i use fire, the wildest element, long exposure and film to find the limits of control.

to fix the light on the emulsion, the model must stand still for two to five minutes in complete darkness. only those parts of the model's body that I highlight with fire remain in the picture — therefore, in the document of this particular evening and this particular time.

the photographer's control over the visual existence of the model is limited only by the camera. sometimes the shots are superimposed on each other, sometimes the slight movements of the model blur the whole picture, and sometimes the photographer's mistake (i don't use a light meter) leads to a completely empty negative with black stripes from a lighter.