It’s practically impossible to separate nude photography from eroticism, even in a fine arts perspective.  And in fact it’s that thin line that pushes most bodies of work.  Nudes have been a part of photography from almost its origins.  In the mid-1850s, there were already a number of Daguerreotypes in existence that dealt with everything from classic nudes as a stand-in for art students to erotic, and essentially pornographic, images of prostitutes at work.  Photographers such as Félix Moulin were even dragged into court in the early 1850s for such ‘obscene’ art.

The timing of this must be seen from a larger perspective.  Photography came of age during the Victorian era, were strict moral and social codes were the norm.  It was also when other artistic fields were also creating controversy over nudes.  Manet’s Olympia (1865) for instance was a take on Titan’s Venus of Urbine (1538) but using a Parisian prostitute in the place of the goddess. It caused such an uproar at the salon that police had to put guards around the painting to protect it.

These two paintings highlight easily the subtle differences in what a nude portrait is, regardless of the medium.  Nudes are fragile, revealing, open  They can express a great deal of meaning within a very small parameter.  Nudes can be some of the more difficult subjects to photograph because a slight movement in the model can create drastically different messages and imagery.

These subtle differences in perspectives play upon each other.  It’s the ability to control them, restrain them, that create the more amazing images.  If you look at the work of Sally Mann, you can get a great understanding of this.  Mann photographed her three children during the 1980s often in the nude.  Their posing is an amazingly thin line between eroticism (and therefore in this case has been criticized as child sexual exploitation) and innocence.  Her techniques in lighting and compositions are virtually flawless exposing the context of the images for what they are, a general conflict in most people between the view of a child having a non-sexual understanding of themselves and that of an adult (that is, you the viewer) having far too much of a sexual understanding of the world around them.

There is also Robert Mapplethorpe, well known for his controversy involving homo-erotic poses.  His controversy was centered the public art funding for his images based on the male nude and very erotic subject matters.  But a closer look at his larger collection, nudes of Patti Smith (his ex-girlfriend) and of his statues of nudes, show a far deeper understanding of those artistic lines.  It was only when he tried to become more direct and lost that restraint, that he found himself in direct controversy.

The majority of still-lifes have their root in nude imagery as well. Edward Weston, who photographed during the 1930s was a master of both.  His 1930s print of the inside of a pepper is unmistakably similar to that of a male nude from the back.  More erotic imagery can be found in his prints, Artichoke, and Shell (both 1927).  His work is beautiful, and its erotic nature is very transparent. 

Today, nudes seem far less controversial then they have been, they’re even become more normal and common. The pop superstar Madonna put out a coffee table book of her nude in 1992, titled Sex and it hardly caused a stir outside of its marketing efforts.  Porn stars regularly fill mainstream men’s magazines, and thousands of nude images can be easily found on Google’s image searches.  But nudes as an art form will endure, especially those that cross the boundaries of emotional ties, like Sally Mann, and political/social contexts, like Mapplethorpe’s.

 Black and white photography: Taking great black and white photographs
Photography in its simplest definition is the recording of light. When taking photographs in black and white, light and its interplay with the subject of your photo must be uppermost in your mind. With practice, you will develop the most essential skill necessary for good black and white photography -- being able to imagine your subject in black and white.
Seeing in black and white can be learned through paying close attention to the quality and direction of light. Examine the paintings of the Impressionists. These works are as much about the quality of light as they are about their subjects. One of the clearest examples is the haystack series by Claude Monet. Even though Monet’s subject and viewpoint are exactly the same in every painting, each of these paintings differs greatly because of the quality of light. It is this same consideration of light that the black and white photographer must keep in mind.
Considerations for black and white photography:
Viewpoint. The first and most important consideration of any photograph is viewpoint. What is your subject? What is it that you want to the photograph say or show. 
Amount of light. Is there enough light to record your subject? The red that stands out brilliantly in an early evening color shot will be rendered gray in a black and white photo. Is there enough light to display your subject as you want it rendered?
Source of Light. Is the light source natural? Is your subject directly lit by the primary light source (sun, flash) or is the subject lit by reflection of light from clouds or off a large bright object?
Quality of Light. Direct light produces sharp dark shadows and contrast between light and dark. Diffused light, such as the light of a cloudy day, softens shadows and produces softer tones of gray in your photo.
Direction of Light. The direction of light has affects depth, dimension and detail. Side lighting produces greater dimensional effects. Front lighting reduces texture and depth. Back lighting highlights form and reduces detail.
Other Considerations. In black and white photography, as color is muted, other design elements gain in significance.

