Category Archives: Nudes

The Importance of Play in Making Art

I’m getting started on a new series of human figure studies to go along with still life images. I arranged with a friend who is a professional dancer to be my model. One of the things he wanted to do was to try some movement studies. I had some pre-conceived shots I wanted to make, but I thought it would be good to push my comfort zone and try to do something different. I’m very much a collaborative photographer when it comes to working with models – I know I do NOT have all the ideas, and I love being inspired by and learning from the people I work with to create images.

I also enjoy using the limitations of my tools creatively and making them do things they aren’t necessarily intended for. We did this series with my 8×10 inch studio portrait camera, which is a big, heavy, relatively immobile beast. It has a Packard shutter to control exposure, which is a fairly crude, imprecise device (top speed is 1/30th-ish of a second). But what it does do is allow me to keep the shutter open for an extended period with the pneumatic squeeze bulb. So for these motion study shots, I opened the shutter, let Gabriel my model dance, and randomly popped my flash multiple times during the exposure. Very imprecise, very guesstimate, very subject to the whims of serendipity or disaster.

To make things more interesting, I had him dance with a piece of perforated craft paper that came in a box as packing material for something I bought online. The combination of the paper plus the swirly backdrop we worked in front of plus the use of a soft-focus lens on the camera gave the images an etherial, smoky look.

We also did some with bubble wrap.

We only did a few shots like this as it was experimental and I had no clear idea how it was going to come out. Having seen these, now I wish we had shot a whole bunch more of them! But that is the clarity of hindsight. Now, at least, I am inspired to try more of the same, and have a foundation of what to expect.

The great risk of course is, now that I have these shots, in trying to replicate them I will end up dissatisfied with the results because they will be too thought out and the element of serendipity will be lost, or I’ll go too far the other direction in trying to compensate for the serendipity loss and make a godawful mushy mess. But these are the risks we take when we make art – connecting with something emotionally is always risky.

Updated information – Mexico City shows

Show #1: Corporalia

Show dates and times: Saturday June 22- Sunday August 18, 2024. Opening reception June 22 at 6pm. Artists Talk June 25th at 5pm (I will be participating in the artists’ talk and showing some additional work from my portfolio).

James, Land’s End, 2003

For more information about Eucalipto20, check out their website at https://eucalipto-20.ueniweb.com

and their Instagram is https://www.instagram.com/eucalipto_20

Show #2: Geografía del Cuerpo

Geografía del Cuerpo is at the Museo Archivo de la Fotografía, and runs from June 26 to July 18. The opening reception is July 26 from 7-9pm, and is limited to 100 persons in attendance. I will be there as well (In case you’re wondering, I’m the one in the hat with the gray beard and glasses).

For more information about the museum, their website is: https://cultura.cdmx.gob.mx/recintos/maf

and their Instagram is: https://www.instagram.com/mafmuseo/

Two Shows in Mexico City!

I’m going to have work in not one, but TWO shows in Mexico City the end of June. Show number one is at the Museo Archivo de la Fotografía. The show is called “Geografía del Cuerpo” and features work by eleven photographers creating work dealing with gender, sexuality, identity and politics.

This show will be a minor retrospective for me as it includes work I’ve made across the last 20 years. I’m including some unique gum bichromate prints that I made in the 2000s, some infrared shots of male nudes in the landscape printed in palladium on kozo paper (a Japanese paper made from kozo bark which is almost tissue-like) that were shot in the 2010s and printed recently, and some studio nudes I did just last year.
Pensive (Kodak HIE, palladium on Awagami Platinum kozo paper, unique print)

Torso Moreno (four color gum bichromate, unique print)
Narcissus (palladium on Saint Armand Frobisher paper, edition of three)

The opening reception will be held on Wednesday June 26 from 5-7 pm, and the show will be up through the end of July. I will be in attendance at the opening reception, so if you’re in the neighborhood please stop in and say hi!

The second show also features images dealing with gender, sexuality, identity and politics, this time at Eucalipto 20, an independent art center in the Santa Maria Ribera neighborhood. The gallery is a short walk from the Buenavista bus/metro/train station. The building is somewhat nondescript on the outside, so watch carefully for the street numbers.

James, Rocks, San Francisco 2001 (platinum print, edition of 5)
James, Tree, Lands End Beach, San Francisco 2001 (platinum print, edition of 5)

The opening reception will be June 22, so I will not be in attendance, but we will have an artists talk during the week, dates and times to be announced.

