|ONE OF THOSE DAYS by Sophie Harris-Taylor|
I stepped off the bus, crossed the road but went too far and so, realising my mistake, I walked back and found Sophie's house. It was Victorian with a solid front door. I remember it as being pale green but perhaps not. Sophie came to the door and welcomed me with a smile. So many smiles.
We had discussed the shoot previously by email - Sophie said she wanted the photographs to be raw. She took me into her sitting room at the front of the house which overlooked the road and set up a black backdrop. Black as night but nowhere to hide. We talked and I removed my clothes and stretched and curled first on the black and later against the white wall. Sophie paused to show me some of the images in the back of the camera. My eyesight is so bad that all I could see was the light. It was beautiful. "I love skin" she said. Skin.
We moved into her kitchen where the light was different. I bent my head. I placed my hand on the work top playing music in my head which washed through to my fingers resting on imaginary keys. I gazed out to the small courtyard on the other side of which Sophie planned to create a studio. It was cold but I offered to go outside so that she could photograph me there. In the event, it was Sophie who stepped out and she shot me through the window. She returned to the kitchen and pushed kitchen clutter to one side as I stared at the lens - click - and then looked away - click.
Then it was over. I felt that familiar tinge of disappointment mixed with a grudging acceptance that comes at the end of every shoot. I dressed. I showed Sophie some of my films on her computer. Then I took my leave and caught the bus. I thought of the shoot as the bus lurched towards Clapham. Sophie, it was all so easy. You were easy. I was easy.
She does not prettify bodies, she illuminates them and in the light, she scratches over the skin like sand paper on wood revealing the grain. The human spirit is there, the pulse beneath the skin, the breath welling up from lungs pushed out past nostril or lip. She stands back and observes, slightly detached, from a doorway, through a window, across a room. I catch her eye. I know what she is doing and she knows that I know and I know it too. The light is all. As Sophie said afterwards, in terms of overtone, this image has a more documentary, honest and voyeuristic feel and the strong light feels quite cinematic which is something she is always striving for in her work. It all works so wonderfully well.
One of these days,
When we are both at our ease
When you've got time to please yourself,
See what's right and see what's there
and breathe fresh air, ever after.
- Paul McCartney