It doesn't have to be literal
This is a composition that was hiding inside a larger image. I didn't notice the photo
until I got the film back. What you see at right is about 1/5th of a 6x6
negative that contains the model, a beach, some rocks, and a
whole bunch of other stuff. By itself, the picture is a loser.
Cropped heavily, one could call it art. That's one of
the nice things about
medium format.
Rollei 6008, 250mm lens,
tripod,
Kodak VHC color negative film.
Does it tell a story?
Here's an excerpt from "Career Guide for
Engineers and Scientists" ...
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Rachel, PhD Biology UCLA 1992, enjoys the wealth of material comforts
that she has accumulated during 10 years of hard work in science.
(click on the photo for a 500x750 JPEG; click here for a
1000x1500 screen-filling image)
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1100 square feet of bare hardwood floors called out: "You will never
have this opportunity again. Tomorrow you are going to move all of your
worldly goods into this new
condo. You'd better grab your Canon EOS-5, 20-35/2.8L lens, and
TMAX 3200." The model and room both have to be bare to show the bleak
poverty of the unemployed PhD.
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Here's another image that was completely planned before the camera was picked up.
It was during the 1992 presidential campaign
when women's rights groups were upset by the Republicans' rhetoric. The image is
called Republican Platform. It would be better if the
red, white, and blue footprints had been made with smaller feet.
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Body as Structure
Here's a photo from junior year at MIT, 1981. The background is a
dark brown blanket. Illumination is from a dormitory overhead light.
The camera was a tripod-mounted Yashica twin lens reflex (6x6), valued
at approximately $100.
In 1993, I tried to duplicate the picture with higher-tech equipment,
starting with a $5,000 Rollei 6008, elaborate studio strobe system with
softbox, and motorized seamless paper background. Even the model was
higher tech (taller, thinner). The results? Pathetic. The room
light was too bright to adequately judge the outcome with the
strobes' modeling lights. Consequently, the image was much too high
in contrast.
Sometimes a brain is more important than a fancy camera.
Motion
Most nudes are static, heir first to the tradition of painting and then
to the limitations of early cameras. But with $30,000 of studio strobes, why
not show the body in motion? Richard
Avedon keeps his models constantly in motion so that he never gets a
frozen deer-in-the-headlights look. To ensure that the light on each
model stays constant as he or she moves, Avedon has assistants follow
the models around with lights at the end of booms.
(To create some images like these, start by reading
the photo.net guide to studio
photography.)
Environmental Nudes
It is tough to find anything actualy wrong with the picture on the
left, a standard studio photo made with a seamless background, medium format camera,
and softbox. However, the right hand "environmental nude" has more character.
Mostly Covered is Usually Better
People get uncomfortable when staring at other people's genitalia, so
it is generally best either to get rid of the genitalia or the face.
Of course, Mapplethorpe made almost a whole career out of violating
this rule so if you want lots of money and fame, you should probably
ignore this rule.
Covered by a Dog is Best
me and George (please do not send email asking which one is the dog)
George was the inspiration for Travels with Samantha, which begins with his end.
Three Graces
"I checked a few different sources for info on the 3 graces, and all I could
find is that they are continually anointing mortals, making them appear
extremely beautiful and immortal to their pursuers. But I couldn't find why
there are three of them or why they are called "graces". I think there is
some conflation with the Erinyes, who hounded Orestes after he murdered his
mom, but then he sacrificed to them and they became Eumenides, and at the
same time he sacrificed to the Graces. They are benevolent goddesses - that
much I can say for certain."
-- a classics nerd friend (Ph.D. from Princeton)
At right is a copy of a classical statue at the Hearst Castle in San Simeon. Below,
in declining order of fidelity to the classical traditional, are
interpretations of the theme.
"Nothing Beats a Wet Beaver"
That's the motto of the MIT men's water polo team. We
did a fund-raising calendar (September 1998-December 1999) of
these beefcake-y guys.
Note: Another project with Adriane: The Game.
Is it Art?
The line between art and pornography is fairly thin, but it is there.
At right is a photo taken for an undergraduate photography course at
MIT. A couple of professors loved it. They thought it was art,
expression, new, whatever. They hated the arch nude above and
preferred this one. So I guess this is art...
