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Despite the Pandemic, Art Model Photography Continues! But How?

Patty Hankins and Bill Lawrence explain how their art model photography business works remotely, and the value of shooting art nudes during a global pandemic.

Patty Hankins and Bill Lawrence are photographers living just outside of Washington, D.C. in the Bethesda suburbs. They met in college, Duke University, in 1982. Though Bill received his degree in biomedical Patty and engineering hers in history and public policy, they share usually an avocational passion: art model photography.

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Art model photography is a form of portraiture which celebrates the physiology of the human body. Often, thwill be includes pictures of the unfestooned variety. It is on these sorts of photographs, tasteful, enchanting, and intimate always, that Bill and Patty possess built a formidable nearby reputation. But how? I sat down with Patty and Bill to ask about the business of art super model tiffany livingston photography in the midst of a global pandemic. While coronavirus has meant the shuttering of many small companyes, Hankint-Lawrence images, at least in the realm of art model photography, shoots on miraculously.

What initially drew you to art model photography?

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BL: I came into art model photography and nudes after a number of years in landscape photography. Attempting to package clothes models in skill pictures seemed to be beyond me totally, and nudes are much easier to make a statement with. What drew me to it was working with people in art photography. Also contributing to my interest in nudes is my complete lack of fashion sense. We was interested in showing the human form, and nudes both assist with this and stay clear of the concern of what appwill bel a design is normally using, since that can imply cultural background, station in life, and other issues that I’m not interested in conveying in my photos generally.

Originally, my main interest was in more pure figure photography: showing the interaction between light and shadow as it meets the human form. The tintypes were my major approach to photographing nudes before the pandemic hit, but I have to work with the model in person to do this. Currently, mainly, this includes wet-plate collodion (e.g. tintypes from roughly the 1860’s) and kallitypes (a roughly 1890’s printing process). I can make negatives from digital photographs, however, so I can print kallitypes from a remote photography session. This has coincided with an interest in historic photographic processes. The historic processes possess their own looks to them; this helps set the disposition for a photograph for me personally often. As I’ve done more of it, I’ve turn out to be extra engaged in placing a atmosphere and informing a report with my images.

Additionally, as I’ve grown more experienced in art nude photography, we’ve had a new likelihood to function with a good a fact amount of expert find styles. I’ve definitely savored the provide and get of doing work with a person to make the photograph. This gives Patty and me a chance to work with experienced artists in the creation of our photographs; it is wonderful working with someone who is interested in helping to create your vision and to add their own personal style to it. A job accomplished on tintypes completed merely earlier to the outbreak engaged a range of styles over period, with a consistent theme across the photos but with each model adding their own take on the theme through pose and expression.

PH: I started working with art models about the same time Bill did - mainly because Bill was working them and We went along to help in the studio. I discovered that I liked creating with models. In my work, the models tend to be clothed or implying nudity - insider term for what I tend to do is "Facebook safe."

How has the pandemic affected your photography?

PH: For working with models, the pandemic has changed EVERYTHING! We closed down the studio in March of 2020, no clue yet when it will be safe to work for several hours indoors in a small space with a model again. We used to work with models in our home studio (also known as the family room).

We kind of figured no working with models until we’re past the pandemic. But then models thought out a way to work remotely - with photographers in one location and the model in another.

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So for our session with Ivory Flame, we were in our basement in Bethesda, Maryland, and she was in her flat in England.

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The way the technology works is the model sets up her camera on a tripod and links it to her laptop that will be running software that allows you to control the camera settings from the computer. Subsequently she is shared simply by her personal computer pc with us using something like TeamViewer software. Then we set up a session on a video chat software so we can communicate during the session.

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The photographer can control the camera settings - ISO, aperture, shutter speed, focus, etc. and can review the photos after they take them

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And then it’s just lots and lots and lots of communication about posing, set design, outfits, light, etc.

BL: Much of Patty’s work involved travel for landscape and wildflower photography. Most of mine (and some of Patty’s) involved operateing in our home studio with professional figure models. While there are issues we might not have thought of before (for example, morning hours time frame brightness in the Britain to capture, our session started at 4 AM our time), this method of working features definitely expanded our ability to work with a true number of wonderful artists. The outbreak basically close up all of this down. For the models we worked with, this was a disaster for many; modeling was a major (sometimes sole) source of income for them. The products figured out how to photograph remotely, frankly, as a means of survival. For us, it has been a miserable issue not really to come to be in a position to carry out the fine art we needed to carry out. But it features opened up up a universe of options, not only to photograph in the pandemic, but to allow artists (and here I include the photographers and the models) to work together when they may never have been able to before.

