Ads.

Concept: The fruits of advertising, deleterious as they may be for our complex of needs, produce phenomenons - specifically: lifestyles. A circulum vitiousus of "what we strive for" and "what we are" that faces the fact of the Evolution of the human race, i.e.: "We are billboard beings." (and the advertisement of Reality, becoming distorted, is the oxygen we breathe every single day)

Background: Had to come back with something that wasn't just flashes and stock photography, problematizes the currency of it, but nevertheless returns to it to feed my (our) lungs and keeps the belly full.

Manipulation info: This was shot today on Nanos, Slovenia. I modified the scenery a bit (removed rocks, liquified the road...), shot in a few masked adjustment layers (contrasts, channel hue/sat, curves...), overlayered the sky (it was foggy as hell, let me tell you), retouched the silhouette (there were two people, one had to jump off-canvas, sorry), added the birds and the billboard/TV/whatever hanged on a leash). That's about it, I guess.

In-dividual.

Concept: Our society surely stands on individuality's feet, grounded in it, but there's not much left of its etymological valence left: most are highly "parted", halved, missing the substance to stand on our own.

Background: Had to find a conceptual issue to go by. It is not steming from the picture, but it sure is true enough for our era.

Manipulation info: Little manipulation here, except a proper RAW conversion, doubled exposure painted in, some minor color adjustment layers and other mod tricks and that's about it. The shot was lit with three Speedlites, hair light at 1/4 power (550EX, goboed) and a main/fill ratio 1:2 on the front. Triggered with the ST-E2, +FEC.

Model:Bojana Vladović

Disorienting.

Concept: Eager to find the point of focal convergence, sometimes we detract from the equation the most important element there is: the kernel staring back at us. It is so with every phenomena, from inter- to intrapersonal matters (and beyond).

Background: The "making of" of this image showed me how the perfect balance can't always be achieved, that's why I left the remnants of the manipulation intact and chose a composition far from The obvious norm. Btw, the aforementioned concept is pretty much an extension of the "Power everywhere" questionings.

Manipulation info: A shot made yesterday with three speedlites, one in the front right corner slightly above head axis (main), the left being the fill and a third one splashing the muslin background with red gelled light. Triggered with the ST-E2, minor +FEC. Than the shot was cut in the middle, mirrored, the background greened with a screen layer, the eyes flicked in from the original shot (digitally overexposed), the whole picture "benevolently" liquified (almost unnoticable), layered with adjustment layers to up the contrasts, blurred on the face and covered with the now universal grass texture;) Hope you like it. Take care!

Model: Bojana Vladović

The eloquent Iris.

Concept: Eyes as mirrors of our soul (popular credence): when the Other is concerned, this might certainly hold value, but it is even more relevant when they are closed - the shutdown of sight opens our mind, frees the pseudofigurative our "mind's Rainbow" hides.

Background: It is certainly an interesting personal inquiry (for each singular in-dividual there is) to analyze what feelings (and processes) our mind undertakes when we close our eyes. And what else could we achieve if all the senses were left to rest?

Manipulation info: A shot lit with two offcamera flashes fired in reflective umbrellas (left/right, same ratio), E-TTL +FEC from about one meter of distance. The background was lit without shadows because of the angle of the strobes. The lighting scene was afterwards manipulated in PS and the highlights centered predominantly on the face.

Model: Bojana Vladović

The heart of Morgana.

Concept: The changes taking place in Nature, the degradation of Earth and the nihilistic choices Man takes. Addressed with no emotions, void of compassion and rational (ultimately pragmatic for his future) mind: that's how these issues are. We, as in the final instance mortal beings, care not of Nature. Not seeing we steal our own heart, our own peace, the beauty that is still to come, we blindly infest the world with what eats it from the inside: Development (thank you, Hegel).

