This article documents the "birth of a collaboration." In it I will share my process; from inspiration & research, pre-visualization, casting models, my studio set-up and clearing Polaroid T55 p/n film, to ultimately printing and toning my images. I am an artist that does not belabor photo-technical issues: The most simple and direct method to obtain the image is always the best method by far.

Inspiration & Research
I work in the style of the "pictorial narrative" or storytelling. Each project begins with a prolonged period of research, where I absorb myth, culture and civilization. Then seamlessly, they are blended to create a new visual language that becomes complex and multifaceted, yet deceivingly simple. Quite by accident, I started "The Altis: Portraits of the Immortals" about 3 1/2 years ago while shooting portraits with a childhood friend. The project originally was to be an ode to our friendship, as we have known each other since we were four. My wife, in her brilliance, reflected that the images had a very "Olympian" feeling about them, and it clicked for me that there was far more to the project than I had originally realized.

The result is the culmination of over three years work and research, supported by interviews with anthropologists and historians of Greek antiquity and the ancient Olympic games. The subject matter of The Altis is both classical and contemporary; its inspiration being loosely based on these ancient games. The term 'Altis' comes from the Greek name for the actual sacred olive grove where the original Olympic games took place. The games were a religious rite performed in the nude and women were banned from attending-refusing to comply was a crime punishable by death. The intent was not to academically replicate the ancient games, but rather to present a unique and contemporary document of an aesthetic and highly stylized world, glorifying women and athletics. I hope to pave the way for a classical revival of the nude by empowering the female spirit through strength and beauty.

Pre-Visualizing
The process of using the view camera makes pre-visualization a necessary part of my work. I sketch and storyboard each image I want to make, and store them in my "Sequence Book." It's called the Sequence Book because it collates by like things (providing sequence) and documents the entire pre and post visual history of a particular image. I make copious notes on many of the sketches, noting model choices, backgrounds, and props (see fig. 1, Sequence sketch). These sketches serve as a starting point, and are never ridged. I sketch each athlete's figure-type a particular way that reflects how I'm visualizing her in the shot, and then I retrofit an actual model into the sketch. I share the sketches from the Sequence Book with the models so we are on the same "visual page" when the shoot starts. My pre-visualization techniques further extends into the shoot by working with Polaroid T55 p/n film. We can art direct on the fly by analyzing the Polaroids against the sketch.

Casting Models
I admit, I've been blessed with great fortune in finding and working with truly unique women. I am an artist that very much believes in fate and knows that when the right model walks through my studio door, she's been brought to me for a reason. Contrary to many photographers, I prefer to work with the same models over and over. This way they learn to create the imagery with me, and ultimately "become" the imagery.

Part 1: The Phone Interview
I have quite a screening process for prospective models. I first place a "Model's Wanted" ad in the Village Voice, a local what's happening New York paper. My ad reads, "Photographer casting female dancers to play athletes in fine art photography project. Nudity required." It's best to be up-front on any nudity issues. I also reiterate it during the phone interview, as some models don't read the ad to the end. I explain in detail the nature of the project, and what "roles" I'm looking to cast (i.e.: runner, boxer, archer, etc.). Each "athlete" is cast into the project according to her body type. So for example, the physique required of a boxer would greatly differ from that of a rhythmic gymnast. I quickly explain how I work: my studio, the 4x5 camera, and the unique properties of Polaroid T55 p/n film.

I shoot exclusively with Polaroid T55 and T665 p/n film mainly for its uniquely smooth and velvet like quality; however by using Polaroid film there is an added bonus: it creates an "inclusive" experience between the model and myself. In 23 seconds after the exposure is taken, I peel the film apart and we can instantly make decisions on lighting, the usage of props, or the pose (see Portrait of an Archer,1998). She is able to see what I see and we "build" the images together as a cooperative partnership. It is an invaluable pre-visualization tool, and a confidence builder for the model.

Lastly I explain to them that my profession is actually that of a clothing designer, not a photographer. I produce work for the pure joy of it. All of my models respectively have other careers as well and are involved in the project by choice, not obligation. I look for a strong sense of ownership and commitment from a model. Although all of my models are paid, money is usually an insignificant factor for them.

Part 2: The Studio Meeting
The next step is to meet. A meeting lasts 45 minutes to 1 hour. I prefer to meet at my Wall Street loft studio so she can see the environment and feel comfortable about its conditions. When she arrives I have her fill out a Model's Application. It's basic information: who are you, where do you live and how do we get in touch with you, and verifies that she is of legal age, 18 years or older. Subliminally, having a model fill out a form shows a certain level of seriousness and respect I exhibit toward my work and my process. This whole exercise is to establish professionalism with the model and for her to know the standards I expect in return. After the model signs and completes the form, I usually show her a pre-selected group of 15-20 prints from the project. This helps her to see my level of quality and sense of aesthetic and to begin understanding the type of imagery that's incorporated into my work.

Through the use of visuals, I describe and show the model how I work. I explain that the entire project has been storyboarded, so once a model has been cast, we will be shooting against the thumbnails in the Sequence Book. So there's always an agenda for each shoot; however, it's not cast in stone, but rather a starting point. To show them how an image is born, I pull a print from the pre-selected pile and show them the corresponding Polaroid & thumbnail sketch from the Sequence Book. In some cases, the final print looks exactly like the sketch, in other cases there are few similarities (see fig.2, Polaroid). They usually end up asking, "so when do we get to see the contacts?" and I explain again that the Polaroids ARE the contacts. Remember, many have never seen a view camera before or sheet film so I explain the pluses and minuses of the view camera (WYSIWYG but very slow). Because of its slow nature, I can expect to shoot approx. 30 sheets of film in a 3 hour sitting.

