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  1. #1
    Ian Leake's Avatar
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    Thoughts on Nudes and Photography

    Why do I create photographs of nudes? Is there a difference between what I do and what another photographer chooses to do? Does it matter how viewers of my photographs react? And if so, should that have an effect on what I do and how I do it? I’ve recently had cause to ask myself these questions about my work, and this article is my attempt to frame a coherent response.

    I have no desire to trigger another endless rambling discussion, so please use the "Post Reply" button with moderation. I'm really interested in what you think about this article, but the topic is not really suitable for megaphone discussions. So if you think I'm right or wrong, out of line or spot on, or just want to let me know your opinions, then please PM me so we can talk constructively.

    Two Fundamental Questions

    There’s a fundamental question to address before discussing nudes: is photography art? Of course photography has many uses; and many are purely practical, such as scientific or judicial records, social documents, or communication aids. But I practice photography as a means of self expression, so it should therefore be no surprise that I consider photography to be an artistic medium and my photographs to be art. (Whether it's good art or bad art I’ll leave for others to decide.)

    The other fundamental question is whether there is a difference between nude and naked. The Oxford English Dictionary (OED) defines naked as an adjective meaning, “without clothes,” and nude as an adjective meaning, “wearing no clothes.” But it goes on to say that as a noun, nude means, “a naked human figure as a subject in art…” So although the OED doesn’t help much, it does suggest that the nude is an art form and “the naked” isn’t.

    That sounds like common sense to me – few people would describe a photograph of a naked baby on a sheepskin rug as art, but the artistic status of Edward Weston’s “Neil, Nude” from 1925 is unlikely to be challenged by many. So it seems reasonable to state that the nude (whether sculpted, painted or photographed) is an artistic form differentiated from other representations of naked people.

    Celebration or Challenge

    Artists choose their themes for many reasons, but I think two are worth highlighting: the desire to celebrate something and the desire to challenge society. Although not entirely mutually exclusive, the extremes of these two motivations are to a large extent contradictory. There is, in essence, a continuum with Celebrationist at one end and Challenger at the other.

    Many artists use nudes as a way to challenge society by asking taboo questions, shocking people, and stimulating debate. The best example of this philosophy I can think of was exhibited at Photo London in 2006: a mural-sized photo of a woman urinating into a drain on a London bridge (with everything on show and nothing left to the imagination). Whether this was important art or just disgustingly poor taste is beyond the scope of this article, but without a doubt it achieves the goal of challenging society.

    Others choose instead to celebrate humanity with their nudes, showing beauty, or emotion, or strength, or grace, or whatever trait they wish to honour through their nudes. August Rodin and Ruth Bernhard are both artists whose work exemplifies this for me.

    Personally, I believe there is sufficient ugliness in the world without me adding to it. I work almost exclusively with nudes because I find the body deeply emotive, visually fascinating, and sumptuously beautiful. I work primarily with women for the same reasons. So, in short, I’m a celebrationist.

    Horndog to Robot

    I have to thank Scott Davis for this concept. At any moment in time every human being is somewhere on a continuum from horndog to robot. While making out with a lover we’re likely to be more like a horndog, and during a job interview we’re more likely to be at the robot end of the scale.

    For most of the time, most of us are somewhere in the middle. But external stimuli can move us rapidly and unexpectedly around the scale. Ever been cuddling up on the couch with your lover when your pet walks into the room and is sick all over the carpet? It kind of kills the moment doesn’t it. Or have you been in a meeting at work when a stunningly attractive person walks by the door? Just for a moment you moved a little closer to horndog didn’t you.

    As an aside, a model I worked with also works as a dominatrix in a city dungeon providing unusual services for consenting adults. She told me that some of her best and most loyal customers are members of a strict religious sect which prizes family values and expects high moral standards from it’s members. I’ll let you decide on the morality of this, but I think it reinforces my point that we are all emotional beings (it’s part of the human condition).

    While many of us are good at hiding where we are on the horndog to robot scale (sometimes even from ourselves), it exists and it effects how we act whether we like it or not. We may even be able to control where we are on the continuum to an extent, but it still exists. And, I believe, it’s a fundamental part of how we react to nudes.

    Nudes and Sexuality

    Are nudes about sex, or should they be devoid of sexuality? Is a photograph of a female breast sexy, beautiful, or boring? Is a photograph of a penis art or porn? Where does the sensual end and the erotic begin? Should “naughty bits” be shown? Is eye contact right or wrong?

    I believe these are pointless questions, because the answer will be different for every person on the planet. But I also believe that to deny that sexuality has or should have a place in art is to deny our humanity. We exist as a species because of sex; and it’s one of the three fundamental motivations that direct most people’s lives - the other two being personal survival and survival of our children.

    As a species, our sexual interests are, thankfully, very diverse (remember the dominatrix?). And as art is all about self expression it’s only natural that artists will seek to portray sexuality in all it’s technicolour glory. And long may that continue.

    Nudes and the Viewer

    Does it matter what effect my photographs have on the viewer? Of course it does. I’m a celebrationist, and if my work doesn’t communicate my passion then I’ve failed. So I want my work to have an effect on the people who see it. And I want that effect to be a strong emotional reaction. And I want that strong emotional reaction to be one that’s in harmony with my passion for humanity.

    But of course I can’t control how people react to my work. Every person who looks at one of my photographs has a whole lifetime of experiences that filter what they see and how they subsequently react. And every viewer is somewhere on the horndog to robot continuum at the instant they see my photograph.

