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Very nice and very simple! Personally, I'd rather see her bare feet, but that's just me.

Can't help but think of Weston when I see your work. But I also think of your stuff as homage, rather than mere imitation. And I agree with John W. above.

Could you tell me, please, the time and temp used with the ID-11 1+1? I really appreciate how the model's skin is not blown out despite having that additional stop of exposure. Was this flash or hot lights?

I think this is a rather original shot.
It is quite difficult to come up with original nude photos, especially of women.
The contrast with her air, the wooden table, and the white sandals does it for me.
This is a print to enjoy by simply letting it sink in.
Technicalities be damned!

I'm sure the print will be a delight. Wonderful work.

Thank you all for your kind words.

I do have a book of Westons nudes but I am more influenced by the work of Bill Brandt.

I don't try and copy anyone's work - it would be pointless to do so - but I do take inspiration from them.

Martin

In answer to Trasks' question - Could you tell me, please, the time and temp used with the ID-11 1+1? I really appreciate how the model's skin is not blown out despite having that additional stop of exposure. Was this flash or hot lights?

HP5 @ 160 ASA in ID11 @ 1+1 for 9m 40s @ 20C - agitate for 20s every minute in a Paterson tank. However, I came up with this time by doing a series of Zone System development tests in conjunction with Fred Newman (https://viewcamerastore.com/pages/about-us) - Fred is a great bloke and very friendly if you fancy having a go at the Zone System - it is not as hard as people make out.

HP5 has a really long straight line on its density/exposure curve - so it has the capacity to cope with bit of over exposure.

And, in answer to the second question, I shoot with flash and use both the incident and spot meter functions in flash mode on a Sekonic L858 to make sure there an no excessive "hot spots" anywhere. It makes for much slower shooting rate in the studio but I'd rather have fewer half decent shots from a day than rolls and rolls of indifferent work. It really helps if you can work in a dark studio - one that has no external windows - and you then switch off all the lights other than the modelling lights from the flash heads. That way you can see what you are doing when you light the model - squinting really helps and then looking through the view finder with the lens stopped right down.

Hope this is of some help.

Martin

Lovely work. Dancers are so rewarding to shoot, even when static.

Prefer this one over the second pose. Very nice.