Casey — White on White

Everything in the room was the same colour, which sounds like a problem and is exactly the point. White walls, white bedding, white cotton — once you remove contrast from the palette, the only thing left to separate one shape from another is where the light happens to land. Every frame in this set lives or dies on a shadow.

There is no schedule to a morning like this one. Casey moved, the sheets moved with her, and the camera mostly waited. Some frames stayed in colour and some went to black and white in the edit, chosen frame by frame rather than as a block — monochrome for the ones where texture was doing more work than colour ever could.

A bright window with a sheer curtain over it is the softest light source you can buy, and it costs nothing. Shooting straight into it blows the background out to plain paper and wraps the edges of everything in front of it. Two stops brighter than a meter would like, on purpose, every time.

The last stretch is all detail: the small of a back, a hand at a hip, ribbon against eyelet cotton. Cropping this tight takes the person out of the picture and leaves shape and texture behind, which is a useful place to finish a set that started out much wider.