Anonymous

 

Anonymous nudes are something I’m invited to do from time to time and it's a genre I enjoy. Some customers have come from an internationally published background, others are in other trades/professions, where revealing their identity would be inappropriate, or potentially damage people’s perception of them, or their business.  

That aside, it’s a great way of being creative with the human form and sometimes, being very bold, stopping short of gratuitous. Angles, lighting, and aperture are pivotal. As are trust, comfort, and good, clear communication between the parties. I took these in her home using a mixture of natural light and on-camera flash with diffuser. Props are another consideration. My Fed2 rangefinder film camera, Tibetan Singing Bowl, and toy motorcycle. The model chose her pinwheel, bear claw, chain, and scarf.

Daisy: Anonymous Nude

Out of the blue, I had an email from Daisy, a catwalk and commercial model, with nine years’ experience. Apparently, she loved my work and specifically, art nudes. Given her status and high-profile client base, more traditional nudes were a non-starter. Career suicide, in fact.

For a wealth of reasons, I am very particular about who I will undertake nude commissions with. Though there is a huge difference between erotica and pornography, gratuitous nudity, or tabloid “Glamour” work has no draw for me.  

Standing 5’11 tall and weighing 9.5 stone, her lithe, yet extremely feminine figure were perfect for creating intriguing shapes and close-up body-scapes. Given anonymity was the overriding theme, I discussed a slightly surreal element. One that Daisy seemed amused by. Bottom line (and this goes for any trade/profession) never ask someone to do something they do not feel confident, or comfortable with.

Though fluidity does strike during shoots, they must always remain within the boundaries agreed. I’ve had models book me for lingerie/boudoir themes, then feel midway, they’d like to try topless/implied. I gently decline. People often do things in the heat of the moment, without considering the longer-term consequences. I may consider this level, as a separate booking, a few weeks later. Once I am confident they have thought it through.   

Having established terms of reference, perimeters and levels, I loaded up my KA with Sony Alpha and A7 bodies, 50 and 30mm lenses. Portable lighting and reflectors, spare batteries and a full tank of fuel.

Thankfully we were shooting on a bright day and the building had a good supply of natural light. Never underestimate the importance of ambient temperature, when undertaking nude, boudoir or similar genres, either.

The anonymous aspect means covering the face, either with hair, masks, or similar props. This can leave the model feeling acutely vulnerable. Especially, if they are unfamiliar with the photographer/assistant. Therefore, I maintain a running dialogue, saying where I am, and what to expect next. I also break regularly, so both parties can review the work.

This reveals what we’ve achieved, where to go next, what worked and sometimes, what didn’t. We noted a couple of shots, which were more explicit than either had intended, so these were deleted. Solid rapport lead to the shoot overrunning slightly, but time is another boundary that must never be overstepped.  

An extremely rewarding shoot with a delightful woman and a consummately professional model.  

  

Suggestion & Sculpture

If you’ve mistakenly come here, looking for manscaping tips, click away now. I am referring to the creation of enticing images, using low key lighting and nude models.

There is some overlap with the erotic, and to some extent, the boundaries between art and pornography are defined by personal compasses. Upbringing/culture, age, gender, life experience etc all have a hand in this.

As with art nudes, subtlety and graceful, thought provoking shapes are the focus. Genitals can feature but not gratuitously. Captivating, not crass is key. Discuss ideas carefully with your chosen models, prior to shooting. Check potential subjects are experienced, or at least comfortable with the genre, and your assignment, specifically.

Planning and structure are fundamental, but as both parties warm up, spontaneity can strike, with compelling results. As ever, model choice and calibre determine the end results, along with little, practical touches.

Ensure an ambient temperature and suitable surfaces to lay/pose against. Some semi/professional models have underlying health concerns/disabilities, which may prohibit certain poses, or require a more considered approach to shoot-break ratios. These are not things that models are likely to advertise, so if you have any concerns, raise them tactfully, during the discursive/planning phases.  

I shot these with Tania Atherton, using a Nikon D500. Camera choice wasn’t premeditated, rather my Sony Alpha body wouldn’t communicate properly with the studio’s remote trigger-even using a suitable hot-shoe adaptor. A recurrent, though not universal theme, hence I use the A6000 almost exclusively for studio work, and the older A series for location-based assignments.