

A cinematic photograph in a hotel ballroom at first light, the work lamp switched off. Three tall windows along the far wall, ten metres away, are pale cold blue with dawn and are the only light, and everything in front of them is a dark shape. She walks across the parquet toward the windows two metres from the camera, carrying a wide tin basin of wet crystal prisms against her hip, seen from behind and to the side, her wet dark auburn curls, the strap of her black cotton slip and her bare shoulder rimmed with cold blue light, her bare feet leaving wet prints on the floor. Half a metre from the lens, far out of focus, the lowered chandelier fills the left of the frame as a dark mass with a few blue bokeh discs caught in the glass. Her face is turned down toward the basin. Her skin is the only warm colour in the picture. The right edge of the frame cuts through the basin. 35mm, camera at waist height, f/2.8, shallow depth of field, bokeh, blurry foreground, the wet prints on the parquet sharp. Cinematic, melancholic, hyper-realistic, fine film grain. In the lower right corner, a small pencil signature: Ziggy