Background: It is clear that the heart of our future is reversing it's path. Maybe without the illusions of linear evolution we could realize our enslaved Beginning (the "Outside") is turning the back on us. And this process is only slightly visible, but "boy, oh boy" is it becoming exponentially "fluorescent".

Manipulation info: Back for a day, I've stitched these photos together and I hope you like them. The technique is common "among my ranks": layers, blendings, adjustment layers, brushing in of details. I probably should've uploaded the picture in a bigger format (the heart is prolly small), but I'm not really willing to release these for universal public usage;)

Iconic desperation.

Concept: In cultural semiotics, emotions are mostly spread into very precise and defined categories. Desperation, for example, is expressed with two polarities: looking up depicts a hopeful one, looking down, hiding the eyes, exhibits downspiral valences.

Background: I've played around in my little spare time I have lately with this picture of me and tried some new filter applications and realized I came very close to standard culturographic (movies, photography, you name it...) icons of expressing the "good" version of desperation.

Manipulation info: Hmm... I might be posting the original version, but for now this is the lay-down of the process: the picture was taken with umbrelled Speedlites in front of me, can't remember the conf, but it was most likely two of them: one on the right (main) and the fill on the left. The light scene was manipulated afterwards with PS, background layer added, some masked adjustments to emphasize light direction and the face was manipulated with "the old" b/w technique (light brushing) to which I added a color layer at the end. Hope you like it. It's pretty standard, but I don't have energy to think about conceptual works right now. Sorry;)

Power everywhere.

Concept: Power works on minor scales, it is intertwined and enmeshed meticulously in every civil, social and inter(and intra)-personal level of humanity. It is always active (unless mistaken for subjugation (the later still empowered)), seldom revealed by looking at it directly (cause it frequently stares back). And it produces knowledge, produces ethics (its work), keeps us at the level of "what we are". Power breathes us and makes us breathe (unconsciously and not).

Background: I happened to create this image and I found interesting to stick to it a concept that's under heavy duty lately (in my mind). It has much of the elements that denote relations of power (the other, the self, the scale surrealism, the act of staring and breathing (speaking)...). It might seem somehow flat, but "our secondary blood" is far from it (as a sidenote: I did not add the idea of power-through-discourse (a central one, but not sole) to the image for a simple: the "French" would kill me);)

Manipulation info: The image is an old one (a similar version of this shot was already uploaded some weeks ago). I swept away the mouth, drew a new one, multiplied the ants, liquified some portions that needed retouching and finally added textures. The lighting setup was two umbrelled Speedlites on both sides, E-TTL +FEC. Ratio privileged the left side;) Hope you like it.

Not feeding contingency.

Concept: The 21th century ethos (if my arms are not being stretched too far calling the (post)modern egobehaviour that way) should be contingent: i.e. era dependant, fogged with that rational individualism occidentally self-declared as "envied of". But what happens with mundane Events, still parented with the mentioned ethos (at least that's what we think), but left defenseless to Casuality (which is, of course, the domain of Vitality, Nature, the Unspoken (as in "beyond the human"))? Does Reality beyond our eye (and mind) exist, and if it does (and it's uncontaminated), why do we keep pumping our synapses further into issues not in our reach (absolutely not)? Like accidents, for example.

Background: Unwordly phenomenons (accidents), ah, not ours, unrational, not structured, Events, ever foreign, "unexistant", right? They were never in the palm of our hand (even if more than frequently veiled with pseudorational religious (and scientific) explanations (and explications). But it's Casuality "playing" with our centripedal ego (the all-knowing God after God died by our rational weapons), seizing us (and not the other way around, Kantian child).

Manipulation info: Again a shot overlayered with a couple of textures (some made by myself with brushes). The sky is a collage of clouds, the lower portion with the breast a shot of an unknown model of mine (?;)) and the playground too an old shot from the mount Slavnik. The man being fired off (accident) was brushed in and motion blured.

The Acrobatics.