• Shape – Shape is not only defined by the objects depicted but also by blocks of light and dark in the photo.
• Tone – Tone is conveyed through the use of dark and light in the photograph. Dark toned photographs use shadows and dark gray areas to convey a mood such as sadness, emptiness, etc. Light toned photographs can convey moods such as openness or space.
• Texture –The surface qualities of the subject give texture to a photograph. Texture can add realism or depth, and the lack of texture can add a mythic or ideal quality to a photo.
• Lines – Lines give focus and structure to your photograph. Lines draw the viewer’s eye through the photograph. Lines add movement and tension.
• Patterns – Pattern is the repetition of line and shape. Pattern can give rhythm and structure to a photograph.

Birds have been inspiring us for centuries. They thrill us with their mastery of flight and their immense diversity. This guide will focus on improving your ability to capture these magnificent creatures in photographs

Copyright © Justin W. Moore. All Rights Reserved
Capturing bird behavior can add tremendous impact to your photographs, like this Killdeer doing its famous "broken wing" display to lure predators away from its nest.

Always Keep Your Subject's Well-Being in Mind
Avoid situations that put stress on your subject. If a bird is showing signs of stress, remove yourself as quickly as possible. Such was the case when I photographed the Killdeer shown above. I had already taken a few photographs when it began its "predator luring" behavior. Knowing this meant that a nest or chicks were nearby, I disengaged and left its immediate area.
Use Fast Shutter Speeds

Ernest Joseph Bellocq

Ernest Joseph Bellocq, is an enigma. Born in 1873, into a wealthy Catholic New Orleans family who lived in relative style for those times, he frequented the French Opera House as a child. Never an academic as his brother Leo, he managed complete 10 years of classical education at the local College of the Immaculate Conception. Thereafter, his father Paul secured a position at the firm for which he was Secretary and Treasurer. Ernest Joseph Bellocq was considered somewhat of a dandy, and was extremely restless but worked as a bookkeeper, never remaining in the same job for too long. Fascination with and the dabbling in photography, saw him being hailed as popular, talented and extremely knowledgeable amateur photographer in 1898.

Interestingly enough, it was around this time that his photograph, appeared in the social column of a local publication declaring him a descendent of one of the city’s most aristocratic Creole families and that he received invitations to the most private and fashionable social functions. It was more or less at this time, that his mother died. Ernest Joseph Bellocq was close to 30 years old and decided to focus on his real interest, photography. He was employed by commercial maritime companies to photograph specific landmarks and ships, which brought in a fairly steady income.

Yet, Bellocq had a secret photographic life – that being photographing the prostitutes of Storyville. Prostitution was legalized in certain areas of New Orleans, taking into consideration that it was a port. It is assumed that he frequented the brothels of the time, perhaps for his entertainment to begin with, until he developed a desire to capture and immortalize the women of Storyville. It is unclear whether these photographs were made for his personal reasons or with the thought to capture the seamier side of New Orleans history. It nevertheless, sparked much speculation and has been the subject of poetry and novels. The Louis Malle film Pretty Baby, starring Brooke Shields and Susan Sarandon with Keith Carradine, portrayed the life of Ernest Joseph Bellocq. Most of which is purely fictional.

Ernest Joseph Bellocq used a 8 x 10 inch view camera, which he was often seen carrying to photography the prostitutes of the Storyville District It never came to light till after his death. Many of the pictures have been defaced by the photographer who seemed to want to conceal the identity of the nude models – oddly enough it appears that the same women appear clothed in other pictures. Amongst his picture are a few rather endearing and whimsical images of everyday life in the brothel quarter.

It was with much effort that master photographer Lee Friedlander acquired the negative plates, after there discovery in an old sofa in 1971. Ernest Joseph Bellocq published a book called Storyville Portraits. Several more plates have come to light, broadening the understanding of Bellocq’s unique style – almost innocent, with poignancy and sensitivity. A few professional photographic portraits and local scenery still exist from his early days.

Ernest Joseph Bellocq has been posthumously recognized as being a rather astute photographer, who has contributed to the history of photography.