A Single Warm Light Source From A Shaft Of Daylight Entering Through A Opening High In The Ceiling And Striking Her Along The Shoulder And The Outer Arm And The Side Of The Face And The Front Of The Thigh And Leaving The Rest Of The Figure And The Whole Of The Tomb In Deep Shadow With The Transitions Carried By The Fall Of The Light, And A Palette Of Ochre And Deep Umber And Unbleached Flax And Lapis Blue And Gold Leaf And Ember Orange, Her Body Arranged In A Long Diagonal Across The Frame With One Arm Raised Above Her Head And The Other Extended Down Along Her Side With The Fingers Resting Against Her Thigh And Her Weight Shifted Onto One Leg With The Opposite Knee Bent And The Hip Turned Out And The Shoulders Angled Against The Line Of The Hips In Classical Contrapposto Porno IA

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Hyperrealistic photograph high dynamic range high contrast and the grain of the film stock visible across the whole frame and the tonal range held from the deepest shadow to the brightest highlight, detailed face sharp focus on the face clear facial features defined eyes crisp catchlight in the eyes individual skin texture visible pores, a woman wrapped in linen bandages posed inside an Egyptian tomb with the camera pulled in close so her figure fills the majority of the frame and framing cropped at the mid-thigh and the face rendered in fine detail in the upper third of the composition, her body arranged in a long diagonal across the frame with one arm raised above her head and the other extended down along her side with the fingers resting against her thigh and her weight shifted onto one leg with the opposite knee bent and the hip turned out and the shoulders angled against the line of the hips in classical contrapposto, the bandages wrapped in long spiralling turns around the arms and the torso and the hips and the thighs and left open across the chest and the abdomen and the front of the thigh so the bandages function as drapery rather than covering, the linen in pale unbleached flax with the weave visible along each strip and the edges fraying in loose threads that catch the light and the individual fibres standing out along the ridges and the turns of the wrapping crossing over each other at the shoulder and the hip and the knee and the ends of the linen trailing loose across the floor and pooling in long folds, a composed face with a direct steady gaze and dark kohl lined eyes catching a pinpoint of reflected light and high cheekbones catching a hard highlight along the outer edge and a fine jawline softening into shadow beneath and a straight nose with a subtle highlight along the bridge and full lips in a deep ochre red with a gleam on the lower lip and the individual texture of the skin visible along the throat and the collarbone and a band of kohl drawn in a long line from the outer corner of each eye toward the temple, black hair falling loose and tangled past the shoulders with strands caught under the edge of the linen and a few strands escaping across the cheek and a broad collar of faience beads and gold leaf at the throat with the individual beads catching the light and a pair of gold armbands at the upper arms and a scarab amulet resting at the center of the chest and a broad belt of gold and lapis at the waist with the bandages gathered under its edge, the tomb interior rising behind her with the walls carved in shallow relief and painted in ochre and red and blue and the hieroglyphs running in long columns from floor to ceiling with the individual signs picked out in pigment and the columns receding into the depth of the chamber and the far end of the corridor falling into a soft blur behind her and the signs closest to the lens rendered in sharp detail and the further columns melting into creamy bokeh with the colours blending into each other and a stone sarcophagus lid standing open against the far wall with the face carved in profile and the eyes inlaid and a row of canopic jars lined along a low shelf and a of grave goods across the floor and a low brazier burning at the corner with the coals glowing in deep orange, a single warm light source from a shaft of daylight entering through a opening high in the ceiling and striking her along the shoulder and the outer arm and the side of the face and the front of the thigh and leaving the rest of the figure and the whole of the tomb in deep shadow with the transitions carried by the fall of the light, reflected light bouncing up from the pale limestone floor and lifting the underside of the jaw and the inner arm and a warm glow from the brazier catching the edge of the bandages and the gold of the collar, dust suspended in the air in bright along the shaft of light and the individual motes visible against the dark of the chamber, the film grain visible across the whole frame and the tonal range held from the deepest black of the tomb to the brightest gleam of the gold, shot on a medium format camera with an eighty five millimeter lens at aperture one point four, shallow depth of field with the hieroglyph columns melted into creamy bokeh behind her, and a palette of ochre and deep umber and unbleached flax and lapis blue and gold leaf and ember orange

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