Infrared
Black and white images made with infrared light tend to erase to erase
skin blemishes and impart a lustrous luminous quality to human skin. In the old days, folks would
read Laurie White's Infrared Photography
Handbook and then trying out a few rolls of B&W IR film (example at right).
It was never easy to take infrared photos casually because you'd have to focus in two steps:
turn the focus ring until the image appeared sharp in the viewfinder and then
take move your eye to the top of the camera and turn the focus ring a bit so that the
infrared focus mark lined up to where the focus ring had been. Different wavelengths of light
require different focus positions for the lens. All of the visible wavelengths are close enough
in size that you can pick a single focus position and not have too much distortion from this
effect, which is why photographers don't typically think about it.
What about infrared photography with a digital camera? It should be
very easy indeed, since the CMOS and CCD sensors at the heart of a
digital camera are inherently sensitive to near-infrared light.
Unfortunately, the manufacturers put a filter over the sensor to
screen this out and limit image formation to visible light. The
easiest way to deal with this challenge is to contact the folks at www.maxmax.com. Mail them your
camera and some cash; they rip out the filter, tweak the camera so
that it will autofocus properly in infrared, and return it to you
after a day or two. Life is much easier than in the old film days
because (1) you don't have to tweak the focus manually after making
the image sharp for visible light, and (2) you get an instant preview.
More Practical Tips
Every now and then someone sends email asking "How do you get women to
take their clothes off?" The answer is that the world divides into two
classes of people: those who like to be photographed and those who
don't. Those who like to be photographed think they have beautiful
bodies. Naturally, if they look good in a picture clothed,
they'd look better without all those ugly clothes
standing between their beautiful body and the camera. If you
therefore find some folks who have survived the constant assault on
their self esteem by advertisers, the challenge will be to get them to
keep their clothes on. It also helps to have a portfolio of high
quality work.
How to develop that portfolio? Here's a 12-step program:
- Read Making Photographs,
our free online photography textbook. Concentrate on the "Light"
chapter.
- Read our portrait photography
tutorial; the challenges in nude photography are very similar
- Rent or buy a camera with full manual controls and a fast fixed focal-length
lens. If you've invested the time in arranging a venue and a
model, you don't want to rely on automatic exposure. The fast (f/1.4,
f/2 or f/2.8) lens is important so that you don't have to use flash for
every photo. See "Building a Digital SLR System"
for details.
- the photo.net guide to studio
photography
- Practice (repeat).
If you're using digital equipment, your photos will be secure on your
camera's memory card and on your personal computer's hard drive.
Thus, any nude images will be viewable only by you or, if your system
administration skills are sub-professional, by Bill Gates, most
American 13-year-olds, half of Russia, and the U.S. Government.
If you're using film and using commercial labs for development and
printing, you risk criticism. Big photo labs generally will develop
tasteful nudes with no questions asked. The customer service
department at Kodak's stated their policy as "if there is only one
person in the picture, we're definitely not going to have a problem
with it." There are laws in some states requiring labs to report
photographers who bring in images of naked children. More than a few
serious photographers have had unpleasant, expensive, and prolonged
dealings with government authority stemming from what you'd have
thought were easy calls (e.g., a San Franciscan who took his 8x10 view
camera to a nudist colony and photographed families with their
consent).
Recommended Books
Before investing a weekend, you might want to spend some time with the following books:
If you are looking for inspiration rather than tutorial, leaf
through the 425 smallish pages of
The Body
(William Ewing; Chronicle Books). This covers over 100 years of nude photography,
right up to the repulsively hairy body of John Coplans, whose
self-portraits definitely constitute one of the nastiest things one can
do with a 4x5 view camera (actually his assistant takes the pictures; he
just sells them for $5000 a whack).
If you're looking for something more in the coffee table line,
Graphis Nudes gives you 200 big well-printed pages
of contemporary nudes. Not as huge and only 116 pages long, the
Aperture monograph of Edward Weston's nudes can be awe-inspiring.
Do we really have something to say that he didn't say back in 1930?
And if so, is it aesthetic?
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