honorable mention
Robert Hopkins
title
The Overcoat
Taking inspiration from Leonard Nimoy, Edward Weston, Ruth Bernhardt and a host of others, I’ve approached photographing the female nude with a core interest in the application of self-taught rules of composition. It is fair to say that in my works I search for the limits of my sense of composition, and then attempt to overcome and push beyond those limits. But I am always brought back to reality by the basics of exposure.
Much of my portfolio is built on creative serendipity through interactions with fellow photographers and models. As my work evolved, I found that the use of a prop helped create a focal point around which to craft an image; I was always on the lookout for an object that might open a creative path.
My first and favorite prop was an old military overcoat. Every model that posed with the coat brought a unique interpretation to the images we created. Other props over time included a brass-finished horn (a repurposed holiday decoration), a metal rod that was once part of a standing light fixture, a strand of costume jewelry pearls, and a single large piece of white lace.
The collaboration with a model and a prop takes on many forms; some take it in hand or put it on and move with it, some find the prop an awkward appendage that stifles movement, but no two have interacted with any prop the same way. My prop-themed images are an experiment with light and tone, line, curve and angle, while capturing the inherent sensuality of the nude in the context of fine art black and white images.
www.facebook.com/rcphotomonochrome
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entry description
Every model who has posed with this old coat brings something unique to the series.about the photographer
I am an amateur photographer with a passion for black & white images and the studio nude.Taking inspiration from Leonard Nimoy, Edward Weston, Ruth Bernhardt and a host of others, I’ve approached photographing the female nude with a core interest in the application of self-taught rules of composition. It is fair to say that in my works I search for the limits of my sense of composition, and then attempt to overcome and push beyond those limits. But I am always brought back to reality by the basics of exposure.
Much of my portfolio is built on creative serendipity through interactions with fellow photographers and models. As my work evolved, I found that the use of a prop helped create a focal point around which to craft an image; I was always on the lookout for an object that might open a creative path.
My first and favorite prop was an old military overcoat. Every model that posed with the coat brought a unique interpretation to the images we created. Other props over time included a brass-finished horn (a repurposed holiday decoration), a metal rod that was once part of a standing light fixture, a strand of costume jewelry pearls, and a single large piece of white lace.
The collaboration with a model and a prop takes on many forms; some take it in hand or put it on and move with it, some find the prop an awkward appendage that stifles movement, but no two have interacted with any prop the same way. My prop-themed images are an experiment with light and tone, line, curve and angle, while capturing the inherent sensuality of the nude in the context of fine art black and white images.
www.facebook.com/rcphotomonochrome
back to gallery
