Xmas Pinups

I hope all who read this (both of you), enjoyed your Christmas, Hanukkah, Kwanzaa, or whatever holiday you celebrate.  I had a wonderful time with my family and enjoyed seeing my grandchildren open their presents, delight in their treats, and share their joy with me and my wife.  Most years I do a Xmas Pinup Countdown on Tumblr, but this year I kept to Instagram and DeviantArt.  I thought I would share a few here before the end of the year and the start of a new decade.

Audi - Xmas 2014

Here's a lovely shot of Audi from our very last shoot.  I think we did three shoots that year, and this was the very last of the year.  We had planned another shoot for 2015, and even did some scouting and concept building for the year, but it just didn't work out and not too long afterwards she moved away from the Pacific Northwest.  We still chat via text from time to time, but she is enjoying the warmth and sunshine of her new locale and it's extremely unlikely I'll get to shoot with her again.

Still, I have many unedited and unpublished images of her in my archive and I'll still have plenty to share in the years to come.  Audi was a wonderful model when she was working as such, but she's definitely retired from modeling and pursuing other endeavors. I'll always wish her the best in life and great success in her future endeavors.

Zoe Xmas 2014

Zoe was another model that decided to retire a few years ago. She left modeling to focus on a new job and to continue her education. Again this shoot was from 2014 when the decorations were all blue.  Zoe is an elegant model with long legs, a lengthy torso and a lovely smile.  She started modeling for me when she was just starting the endeavor, and we did many shoots over the several years that we worked together.

Again, we still stay in touch, and who knows we may yet shoot again, but both her schedule and mine preclude much at the moment. Once again, I have many unedited and unpublished images of her that I have yet to share anywhere.

Joey Xmas 2018

Joey Darke posed for me the first time in the spring of 2017 and we've worked together many times since.  She lives in a beautiful rural area east of Eugene, but travels frequently to Portland and other parts of the state.  She is perhaps the best pinup model that I've worked with in recent years.  She has both the body, attitude and the poses that make the pinup style her forté. We shot in the scenic areas around her home multiple times and in my home studio several times.  

There are many other lovely locations where I plan to take her to shoot when the weather is warmer and the opportunities are there. It's quite likely we'll get at least a couple of shoots completed in 2020 since there are multiple concepts I'd love to shoot with her. She's always a joy to shoot, and when we've wrapped up, I always have a smile for the rest of the day.

This year I got to shoot Xmas pinups with two ladies fairly new to modeling.  Orion and Jacqi did very well for the first pinup shoots, and it was fun teaching them how to use the classic pinup poses. They seemed to enjoy the shoots as well, and perhaps I'll get a chance to shoot with them again in the new year. 

Orion Xmas 2019

Jacqi Xmas 2019

For about the last ten years or so, maybe longer, I've been posting images for the 4th of July. Usually I start about 10 or so days before the event and post images of my many lovely models in their patriotic regalia everyday up until the 4th.  This year, due to various reasons, I got a late start.  Given all that's been happening in the last couple of years, I'm just not feeling all that patriotic this year.

Well, nevertheless, here are some images that I hope will brighten you holiday and lift your spirits.

Respect Your Models

Audi in the Woodlands

I recently completed a small project during which I shot with several models, including two very lovely ladies for whom the project was our first shoot together. During the course of the shoot those two models, as well as two of my regular models, told me how nice it was to work with me.  I have received this compliment many times over my years of shooting and I had really never given it much thought. After all, I’m a good person and I try to treat people well, so I certainly had hoped that shooting with me would be a “nice” experience.  The first model that said this to me during this most recent project, however, said it with such intensity that I simply had to ask her what she meant. Her response surprised me.

She told me she had recently worked with a photographer who continually commented about what he didn’t like about her body or her poses. He made snide comments about her weight, though in my opinion she has a very well formed and toned body; how he didn’t like some of her poses and generally was not pleasant to her during the shoot.  This young lady is one of the most pleasant people you’d ever want to meet. She has a gorgeous smile, is always ready for a shoot, shows up on time and puts great effort into giving the photographer what he or she wants. I’ve worked with her four times over the last year and she’s just a real sweetheart.  I’m shocked that anyone would treat her so.

Her story made me think about the photographer to model relationship and what it means to me. So when I received the next such compliments, I asked the question, “Why do you say that?”  In every case the model was able to tell me specific aspects of shooting with me that made the experience pleasant and an event to be repeated rather than to be avoided.  Two of the models also related experiences they had encountered with other photographers which made them unwilling to work with those individuals again.  Once again, I was surprised that these ladies would be treated with such disregard for their feelings.

Now, I certainly hope these photographers are the exception and not the rule. It’s certainly been my experience with the few other photographers that I’ve occasionally worked with that models are treated with respect though, of course, shooting with a group of photographers and models is quite the different dynamic than when a model and photographer are shooting in a one-on-one situation.  Still, it doesn’t benefit photographers as a profession or avocation when models are treated poorly by someone who professes to be a photographer.

