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This blog post talks about the inspiration behind this new self-portrait, how it was created, and I included a .gif of all my poses during the shoot. I felt really connected to this concept of the pull between light vs. dark, good vs. evil, right vs. wrong. There is always something to be learned or examined when opposites are at play.
www.promotingpassion.com/creating-the-shadows-we-follow/
Plus I got to fling a bunch of flour around my patio while wearing a bed sheet while everyone else was watching the super bowl, which is always a good time
Scarlett agreed to model for me tonight, a very rare occurrence and I don't think she likes the OTT processing :o( Anyway, View On White
Lighting: diagram here
2x Interfit EX150 onto background
Canon 580EXII into DIY beauty dish from directly above
Fill from bounce off light walls
Fired by Pocket Wizards
Helping a local model with some magazine submission material.
Model: Kayla Heathcote
MUA/Hair: Xoe
Strobist: AB800 boomed overhead with medium gridded softbox, SB26 cto'd camera right behind model.
Wellington, NZ.
"Finally finished! I hope you enjoyed the process. The completed painting of the sleeping character Elpida, is inspired by the portrait of blind poet / writer Barbara Blackman. Signifying the twilight state between dream-sleep and reality, the flickering candle in the dark room represents hope." ~Tomitheos
>> View LARGER on Black Background <<
The painting process:
Copyright © 2011 Tomitheos Art and Photography - All Rights Reserved
My hotel room in Bangkok.
Very nice but I missed the palm trees...
© All rights reserved
You may reproduce this photograph for personal, educational, non-commercial and non-Internet use, such as in a local photo club newsletter or school project. No Internet publishing is permitted. For commercial use, please ask me for permission, and larger size.
In the velvet hush of twilight chambers, she reclines as a siren sculpted from midnight's own ink—a cascade of electric purple locks framing eyes that pierce the soul, her flesh a canvas of arcane tattoos whispering forbidden verses across silken skin. Adorned in sheer obsidian stockings that climb like shadows up divine limbs, she cradles amethyst drapery against her voluptuous form, a goddess unveiling infinity's temptations, her gaze a hypnotic altar demanding worship, every curve a hymn to untamed splendor and primal allure.
Scarlett still doesn't like it and to be honest, I don't either but I was learning skin smoothing techniques and having some fun.
Lighting:
2x Interfit EX150 onto background
Canon 580EXII into DIY beauty dish from directly above
Filled from light from background bouncing from light walls
Fired by Pocket Wizards
My interpretation is:
1) that the pigtail fluorescents are intended to place the scene in the present-day here-and-now, and
2) that the bedsheets and electric fans are for thinking about the hot Americans that yet lack air conditioning in their homes, writhingly uncomfortable and sleepless on sweat-soaked bedsheets during contemporary heatwaves.
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In downtown Upper Sandusky, Ohio, on May 30th, 2011, along the west side of South Sandusky Avenue (Ohio Route 199), north of West Johnson Street.
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Library of Congress classification ideas:
NA3020 Show windows—United States—Pictorial works.
TX315 Sheets—Pictorial works.
TJ960 Fans (Machinery)—Pictorial works.
TK4386 Fluorescent lamps—Pictorial works.
F499.U6 Upper Sandusky (Ohio)—Pictorial works.
I love this shot of Scarlett but I don't think she's as keen.
Lighting: diagram here
2x Interfit EX150 onto background
Canon 580EXII into DIY beauty dish from directly above
Fill from bounce off light walls
Fired by Pocket Wizards
Lighting: diagram here
2x Interfit EX150 onto background
Canon 580EXII into DIY beauty dish from directly above
Fill from bounce off light walls
Fired by Pocket Wizards
Or maybe this is my fave. I dunno.