    So while I hope that the most viewers will share my passion for humanity, I have to acknowledge that some won’t see my work in the way that I do. And I also have to accept that a strong emotional reaction will sometimes move someone closer to horndog than they or I expected, leading them to do or say things that they wouldn’t when they’re closer to robot.

    I know sometimes I say and do things that with hindsight I think were wrong, so it would be hypocritical of me to expect perfection in others. Anyway, I’ve chosen to put my work “out there” so I have to accept how people react to it.

    Nudes and the Model

    How should photographers work with models in the studio? Many, if not most, people have an opinion on this. I don’t know whether there’s a “correct” way of working, but I suspect that actually it doesn’t matter how an artist and their model work together so long as both of them are comfortable with it and they trust each other.

    I believe that if you’re going to ask someone to undress for you in the name of art, and if you want them to put aside their self image and allow you to mould them to your vision (whatever that may be), then they have to trust you. Without trust they won’t relax, and if they’re not relaxed then it will show in the photographs. And of course if they don't trust you then they’ll never work with you again, as well as telling other potential models to avoid you too.

    Likewise, if the model thinks you’re too much of a horndog then their discomfort will show in the photographs, and if they think you’re too much of a robot they’ll be bored which will show too. But if you’re both in harmony then you’ve got a real chance of creating something significant.

    As far as I’m concerned, the same principles apply whether you’re working with a professional model, a friend, or someone who just wants to broaden their horizons. Without trust and harmony between the model and photographer then you’ll fail to create significant artwork.

    Nudes and the Artist

    The nude as an art form was invented in Ancient Greece, discovered again in Renaissance Italy, and re-discovered once more in the early 20th Century by artists such as Rodin and Weston. In more recent times, I think the nude has often been swamped (shouted down even) by commercial sexuality and establishment art.

    I believe that the human body is inherently beautiful, and I seek to celebrate this beauty through my photography. That is my purpose.

    Some people won’t like what I do. That’s fine, but I hope that most people viewing my work will join me in celebrating the wonderful people I work with, and the wider circle of humanity that they represent.

  2. #41
    TheFlyingCamera's Avatar
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    Ian- while the subject of model releases is on our minds, would you mind sharing your model release that you use? I'm just using a boilerplate release form, but it would be nice to see one that has been customized to protect both artist and model without giving away the farm to the model.

  3. #42
    Ian Leake's Avatar
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    Quote Originally Posted by TheFlyingCamera View Post
    Ian- while the subject of model releases is on our minds, would you mind sharing your model release that you use? I'm just using a boilerplate release form, but it would be nice to see one that has been customized to protect both artist and model without giving away the farm to the model.
    Here you are Scott: Model Release Form. There's a space for us to agree special terms or restrictions but I've only used this twice I think. Being based in London I've not had it checked by a US lawyer - where's Sanders when you need him?

  4. #43

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    It's th commissioned ones I was really referring to - which is actually the vast majority. These tend to be commissioned privately and often for husbands or partners. One was someone who said to me - "I'll never look better than this and I want to remember it." So they're images which I wouldn't feel comfortable showing anyone - privately or otherwise. The reason I give the negs is that the client need never concern themselves that such images will appear publicly. Legal recourse for such publication is not the point with these.

    I fully understand the point about using my work but, as it's not my mainstream anyway I'm not overly concerned. Plus the fact that I'm very certain that none of the clients has any interest in their publication or distribution. I usually encourage the client to bring a friend or partner to the sitting - not one of them has, but I feel the offer gives them a degree of comfort.

    Do you guys find this work difficult as well? Every commission I've had for this work has been for "Fine Art Black and White Nudes." As such, you know the client wants evocative images - but that dividing line is so damn thin!

    Bob
    "Why is there always a better way?"

  5. #44
    TheFlyingCamera's Avatar
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    I've never had a problem with maintaining the dividing line between evocative and provocative - then again, many folks consider even the simplest of my nudes to be provocative (verging on offensive!). Then again, it's much easier I think in some ways working with male models - the outward signs of arousal (usually considered to be the dividing line between provocative and not) are much more obvious with men.

  6. #45

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    Yes I can see that. I've never worked with male models. I guess also, that with the vast majority of my nude work the decision isn't made by me - the determination is that of the client / model. The usual commission is always, of course, for "tasteful images." Define tasteful!

    Bob
    "Why is there always a better way?"

  7. #46
    Ian Leake's Avatar
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    Quote Originally Posted by BobNewYork View Post
    Do you guys find this work difficult as well? Every commission I've had for this work has been for "Fine Art Black and White Nudes." As such, you know the client wants evocative images - but that dividing line is so damn thin!
    Nope. I've worked with all sorts of body shapes and ages - there's always something beautiful to reveal. People asking for commissions have seen my work and know what they're going to get. I generally do this for free so if I think they want something that is not my style then I won't do it. On the other hand I find straight portraits very traumatic

  8. #47

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    I think it's the keeping the paying client happy that's the traumatizing factor

    Whenever I feel like the Lone Ranger in this regard I re-read the Weston Daybooks!

    Bob
    "Why is there always a better way?"

  9. #48
    Ian Leake's Avatar
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    I have to ration my Daybooks reading - if I overdose I find myself with an almost overwhelming urge to throw in my real job to become a bohemian living on nuts and peppers. That's very scary!

  10. #49

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    Know what you mean. Haven't seen mine in a while - I'm convinced the wife's hidden it - or worse.
    "Why is there always a better way?"

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    Hi, I enjoyed the article and the comments it provoked. MY opinions are very liberal WRT the subject, and although I have never considered taking nudes before, I am sufficiently interested to try with someone I know well. I think perhaps posing as a model myself at the local arts college may be a good introduction to the form... Thanks L.



 

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