Lilly by Cangle Light (Halifax, Nova Scotia)

I haven't made any new images of Lilly since 1999 but as she is both a good friend and model, we'd kept in touch. So, when she recently called me up and suggested a candlelight session, I was more then enthusiastic.

6x7 cm film

As it turned out, the best time for Lilly was on a Friday night, so we convened the session late in the evening after I'd worked a 10 hour day. I borrowed a medium format Mamiya 645 for the session, seeking a compromise between the impractical 8"x10"'s image quality, and the lower quality provided by 35mm film. After spending some time catching up with Lilly and discussing the procedure of working with candles (Lilly'd previously only modeled outdoors and in the studio), I loaded up the 645 with Ilford's Delta 3200 and we began.

6x7 cm film

Working with the 645 proved more challenging then I had expected; the lens on the Mamiya was much slower then the 35mm cameras I'd previously used for imaging by candle, which made both composition and framing difficult. Initially, I was confounded by this, because I'd done candle nudes with a 4"x5" in the past with an even slower lens. It was then that I realized that with the 4"x5", I was able to use a quality loupe to focus the camera, whereas with the Mamiya, I was using a prism finder. Once I'd removed that, and was just focusing and composing with the ground-glass, the session went much more smoothly.

6x7 cm film

After almost a full year dedicated to working with the 8"x10", it was interesting to work with a camera that gave a decent sized negative, and yet maintained a decent size; that, combined with the 3200 speed film yielded some quite pleasing results. I am certainly glad I tried the fast roll-film, which, when combined with the medium format negative, lead to a nice combination of grain and print size - certainly an improvement over the 35mm version of the film, which was almost as grainy as Kodak's infra-red film.

Victoria in a Dark Room (Halifax, Nova Scotia)

8"x10" film

In the fall of 2001, Victoria began renovating a small house she'd bought, gutting it down to the bare wood walls. This presented an unusual opportunity for image making; the top level of this house, when stripped totally, was almost black, with soot-darkened walls and floors presenting a soft, dark backdrop against which to work. When I asked Victoria if she'd model in the room, she was enthusiastic - we'd talked about doing more work together and the chance seemed perfect.

8"x10" film

The 8"x10" camera was perfect for the session, as the light was so low that I had to make each image with the lenses at their widest-aperture. Normally, this would have a serious impact on the depth of field with the images, but because of the ability to change the angle of the lens, I was able to compensate easily for this limitation and have the plane of focus follow Victoria's body. The limited light available in the room was less of a concern than the possibility of Victoria getting a splinter or worse from the floor, so for much of the session, she kept her shoes on.

8"x10" film

The most surprising images of the session came at the very end, as the sun was about to leave the sky. I had made all the earlier images with the portrait (375mm) lens, but wanted to finish up the session with a composition using the wide angle lens - such a lens would provide a much better sense of the room then the portrait lens had done. The composition that most caught my eye was placing the camera looking straight out the window, and them shifting the lens down so it could see Victoria, on the floor below. On the ground-glass the results were awesome, but I was unsure if there would be enough light to capture it. In the end, the exposure for the two images was 15 second each, with a reflector being used to add a little fill light to Victoria's body. The two photos go well together and probably will end up being printed as a diptych in the same frame.

Victoria Dancing (Halifax, Nova Scotia)

On the first day I met Victoria, she was introduced to me as a dancer but in all our times working together, dance has only played a peripheral role in our images; Victoria has, from time to time, tried dance poses during a figure session but generally the dance and the modeling have remained separate.

35mm film

On this particular occasion, however, it was the dance that was the subject of the images. Victoria, and a friend of her, Jill, needed portfolio photos of their dancing, and I was more than happy to volunteer to do the job, though I'd never tried making dance photos before.

35mm film

Fortunately, the studio we had for the morning was full of light and this, combined with high-speed film (Ilford 3200 in black and white, and Fuji 800 in colour), made the process more then feasible. Working with the two dancers was quite a challenge for me as I am used to working with static subjects and, given that dance is all about movement, there were very few images that were totally static.

35mm film

After an hour of photographing, I'd learned a good number of things and made a number of successful images. The challenge of working with such a different subject was really enjoyable, and I hope to eventually return to work more with dancers, though first I have to overcome the issue of backdrops - more then half the successful images are marred by the pipes and radiators in the background.

