Light was limited and at 800 ISO and F5.6 I wasn't always able to stop the movement. I discarded several images in-camera, another twelve on the computer, and here are the rest.
1) Reflecting; the hand clutches for the next idea. This is a pause, not a moment.
2) Amused, driving home the point, focussed on the audience. An attractive view, but I feel the moment has just passed.
3) The punch line. I like the moving, blurry hand.
4) Earnest, spread fingers, explaining the point.
5) Quiet; reading the next line. Preparing for the moment.
6) Voilà, hands outspread. But she's looking down.
7) Serious point being made, clutched in her fingers. I like the profile against the background, the modeling of the cheekbone.
8) The moment is over, the chin line unflattering.
9) Beyond profile, turned away; face too much in shadow.
10) Joky, pulling a face. Very unflattering.
11) Animated, laying down the law with her hand. Tip of nose is just beyond cheek line, though.
12) Animated, making point, focussed on audience. Good modeling of cheeks, neck.
Images 13-15
13) Full length. In between moments. Clutter of heads bottom right.
14) Earnest, powerful. But looking down, framing could be better.
15) Reflective mood. Chin; eye almost closed.
Image 16. I moved round and took several shots with the day-lit garden background that white balance for the tungsten lighting on the poet has here turned blue. Here, she seems transfixed: at the point of saying something, feeling something. It's the moment before the outburst of emotion. Cartier-Bresson's Behind the Gare St Lazare, not Capa's Death of a Loyalist Soldier.
This is my favourite. The background's plain, she's alert, clutching the glass to her. Tense. The following shots were very animated (and blurred) and their memory influences my feeling towards this image. It's a still, transitional moment. Hell is about to break loose.
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