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Has the pandemic changed the way you think about your compositions? ex. set design, theme, pose etc.

PH: Since we are working remotely and depending on the model to provide the set, the props, and costumes, it implies a lot even more thinking in further about what We need to build. It is also giving me ideas on what I can create in my own studio after the pandemic. I never would have thought of draping cloth at the top to give the draping effect - but trust me - we’ll be doing that when we’re back in our home studio.

BL: A large factor is lighting. The downside will be that you are dependent on when the window light looks good in the model’s studio. Many models don’t have extensive studio lighting set-ups; it’s expensive and one more factor to try and control while the model is trying to do her main job of modeling. So we tend to use window light in our compositions, which can usually offer a splendid comfortable glimpse to a world.

What do you think portrait art, nude specifically, offers us during the time of the pandemic?

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BL: There are multiple ways of looking at that. As I was thinking through what to submit in relation to the pandemic, I included two approaches. One, I think is close to escapism. The other project is more addressing the pandemic; I’t early on in the job consequently simply published one photo for this. The project “Barriers” is focused on masks and physical dwill betancing during the pandemic; originally my intent was to focus on the aspects of isolation from the pandemic, but frankly it grew into doing my best to express my horror at the failure of our national response, resulting in over [500,000] deaths in the US to date. Photos for this are executed a little using and dark toning to lower the contrast, to give a sad, ideally funereal aspect to contrast with the nude within the photo nearly. I have a job inspired by Alfred Cheney Johnston’s work with the Ziegfeld Follies dancers from the 1920’s - this series offers a lush, romantic atmosphere in which to showcase the female figure.

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Where do you get your inspiration for your set designs and costumes? Could you describe how the set was designed in Patty’s Ivory Flame photos? How was the costume chosen in Bill’s Ivory Flame photo with the transparent sheet?

PH: Since this series is inspired by the work of Berthe Morwill beot - I’m going for a late nineteenth-century somewhat romanticized intimate spaces vibe. After I propagated my perspective with Ivory Fire, she figured out what she had for props, furniture, and wardrobe that could work.

The set for my photos is a standard photographic backdrop with a couple of pieces of green fabric draped from the top to give the illusion of the hanging drapes. The actual draping didn’t go all the way up to the top so I extended it in Photoshop.

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The plush green on the floor is another piece of fabric, as will be the white tulle on the chair. She lit the candle to see what it would do for the field and it was loved by me. The table is a modern desk with another piece of fabric draped over it. The props on the table are items Ivory Flame has around her house. The seat will be one that Ivory Flame has in her home.

I asked if she had any vintage looking robes or dressing gowns and these were ones she had.

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What you can’t tell from the photo is how small the space we were working in was - it is in Ivory Flame’s living room. The windows sill and time frame happen to be about a base to the still left of the seat. Simply just to the appropriate of the stand, I had to edit the corner of the TV stand out of the photo.

BL: For the Barriers photo (of Ivory Flame), I believe the material is tulle - essentially a sheer fabric (We’ve used mosquito netting in a pinch). The photo is about barriers, and a barrier was wanted by me between the nude and the viewer. Having sheer fabric like thwill be is common, which will turn out to be why the unit got it. One of the pictorialists (William Mortensen) even makes fun of the sheer materials in nude photography in his writings. The cause I like it will be that it can conceal and demonstrate at the identical period. Does I discuss I wished a sad disposition to the picture really? In this particular photo, I sought the women to seem nearly ghostly, as a befitting monument to the pandemic.

What, if any, long lasting scars carry out you believe the outbreak will abandon about your artwork?

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PH: My guess is remote sessions with models will continue after the pandemic so we will be able to work with a greater variety of models than if we just work in person with people who come through the DC area.

BL: We can’t wait to be able to open the studio again. But that being said, the remote sessions have opened up opportunities we would not have had otherwise, and I feel confident we will keep on with them. My job inside wet-plate collodion really wants face-to-face to be completed.