St. John's Anglican Church (Lunenburg, Nova Scotia)

In a senseless act of vandalism, Canada's second oldest Anglican church was burned down in a Halloween night prank. A couple of days after the tragedy, a friend suggested a trip down to view the remains. We went and I was haunted by the devastation I saw behind the police-line tap: blackened and scorched walls, hand painted boards running with creosote and painted-glass windows lying shattered on the grass. After returning back to Halifax, and as a result of long conversations with me and on the phone, Joy obtained permission for me to visit the church site and photograph within its walls, behind the police tape and before the reconstruction work started.

8"x10" film

The first time I visited the church, it was not possible to approach it very closely because of the security measures. The second visit was totally different, with full reign being given to access the church and document the effects of the fire. The week that had gone by had changed the building greatly - the majority of the windows were now boarded over and much of the northern end of the building was wrapped in tarps to keep the weather out but, even with those modifications, the building was visually rich and heartbreaking at the same time.

8"x10" film

The richness came form the visual spaces created by the destruction - everywhere I looked there were possibilities from books emerging from inches of ashes, to creosote stains on the walls. The heartbreak was equally obvious in the same places, as my eye took in the hand-written notes still tacked to the bulletin board to the hand-painted patterns on the walls.

8"x10" film

I spent most of the day working in the church, carefully moving the 8"x10" camera from location to location and turning its detail-gathering ability on composition after composition. At the end of the day, I had over a dozen negatives which captured much of what I sought to convey - the beauty and pathos that existed simultaneously.

Miles and Partner Pose Together (Halifax, Nova Scotia)

A month after our previous photo session, Miles and J_ again had time to model, though this session was much later in the day. I was a little hesitant about the timing because the light was so low but decided that rather than cancelling, I'd use high speed film and fast lenses.

35mm film

In addition to the Ilford 3200 speed film, I also worked with a roll of infra-red. This was as a result of the shower session I'd done in September with Trav and Miranda where I'd had great success with infra-red in lower light. Both films are extremely grainy which lent a particular look to the session.

Rather then pull out the hid-a-bed and cover the window with a white cloth to diffuse the light as I usually do, I opted to simply cover the couch with my white cloth, and have Miles and J_ work there. This changed both the possible poses and the angle of the light we were working with. Most of my indoor nudes are back-lit, set against the cloth I use for a background, giving them a particularly luminous quality but with these images, the light was more dramatic.

35mm film

The limited combination of the poses possible on the couch, and the swiftly dying light made the session more about exploring different possibilities of a given pose, then the creation of multiple compositions. I actually really enjoyed the quality of the light, reveling in how it seemed to wrap around the models and gave a rich description of form, Unfortunately, the rate at which the light was fading kept me from dwelling too long on a single perspective. While there were several images I would have loved to have had time to record with the 8"x10" camera, many potential images were precluded by the swiftly diminishing light.

35mm film

On the whole, I am pleased with the session's results. The Delta 3200 film, which I'd only used occasionally in the past, gave a wonderful softness to the images which complimented the luminous brilliance of the infrared.

Miles and Partner (Halifax, Nova Scotia)

35mm film

For almost two years, I'd told Miles and J_ that I'd do nudes of them together; Miles has grown, since I met him in 1998, to be one of my best friends, and an ardent supporter of my work He and his partner, J_ , have modeled for me off and on since then, but somehow, we've never managed to be coordinated enough to get together for a photo session about the two of them together. The end of the morning session with R_ presented this opportunity (albeit briefly) so we spent the last half-hour of the morning with Miles and J_ cuddling on the bed, and me working through the last of a roll of 35mm film.

8"x10" film

The shift from the formal approach to posing that was required for the images of R_ and the other models, to the fluid, spontaneous nature of the images of Miles and J_ was swift. From the first image to the last, about the only direction I had to give was "don't move".

35mm film

After making the images of Krista and L_ last month, and subsequently the images of R_ and the other models, I have spend some time thinking of how I photograph couples. I have come to realize that, with only a few exceptions, I betray my heterosexuality in this work - almost all the images are about the male's adoration, love and affection for the female. Not that I see much of a problem with this (after all, it is how I feel, on a personal level) I did make a particular effort to present the opposite aspect - woman's love for man...thus the image of J_'s chaste kiss on the brow of her lover.

Three Models Pose Together (Halifax, Nova Scotia)

As R_'s main reason to come to Halifax was to work with other models, our session with the 8"x10" camera came to a close with the arrival of Miles and J_. The plan was to spend the best of the morning light working with R_ and one or the other of the additional models, and continue to build on the previous evening's work.