Portraits and Nudes

I had a photoshoot at the end of last year (sorry for the delay in getting these online, but life happens) with a fantastic model, Thomas Roblez. I found him on Instagram. He has a striking, somewhat androgynous look and just radiates sexy beauty. We did a session in my studio entirely with the big Century Master portrait camera and the Kodak 405 Portrait lens. It’s a soft focus lens with a very distinctive signature look, something not easy to replicate even with extensive Photoshop work.

These were an homage to Narcissus. I like the effect of the soft-focus lens on these because it gives them a dreamy, hazy look that you’re not quite sure if it’s real or if it’s something out of the imagination. Very appropriate for the mythological nature of the subject.

This one is a darker psychological exploration. A Plague Doctor emerging from the depths of your psyche – is he here to heal, or to terrify? As we emerge from the unreal nightmare of the three year pandemic, how do we remember those times? They feel like years that didn’t really happen, that went missing, and we’re not sure what to think of them or how to remember them, or even if we can really remember them at all.

Gen Z gonna Gen Z and be on their phone non-stop.

One of his (and my) favorite shots from the photo session. I just love the relaxed, languid pose – it reminds me of those 1920s advertisements.

Not all photos, especially nudes, need to be serious. It’s good to inject some whimsy and humor from time to time.

Not all portraits need be vertical.

K.T. at Land’s End, in Black-and-White (NSFW)

Four more images from my series with K.T. at Land’s End. It’s funny how when you’re shooting, sometimes you’re so in the moment of doing it, you don’t realize the parallels you’re creating. In this first pair, the parallel is obvious.

K.T., Front, Foyer
K.T., Front, Foyer

K.T., Back, Foyer
K.T., Back, Foyer

We had an interesting space to work in, so I had him turn and repeat his pose both front and back. I was thinking of exploiting the cubic volume of the collapsed structure, and contrasting the rectilinear forms of the structure with the organic ones of the body.

The reclining poses are similar as well, but in a less obvious way because the backgrounds are different, as is the placement/emphasis on the figure. In the tree figure, the human form is front-and-center, definitely the main subject of the image. The coarseness of the bark and the wild gnarls of the branches contrast with the contained, orderly, smooth human body draped over them. In the surfside image, the human figure is very much present, and the focal point around which the image is structured, but it blends in to the scene both tonally and formally.

K.T., Reclining, Wall, Surf
K.T., Reclining, Wall, Surf

K.T., Reclining, Tree
K.T., Reclining, Tree

Last but not least, I thought I’d make a diptych out of the two foyer shots, since they so harmonize with each other. I know I wasn’t thinking “Gee, let’s make a diptych out of this!”, or at least not like THIS, when I took them. Back when I took these, I thought almost exclusively as a single-image shooter. Each image was a discreet entity, even if part of a narrative series. So I certainly shot them to be a pair, but I would have envisioned hanging them side by side in separate frames. Funny how serendipity works, isn’t it?

Diptych, K.T., Land's End
Diptych, K.T., Land’s End

From the vaults – San Francisco Nudes (NSFW)

I’ve been doing a lot of housecleaning. I’m preparing what used to be my old office (the computer is now in the library, aka the second bedroom) to become the “camera room”. I have all the shelves I need, I just have to clear out some more stuff and get rid of the old computer desk I used in that room. In the process of cleaning it up, I found a whole bunch of old negatives that I hadn’t done much with. I had tried scanning some of these in the past, and had issues, but I think that was as much my old scanner and my old scanning software that couldn’t handle them as well. These two images were some of the rare color nudes I’ve done. I’m not entirely sure why I don’t do more color nudes – I think there’s a mental association with color nude work and shall we say “non-artistic” photography. I think it’s much harder to do a good color nude because it becomes so hyper-realistic that we start to look at the model not as a model, but more as a portrait, and as such we start personifying the models rather than seeing them as abstract everymen and everywomen.

These shots can’t be duplicated – the graffiti-covered structure (which used to be part of a military guardhouse overlooking the entrance to San Francisco Bay) has since completely collapsed into the sea and/or was removed by the Army and/or Golden Gate Natural Recreation Area rangers for being tragically unsafe. Quel dommage – it made for a really cool backdrop. These are two survivors from that excursion, and proof that checked-baggage x-ray scanners are indeed hazardous to film (thus the difficulty with scanning and color-correcting them).

