The Eternal Struggle Between Naughty and Nice and The Identity Of The Chaos Engineers
I have wanted to create this image for a long time.
When Laura contacted me I thought she might well be the gal for the job. I have to say she dramatically exceeded all my expectations; Laura is ridiculously sexy but she also brought a ton of intelligence, humour and playfulness to the shoot. She also has a far greater knowledge of poker than me.
I had booked four hours for the shoot, forgetting Hofstadters Law: “It always takes longer than you expect, even when you take into account Hofstadter’s Law.” I often feel like I’m in an anxiety nightmare during the first half of photo shoots: time is screaming by and nothing much seems to be happening. “Why am I in my pyjamas?”
It’s been a long time since I created one of these specifically-planned, heavily composited images. Actually the closest thing I have done in recent times will have been my Christmas cards. (I’ll put a link up at Christmas for you.)
My excellent bionic friend Sue came along to assist. Sue is always an asset and I hope we’ll do lots more shoots together. I feel a little bit about The Chaos Engineers brand like Mark E Smith does about The Fall. “If it’s me and your granny on bongos, it’s The Fall”. Well, if it’s me and your bionic Mum assisting, it’s The Chaos Engineers. So Sue’s a Chaos Engineer whether she bloody likes it or not.
Much time was spent on lighting and set dressing while Laura made herself into a beautiful nun. Unusually for me, I shot this tethered, meaning the camera was on a tripod and I triggered and monitored the images from my laptop rather than using the camera’s viewfinder. We took about 450 pictures to get the one image – there are a couple of variants but this is one of those things where it’s all about the one definitive image.
I think we nailed it, but I must, shall and will shoot with Laura again to get some more images of this amazing young woman.
Click on it to see it full resolution.
This was shot with my ever more combat-worn Canon 5D Mark III and the fantastic EF 85 F/1.2L II