6x7 cm film

Because of the limited time we had to work together, I had decided to use small and medium format cameras for the session, trading off all the advantages I describe above in favour of the ability to make the most of the session's possibilities. With enough light, I could easily have worked with the 8"x10" camera, but I was worried that with the lower light levels of the natural setting, I wouldn't be able to get enough depth of field to make the images successful.

6x7 cm film

The images of R_ modeling with Miles and J_, both individually, and then all three models together, had much in common with the images from the session with R_ and Miranda. Much of the effort of the session was put into generating the poses, with the actual image-making being the secondary stage of the process. This came as less of a surprise then it had the day before, and as a result, there was somewhat more of a focus to the session as a whole, with more of a structure imposed on it by myself.

6x7 cm film

Probably the most engaging and inspiring images from the session were the images of the three models together. I hadn't any idea of how this would work (or even if it would happen), but as soon as I saw the three models lying together, lit softly by the window, I knew I had an image that met what I was seeking - that particular blend of intimacy, sensuality and beauty that is ever elusive, but always seems to creep into my work when all the elements come together in the right proportions.

R_ Poses in Natural Light (Halifax, Nova Scotia)

The first half of the final morning of R_'s stay in Halifax was spent working with diffused morning light. During the previous two sessions, I'd used medium and small format cameras, but for this series of images, I set those cameras aside, and returned to my 8"x10", making seven negatives over the 90 minutes we had to work.

8"x10" film

The influence on process which camera exert cannot be overemphasized; smaller cameras lend themselves to spontaneous, quick images, while larger, slower cameras demand more attention be made to every aspect, before an exposure is made. This session, in contrast to the previous evening's work, was all about careful seeing, and exact framing. The drawbacks of the larger camera - less depth of field, slower physical operation, and fewer images a session, are more then compensated by the increased care that these aspects force onto the process.

8"x10" film

The narrow depth of field of the longer lens (on the 8"x10" camera, my 375mm lens has the same angle of view as a 60mm lens on a 35mm camera, but much less depth of field for the same F-stop) is somewhat off-set by the ability to tilt and swing the lens, so the focus flows along the body, as opposed to parallel to the film. The slower operation that the camera demands simply increases the care of composition and exposure, and the limited number of negatives per session further reinforces this care. With smaller, faster cameras, the inclination is to make many images, and then edit afterwards to get the best images - with the 8"x10" this just isn't an option; after six images are made, I am half way through my film, so I strive to make every exposure count.. And of course the biggest reward and reason to use the larger camera is the larger negative. The results in terms of image fidelity and tonal range is reason enough for all the changes it requires to be made upon the process.

8"x10" film

The morning light, when diffused through a white sheet, provided me with a delicate, descriptive light, which worked well with the curves and lines which I chose to focus upon. In some ways, this work is the antithesis to my outdoor work, which is about the body and landscape and how they visually interact. By contrast, these photos are about R_'s body alone.

Miranda by Candle Light (Halifax, Nova Scotia)

6x7 cm film

Later the same night, I found myself with twenty free minutes, several unexposed frames of high-speed film, and an enthusiastic model, Miranda. While waiting for friends to converge on the house, in advance of a social outing, we made a small series of images, Miranda's first with candles. The first photo was pretty traditional, but still an approach I enjoy taking; the frontal portrait with a candle has a classic quality which I return to again and again. In fact I think I have done with pose with every model who's done candle nudes, though few are as successful as this one - the 3200 speed film allowed for a shorter exposure then I usually use, which in turn provided a less motion-blurred result.

6x7 cm film

The second (and more interesting) image was more of a whimsical experiment, then a serious image; I framed Miranda's body and the candle against the deck-doors, which were splattered with raindrops shimmering with the light from the road beyond. I was a little doubtful that such an image would work, as it looked a little cluttered through the viewfinder, but as soon as a saw the negative in the darkroom, I knew it was surprisingly successful. On some levels, I think it has origins in my Simulacra imagery, but at the same time, it has other, less clear referents, and is very provocative. I suspect that this image is only the first of more, though how the descendants will manifest themselves, I have no idea.