K.T., Graffiti Wall, Full Length
K.T., Graffiti Wall, Full Length

K.T. was a great model to work with. You can’t see it from these shots but we were out photographing in full-on San Francisco Golden Gate fog. Which is COLD. And WET. But he bravely got out there on the crumbling concrete in the sand and the wind and the fog with nothing but his birthday suit and posed. I think we worked for about 2 hours. Yes, he did have a bathrobe to slip in and out of between shots, I’m not that cruel. I’m going to try and coax him into posing again for me a good 10+ years on from when these were taken.

K.T., Graffiti Wall
K.T., Graffiti Wall

I’ll be following these up with a batch of black-and-whites I did with the same model at the same location. One of the great things about San Francisco is that public attitudes toward things like (respectful) nudity are so relaxed. Although the location looks very isolated, we were just perhaps 60 feet down a cliff from a well-traveled footpath, inside the city of San Francisco proper. I was shooting on this same beach another time, that day being a rare sunny day in SF, and my model was standing next to a rock in the surf, naked as the day he was born. Out from between two sheltering rocks comes a rather grungy looking tennis ball, hotly pursued by a Golden Retriever. Who is shortly followed by its owner. We don’t have any time at all to react, and my model has no way to cover up. The dog’s owner pauses for a second, surveys what we’re doing, says, “nice day for it!”, smiles and walks on after the dog.

Upcoming Course – The Narrative and the Male Figure

An introductory video discussion about my upcoming class at Glen Echo Photoworks. The course runs on Fridays, from September 19 to November 7, from 7-10pm. The concept of the course is to introduce students to the use of the human figure in narrative photography – telling a story with pictures whether it is a single image, a diptych or triptych, or a series. We will cover the historical use of male figures in narrative photography, from Hippolyte Bayard’s nude self-portrait as a drowned man in protest of having withheld his announcement of the photographic process he invented so that Daguerre could go first (and get all the credit and financial rewards that came from being first) to modern photographers like John Dugdale, Arthur Tress, and Duane Michals. We will also look at the use of the male figure in relation to questions of gender, sexuality, and identity. To register for the course, click here – The Narrative and the Male Figure

From the vaults – Infrared Figures in the Landscape

These are some from my vaults. I was doing some clean-up in my library and went through my catalog of negatives, and came across these. I shot these on the old Kodak HIE infrared film. Alas, not only is HIE no more, but virtually all IR-sensitive films are gone now too, other than Ilford’s SFX and Rollei IR. Kodak HIE was the king of the crop, having far greater infrared sensitivity than the others (it topped out over 900nm, whereas most of the other films were 820nm, or even 750 with the Konica). It produces a beautiful pictorial effect, and made for some very interesting figure studies. I only ever got to shoot a few rolls of it before it was gone, and the few I had stashed didn’t keep well, even in cold storage. Lots of people have asked about bringing Kodak HIE back as a product – I would love to see it happen, but it isn’t going to. Here’s why – the infrared sensitivity is effected by a specialized dye. The dye requires chemicals that are A: rare, B: very expensive, and C: don’t age well. To meet the minimum manufacturing requirements, very large quantities of the dye would have to be made. At the end of the products’ commercial life, Kodak was not selling enough of the film to cover the cost of the dye, and it was generating tremendous waste as the dye was going bad before the current stock would be sold, so they were not only throwing away dye, they were throwing away finished product.

Dat, #5
Dat, #5

Dat, #4
Dat, #4

Dat, #3
Dat, #3

Dat, #6
Dat, #6

Dat, #2
Dat, #2

Dat, #1
Dat, #1

More images published at Eastern Sierra Center for Photography – male nudes

I have had eight images published at Eastern Sierra Center for Photography’s website in their “Paradigmatic Nudes” gallery online. Most of these images you’ve seen here before on my blog. The images featured are my whole-plate sized gum bichromate prints of Philip, a model I’ve worked with and my Type 55 Polaroid 4×5 format shots of my friend Jose. I’d like to give a big shout-out to Laura Campbell, their curator and director, for repeatedly selecting my work and having faith in my creative vision. Please go check out their website and see the entire gallery.


Jose, Legs
Jose, Legs

Large format Nudes at Eastern Sierra Center for Photography

Peoples Choice Voting – Onward Compé 14

Here’s one instance of where Richard Daley’s admonition to “get out, vote early, vote often” is actually legitimate! Please go visit my entry in the Onward Compé `14 competition, and vote for me in the Peoples’ Choice category. You can vote daily, so please do!

Jose, Torso, Kneeling
Jose, Torso, Kneeling