Concept: It is human to err, that's how the public pool of experiences whispers to our ears, but making mistakes in prognising the future is deadly. Even if our dreams lead us further towards our goals (and we already know pain there is a constant), the final step (as difficult as it gets, acrobatic) is always dependant upon our shoulders.

Background: I came up with this dreamy shot of a girl reaching towards a fellow human being, supposedly the goal and the concept came up probably in the middle of the process. Not too much to investigate further into, right? (don't think this represent my life, it isn't so, especially not adding Bojana to the equation (even if we could apply the hypothesis to a minor scale (like parking our car in the city center at 8AM or winning a bid on eBay));)

Manipulation info: The main scene (Bojana almost breaking her neck) is a two months old crosslit shot made with two Speedlites in my backyard at probably 1/2 power (evening), triggered with the ST-E2 (it was an extreme nuissance to properly set up the configuration, 'cause triggering it from weird angles outdoors seemed MI:3) (you can see the crossing of shadows under her hair). The sky was shot a couple of days ago and so were the hills (Slavnik). The birds and ropes were added with brushes. Textures and some adjustment layers to emphasize colors were the final touch. Hope you like it, as always;)

Model: Bojana Vladović

The Man who created no World.

Concept: The balance of nature is kept smooth with no uneven peaks with the absence of humanity, you wouldn't believe, would you, urban child? Why so? Simple: Nature existed before you "unmonkeyed" yourself. But you insist: It's because how Casuality works for you, right? There always has to be an actor, always a culprit, always dividing deed from doer. Well, relax for a while, today you're off-duty, don't think with "Aristotel's semen" under your skull, praise Nature or just entertaing yourself in front of the screen and disconnect your mighty Rationality (hey, it's like watching a horror flick, very relaxing, isn't it?).

Background: It's a post festum conceptualization, of course. Did this little "accidents happen" paysage shot (with a twist) and thought of some satire thrown at the pocket of Humanity (full of nickles and dimes with synaptic inscriptions);)

Manipulation info:: A bunch of shots taken yesterday (goats, sky, branch, the tree and the hills) and composited together. Some retouching with plain solid color brushes was put in as was the usual overlaying and adjustment layering to pop the colors a bit. The bottom portion is "greened" with hue filters.

Nature's payback.

Concept: Firm stances in relationships, unmovable and unsymphatetic, tough to the brink of aggresivness: this is the modality of proposing marriage to Nature we humans chose for centuries. And now, in the 21th century, she's just reciprocating the same way.

Background: After witnessing my creation this concept popped in my mind immediately, but I know there are many interpretations available (and allowed), even the one of me and Bojana being cast in an unprobable replica of the movie 'El laberinto del fauno';) It kind of looks like it, doesn't it?;)

Manipulation info: Layered shots stitched together to recreate the an antopomorphic tree, she was added later to spice up the composition and so were the teeth and the brushed-in eye. Textures were applied at the end. Hope you like it;)

War.

Concept: "Saturday, Sabbath - A day of rest and rejuvenation, after a week's work it is time to refresh and cool down" scream the workers expecting religious traditions (gone the social transformation route) mirrored on their week's pondering of work. (Shame these unstressful days were not always happy and warm, people used their beliefs to dictate it's etymology very seriously: literally, freezingly.) But war this very day still wages unexcused murders and killings no matter what day we're in, you false peacelovers.

Background: This time the concept came with the wind of mundane thoughts about weekly planning, obligations: it's birth was honestly speaking a to-do list. Then I realized we should all for once think about those who really need "a timeout" and stop complaining about how suffocating our capitalistic approaches are. Funny this exact system is globally weighing both down: the lucky, us, and non, the victims of war.

Manipulation info: As usual: overlaying, modifications on the tonal balance with dodging and burning, brushing in elements (the impaled man) with the Wacom tablet. Hope you like the effort.

Rational ingenuousness.