Lighting:
2x Interfit EX150 onto background
Canon 580EXII into DIY beauty dish from directly above
Filled from light from background bouncing from light walls
Fired by Pocket Wizards
We had a good, short and sweet session the other night and I decided to keep nearly all of them. I realise that the portraits aren't everybody's cup of tea (including Scarlett) but it was more an exercise in trying out the DIY beauty dish and trying some new processing techniques. Some of them are OTT even for my tastes but it is just experimental and can be toned down and made much more natural very easily.
Lighting: diagram here
2x Interfit EX150 onto background
Canon 580EXII into DIY beauty dish from directly above
Fill from bounce off light walls
Fired by Pocket Wizards
Probably my favourite of Scarlett from this session!
Lighting:
2x Interfit EX150 onto background
Canon 580EXII into DIY beauty dish from directly above
Filled from light from background bouncing from light walls
Fired by Pocket Wizards
Premium white bed sheets give your room look unique. These cotton white sheets make an ideal sleeping experience. There are various designs and patterns available in this sheet. Click online store where you can easily get white bedsheet at pocket friendly prices. See more comfortbeddings.in/collections/white-bed-sheets
Choose the white bed sheets is a great idea for a bedroom because bed sheets make a bedding surface is comfortable and relaxing. White color is indicate to peace so if you want to enjoy the good night seep then choose the white sheets. They are available in online stores and you can easily buy at very cheap prices according to your choice. See more comfortbeddings.in/collections/white-bed-sheets
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Make the stylish & luxury to your bedroom with cozy white bed sheets range from Comfort Beddings India. comfortbeddings.in/collections/white-bed-sheets
Betye Saar
Mixed media including vintage ironing board, flat iron, chain, white bedsheet, wooden clothespins and rope
The surface of the ironing board depicts an eighteenth-century diagram of the British slave ship Brookes. This image was circulated by abolitionists to highlight the inhumane conditions under which enslaved people were being transported. The iron, shackled to the board, symbolises the dehumanising acts of enslavers. Behind, a white cotton sheet hangs embroidered with the letters “KKK” recalling the garments worn by the American white supremacist hate group the Ku Klux Klan, founded in 1865.*
Constructing Whiteness
The scarcity of cotton during the American Civil War (1861–65) was disastrous for the British textiles industry, upon which around a sixth of the English population were dependent for their livelihoods. The crisis reveals the extent to which, post-abolition, the British economy relied upon slave labour in the Southern States. Betye Saar is a Los-Angeles based artist. Saar’s assemblage ‘I’ll Bend But I Will Not Break’ (1998) links the legacies of enslavement in the USA to the oppressive conditions under which Black women continued to work in a segregated society into the twentieth century, until segregation laws were challenged by the Civil Rights Movement of the 1950s and 1960s.
In early twentieth-century India, ‘khadi’ cotton became an important site of resistance to British colonial rule, promoted by Mahatma Gandhi as a means of taking back economic control through home-spun rather than imported British cloth.
During the same period in Britain, growing conservatism within the Royal Academy towards avant-garde artistic movements led some Academicians to resign. Frederick Elwell’s painting ‘The Royal Academy Selection and Hanging Committee 1938’ (1939) points to an institutional whiteness that persisted post-war. Artists of the Windrush generation and after – referred to by the Jamaican-British cultural theorist Stuart Hall as “the first postcolonials” – faced a lack of representation in museums and visual culture.
Artists associated with the Black Arts Movement in Britain during the early 1980s, including Sonia Boyce, transformed the artistic, academic and cultural landscape, and are today among Britain’s most celebrated artists.*
From the exhibition
Entangled Pasts, 1768–now: Art, Colonialism and Change
(February - April 2024)
‘Entangled Pasts’ explores connections between art associated with the Royal Academy of Arts and Britain’s colonial histories. At its founding by artists in 1768, under King George III, the institution’s first President, Joshua Reynolds, called the RA an ‘ornament’ to Britain’s empire. For over 250 years, artists and architects active in Britain have experienced and expressed divergent relationships to imperial histories. Individually, through families and via patrons, the links are innumerable and entwined. Today, the legacies of colonial histories continue to form part of the fabric of everyday life, physically and emotionally, across social, economic, cultural and political fields both national and global.
