Sans Titre

I was asked by Austin to share my technique on how I achieved this image. I complied, explaining my process and sending it through Flickr mail. As important and unique as technique may be, I don't feel it appropriate to discuss it within the venue of the presentation of the art.

I would like to share Austin's generous reply.

Dear Sol,

thank you for your generosity in taking the time and trouble to share these technical details.

I agree with you that, ordinarily, discussion of technique distracts from the effect; and for that reason I had hesitated before asking about the technique. But I am glad that I did, and that you answered. This information has deepened my appreciation for what you have achieved here, rather than "explaining it away."

This picture is different from other photographs in the same way that oil painting is different from egg-tempera painting -- a richness and subtlety and complexity and delicacy which supports the drama of the composition --, and I wanted to understand wherefore this obtained, since in photography there is no obvious choice of "oil" or "egg-tempera" (although in cinema the difference between film and digital is still sufficiently dramatic that the choice remains an obvious one).

I believe that the nude is among the most challenging forms for an artist; and that frequently the difference between success and failure is entirely that of the artist's technique. This picture -- like all the best nudes -- is a high-wire act where one foot put wrong will bring the whole thing crashing down: wonderful to behold the mastery of technique that every single element has been held aloft. It is a virtuoso performance, in my opinion; but not a display of empty virtuosity. You have achieved this effect with sprezzatura (the quality of "studiied carelessness" which makes it seem that the effect has been achieved with no real effort at all).

Of course I know that the real "technique" which distinguishes this extraordinary image is not in the tools, but in your composition, grasp of the moment, and in the direction of your model; but I doubt that those infinitely subtle things could be communicated more efficiently in words than by the very picture.

Yours very truly,

A U S T I N .

To see more of my work, please go to my web site

This session was not recorded in film, but you can view some of my other sessions here.