Concept: The hope of Afterlife is a tricky invention (don't be offended by it: after all every word is a human invention): it has the polarizing power of amassing whole nations, humanity, each one of us (even self-declared atheists - oh so naive) and lacks the empyrical basis to stand up to scientific scrutiny. But the later is it's sibling too: a development of the mind seeking it's own Truth (and finding only Nothing). The Afterlife, ah, so close to Reason, my friends. And the Big Minds have succumbed to it.

Background: I started again (looks like a series now) with a belief that there is no real difference in religious and scientific (popular) thinking and focused my questioning on the Afterlife. The incentive to live a rigourous life (sounds familiar with rational (modern) approaches, doesn't it?) with no debating material as to why for is an interesting imperative.

The bigger silhouette in the middle of the road with all the little guys walking to the top of the mountain is, here's a hint, a figuriation of the equality these concepts have for intellectual "size". No matter how "developed" our thoughts are, this one gets us all.

Manipulation info: It was a portrait of me in phase one, than the concept popped up and I erased my face from the canvas and started from scratch;) Again overlaying, blending, brushing in and a little "geomorphic mods" here and there. The darker washed-out tones are intentional, the concept is, as you might see, as bleak as it gets;)

La Quiete.

Concept:The state of quitness, oh, recalls such memories, sad and happy, doesn't it?

Background: This time no conceptual squeezing needed: just a tribute to our unforgetable times (especially without brothers Franklin, Edison, Tesla and their siblings...);)

Manipulation info: Bojana's shot is almost straight-from-the-camera, except some RAW optimizations, a couple of minor adjustment layers and retouchings. The candle was added afterwards and the light scene around it was modified to fit the picture. Can't really say it feels awesome, but it was an experiment and I thought "hell, why not post it". The shot was lit with two Speedlites in front, main right, fill left. ST-E2 triggered, +FEC.

Model: Bojana Vladović

Fleeting monuments.

Concept: Memories, stills of time framed by our conception/perception of reality today and at this very moment. Our consciousness aromatizes their taste, changes their fragrance, morphs their valence each time we evolve (?) with a new strata of meaning. And as much truth is there in this statement, we can't figure out how memories reciprocate their power back to us, our I.

Background: This time very simple and unobtrusive: experiences change our perception of reality and this in turn sweeps with new colors our remembered I (and its archive of higly nonmonumental memories - be sure you exclude psychiatric concepts of repression and trauma).

Manipulation info: The facial shot is central to the composition. I added a solid background layer and burned and dodged it to create these wavy patterns. Than I masked the face in and added some blending overlays. Oh, yeah, and some mirrored cloning and black texture brushes were painted in too. Hope you like it;)

Model: Bojana Vladović

The phantom of Beauty or Hate.

Concept: The question of (antropomorphic) Beauty is always a statistical averaging of the cultural tastes the Collective Eye has (in mild terms). The place where this definition of Beauty starts to flip over to Ugliness is also pretty much commonly accepted (it's boundaries). Now: if we fall in love with Beauty, what applies for Ugliness? Hate? Or just plain Fear?

Background: As far as I'm concerned the process of admiration (in love) is a consequence of us not being whole, the self searching for patching materia. But fear, on the other hand, is exactly the opposite: a reaction to the possibility that we might be losing a part of ourselves. And if Beauty or the opposite Ugliness (still a term we coined, synthetic "idiots") are derived from the foundations that nurture Love or Hate (again an artificial couple) and if the statement of cultural cause is taken into account, does that mean people love or hate within a mediated spectrum of options? My take: sure does (choosing one school of thought here and leaving space for other interpretations).

Manipulation info: a shot of some wooden planks was overlayed on my Bojana (after swaping her Beauty with a liquified and brushed Horror;)). Then the fingers were added and slightly optimized. Hope you like it;)

The kingdom of Ideas.