Works of art have always been agents of change, flashpoints of debate and producers of fluctuating meanings. A painting, sculpture, drawing, print, film or poem can act as a powerful lens through which complex situations can be viewed and nuanced understandings of them can emerge. ‘Entangled Pasts’ brings together 100 artworks to explore the role of art in shaping narratives of empire, colonialism, enslavement, resistance, abolition and indenture. An exhibition on this vast and complex subject is necessarily a partial, fragmentary view. Moments of history are refracted through the eyes of artists, especially contemporary British artists of the African, Caribbean and South Asian diasporas.
These artworks can represent only a fraction of the institution’s colonial links and the unfolding legacies of British colonialism around the world. Yet, in the visual and conceptual resonances between them, there exists a space for contemplation, inquiry, acknowledgement, reflection, imagination and ongoing conversations..
[*Royal Academy]
Taken at the Royal Academy
Betye Saar
Mixed media including vintage ironing board, flat iron, chain, white bedsheet, wooden clothespins and rope
The surface of the ironing board depicts an eighteenth-century diagram of the British slave ship Brookes. This image was circulated by abolitionists to highlight the inhumane conditions under which enslaved people were being transported. The iron, shackled to the board, symbolises the dehumanising acts of enslavers. Behind, a white cotton sheet hangs embroidered with the letters “KKK” recalling the garments worn by the American white supremacist hate group the Ku Klux Klan, founded in 1865.*
Constructing Whiteness
The scarcity of cotton during the American Civil War (1861–65) was disastrous for the British textiles industry, upon which around a sixth of the English population were dependent for their livelihoods. The crisis reveals the extent to which, post-abolition, the British economy relied upon slave labour in the Southern States. Betye Saar is a Los-Angeles based artist. Saar’s assemblage ‘I’ll Bend But I Will Not Break’ (1998) links the legacies of enslavement in the USA to the oppressive conditions under which Black women continued to work in a segregated society into the twentieth century, until segregation laws were challenged by the Civil Rights Movement of the 1950s and 1960s.
In early twentieth-century India, ‘khadi’ cotton became an important site of resistance to British colonial rule, promoted by Mahatma Gandhi as a means of taking back economic control through home-spun rather than imported British cloth.
During the same period in Britain, growing conservatism within the Royal Academy towards avant-garde artistic movements led some Academicians to resign. Frederick Elwell’s painting ‘The Royal Academy Selection and Hanging Committee 1938’ (1939) points to an institutional whiteness that persisted post-war. Artists of the Windrush generation and after – referred to by the Jamaican-British cultural theorist Stuart Hall as “the first postcolonials” – faced a lack of representation in museums and visual culture.
Artists associated with the Black Arts Movement in Britain during the early 1980s, including Sonia Boyce, transformed the artistic, academic and cultural landscape, and are today among Britain’s most celebrated artists.*
From the exhibition
Entangled Pasts, 1768–now: Art, Colonialism and Change
(February - April 2024)
‘Entangled Pasts’ explores connections between art associated with the Royal Academy of Arts and Britain’s colonial histories. At its founding by artists in 1768, under King George III, the institution’s first President, Joshua Reynolds, called the RA an ‘ornament’ to Britain’s empire. For over 250 years, artists and architects active in Britain have experienced and expressed divergent relationships to imperial histories. Individually, through families and via patrons, the links are innumerable and entwined. Today, the legacies of colonial histories continue to form part of the fabric of everyday life, physically and emotionally, across social, economic, cultural and political fields both national and global.
Works of art have always been agents of change, flashpoints of debate and producers of fluctuating meanings. A painting, sculpture, drawing, print, film or poem can act as a powerful lens through which complex situations can be viewed and nuanced understandings of them can emerge. ‘Entangled Pasts’ brings together 100 artworks to explore the role of art in shaping narratives of empire, colonialism, enslavement, resistance, abolition and indenture. An exhibition on this vast and complex subject is necessarily a partial, fragmentary view. Moments of history are refracted through the eyes of artists, especially contemporary British artists of the African, Caribbean and South Asian diasporas.
