But to sit in the valley, to gaze up at their majesty.
Each path, your journey, guided by the greeting of the mountains.
They soar so high to dance in clouds. They bow a welcome, beckoning.
Both sky and river meet as only they know how.
As they caress down mountainsides to worship with the mornin’ dew.
Seven years is a long time not to see someone. To be away from your homeland for seven years one would think that so much would have changed and yet I find myself back exactly where I left off when I was here last time, after my high school graduation.
On occasion I look and see that yes, my cousin isn’t 2 years old anymore but is a fun, lively school girl. I notice that my aunt’s still the kind sweet soul she always was but with a tad more gray hair and a certain sadness that has now crept in the corners of her eyes. My grandma, still sturdy and strong, has eyes that are cloudier than they used to be.
But above all else, I notice how my family in Bulgaria is so resilient, so unmoving, so full of life. There’s a simplicity to everything they do and it has been a joy to witness and to be reminded that there’s happiness in the smaller things of life.
I had the great pleasure of working with Noelle (my fabulous hair stylist) and Elle from Aura Hair & Makeup who did the hair & makeup for my shoot. My wonderful model Joyce was so amazing and I cannot wait to show you our pictures soon. For now, here’s one to hold you over until my full post.
It is no secret the a photographer’s greatest asset is the light, whether it be the natural or artificial, studio or outdoors.
I, myself, prefer the outdoors. It’s even, lights well, and never fails. And hell, if it rains, that could work, too.
But most of all, I love shadows. Not the harsh, ugly kind on someone’s face when they are shot at high noon, the sun blazing overhead. But the dramatic shadows of the late afternoon.
The bro and I decided to head out to a local cemetery and shoot there. I had this idea about repetition and drama and it was very fortuitous that the light at this particular spot worked out so well.
It was just beginning to set when Anton and I went up on this hill and shot around it, then as the shadows grew longer we moved to two spots that worked so well. One was on the right side of this marble structure where the light was still bright and well lit.
I shot from above adding to the dramatic effect and the result I think was quite nice.
On the other side of it was mostly in shadow and the reverse had happened where slivers of light shone over the grass and graves. I had Anton walk through the light and the effect was an altogether different kind of drama.
And as the sun dipped even lower I shot from below, the shadows stretching towards me, as Anton channeled that GQ suave.
The war between humanity and Faerie devastated both sides. Or so 15-year-old Liza has been told. Nothing has been seen or heard from Faerie since, and Liza’s world bears the scars of its encounter with magic. Trees move with sinister intention, and the town Liza calls home is surrounded by a forest that threatens to harm all those who wander into it. Then Liza discovers she has the Faerie ability to see—into the past, into the future—and she has no choice but to flee her town. Liza’s quest will take her into Faerie and back again, and what she finds along the way may be the key to healing both worlds.
It’s all about the hands. The slight change of hand can alter the feeling of the message. Take for example these images, all from the same shoot.
On the right, the hand at the chin gives this image a more delicate feel. The middle image is more ladylike than the left, relaxed look of the model. All because of where the hands are.
Next time you shoot a portrait of a person take a look at their hands, or have them place their hands somewhere else other than on hips (I do that a lot, too). What would your picture look like if your subject has their arms crossed, or if brushing their hair back, or resting on the wall at their side?