Concept: What arguments your belief in Ideas so solidly that makes you think surreal phenomenons are "less real" than real ones. Notice: both are denoted as such, surreal and real, by ourselves. And both are concept of the same realm of Ideas (vehicled through Language). Closing your eyes and hearing a sentence describing falling man, what would you think of? This? And with your eyeballs punching in the visuals, do you experience it differently?

Background: I was working on this paysage shot and playing with miniature silhouettes (looks like a series now) falling off of a cliff when I realized that flipping the canvas by 180 degrees really doesn't change anything.

Manipulation info: This time not much. The paysage is a RAW processed image taken a few days ago, the cliff thingy was added from a similar photo taken the same day, the "dreamy" pedestrians brushed in with a Wacom tablet. After that final textures and some minor retouchings on the horizon were packed in. Hope you like it;)

p.s.: I know the image looks a bit "hollow" with all that space left "uncluttered", but that was my intention: I wanted to free the mind of the viewer and concentrate on the problematization of the Idea.

365 masquerades.

Concept: Dreaming pulls off our daily masks and as much as we try insisting on our convictions we don't have them, we fail each and every time.

Background: This time the concept is simple...;)

Manipulation info: ...and so is the manipulation, overlays, some painting and liquifies. I'm not really content with the outcome, but if I stare the picture for more than a few seconds, I'm realizing it's not that bad after all. What do you think?

I wasn't happy with the final version because of the little anti-Gulliverian Liliputians kind of floating in mid air, but now that I think about it, it could also be depiction of a "dream of a dream", so it should be adding to the surrealistic feel. Makes sense?

Freedom's paradoxicality.

Concept: The truth of choosing a "way of life" is probably that no matter the happiness and serenity it produces, it still brings pain and suffering, leads to a final end (pre-realized) and ultimately cracks with it's vanishment (or death). But the free choice option keeps us from picking it anyway, bounded or not.

Background: Again no pessimism here, the above statement should not be read in it's absolute meaning. Just a thought on the options life serves us in the 20th century, freedom, hah.

Manipulation info: I again found some older and newer shots and merged them together. Simple PS overlaying/blending with minor brush painting, adjustment layers and the likes.

The end of Man.

Concept: Man came to present the Death of God, but that wasn't enough, was it (oh, you wish)? Man itself chose to evict his own superiority further and learnt to subjugate to the control of metaphisics totally: killing himself and his affirmative power (and not knowing he made no steps at all).

Background: I was working on this old image of mine (shot last year in december) and trying to recreate a control technique, death penalty punishment, of the not-so-old Modern times when I realized that by adding an element of metaphisics (in the last instance Morals (or language)) would explicate what really matters: weakness of humanity.

Manipulation info: Old shot layered in itself, slightly cloned, "roughed" with textures and conceptualized with silhouettes of those little, well, you know what.

Spiritual grace.

Concept: As much as "sportmanship" is not only fair for rule-bounded institutional activity, it is also a stance we owe to our mind. Being graceful to our spirituality, our mind, comes at the highest of costs (in our culture): the currency is sweat off of our body. Be sure you invest in it (and leave those cubicles where they are, living room and job-related, both of them).

Manipulation info: People silhouettes were added as cut-out layers with solid color from different images I had in the archive (I'm no painter), the scenery, on the other hand, is manipulated through blending modes and some minor burn retouches.

Life layers.

Concept: Our existence unfolds by following Events, some say. Each one adds a new valence, new interpretations, self-reflected upon our being. And each one thickens our relationship with the I (wonder how latent dimensions react to this).

Background: I was working on the central image when I came up with this outcome. Wanted to make a dark paysage reminescent of some works I've seen here on flickr, great works, but then I realized it would not present my own view on the matter - Life. That's why I kept the layer "leftovers" where they were.

Alteration info: Layerings of some paysage shots I made a couple of days ago with an addition of some brushing-in of birds, blood and some old duck shots.

Candid paysage.