I am therefore going to share my philosophy and process of working with models in the hope that it will help other photographers who may not have much experience in working with models, and specifically glamour models, in front of their lens.  Certainly not every person who reads this will be influenced to change the way they act towards their models.  The ones that won’t change probably treat people poorly because of their personality and their  attitude toward humanity in general. Nothing I, or the models, say will change how they treat others.  I’m betting, however, there are a few photographers out there that simply don’t know what’s expected of them during a shoot and are willing to consider better methods so that they get the results they want while ensuring the models will want to work with them again in the future.

On the Beach with Sierra

I think the most important thing to keep in mind when shooting with a model is that they are your collaborators in the process of creating the image. Yes, you’re setting the exposure, the lighting, choosing the composition and the depth of field, and perhaps even directing the model into specific poses, but without the model, what would be your subject? What element beyond the background, the foreground and the props would you have in your final image? You need the model, otherwise you would be shooting still lifes, landscapes, or bugs.

If you’re shooting with a model, she or he, as the case may be,  is most likely the subject in your image. If you want the most from your model, treat them as a dynamic partner in the creative process. Talk to them, listen to them, and consider any suggestions they might have for the image. If they are experienced, they already know the poses that make them look the best and they often have great ideas about what poses would work well for the image or scenario you’re trying to capture. Consider what they have to offer and make use of it as appropriate.

Models are people too.  Don’t treat them as simply objects or props. Many of my models have willingly put themselves into awkward positions, donned uncomfortable clothing, stood in the cold, soaked themselves in freezing water, and posed with sand blowing in their face while standing barefoot on a hot desert floor because they shared my vision of the final image. They also did it because I explained what I wanted, made sure that a comforting towel and robe, a hot cut of tea, a wet washcloth and a cold drink or a helping hand was available to them immediately after I got the shot. I always keep what I call a “comfort pack” with me when I shoot. It contains a robe and slippers for the model, a pack of wet wipes, mosquito repellant, a large towel, a bottle of water, a washcloth, lotion, paper towels, and a clean brush. Some items seldom get used and some items get used quite a lot. But, they’re always available if the model needs them. Most of the time, depending on the duration and location of the shoot, I have hot or cold drinks available for the model as well. Keep the model comfortable or at least aware that the discomfort will be short, and you’ll get far more out of your model than you could otherwise expect.

Encourage your model. I certainly can stand to improve in this area.  I often get so caught up in the techniques of the shot that I often forget to provide feedback to the model. I’m still working on this, but I do try to let my models know when I think a particular pose or expression is working. I use words like “great,” “gorgeous,” “beautiful” or phrases like “that’s it,” “very nice” and “terrific expression,” to encourage my models. What’s more, I mean it. If I don’t like a pose or an expression I don’t tell them I don’t like it, but rather I suggest another pose or another look. The idea is to keep up a positive flow of energy between the photographer and the model. Reinforce everything that is working and let what doesn’t work slide on by.  Keeping the model happy and encouraged makes the shoot flow better and keeps the energy high.

Keep your hands to yourself as much as possible. In most cases, it’s not necessary to touch the model. Talk to the model before the shoot and let her know how you give directions. I often demonstrate glamour poses to my models and I know it has to look silly for a person who looks like me to strike a glamour pose, but hey, it gets the job done and I can indicate to the model what I want without a lot of words or trying to push her around like a mannequin. Sometimes you do have to move a hand or an arm slightly, but before you touch the model, ask (and get) permission first.

Finally, and I think this is where a lot of photographers get into trouble, understand your model’s limits and don’t try to push them beyond what they are comfortable shooting with you. If in doubt, ask before the shoot or before you get to that particular sequence in the shoot. If the models indicates discomfort with the pose or the concept, don’t push it. If such a pose or concept is integral to your shoot, it’s imperative you discuss it with the model before getting her to commit to the shoot and don’t spring it on her as a surprise the day of the shoot. It’s always okay to ask about a concept, but it’s never acceptable not to take no for an answer and to try to push a model into an uncomfortable situation.

Models are people just like your sister or your mother. They can collaborate with you and help you create some wonderful images if you treat them right. If you don’t, well, word has a way of getting around and you may just find yourself unable to get anyone to work with you at all.

Lindsay by the River

Still Without a Studio

Alija in the Wizard Room

I'm still without a studio, but I think I have a couple of good leads for spaces. One is a very large basement space, and the other is a newly refurbished studio/gallery in SE Portland. Normally, in the late fall and winter, I move to the studio or into my home for my photography sessions. Home is out of the question for the time being due to a kitchen remodel that seems never ending, but getting into the studio to finish up some projects will be nice.

When the house is not in shambles, though, it's a pretty nice place to shoot with several different rooms that serve as lovely backgrounds for models. One room is set up as a Wizard's Bedroom, while the master bedroom and bath are large enough to accomodate a couple of strobes with modifiers. The living is great for shoots with lots of room to maneuver lights and bodies. Alas, shoots will not be happening here for a while yet.

