She was amazingly light, and so relaxed in his arms that he wasn't even sure she was conscious.

She was carrying a quirt, and she started to raise it, then let it fall again and dangle from her wrist.

She glanced around the clearing, taking in the wagon and the load of supplies and trappings scattered over the ground, the two kids, the whiteface bull that was chewing its cud just within the far reaches of the firelight.

She said, and her tone had softened until it was almost friendly.

She had picked up the quirt and was twirling it around her wrist and smiling at him.

She was quick.

She brought up her free hand to hit him, but this time he was quicker.

She regarded them as signs that she was nearing the glen she sought, and she was glad to at last be doing something positive in her unenunciated, undefined struggle with the mountain and its darkling inhabitants.

She was sure she would reach the pool by climbing, and she clung to that belief despite the increasing number of obstacles.

She was bewildered.

She was standing in a thick grove.

She already knew this unwholesome, chilling atmosphere that was somehow grotesquely alive.

She was glad, completely and unselfishly glad, to see that things were working out the right way for both Sally and Dan.

She was still hugging the stained coat around her, so I said, `` Relax, let me take your things.

She was wearing nothing beneath the coat.

She was standing with her back to the glass door.

She was just not able to break the spell.

She was telling herself that this might just be her reward at the end of a long meaningful search for truth.

Meredith was irritated when the Grafin knocked at his door and told him, `` She is a great beauty!!

She confessed she was unhappy, he asked was it her husband??

She began to explain, `` There was this poet, in Italy '' He interrupted, `` Please don't judge all poets ''.

She was like charcoal, he thought -- dark, opaque, explosive.

She is married to Daniel Wolf, a New York photography dealer.

She named the project after a sign she saw in the abode of Pope Celestine V, which translates as ' a room of one's own ', and which Smith felt best described her solitary method of photography.

She introduced color to the editorial pages ( several years before The New York Times ) and photography, with less type on each page and a generally more modern layout.

She is currently writing a book about photography, called The Miracle of Analogy, and her long-in-the-making book, Flesh of My Flesh, was published by Stanford University Press in fall 2009.

She gave up modeling and devoted her time to erotic photography becoming the first female to shoot Page Three for The Sun ( United Kingdom ).

She also pursued her interests in photography, with emphasis on natural environments.

She is the author of four photo essay books featuring her photography of the Earth, including Passionate Vision ( 2000 ), which covered Canada's national parks.

She took up photography at the relatively late age of 48, when she was given a camera as a present.

She and Eakins both shared a passion for photography, both as photographers and subjects, and employed it as a tool for their art.

She worked with him in supporting his photography.

" She went to London on an early assignment to photography the residents of Soho and Mayfair.

" She has published several more collections of her own photographs, and has also served as an editor for collections of vintage photography.

She states that photography has ‘ become one of the principal devices for experiencing something, for giving an appearance of participation ’.

She is pretty and popular and generally well-liked by her classmates, and her interests include photography, journalism, and listening to rock music.

She liked photography but was interested in moving into film.

She studied photography at Guildford College under Ifor Thomas.

She also worked for the State Arts Commissions of South Carolina and Mississippi setting up photography programs in rural schools.

She enjoys photography and painting.

She gained notoriety in 1991 with the publication of a Fine art nude photography book, Santa Fe, and even more publicity in 1992 by her engagement to sumo star Takanohana.

She held the title of staff photographer until 1940, but returned from 1941 to 1942 and again in 1945, where she stayed through her semi-retirement in 1957 ( which ended her photography for the magazine ) and her full retirement in 1969.

She took up photography at Putney, where, she claims, her motive was to be alone in the darkroom with her boyfriend.

She incorporated photographic techniques during the filming of Boys Don't Cry — including the use of time-lapse photography when displaying the dimly lit Nebraska landscape and inherited stylistic influence from avant garde photographer Man Ray, who Peirce has cited as an inspiration on her work.

She also exhibits her photography at studios such as Danielle Arnaud.

She studied photography at Napier College, Edinburgh, then entered the National Film and Television School, where she specialised in cinematography and direction.