Working with the Nude
Working with the Nude has many inherent difficulties. This page tries to share my experience and process.
How to Find Models
With the exception of self-portraiture, Nude photography by definition involves two or more people: the photographer and the model(s). This is the source of much of the frustration of photographers who want to work with the Nude - how to find models. There are four basic methods that can be used to find people to models:
1. Photograph people who hire photographers for Nude photos.
2. Hire professional models
3. Hire amateur models
4. Work with models in exchange for prints or photo services.
Of these four techniques, I’ve only ever used the last (though I did once work with a model who paid me, and it was a thoroughly disappointing experience).
The difficulty I have with being paid to photograph models is that it is the model who is dictating the content of the images; rather then created images to explore my own vision, I would be working to meet the desires and expectations of the model. While this is a strong part of the way I do (because if I can please a model, they may return to model again in the future), it is not the driving motivation in my work.
The issue I have with the second and third methods is that, in both cases, the reason for the model’s involvement is not the images, but the money - if the session fails, but the model is paid, it’s the end of the story. On the other hand, if the model has a vested interest in the imagery, and the session runs into problems, more often than not they are as concerned as myself in overcoming the difficulties. The other problem I have with the idea of paying a model is that I would constantly be asking myself “are they just doing it for the money?”. The people I work with tend to be a hardy lot, from working in cool Atlantic Canadian streams to standing in slimy, mucky water in underground rooms. In general, they are pretty good about working for an image. If someone was being paid to model, I would fear the only reason they were indulging me was the money.
So, given that I do not take money to photograph models, nor pay models (and therefore cannot attract them with piles of small, unmarked bills), how do I go about finding people to work with? The easiest way to is for me to tell them what I do, show them what I do, and then, based upon their response, perhaps ask them if they would like to do it.
When I first started working with the Nude, it was difficult to do the first part, as I had no work to show. Instead, I showed work I liked by photographers like Mapplethorpe and Weston as examples of the kind of work I wanted to do if I could find models. Generally, with enough images to show, people would come to understand my intent, and some of them modeled for me. As I built up my own work, I could show my images, and could better demonstrate what I was trying to do. I have found it helpful in piquing interest and opening up dialog with a prospective model to have a small, portable portfolio of 20-30 5"x7” prints of my work to carry with me. This allows me to quickly show the kind of images I want to make and, as much as I enjoy showing my work, not everyone has the time to come to my studio and go through over a decade of work.
One of the best ways to find people to work with is to have models provide references (once you find some to work with). Ask them if any of their friends might be interested.Nothing builds confidence in a potential model like a testimony from their friend about how much fun they had working with you, and how happy they were with the results.
What Makes a Good Model
There are three things which make a good model: enthusiasm, comfort and patience. People often think age, appearance or other factors are important, and, while they may play a role, they can easily be over-ridden by the first three. A wonderfully attractive person at the pinnacle of youth could be an utter failure as a model simply because of a negative, dispassionate attitude towards the process and work. I have worked with models into their 40s, with great success because of what they brought to the images, and how hard they were willing to work. Very few of my models have had “perfect” bodies - perhaps two would be considered acceptable for traditional fashion modeling, and yet the images I produce of them remaining people challenge the beauty notion of the fashion world, portraying the model’s elegance and beauty, in spite of their so-called “imperfections”.
Enthusiasm is by far the most important element a model can bring to a session. An eager model will work harder and longer, and put more of themselves into a session, immediately raising the quality of the images produced. It is personal excitement for the work that makes a model strive to help you discover the images that are possible, and which overflows into the successes you produce. Without enthusiasm, a model is just following directions, waiting for the next instruction.
Comfort is important on many different levels. A model’s positive image of their body is crucial, both during the session, and afterward, when reviewing the images. Often models are nervous when they first disrobe, but this should not be mistaken for discomfort - it can be a tense experience modelling nude for the first time, but a sensitive photographer will understand this and let the model find their own place in the process. If a model is uncomfortable with their physical self, it will show in the images, lending an unease to them with will be difficult, if not impossible, to dispel. When a self-confident model looks at the final prints, they can see past themselves into the images recorded on the film and conveyed by the paper - they are not inhibited by their own self-criticisms. In addition, a model must be at ease with the photographer’s work, with the general tone of the session, and with the concept of modelling nude as a whole.
Patience on the part of the model is crucial to my work. I can often take 10 minutes to find an image, during which the model has to maintain the basic pose. I suspect the patience of most of my models is rooted in their enthusiasm - the willingness to do what it takes to make the image, but wherever it comes from, working as a figure model can be very demanding, in a very stay-still-don’t-move kind of way. When I’m caught with the wrong lens, or want to change film, or simply try another angle, it is crucial to have the model maintain the pose - the exact pose is not crucial, but he willingness to wait in the position is essential.
