B L U E
S E R I E S
N U D E S

TECHNICAL SECTION

Much of the N U D E S work was made using the MAMIYA RZ-67 camera system. My most frequently used lenses are
the excellent 50mm, 90mm , 143mm Macro and the 250mm APO..

When I use the 35mm format, I most often use the LEICA M6 camera with the 28mm, 35mm and 50mm
lenses. I also use Nikon F4 and N-90 cameras and lenses when I need longer lenses (105mm macro,
180mm, 80-200 zoom, 300 2.8, 500 f/8 mirror).

I have made images for the BLUE SERIES NUDES all over the world, in studios and on
location since 1982. All were made using electronic flash (over the years I have used Balcar and
Goddard flash systems) mixed with "light painting" techniques that I evolved over the 8-year
period that I made this work. This work existed well before the invention of machines like the
Hosemaster (r) and other Hosemaster imitations. Necessity is the mother of invention as the saying
goes. I became interested in light painting well before this, as a kid with a brownie camera. Later, I
began to look for other ways to distill the nude to its ultimate simplicity. I grew tired of big houses
and props, clothing, accessories. I wanted to find the "truth" in the nude, and at the same time, make
images like I had never seen before. I started out with a powerful flashlight that I covered with a
snoot made from black foil. I would mix the flash and the flashlight in exposures that often took five
to ten minutes to make. I've used slide projectors, spot lights, light guns and other sources over the
years. The feeling of painting the body with the light brought another dimension to photographing
the nude. The interesting aspect of this procedure is that you must organize the pose you want first,
then in complete blackness, you must light the areas of the body you want to be lit, keeping in your
mind the areas you've covered, how long to "paint" each area to achieve the density you desire, and
create the composite photograph in your mind as you go.

I have used nearly every film made in the course of this work and settled on the faster Ektachromes for
most of these images. I would like to thank AGFA GmbH for the generous support I've received from them over the last ten years.