These artworks can represent only a fraction of the institution’s colonial links and the unfolding legacies of British colonialism around the world. Yet, in the visual and conceptual resonances between them, there exists a space for contemplation, inquiry, acknowledgement, reflection, imagination and ongoing conversations..
[*Royal Academy]
Taken at the Royal Academy
Betye Saar
Mixed media including vintage ironing board, flat iron, chain, white bedsheet, wooden clothespins and rope
The surface of the ironing board depicts an eighteenth-century diagram of the British slave ship Brookes. This image was circulated by abolitionists to highlight the inhumane conditions under which enslaved people were being transported. The iron, shackled to the board, symbolises the dehumanising acts of enslavers. Behind, a white cotton sheet hangs embroidered with the letters “KKK” recalling the garments worn by the American white supremacist hate group the Ku Klux Klan, founded in 1865.*
Constructing Whiteness
The scarcity of cotton during the American Civil War (1861–65) was disastrous for the British textiles industry, upon which around a sixth of the English population were dependent for their livelihoods. The crisis reveals the extent to which, post-abolition, the British economy relied upon slave labour in the Southern States. Betye Saar is a Los-Angeles based artist. Saar’s assemblage ‘I’ll Bend But I Will Not Break’ (1998) links the legacies of enslavement in the USA to the oppressive conditions under which Black women continued to work in a segregated society into the twentieth century, until segregation laws were challenged by the Civil Rights Movement of the 1950s and 1960s.
In early twentieth-century India, ‘khadi’ cotton became an important site of resistance to British colonial rule, promoted by Mahatma Gandhi as a means of taking back economic control through home-spun rather than imported British cloth.
During the same period in Britain, growing conservatism within the Royal Academy towards avant-garde artistic movements led some Academicians to resign. Frederick Elwell’s painting ‘The Royal Academy Selection and Hanging Committee 1938’ (1939) points to an institutional whiteness that persisted post-war. Artists of the Windrush generation and after – referred to by the Jamaican-British cultural theorist Stuart Hall as “the first postcolonials” – faced a lack of representation in museums and visual culture.
Artists associated with the Black Arts Movement in Britain during the early 1980s, including Sonia Boyce, transformed the artistic, academic and cultural landscape, and are today among Britain’s most celebrated artists.*
From the exhibition
Entangled Pasts, 1768–now: Art, Colonialism and Change
(February - April 2024)
‘Entangled Pasts’ explores connections between art associated with the Royal Academy of Arts and Britain’s colonial histories. At its founding by artists in 1768, under King George III, the institution’s first President, Joshua Reynolds, called the RA an ‘ornament’ to Britain’s empire. For over 250 years, artists and architects active in Britain have experienced and expressed divergent relationships to imperial histories. Individually, through families and via patrons, the links are innumerable and entwined. Today, the legacies of colonial histories continue to form part of the fabric of everyday life, physically and emotionally, across social, economic, cultural and political fields both national and global.
Works of art have always been agents of change, flashpoints of debate and producers of fluctuating meanings. A painting, sculpture, drawing, print, film or poem can act as a powerful lens through which complex situations can be viewed and nuanced understandings of them can emerge. ‘Entangled Pasts’ brings together 100 artworks to explore the role of art in shaping narratives of empire, colonialism, enslavement, resistance, abolition and indenture. An exhibition on this vast and complex subject is necessarily a partial, fragmentary view. Moments of history are refracted through the eyes of artists, especially contemporary British artists of the African, Caribbean and South Asian diasporas.
These artworks can represent only a fraction of the institution’s colonial links and the unfolding legacies of British colonialism around the world. Yet, in the visual and conceptual resonances between them, there exists a space for contemplation, inquiry, acknowledgement, reflection, imagination and ongoing conversations..