The First Session
The most important time in your relationship with a model is the first time you work together, which sets the tone and expectation for all future sessions. First impressions count. I usually ask if the model would like to bring a friend along on the first session, so they have someone to talk to as I work, and so they have some added security to the situation. Taking your clothes off in front of a relative stranger, sometimes miles from civilization, is a large leap of faith, and having a friend along often makes for a better situation all around.
The most important thing to remember whenever you are working with a model is RESPECT. If you have no model, you have no work. The model is the centre of the session, and their comfort and ease is what makes the images work. Do not touch a model unless you ask them first, and generally, I refrain from touching at all, unless absolutely necessary (rearranging locks of hair, or nudging hands or feet into the correct position). Other than that there is no need to have any physical contact with a model. Giving the model respect, and maintaining it, will go a long way towards building a good working relationship.
I find the best way to begin working with a new model is to spend some time talking to them about what is involved in a session, how long it will take, what I look for in an image (this is another use for the portable portfolio talked about above) etc. This gives the model a better idea of what to expect. Also, at this point I ask for a pre-session statement to be signed. This basically is an acknowledgment that the model understands the process, and is working with me under no misconceptions.
Often, first sessions with new models are indoors - there are a number of advantages to this - it keeps the model in familiar surroundings (I often suggest working at the model’s home) and it greatly reduces the chances of unintended interruptions. The drawback of beginning working indoors, for me at least, is that I very quickly become frustrated by the lack of inspiration. Very few indoor spaces inspire me, and I more often than not find myself grasping at straws just to make images.
Once we are at the location of the session, I ask the model to undress as I set up my camera-gear. I have found it is usually preferable for people to dive in head-first, undressing totally, as opposed to drawing it out in a “take this off then that” style. An important point to remember is to ask the model to wear loose-fitting clothes - usually without underwear. This helps prevent clothing lines - which can sometimes take hours to disappear. By the time my cameras and stuff are ready, the model is usual ready too, and we begin. If the model is comfortable with their face in the images, I usually start with a series of portraits, focusing on the face rather than the body (these images are found in the portrait folio) - again, this gives the model some time to adjust to the situation, and provides a situation where the camera is not focused on the model’s body, but on their face.
Once the first session is over, as you pack up, spend some time with the model, talking about how they felt about the photo session. Note what makes them enthusiastic, and what they are uncomfortable with - ask them if they do not volunteer. This is also the time to possibly obtain a full release from the model, permitting unrestricted use of the images. If the session went well, and the model is comfortable with the idea as a whole, a full release should not be an issue. If the model is a little hesitant, I usually wait until the model has reviewed the proofs before asking for the release.
Once you have the film processed and printed (or contacted), get together with the model to go over the work - in my case, this is usually when the model selects their prints, but it is also a time to learn what the model liked, and what they would prefer, should they model again. I never provide prints for images not covered by a release, for two reasons. One, if the image is used by the model for a purpose she eventually changes her mind over, I could be potentially libel for damages, and two, if the models wishes the image, I should have permission to use it as well; to me that’s only fair.
Working with Couples
Some of the most positive comments about my site concern my work with lovers. Working with two models is often difficult - posing a single figure is hard enough, but adding a second model is often significantly more challenging. All this changes if the two models are in a relationship, as it is then possible to focus on their own internal chemistry, and take inspiration for the chemistry between the two models.
The most important thing about making images of couples together is ensuring that both you and your models know what is expected and what is unreasonable. I always spend some time talking with models about what it is I want to portray, and what I want to avoid, so the models have a very clear idea of what I am after. I usually ask if they have any images they are looking for, or any ideas which they would like to explore, and if appropriate, I incorporate these into the session. It is never possible to know what will happen before a session begins, but having well described boundaries and limitations helps prevent misunderstandings later.
Extended Collaborations
The most crucial element in producing strong figure photographs is the relationship between the model and the photographer. Sometimes this is present from the start - over ten years of working I have had near-instant rapport with only two models but this is the exception, not the rule. The best way to generate this relationship is to build it from the ground up. Once you have worked through the opening portion of your relationship, assuming the model had an enjoyable experience, you can easily approach them about working again - building on the foundation of that critical first session. An on-going creative relationship with a model can allow you the freedom to develop a cohesive body of work centred around your collaboration, similar to the images in the Victoria folio.
Working with the same model over a number of different sessions builds up a rapport, and helps the model learn what works in the images, and what doesn’t. As the model becomes more familiar with how you work and experienced with the process of making an image, the model becomes better at generating poses which work for you, and on the whole, the number of successful images goes up. I’ve also found the work tends to be produced quicker, allowing more images to be generated and more creative boundaries expanded.
Sites and Locations
One thing that is important to remember is that very little is necessary in order to make good photographs. Lighting can be natural (my preference) or artificial (a single candle can yield very strong results). You can work in a bedroom, in a shower, an abandoned power plant, a desolate field, or anywhere else sufficiently isolated or private. Generally speaking, if it takes some effort to get to, it is a decent place to work - if it is along a well-beaten trail, or in a well known space, you are more than likely to have interruptions which might cause problems at worse, or simply slow down your work, at best.
