay about proximity, trust, and how a room changes when the camera stops performing and starts paying attention.
Some portraits are made out of arrangement. The ones I keep tend to come from the moment after arrangement has already failed.
The room was dim and one window was carrying almost all of the scene. That kind of light always makes me more careful because it gives the file less room for nonsense. Fujifilm handles that transition from shadow to skin particularly well when I do not get in its way.
She leaned in, not dramatically, just enough to let the frame stop feeling observational and start feeling shared. The portrait held because it had no ambition beyond being accurate for a second.
I have made more elaborate portraits that mean less. Simplicity gets sentimental very quickly in photography, but sometimes the plain version is simply the correct one.