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Neshcheret builds most of the frames around Pletnyova's long torso and longer legs, shooting full-length and low so the legs run nearly the full height of the picture. Pletnyova has something to do with her arms in almost every frame, whether they're raised overhead, folded behind her head, crossed at her chest.
Across all twelve frames, she holds the same steady, unhurried expression through both looks. The styling does all the switching. It's what makes the white and the black read as one shoot rather than two.