Betcee May On Location

We had planned from the start to go to that location in the funky old building in Northwest Portland above the store. In fact, both Jessica & Betcee were very excited about that. But we got started early with some photography on my top floor. We pack up everything & drive over to the location.

We start in one of the side rooms, called the "kitchen" because it has a sink (no running water) and a wood burning stove that doesn't appear to be operational. Jessica is actually adventurous -- she climbs up (up me) to a cubby hole high in the wall to photograph Betcee from above -- I stay on the ground. There is a huge mirror in the room. Betcee's camera battery has run down, and while it is charging downstairs in the store, Jessica & I photograph her.

This was almost too rude for me -- unless I'm doing something that is intentionally explicit, I don't like to make gynecological images, but fortunately, there is sufficient shadows & loss of details to avoid anything inappropriate. That being said, I like how the reflected image adds to the sense of space -- you get two perspectives at once.

Counting this sitting, three of the past four sittings of mine were in this location, and these three utilized natural window light and no studio lighting. It got me thinking...

I would think that all good photographers start this way. They become aware of good lighting -- indeed, they look for good light, and they think about putting something interesting in that light. I remember walking through a street fair with Jessica a few weeks earlier -- we both liked pockets of light we found against the buildings in the early evening, and we commented about how it would be great to come back with a nude model to these very locations. Jessica being Jessica, she often imagined that the model would be herself -- she does great nude self-portraits.

(We move into the hallway / stairway.)

Continuing that thought. Natural light photographers take what the sun gods give them. An evolutionary step from that is when photographers start to modify light. Sometimes they will use reflectors or put gauzy material over a window or add a lamp or a fill flash.

Eventually, studio photographers turn things around. They craft light, tailoring the light for their subject matter, while natural light photographers exploit the light they find.

In other words, natural light photographers react to the light they find & position their subject matter to utilize that found light best. Studio photographers start with the subject matter & craft the light to utilize the subject's shape best. Studio: start with subject matter & craft light; Natural: start with the light & place subject matter.

I'm not advocating studio photography over natural light photography -- both present unique challenges, and images from either school of thinking can be exciting.

Certainly, however, using natural light in circumstances like this one has its advantages. Each photographer can find their own special light, and all photographers can work at the same time.

I've got to admit, however, that I've become a studio photographer. While it is nice to go back to my roots, I tend to think about studio photography. I look at a subject matter (often a nude woman's body), and I try to think of interesting ways to light it.

Counting the hallway, there are only three rooms available to us at this location at this time (hallway, corner room, "kitchen"), and we are jumping back & forth throughout the space. Having learned from the Yulia sitting, we brought water with us, and by hydrating ourselves, we avoided getting bone tired too soon.

It should come as no surprise that I was looking forward to photographing both models. We find a counter in a side room, and Jessica here models for me a bit. Soon, Betcee joins her, and I photograph the two of them together.

Photographer-model chemistry is not discussed often, but it is very key to making good images. Most of the models I photograph are experienced; typically besides being highly attractive, successful models are confident, pleasant, enthusiastic, helpful, and supportive. If they aren't easy to get along with, they don't tend to be successful.

But occasionally, one meets models that are even better for you, and the reason is chemistry. With high chemistry, you are much more comfortable around each other, you tend to know how the other thinks & are able to accommodate each other's preferences, and you wind up with images that are a bit more intimate than average.

I think that the three of us have unusually good chemistry. Betcee joins Jessica on the counter for some posing, and they are comfortable being in contact with each other. Lucky me, I get to work with the two of them at the same time.

Jessica & Betcee move comfortably together, and the light is very nice if we are careful to make sure that each model's face is well lit.

(As a side note -- Yulia is a terrific model & a warm, supportive, fun person, but Jessica just didn't "feel" like modeling with her like this. Different chemistry).

I've got to admit that I have very high expectations for my photography, and I'm rarely satisfied. Often when photographers start doing nude photography, it's enough for them to get a woman nude in front of their camera. I'm a bit more jaded now that I have experience -- there has to be some kind of reason for the model to be nude in order for me to be satisfied. While it is special to have two nude models working together, and it is especially special when they are comfortable with each other, I've got to admit that I really didn't have a concept for these photographs. Here we have two beautiful nude women touching each other in a sisterly, non-sexual way -- there isn't much beyond that. So, we move on. I didn't want to hog the time behind the camera -- there were three photographers at this sitting.

Betcee gets dressed to go downstairs & collect her recharged camera; Jessica & I check out the light in the corner room. Light comes in from multiple directions and is soft & lovely.

Soon, Betcee joins us, and we both photograph Jessica.

Betcee makes a B&W art photograph.

I rarely do gimmick pictures like this one, but I couldn't resist it this time. There is nothing wrong with a little whimsy in photography. In fact, if anything, I think "serious" art photographers are 'way too serious for me. As far as I'm concerned, photography requires large investments in time & money, and it should be fun, otherwise, it isn't worthwhile. What do you think?

(If you are interested, this is the end of the hallway, and the room beyond is the "kitchen". That counter you see to the right of the window is the counter where both models posed just a little while earlier.)

I figure you have to be generous when dealing with these multiple photographer sittings. I've taken a couple of workshops where one guy tries to dominate the time with the models, and I always hated that. Look at it this way -- if we scheduled about three hours at the location, and there were three photographers, each photographer should not expect more than an hour behind the camera. In practice, we get more than that, because it's not too difficult for two photographers to work almost at the same time, with the model splitting her attention between the two photographers.

At this point, the store below will close soon, and we will have to get out, so I let Betcee & Jessica work together on their own without me for a while, and I pack up all my equipment.

The light at the location was bright & lovely, and the three of us were working together well. In fact, I've got to say that our chemistry together was exceptional. This time, we were careful to bring water so we didn't get dehydrated -- that made a big, big difference. Still, we ran out of time before we ran out of ideas. We head back to my house. I thought we'd settle down & go out to dinner, but instead, we made more pictures once we got back.

This sitting concludes with Back Home, Can't Stop