To finalize the meeting, I ask the model if she would like to take her participation to the next step: a test shoot of 7 images. I reiterate that each model is cast in the project according to body type and the test shoot gives me all the necessary information needed to complete this process. I show them an example of a test shoot and review the 7 shots. Since the test takes 5 minutes, many models prefer to do it then. Others prefer to reschedule. There is no monetary compensation for the test.

Part 3: The Test Shoot
When the model comes for the test shoot, I show her to the dressing room, and when she disrobes (and removes all her jewelry) she walks onto the set. The 7 shots are taken with a Polaroid Spectra camera and are: full length front, side and back. Then exactly the same, but cropped from the model's nose to her knees; front, side and back. The 7th is the classic contro-posto stance, or weight firmly shifted to one hip. The test last literally 5 minutes and by minute 3, I have a pretty good idea where they would best fit. While the model's re-dressing I prepare to discuss 2 topics when she returns: the model release, and grooming.

For the release, I explain that she "owns" the right to her image and in order for me (the artist) to use her image in a public forum, she must grant me that right. The Model Release serves as a legal contract between the 2 parties. I give the model 2 copies of the Release document. 1 for her to keep for her records, the other to date, sign and return. Once the release has been signed, you can start shooting and there is no need to "renew" the release for other sessions. I never, ever shoot without a signed release on file, even if they are friends.

Discussed after the test are hairstyle, make up, and the removal of body hair (if needed). There are 2 reasons for this last condition. 1) it is historically accurate that the ancient athletes removed body hair before competing at the games and 2) most of my images are shot against black velvet and monochromatic film does not record any separation between the black backdrop and the pubic area. It looks like "negative space" and disturbs the proportions and balance of the figure. Just seeing the reflection of skin there anchors the figure on the page (see The Graces, 1999). Models usually have no problem with this condition since they understand its historical reference and how it fits into the aesthetic and visual language of The Altis, and that it bears no reference to sexuality. I make my final decision on a model within a week or two.

Studio Set-Up
Although my home-studio is quite comfortable, it boasts a no frills technical set-up. I shoot with a used Sinar F1 4x5 view camera and Kodak Ektar lens, 2 Lowel DP lights with 1000 watt lamps, each rigged with homemade dimmer switches so I can dial the lights up or down as needed. They are fitted with Photoflex Silverdome FV soft boxes. My main light is usually powered up 100%, while the fill light is set to 75%. I have a 4'-by-8' reflective mylar mirror that's placed behind me for the model to see herself. It makes all the difference in the world (see fig. 3, the studio).

Clearing Polaroid T55 Negatives
Over the years, I've heard and read several methods about processing Polaroid p/n films. I'm sure many are valid but I can only share with you what has worked for me and I get perfect negatives every time. First of all, for those of you that have not yet worked with T55 (or T665) films, in my opinion their benefits far outweigh any drawbacks the films may have. The only drawback I've experienced is the fragility of the negative. It's extremely thin and they scratch easily. I have 3 buckets (with cartridges) made specially for clearing the Polaroid negatives. (Buckets can be purchased through Calumet.) Fill the buckets with regular cold water and load the negatives (while shooting) on every other slot of the cartridge starting with the 2nd slot from the inside. If you use the 1st slot you highly risk scratching the negative on the joining beam. Work your way outward.

When the cartridge is filled, you will need to pour out the reddish-purple liquid produced from the processing gel. Do this only when you're ready to start clearing the negatives. After you pour out the purple liquid, flush the negatives with regular cold tap water for 20 minutes. I place a flat marble ashtray on top of the cartridge so it can't flip around in the bucket while the water's running. When it's done, I pull each negative out and hand rinse it in my palm to make sure there's no more jelly on the negative by feel. Just make sure you remove your rings first!

Lastly you will need to Photoflo and hang the negatives. Make sure you clip your negatives on a diagonal for dripping. In the winter months (when the interior air is warm and dry) the negatives can curl inward and stick together. Never leave your negatives unattended while drying. It's not worth having done so much hard work, and get ruined negatives at the very end. Once dry, I place the negatives in Light Impressions' Transview 4x5 sleeves (#5313) and catalogue them in my database.

Printing and Toning
In keeping with my collaborative vision, I made the decision many years ago to partner with a printer and toner much in the same way that I work with my draper and pattern maker. I believe in working with talented individuals who are at the top of their craft and who not only share my vision but are also able to bring unique qualities to it. The final piece to my team is master printer Bob Whitmore and master toner Karen Crumley.

We have shared many ideas over the years about what we love from the past and how we can translate them into the present but with a thoroughly modern approach. The chemistry of yesterday is fairly similar to today's for the most part, but it is the papers that have changed over the years. Our printing and toning challenge was, "how do you use the same chemistry to achieve a velvety platinum or photogravure-like quality, and make it all work on modern papers, in silver. I first worked with Bob on printing down the images at least 1 to 1-1/2 stops from normal with low contrast (see fig.4, The Graces, 1999. untoned). Our paper of choice has been Agfa matte because it yields exquisite prints.