In the meantime, I'll leave you with some images from inside my home.

Audi in the Window (Master Bedroom)

Kim the Sorceress (Living Room)

Kim in the Window (Master Bedroom)

Summer is Definitely Over

Kira & the Rainbow

It's the beginning of the wet season here in the Pacific Northwest. That means rainstorms, rainbows, and the end of outdoor glamour photography. Of course, sometimes there are brave models who are willing to dare the elements for a shoot.

I do suspect, however, that I've done my last outdoor shoot for a while and while I may be able to get into the studio for a time or two before the end of the year, most of my time will need to be spent processing the images I've taken so far. A few of these you can see below:

Scout Audi

Wet Audi

Cathedral Park Revisted

Tropical Audi

With the return of warm weather, fleeting as it is this week, I've started thinking about summer shoots in Cathedral Park, both with models and with my family. The park has so many delightful areas in which to shoot and I want to explore many more of them this summer. I'd especially like to do more Barefoot Glamour images and some portraiture, but it would also be fun to do portraits of my own family in the park as well, and I'm setting aside some time for that as well.

I've written about the park in the past, but it's worth repeating that by selectively choosing different areas in the park, the atmosphere of the image can be made to look tropical, urban, woodland and any other number of scenarios. The St. Johns Bridge offers many unique backdrops, but there is also a set of rail tracks that run through the park, a long pier and dock. a small beach area, fields, trees, buildings, and a number of other structures.

Light, Texture and Beauty

I particularly like the light and the textures directly underneath the bridge. The bridge provides an extensive area of open shade, but enough light filters through at an angle to provide a bit of contrast to intensify the colors. The concrete pillars and the painted steel provide a textural and color contrast with the grass, trees and other vegetation that abound throughout the park.

There are certain drawbacks to an urban park, of course. While the city of Portland does a great job of preventing and removing graffiti from public lands, inevitably there will be some trash and debris, mainly cigarette butts that have to be picked up from the shoot area. On occasion, I have had to remove liquor bottles and beer cans as well, but I've seen a lot worse in other areas. My recommendation is to take a small trash bag with you just in case you need it. It never hurts to leave a place in a little better shape than in which you found it.

Stairs and Arches

Urban Lines and Curves

Oh, Summer, where art thou?

I could really use some warm weather. Winter didn't seem all that long, but usually by now we've had some nice warm dry days to begin drying out and shaking the winter chill. But this year the cold wet weather has persisted well into April following the wettest March on record. It has become a bit drier during the last week, but it certainly hasn't warmed up which makes cleaning up the winter mess a lot less enjoyable that previous years.

On a good note, though, my knee surgery is scheduled and I should be well on the way to recovery by the time I am ready to do any summer shoots and in plenty of time to be walking well before Wanda takes her second trip to Arizona.

One benefit to all this rain should be some lush vegetation and bountiful blooms in early summer. Of course, it also means more work to clear the shooting areas (I'm assuming of course I'll be allowed to shoot at Dragonfly Landing again this summer), and more work at home as well. Still, when I can get shots like the one you see here, it's well worth it.

Under the Bridge

Audi in the Park

Contrary to popular belief, I do sometimes shoot women with their clothes on, and in fact, I'm hoping to do more of that in the coming year. It's not that I've given up on shooting nudes, but rather I want to explore more along the lines of matching clothing and other props to the outdoor settings or using them to contrast with the scenery.

In the images seen here. Audi and I spent about a half day shooting in Cathedral Park under the St. Johns Bridge in North Portland. We were exploring the park and using the various areas there as settings for different outfits that both Audi and I provided for the shoot.

The park is great for glamour and fashion shoots, and it's one of my favorite places for photography from late spring to mid-fall, or anytime it's reasonably warm and dry. The park has many features to recommend it. The bridge, of course, is the most distinguishing and prominent feature, but there are fields, trees, shrub lined paths, a dock, a sandy beach, the river, benches, lamp posts, stairs, railway tracks, and a lot more.

Under the Willow

One of my favorite elements is a large willow tree near the base of one of the bridge supports. It's large enough to provide a canopy of leaves and branches under which I can shoot a model and provide a somewhat tropical feel to the image, despite actually shooting in the Pacific Northwest. The tree's canopy drapes over an embankment under the bridge and that provides lots of room for shooting. Add a bikini top and a sarong and you get a delightful setting.

The bridge supports also provide interesting structures that add visual interest to shoots. Models can climb on the large concrete platforms to pose--sometimes two levels high if they are courageous and you have good insurance. Walking around the platform can provide varying lighting and different structural elements for backdrops.  The structures are so large that they can be made to become ambiguous in terms of location which allows it scene to appear to be an industrial setting rather than a park.

Now, while I don't want all you photographers flocking to the park to take up my best shooting, if you ever want an interesting place to shoot, you might check it out.

On the Bridge Support