If you have an assistant or friend of the model along, they can act as spotters, keeping an eye out for the unassuming hiker or passer-by. It takes very little time for a model to throw on a shirt or sweatshirt, and have what might be a touchy situation turn into merely a curiosity.
Whenever I can, I try to be familiar with a space before I bring a model to it - this speeds up the finding of settings in which to work, and gives me a better idea of how to pace resources - film, time etc. That said, I often work in spaces where I have never been before, and find this inspiring, as each crest or turn may reveal some wondrous space. The problem with this technique however, is I have several times run out of film, or time, just as I have reached the best space in the area…another point in favour of having a model’s friend along - they can scout ahead while you and the model are busy doing the slow work of making the images.
Pitfalls, Trials and Tribulations
There are always things that can go wrong with sessions. Dealing with these is something that can tax the ingenuity of a photographer, and with a figure session, some pretty bizarre stuff can happen. Thinking ahead can avoid big problems cropping up.
First of all, go prepared for the elements. Bug repellent is a must - bites are uncomfortable, can cause allergic reactions, and can ruin a photo (those little raised bumps really show up, no matter how small!). Sunscreen is also a must - few people spend hours nude outdoors, and sunny or not, sunburn is a big risk. The most powerful sun block should be used - I provide models with SPF 50.
One of the most important things to remember when working with the Nude is to pay attention to details. Many times a very strong image has been ruined because I did not move a branch or fix a lock of hair. Take a good look at a composition before you record it on film - look for jewellery, fingernail polish, stray hairs, litter on the ground and other small details that might cause problems in the image. If a model has scars or tattoos, you have to make a decision as to whether you want to include them in the images. In the work with Megan, I never worried about whether her scar was visible, because even if it showed, I felt it was part of her. In a similar way, other models with tattoos, I have avoided them to keep the images universal. It is the attention to details that makes strong images even stronger.
Being prepared from a technical perspective is also important - several times I have been caught with the wrong film because I had assumed a session would be all outdoors, only to discover I need high-speed film for low-light work. With roll film, there is only a small amount of additional weight as a result of carrying a couple of more rolls of film, and if you don’t use them, they can remain in the bag for the next session. Similarly, if is better to take a lens, just in case, than for leave it behind to save weight, and then kick yourself through the whole session for forgetting it.
Insurance is a consideration too - speaking from experience. If at all possible, insure your gear against damage and destruction when in the field (most people’s cameras are covered within their home, but not necessarily out of it). This serves in two ways - one, it protects your equipment should the unfortunate happen and things get damaged, and two, it sets your heart at rest and provides you with some freedom in your image making, given the first part.
Legal Issues
Is it illegal to photograph someone nude? This is something that never occurred to me in the first years of working with the Nude, but it does come up from time to time. The one thing that constantly amazes me is how other people see what I do…casual nudity is something I have become so comfortable with that I often forget how uncomfortable it can be for others. I must be honest and admit that I find the thought of someone finding what I do offensive hard to grasp…the power and grace of the unclothed human body is by far the most compelling subject I have ever worked with - the fact that some people would claim it is an offence to explore it visually is quite literally disturbing.
In Germany, one can find people legally sunbathing nude in city parks. In Denmark, all beaches are clothing optional unless posted otherwise. At last count, there were only two clothed beaches in the entire country (1999 statistics). In Canada, though, it would seem we are a little less progressive, although there is no law outright banning the photographing of naked bodies. The law is as outlined below, from the Canadian Criminal Code:
Section174
(1) Every one who, without lawful excuse, (a) is nude in a public place, or (b) is nude and exposed to public view while on private property…is guilty of an offence…
(2) For the purpose of this section, a person is nude who is so clad as to offend against public decency or order.
In 1977, this section was clarified, when it would determined that it is not aimed at conduct such as swimming nude at an isolated beach. Further, as the second clause indicates, the individual who is nude must have the intent of offending public decency and order. Though there have never been any charges proffered against models or photographers in Canada to date, I suspect that the second clause would seriously tax the ability of the Crown to pursue charges.
More recently (Dec. 1996), a former Guelph University student was acquitted of a 1991 charge of indecency for walking top-free in public. The Ontario court of appeal overturned her conviction because “There was nothing degrading or dehumanizing in what the appellant did. The scope of her activity was limited and was entirely non-commercial. No one who was offended was forced to continue looking at her. I cannot conclude that what the appellant did exceeded the community standard of tolerance when all of the relevant circumstances are taken into account.”
Over the years I have worked with the Nude, people have come across myself and a model (or two or three) while we have been working on various occasions. The reactions have ranged from mild embarrassment to open curiosity (more often than not with my 4"x5” camera, rather than with the nude model). I have never had someone become upset with the situation, or threaten myself or the model. From my experience, as long as you are careful selecting your space to work, and remain aware of your surroundings, the chance of a bad encounter with a passer-by is slim.