[*Royal Academy]
Taken at the Royal Academy
Betye Saar
Mixed media including vintage ironing board, flat iron, chain, white bedsheet, wooden clothespins and rope
The surface of the ironing board depicts an eighteenth-century diagram of the British slave ship Brookes. This image was circulated by abolitionists to highlight the inhumane conditions under which enslaved people were being transported. The iron, shackled to the board, symbolises the dehumanising acts of enslavers. Behind, a white cotton sheet hangs embroidered with the letters “KKK” recalling the garments worn by the American white supremacist hate group the Ku Klux Klan, founded in 1865.*
Constructing Whiteness
The scarcity of cotton during the American Civil War (1861–65) was disastrous for the British textiles industry, upon which around a sixth of the English population were dependent for their livelihoods. The crisis reveals the extent to which, post-abolition, the British economy relied upon slave labour in the Southern States. Betye Saar is a Los-Angeles based artist. Saar’s assemblage ‘I’ll Bend But I Will Not Break’ (1998) links the legacies of enslavement in the USA to the oppressive conditions under which Black women continued to work in a segregated society into the twentieth century, until segregation laws were challenged by the Civil Rights Movement of the 1950s and 1960s.
In early twentieth-century India, ‘khadi’ cotton became an important site of resistance to British colonial rule, promoted by Mahatma Gandhi as a means of taking back economic control through home-spun rather than imported British cloth.
During the same period in Britain, growing conservatism within the Royal Academy towards avant-garde artistic movements led some Academicians to resign. Frederick Elwell’s painting ‘The Royal Academy Selection and Hanging Committee 1938’ (1939) points to an institutional whiteness that persisted post-war. Artists of the Windrush generation and after – referred to by the Jamaican-British cultural theorist Stuart Hall as “the first postcolonials” – faced a lack of representation in museums and visual culture.
Artists associated with the Black Arts Movement in Britain during the early 1980s, including Sonia Boyce, transformed the artistic, academic and cultural landscape, and are today among Britain’s most celebrated artists.*
From the exhibition
Entangled Pasts, 1768–now: Art, Colonialism and Change
(February - April 2024)
‘Entangled Pasts’ explores connections between art associated with the Royal Academy of Arts and Britain’s colonial histories. At its founding by artists in 1768, under King George III, the institution’s first President, Joshua Reynolds, called the RA an ‘ornament’ to Britain’s empire. For over 250 years, artists and architects active in Britain have experienced and expressed divergent relationships to imperial histories. Individually, through families and via patrons, the links are innumerable and entwined. Today, the legacies of colonial histories continue to form part of the fabric of everyday life, physically and emotionally, across social, economic, cultural and political fields both national and global.
Works of art have always been agents of change, flashpoints of debate and producers of fluctuating meanings. A painting, sculpture, drawing, print, film or poem can act as a powerful lens through which complex situations can be viewed and nuanced understandings of them can emerge. ‘Entangled Pasts’ brings together 100 artworks to explore the role of art in shaping narratives of empire, colonialism, enslavement, resistance, abolition and indenture. An exhibition on this vast and complex subject is necessarily a partial, fragmentary view. Moments of history are refracted through the eyes of artists, especially contemporary British artists of the African, Caribbean and South Asian diasporas.
These artworks can represent only a fraction of the institution’s colonial links and the unfolding legacies of British colonialism around the world. Yet, in the visual and conceptual resonances between them, there exists a space for contemplation, inquiry, acknowledgement, reflection, imagination and ongoing conversations..
[*Royal Academy]
Taken at the Royal Academy
Choose the white bed sheets is a great idea for a bedroom because bed sheets make a bedding surface is comfortable and relaxing. White color is indicate to peace so if you want to enjoy the good night seep then choose the white sheets. They are available in online stores and you can easily buy at very cheap prices according to your choice. See more details comfortbeddings.in/collections/white-bed-sheets
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