

A luxury hosiery campaign photograph in a white sample room. She is lying flat on her back on the white paper floor with both legs straight up against the white wall, testing whether the knit recovers once the weight is off it. Her shoulder blades, her back and her hips all stay flat down on the floor and her body stays square to the floor, not rolled toward the camera; only her legs are lifted. Her ankles are crossed at the top, one foot over the other, so the two legs close into a single point up at the wall. The camera is down on the floor at her own eye level, side on and some way back, so her body and her legs make a clean right angle that fills the frame. She is wearing sheer black tights: one continuous piece of knit running unbroken from her toes to a plain flat waistband at her hips, the same weave the whole way with no band, no welt and no seam anywhere on the legs. Above them a plain black bra. Against the lit wall the two legs read as two black vertical strokes, the knit pulled smooth and tight over the shins and thighs where they press flat to the wall and gathered slightly loose behind each knee. One arm lies flat on the floor above her head; the other reaches up and two fingers press flat into the knit at the front of her own knee, denting it, to see if it springs back. Her head is turned toward her legs and she is looking up the length of them, her mouth closed, the black bob spread on the paper under her. A fine gold chain anklet sits at the crossed ankles. One hard light from the left burns the wall out clean behind her legs and lets the floor fall away darker. Three tones: white wall, black knit, her skin. Camera at floor level, level, side on. one hard source, extreme high contrast, deep focus, sharp focus on the knit behind the knee. Fine 35mm film grain. In the lower right corner, a small pencil signature: Ziggy