Four more images from my series with K.T. at Land’s End. It’s funny how when you’re shooting, sometimes you’re so in the moment of doing it, you don’t realize the parallels you’re creating. In this first pair, the parallel is obvious.

We had an interesting space to work in, so I had him turn and repeat his pose both front and back. I was thinking of exploiting the cubic volume of the collapsed structure, and contrasting the rectilinear forms of the structure with the organic ones of the body.

The reclining poses are similar as well, but in a less obvious way because the backgrounds are different, as is the placement/emphasis on the figure. In the tree figure, the human form is front-and-center, definitely the main subject of the image. The coarseness of the bark and the wild gnarls of the branches contrast with the contained, orderly, smooth human body draped over them. In the surfside image, the human figure is very much present, and the focal point around which the image is structured, but it blends in to the scene both tonally and formally.

Last but not least, I thought I’d make a diptych out of the two foyer shots, since they so harmonize with each other. I know I wasn’t thinking “Gee, let’s make a diptych out of this!”, or at least not like THIS, when I took them. Back when I took these, I thought almost exclusively as a single-image shooter. Each image was a discreet entity, even if part of a narrative series. So I certainly shot them to be a pair, but I would have envisioned hanging them side by side in separate frames. Funny how serendipity works, isn’t it?