such as run-up to sunset and run-on
from sunrise, were already allocated
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Ľ ļ
Maldivian island, in the sense that it
wasn’t a tourist island, and central to
Ǔ
ļǕ
Ǖ
ŖǓǕ ĨǕ
ǕŖ
resorts where tourists go.
Tropical midday light in clear weather
is unremittingly harsh, and it’s straight
down, purely vertical. Very strange on
portraits, and it’s generally avoided, but
if you stop to think about its useful
qualities, there are some. Initially, this
was frustrating, because the other aspect
of tropical midday is that people don’t go
out strolling in it. Still, I had to search for
potential images, and I had a small team
with me, who for the most part were just
waiting for me. When there are very few
people on the streets and you’re a
conspicuous foreigner, you don’t exactly
blend into the woodwork, and I had
already missed one potentially really
good photograph because it was all too
close and I had been ill-prepared.
Eventually I found this strikingly
painted corner. Corners are quite good
places in small villages, because peopleturn at them, which is an opportunity.
But there was no-one... Until (I could
have kicked myself) I saw that the school
űǕǕ
morning, which meant that mothers
would come to collect kids.
Within half an hour, it had all
changed. This was where the harsh
lighting came into its own. Strong
contrast was exactly what was needed,
and the mothers were, of course, in their
black abayas, the sand was as white as you
could hope for, and all other colours
were bright and primary. Perfect to
contrast against the wall.CREATIVE PATHS – MICHEAL FREEMAN