Concept: The history of Man is not only a history of Violence. It is a history of constant ongoing everyday Violence.

Conceptual background: This thought came up after years of reading "those little German philosophers" of ours.

Strobist info: Nada. The shot is an overlay of two differently processed images, the upper portion emphasizing the sky, the lower the grass colors. Obviously the "family scene" was an essential addition made with brushes;)

Universal laughings.

Concept: It is said that it's contagious, but don't generalize it. The type of laugh that hides corrupted emotions and envious inclinations is definitely not "viral".

Strobist info: Too much modified to enroll for a full-fledged Speedlite conf. I was just playing with PS and came up with this mess. Hope you like it, 'cause I'm not really that fond of the outcome;)

Linear thoughts.

Concept: A goal-oriented mind is everything we really need to achieve our dreams. But be sure that before that you don't tighten your drives too much. You might get aslaved to your own moral, Mr. Kant.

Strobist info: an old shot made with a bare Speedlite on the front left (you can see the speculars pretty blatantly), but processed in PS to emphasize the face. E-TTL, ST-E2.

Model: Jure Colja

Ubiquitous unconditionality.

Concept: This time none, but let's toast a tribute to our little unconditionally loving companions, pets.

Strobist info: Two Speedlites triggered via ST-E2, E-TTL ratio 4:1 main/fill, front left-right. The background was obviously lit by our cheap EV 16 sun;)

Model: Bojana Vladović

A five-minute ride to Relaxville.

Concept: It's bound to divide and polarize the public "pool" of opinions, but the shear beauty steming from a "smoking hot" lady is seldom debatable, is it? Or am I a heretic saying that, Mr. Green Pastures? (no offense meant, of course)

Strobist info: The sun acting as a cheap strobe on the left back with two bare Speedlites on both sides in front. The main left vs. the right fill ratio 3:1 E-TTL. Triggered via Canon wireless.

Model: Bojana Vladović

Fear.

Concept: An utopic (creatively) citation goes as follows: "Fear is always present, but accepting it makes you stronger." True, just don't let your consciousness lose rationality. Senses are oh-so-dangerous, you Platonic child.

Strobist info: Two Speedlites triggered into umbrellas, both from the front side, one left, one right (upper). Can't remember the ratios, but it doesn't really matter, since the lightning conf was severely "damaged" in PS.

Model: Bojana Vladović

Manly mistakes.

Concept: Facial expressions of "slips" even when we're alone. Ever wondered why? Why do we express "superficial" theatrical emotions meant to be publicly seen while only our two eyes are watching? Do emotions follow routines?

Strobist info: Both flashes (upper front left and bottom front left) triggered with 1:1 ratio with Canon E-TTL wireless.

Intimidations.

Concept: The weight of a personality (material or spiritual) by (mainstream) "machism" (male or female) is measured in muscular (cerebral or physical) tonicity.

Strobist info: Same session as some of the previous photos - umbrelled Speedlites triggered with Canon wireless in +FEC E-TTL. One on the front left as main and the other (fill) on the left. Light scene manipulated in PS, obviously.

Model: Bojana Vladović

Gemini.

Concept: Parallel dimensions of the same ego, slight variations in mood.

Strobist info: A right positioned Speedlite in umbrella triggered with E-TTL wireless, +FEC. The right image is a mirrored version.

Serene shyness.

Concept: Ever wondered how slight shyness works and why does it instill the "spectator" with a sense of tranquillity? Must be the smile, right?

Strobist info: Two speedlites fired in umbrellas, E-TTL +FEC. The first on the upper left side, the other slightly back-subject from the bottom right. Ratio 3:1.

Hope.

Concept: A detrimental emotion opposite to action fundamentally, but so prosperously warm.

Strobist: Same as previous, but the right strobe didn't trigger. A bottom right bare Speedlite at 1/8 power about a meter away triggered by Canon wireless.

Model: Bojana Vladović

Surprise.

