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The Lens Paper
February, 2004
Page 3
be created. So the draw for me is really the infinite possibilities
that the nude figure can provide me as an artist.
How to Get Started:
Most people think that starting to
make artistic photographs of a
nude figure requires first and
foremost a nude model. That is in
fact the last thing that you need,
not the first.
First some people will need to get
over the fact that nudity is bad.
Pornography is to most people
demeaning, insulting and
unacceptable as an artistic form.
The reality is nude photography is
not pornography. Nude
photography, like any other form
of photography, is supposed to invite the viewer to learn
something new, expand their knowledge and the boundaries of
the world around them. Photography is also supposed to open a
window into who the artist may be and how they perceive the
world around them.
So first, you will need to think about what you want the images
to look like and say about who you are and how you perceive the
world. Next, you should think about the look of the images. Do
you want them to be high key, low key, stark, abstract, detailed,
etc.?
Finally you need to be comfortable with the subject. This may
take many forms. Try nude photographs of yourself. This is a
great way of turning the camera on yourself so to speak. Also,
look at some of the references below to get an idea of what you
think are good fine art nudes and what are not. Only after this are
you ready for the model.
The Workshop:
The workshop is a very good way to explore this subject in a safe
and comfortable environment. It provides you with enough
guidance to explore the subject and learn from the experience of
the instructor and the other participants. The format of this
workshop will be loosely based on the Socratic method of
learning though exploration. This method has been taught
successfully for many years by an acquaintance of mine. The
object is to get the participants to start thinking about nude
photography in a structured way so the process of working with
the model and the equipment quickly becomes natural to them.
Part I
Due to the time and space constraints of the workshop, the first
part will be a self-assignment that should be done before the
workshop. Use the references below and any others that you can
come up with to help you become familiar with the subject. The
best way to learn a subject is to practice. As lighting and camera
angle are so important, it is helpful to do some practice shots
before the workshop. Use a small artist’s mannequin, or even a
can of beans and a small table lamp to practice taking
photographs. Move the light, the subject, and the camera to see
how they can impact the image. The point is not to come up with
incredible images but just to see how small changes can have a
huge impact.
I will also have a few images and books at the workshop to help
you think about various interpretations of the nude from well
known and not so well known photographers. This will help you
think about camera angles, lighting and the nude form. It will
also help you form an idea of what appeals to you and what does
not. Through these references you will find some classic poses
that have been used by painters before photography ever existed.
You will also find poses that are very original and truly make you
appreciate the art and skill that is required.
Part II
The first part of the workshop will require no cameras or models.
We will sit as a group and get to know each other a little bit
because if we are not comfortable with the other people in the
group, it will make it very hard to be comfortable in the
workshop.
Part III
Now that we have started to think about these basic issues it is
time to introduce the model to the group. I think it is important
to have a little bit of a personal connection with the model to
create successful images. One thing you will find out about
photographing any model is that if they are not comfortable
during the photo shoot, it will immediately show up in the
images. Their hands, feet, mouth and eyes will show the tension
that they are feeling regardless of how much they try to hide it.
For the first set of images, the model will hold the pose for
approximately 5 minutes. This will let the participants explore
the nude form from a number of angles and see how the light and
camera angle can be used to create fascinating images.
Part IV
For the next part, the model will do a set of poses that will
require more balance and will only be held for a minute or so.
The goal for the photographers is to start to use the knowledge
that they have gained so far to visualize the image and execute it
quickly. This is now exercising a different part of your creativity.
Part V
The final exercise will give the participants complete freedom to
position the model and lighting. The only catch is you can only
take three frames of any given pose. The point is now for you to
use everything you have learned up to this point to pick what you
think will work best as a photograph. In some ways it is a self-
test.
Part VI
Finally we will sit down again and briefly share what everyone
has learned or gained from the workshop.