Miranda & R_ Model Together (Halifax, Nova Scotia)

The evening after the bathtub candle session was R_'s first chance to work with another model; Miranda had been more than keen to try the project when I'd asked her about it earlier in the week, so the three of us met up at my house after I finished work for the day. The plan was to photograph until the light grew too dim, so we had a definitive end to the session, defined by the fading light. With this in mind (and in light of the fact that the day was drab and overcast) I worked with 400 speed film at the beginning, and them shifted to Ilford Delta 3200 for the second half of the session. The decision to use the high-speed film was wise, as by the end of the session the exposures had become a full second long at f/8, which was barely enough to guarantee the most minimal of depth of field, given how close I was working to the models.

6x7 cm film

The most unique aspect of the session with R_ and Miranda is that they are, in a sense, photos of actors. Unlike most of my images of couples, these images are of strangers, whose only reason to be in the same space together was to be photographed by me. As such, it was a more "directed" session then most of my previous work with couples; where with lovers I can rely upon the chemistry of the models to create the images, R_ and Miranda had to rely upon some guidance to create images that worked.

6x7 cm film

The session flowed back and forth between the more obvious "bodyscape" photos, which used the two models as aesthetic planes of light and shape, and the more imitate couple images, which implied, more then revealed, a relationship (after all, it was a visual creation, and not revelation). I am certainly pleased with the results of both approaches, but I do wonder how different the photos of the women would have been if the relationship had been different (I can't help but think back to the recent images of Krista and L_, and how they spoke of a friendship and the models' comfort with each other). I wonder how much more could have been achieved if the photos relied less on my skill to pose to models together, and more on my ability to take what is presented before me, and translate it onto film.

6x7 cm film

Overall, the session was certainly a success. As R_'s first time working with a second model, it yielded some good images, in two distinct styles. In the end, however, the session came to a close much as I had anticipated: with the sudden arrival of rain, the darkening of the sky, and the dropping off of the light. At pretty much the same time, both models began to complain of being cold, so letting go of the last rays of the day's light, I set the camera aside and let the models curl up and get warm under the covers.

R_ in a Bath by Candle Light (Halifax, Nova Scotia)

I continually return to candles as a light source for the Nude, both because it is convenient and inexpensive to use during the long Canadian winter nights, and because of the particular qualities that the candles lend to the images. As a single point light source that can be included in the image, I use the candle itself as the highlight and all the other tones in the image begin there; this is a strong contrast to most of my outdoor nudes where the body is usually the most luminous object.

35mm film

This particular session, my first to mix candles with water, began at 11pm, after an eleven hour workday. R_ had contacted me earlier in the week, asking if I'd have time to work with her over the weekend; we discussed the possibilities, and she expressed an interest in modeling with other models, exploring the possibilities with that very different approach to imaging the Nude. I made some quick calls, and arranged for two sessions with other models over the three days that R_ would be in town.

35mm film

When she arrived, however, R_ didn't want to wait until the next evening to model, and asked if there was anything we could do immediately. As I had some 3200 ISO film on hand, I suggested we do some candle images in the bathtub; we'd begun our work together in May with similar work, and R_ was keen to build on that. Because it was so late when we started, and because I had to work all day the next day, I kept the session short.

35mm film

Less then an hour after we'd started, I had two full rolls of 35mm exposed, and a number of strong images dancing in my mind's eye. The most successful image of the evening, to the left, stuck with me through the entire weekend, but it was only after R_ left that I was able to process the film, and confirm that the image was strong. The bright highlight on the breast, and the dark, inky shadow between it and the silhouette in the water were exactly how I'd perceived the image through the camera, and though the image is quite grainy due to the use of such high speed film, the overall effect is exactly what I'd sought. The addition of the bathtub to what was already such a familiar tool, the candle, proved to be both exciting and successful, something I am sure I will continue to push further.

WWI Ruins (Halifax, Nova Scotia)

Since I began working with the Nude this year, I have spent almost no time imaging other subjects; the line of thought is that forts and inanimate objects will be around when I am without models, but the models may not be there next week. For right or wrong, most of my effort over the summer has gone into continuing my explorations of the Nude. This rule stood me in good stead when the day of no models and great weather dawned.

8"x10" film

On this particular Sunday, the weather was perfect, the light was rich and directional, and nary a nude model was to be found. Rather than waste the day, I set off with a friend to continue my exploration of the Halifax Defence Complex. I have photographed these spaces since 1990, but still find more to focus upon, no matter how many times I return.