Concept: Surprises are deviations from personality's images, errors in expectations. Or momentary lapses. But at the end always a time phenomenon slave to the "thickness" or our ego.

Strobist info: Two Speedlites on the bottom left and right (front), 1/8 power (50mm zoom), triggered by the ST-E2.

Model: Bojana Vladović

Taste abundance.

Concept: When eating/taste becomes a compulsive act controling the other senses.

Strobist info: Umbrelled main flash on the front right and a fill flash (with silver umbrella) on the left (slightly lowered). E-TTL +FEC. Lighting scene manipulated in PS.

Model: Bojana Vladović.

Adulthood cartooning.

Concept: It's funny how wishes and hopes of becoming an adult linearly reverse as the weight of age gets heavier.

Strobist info: Umbrelled main flash on the front left, umrelled flash on the right (slightly lowered). E-TTL +FEC. Lighting scene manipulated in PS. Used a blue gel to give a "cathodic" look?

Model: Bojana Vladović.

Speed dial one.

Concept: Might as well be a figuration of terror (or a satyrical inquiry into the ubiquitous nature of being reachable everywhere).

Strobist info: Umbrelled flashes from the left and right, ratio 1:1, different distances, triggered by E-TTL with positive FE compensation.

Fear reciprocates.

Concept: Fear is a sibling of laughing, it's contagious.

Strobist info: A direct hit of fill flash from the front right, the second strobe was permanently lit - the sun. Heavily obscured, of course. E-TTL.

Friend.

Concept: Friends tend to be envyous in times of personal flourishment.

Strobist info: Umbrelled main flash on the front right, umbrelled flash on the left (slightly lowered). E-TTL +FEC. Lighting scene manipulated in PS.

Model: Bojana Vladović.

Waiting.

Concept: When time signifies place.

Strobist info: Umbrelled main flash on the front left, umbrelled flash on the right for fill (slightly lowered), ratio 4:1. E-TTL +FEC.

Model: Bojana Vladović.

The Pop-ocular.

Concept: Apart from "femme fatale" none... and even the former is pop terminology made senseless. But it still retains (even crescent) it's power, doesn't it?

Strobist info: Two speedlites shot in generic fashion, umbrelled - main from the front upper left, fill from the bottom right. Triggered with E-TTL, +FEC. Light scene PS modified.

Model: Bojana Vladović

Daily sins.

Concept: A tribute to horror movies (not), a depiction of daily abhorrence (yes).

Strobist info: Shot with an ST-E2 with "controlled" E-TTL (+FEC), two "umbrelled" Speedlites - one from the upper right, the other at the back left. Heavily manipulated in Photoshop, sorry...

Lullaby.

Concept: Is whispering lullabies an audio or visual act?

Strobist info: Canon E-TTL +FEC flashes (550EX and 430EX) in silver umbrellas: main front right, fill back at wall (almost completely obscured with PS).

Model: Bojana Vladović.

Dream.

Concept: Dreaming founded on (enhanced) senses... and by them controlled and manipulated?

Strobist info: Canon E-TTL +FEC flashes (550EX and 430EX) in silver umbrellas: main front bottom left, fill front right (partially erased with postprocessing).

Sexpectations.

Concept: Expectations of Thanatus and Eros, two sides of the same medal.

Strobist info: rather complicated and unrelevant to the final product - a main umbrelled 550EX on the front right and an umbrelled 430EX on the left (but the latter almost completely wiped out with postprocessing). E-TTL, +FEC.

Model: Bojana Vladović.

Wrong emotions.

Concept: Scariness isn't always fond of reactions, not unilateral ones.

Strobist info: Bottom left flash with a silver umbrella, fill flash above her also with an umbrella, triggered by the ST-E2 in E-TTL mode, +FEC, X-sync speed, but highly modified in PS to add a new double-thin-snoot-like lighting...

Model: Bojana Vladović