8"x10" film

Working with the 8"x10" and such a static subject (after all, even the most accommodating models run out of patience) was a real treat. The precision of the 8"x10" Toyo's adjustments can only really be appreciated when there's time to use them, and with every image I made, I did just that

8"x10" film

The most successful image of the day is also one of the most amusing (to my eyes). Though the forts I photograph were all once armed with cannons and guns, almost all are stripped of their armaments. With this fort, however, one of the guns remains emplaced, pointing through the trees towards the harbour it once defended. Long seen as the most typical extension of the male appendage, I found it most amusing to make this image of a very "female" phallic symbol.

Two Shells (Feltzen, Nova Scotia)

8"x10" film

The last photos I made at Feltzen came a day after the last models left; the house we were staying in is full of small treasures, shells, bones and the like. Two shell caught my eyes over the two visits, one almost pristine, and the other worn by time, water and sun. The parallel between the two seemed obvious to me, so I decided to record both, in as similar a way as possible, and display them side by side.

8"x10" film

In the end, the images on the film were almost twice the size of the original shells, and permit the viewer to get draw into the details and intricacies of the shells.

Miranda Models in a Foggy Coast (Feltzen, Nova Scotia)

As the day progressed, the fog didn't lift much, but we decided to head to the shoreline to work regardless; after working on the Cassandra Portfolio I was more open to the idea of working in fog, and actually looked forward to using the soft, delicate light, and undefined horizons if possible.

35mm transparency film

After the outdoor work of the previous day with Victoria, I was interested in continuing to explore the juxtaposition of the female body against the visually rich rock. While I hadn't seen the earlier work, the images we'd made still danced in my mind's eye and called for more. Miranda was more then keen to follow my lead, and over ninety minutes, we created seven 8"X10" negatives, and exposed a roll of colour slides.

8"x10" film

In typical Boutilier-Brown fashion, this session covered less then 30 metres of shoreline, from start to finish. The amount of reflection and care that is going into each image is only part of the reason for the small amount of ground covered in the session; the rocks and shoreline were rich in possibility, and I was loath to move far, lest I miss an opportunity. Miranda worked hard with the spaces that caught my eye, and was even willing to get a little wet in the cool of a fall Atlantic Ocean (which, truth be told, was probably at its warmest temperature all year), all in the name of art!

What I think will prove to be one of my strongest 8"x10" images for the year was made towards the end of the session. I'd seen a section of rock broken off from the bedrock, and asked Miranda if she could lean into it, drawing her body off the level rock, and sweeping it up onto the triangle-shaped rock. I made the first image as I had envisioned it, with Miranda's shoulders and head the focus of the image, and the rest of her body receding.

8"x10" film

I was pleased, but proceeded to explore the pose from other angles, and it was then that I saw the lines of her legs to hip to knee, and realized how close I'd come to missing such a dynamic image! I quickly relocated the tripod, recomposed, and made a second image (it is extremely rare for me to make a second 8"x10" negative of a pose, as it represents 1/12 of my film for a given session). With careful composition and focus (using both the front swings and tilts possible with the view camera), the entire image came together on the ground glass before me.

Miranda and Trav in a Bath (Feltzen, Nova Scotia)

After Victoria's departure, I began to work with Trav and Miranda, again keeping the session indoors because of the heavy fog outdoors. Rather then work in the same spaces in which I'd just finished photographing Victoria in, I decided to work in the bathroom, first with the shower, and then with the bath - both of these spaces were well lit, and full of potential.

35mm transparency film

We began working in the shower, both because it is a space I enjoy working with couples in, and because I wished to carry out an experiment; infrared film shower nudes. I was not sure if there'd be enough infrared radiation coming though the fog to light the shower stall, but figured it'd be worth the risk, given how strong the results could be. The trial proved a success, and while I'd made images of Trav and Miranda in the shower in colour as well, it was the monochrome softness of the infrared which really came through in the end.

When the models shifted to working in the bathtub, both the black and white and colour images proved successful. I began exploring the possibilities of the setting with the 35mm camera, using the speed and spontaneity possible to frame up images. Most of the photos I made in colour were tightly framed, using a portrait lens up close to focus on the details. My favourite of these has an interesting play of lines, with the complexity of Trav's hands folding across Miranda's belly interrupting the lines of her pelvis.

35mm film

While I was working with the 35mm, I kept in mind the 8"x10" camera, and when I saw an image that would suit the larger negative better, I shifted gears, and set up the Toyo. In the end, I only made two images with the view camera, but the second, shown below, is one of my best-seen couple images of the last years. The obvious intimacy and comfort of the image, drawn from the simple inclusion of the half-hidden hands, and the extra knees does it all. By using a careful forward tilt on the lens, I was able to extend the focal plane across Miranda's torso, so the majority of the image is in sharp focus. The small water-droplets that sit between the breasts and across Miranda's arm just finish the delight in the image creates for me.

8"x10" film

For all the fun the models had with this session, the results have a still tenderness which is particularly pleasing. As the weekend had been planned around Victoria alone, the chance to work with a couple, and produce such rich images, was more then welcome.

Victoria Indoors (Feltzen, Nova Scotia)

This morning found the world cruelly shrouded in a chilly grey fog; the idea of a final session with Victoria with the morning light on the rocky coastline was quickly revised into an indoor session. This was not really objectionable, as I was more focused on working with Jeff's 12x20 camera, more then the location of the images themselves.

8"x10" film

As much as my main interest was in making images with the 12x20 camera, I began the session with Victoria using my 8"x10", a decision made for two reasons. First, with the 8"x10" I can make twelve images a session, as compared to the four possible with the 12x20, and second, for any vertical image, the current configuration of the 12x20 precludes vertical images (Jeff has expressed interest in solving this problem by next summer). As much as I am drawn to the 12x20 as a format, I have to admit that the strong horizontal aspect ratio is somewhat of a limitation, and as such, isn't appropriate for every image and certainly precludes it being my main camera for an entire session.

12"x20" film

So for about an hour, Victoria and I played with the soft, even light provided by the fog, and made portraits and bodyscapes within the main room of the house. Usually I avoid including specific references to a space in my images, preferring instead the more sterile, universal appeal of a neutral, featureless plane. Since working with Cassandra on the white couch however, I have slowly revised this position, including from time to time a specific reference to a space - usually obscured and somewhat out of focus, but none-the-less present.

12"x20" film

All of the images made with Victoria on this morning have some reference or other to place, which is a marked departure for me. I think part of this is a larger, conscious effort to push my work forward. My passion for photographing the figure is certainly as strong as ever, but more and more, I have found myself taking risks and making experimental images in the hopes that the results will propel my work forward.

8"x10" film

I'm not sure if these images stick out as unique from my larger body of work, or simply function as a continuum of an overall direction, but I am certain they met the objectives I'd set out for them. As part of the large body of work Victoria and I have been creating since 1998, these images contribute a new perspective, which in tandem with our other work, certainly make the whole series richer.

By the time I'd run out of film for the 12x20, we'd also run out of time, and Victoria had to leave for Halifax, an hour away.

Victoria Models Outdoor (Feltzen, Nova Scotia)

Though Victoria has been back from Ecuador since the beginning of the summer, there seems to be a conspiracy against us finding the time to work together - inevitably one or the other of us is busy, and plans for work were put off. This weekend, however, had been in the works for over a month, both to facilitate the creation of some new work, and to permit a friend of mine to make some documentary video of my working process. As it turned out, the planned three days of work shrank to a brief 24 hours but regardless, the plan stayed mostly intact, and found Victoria and I working for a wonderfully long afternoon with some of the best light I have had all year.

35mm infrared film

The shore where we worked was ripe with possibilities, but rather then get mired in extracting all the potential from each setting, I tried to work with what first came to the eye, and them move on once that image had been recorded. This is a little different from how I usually work, but as I wanted to get the most of the afternoon, I felt the broadest variety of settings and compositions would be the best approach.

8"x10" film

My favourite image of the day is one that came as a pleasant surprise - when I first pulled the negative from the chemistry into the light, I literally gasped at the richness of the image - the long fluid line of Victoria's body stretched out between dark rock ledges. When I made the image, it was more on a whim then a well seen moment; I was working to get my camera down off a rock shelf when I glanced at Victoria below - and the scene looked just perfect. I seldom work looking down on models, so the viewpoint is a refreshing one, but more then that, the exquisite tonal description of the 8"x10" negative records all the detail of the scene with brilliant accuracy.

8"x10" film

After working with so many new models over the past summer, it was surprising how quickly Victoria and I found our way back into our working relationship. There is a particular pleasure working with a model who is both comfortable with the process, and confident with her ability to find an image, or carry off a pose. With new models, the primary focus of the first couple of session is to ensure the experience is rewarding and gratifying; after two or more sessions, however, a comfort with the process as a whole is achieved, and gradually the work itself becomes the focus for both the model and myself. With Victoria, however, because she was already an experienced figure model when we first met, it took little time for us to establish a strong working relationship, and since that date, our continued work has only built a more solid foundation for us, both as friends and collaborators.