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INTERVIEW
Renée Jacobs
The Nude Issue
YEAR - MMXII
Aaron Kennison; Bryon Paul McCartney; Gary Mitchell;
Klaus Kampert; Mike Cary, Thierry Magniez
 CONTENTS
Portfolios
16 04
16
Bryon Paul McCartney
Gary Mitchell
34 Renée Jacobs
50 Aaron Kennison
60 Thierry Magniez
The Nude Issue 76 Klaus Kampert
Welcome to the fourth issue of PH to showcase the nude.
As a contributing photographer to this issue, I thank Patrik
Cover Photo by Aaron Kennison 04 90 Mike Cary

Jandak for providing a “sanctuary” for quality nude

photography. With a few international exceptions, most
mainstream photo magazines shy away from presenting 60
artistic nude work. A review of the images in this issue will
leave no doubt that the art of the nude is as vibrant as
ever, and the timeless appeal of the female form remains
as inspirational today as it has throughout the history of art.

We’re sure you will enjoy this issue, and hope you will
share it with your friends and fellow lovers of photography.
They can find us online at phmag.ca or “Like” our page at 50
facebook.com/phmagazineonline

Interview
34
Gary Mitchell
Co-editor

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PH Magazine © 2012 Jandak

Photography, All Rights Reserved.
Image copyrights remain with
the respective photographers.
Images used by permission.

editor: Patrik Jandak

co-editor: Rodrigo Bressane
co-editor: Gary Mitchell
design: art_photo
90
Contact: / Editorial: [email protected] / Advertising: [email protected] ISSN: 1924-9424
phone: +1 905-581-4980 / www.phmag.ca / Toronto, ON, Canada 2012
2 www.facebook.com/phmagazineonline PH magazine 3
 Bryon Paul McCartney
Acclaimed American commercial and fine art photographer Bryon Paul
McCartney has recently returned to the United States after living for the past
11-1/2 years near Zurich, Switzerland. Despite the fact that McCartney started
his photography career in Europe eight years ago, he decided it was time to
move back home to be closer to family. “I am definitely not saying goodbye
to Europe. I intend to visit often and to keep in touch with my contacts. Of
course, I will be back every year for my workshops in Tuscany, Italy, and
eventually I will be adding other locations.”

Currently based in southwest Florida, McCartney is teaching photography

through the “In One Instant” gallery in downtown Fort Myers, and organizing
events and workshops at Boller Brothers Rental Studios, near Southwest Florida
International Airport.

McCartney is a self-taught photographer and video producer. His

commercial work focuses on advertising, corporate and editorial
assignments that help successful companies communicate about their
people, processes, and products in images and films. His clients have
included Alstom, Chevrolet Europe, Dow Chemical, Sulzer, and Thompson
Reuters. In the past few years, client work has taken him around the world
with projects in 15 cities.

In contrast to his commercial work, McCartney is also a fine art and erotic
nude photographer. The images you see here are from a project exploring
the sculptural and dynamic form of the figure in motion. He worked closely
with dancer and Cirque du Soleil performer Giulia Piolanti on the project.
“Giulia is a dream to work with, she will never stop until I am perfectly
satisfied. As a performer, she is so conscious of her body and how to control
every movement and detail,” says McCartney.

McCartney has won several awards for his artistic photography, including
first place and best of show selection in fine art nudes in the International
Photography Awards, and first place in the Prix de la Photographie Paris.

To learn more about the artist and his current projects, please visit his website
at www.bryonpaulmccartney.com. You can follow his tweets at
www.twitter.com/bpmccartney and subscribe to updates via his Facebook
page at www.facebook.com/bpmccartney.photographer

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 Gary Mitchell
For Gary Mitchell, photography is a celebration. “In my work, I work to
celebrate the strength, grace and beauty of the female form, as well
as exploring vulnerability and expressions of intense emotions. In many
images, the contrast of figure and surroundings is emphasized by the
contrast of the images themselves.”

Originally from Dayton, Ohio, Gary grew up as the son of an avid

photographer and learned both the skills and appreciation for
photography from a young age. After years of shooting advertising
work and concerts, in 2006 he turned his focus to fine art nude
photography celebrating the beauty of the female form.

“I keep it simple—I feel it gives the images a more timeless quality.

The individual nuances of each model are more than enough to work
with. I often concentrate on contrasts — light and shadow, rough and
smooth, traditional and unexpected. Black and white is really my
‘native language’ and for me it adds the right emphasis to the light
and forms and textures.”

His work has been published widely including B&W Magazine, Carrie
Leigh NUDE, PHOTO (France) magazines, and Erotic Review magazine
in the U.K, which also awarded him their 2009 Readers’ Prize. He
was invited to contribute to The Mammoth Book of the New Erotic
Photography, and appears in other collections, including The World’s
Greatest Erotic Art of Today – Vol. 2. and another upcoming project
edited by Maxim Jakobowski. He has exhibited in shows in Ohio,
Florida, Vermont, Detroit, Chicago, Seattle, Canada and France.

“I’d like to thank all my models for sharing their beauty with me, and
especially the women who appear in these images: Georgia, Katla,
Kelsey Dylan, Mina, Heather Elisabeth, Katie Damron Potter, Rebecca
Lawrence, Nameste, Lucy, Katie, Alexis, and Char Rose (index page).”

www.garym.com or facebook.com/garymphoto

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 Renée Jacobs
Interview
PH – Renée, you studied Photography/Journalism at PH – After practicing law in Portland, Oregon, and
Pennsylvania State University — was photography Los Angeles, you came back to photography and
always your dream job? in 2006 started to shoot again, this time a different
subject than photojournalism. Why did you decided
RJ – I never thought of it as either a “dream” or a to become full time photographer?
“job.” It was a passion. It was as vital as oxygen.
RJ – Let’s just say I had enough of the law and the
PH – When did this passion begin? law had enough of me at that point. As the song
says, “I fought the law and the law won…”
RJ – High school. I would take the train from the
suburbs to Center City Philadelphia for my first PH – Do you think that taking a break helped you
darkroom class. I was hooked. when you came back to photography?

PH – You don’t see photography as job. It has to be RJ – Absolutely. My whole focus was different,
hard to make living with this approach, isn’t it? no pun intended. But most importantly, I had life
experience that was complicated and that fed the
RJ – Everything is hard. Manual labor is hard. Nursing flame to shoot.
is hard. Everyone is struggling. I have to do this and
I’ll do it as long as I can. PH – So you became a fine art nude photographer.
What is it about nude photography that interest you
PH – During your studies you received the Robert the most?
F. Kennedy Photojournalism Award, and after you
finished college, you freelanced for newspaper RJ – After all that time practicing law and all its
and magazines such as The New York Times, confrontation and hard edges, I needed to immerse
Philadelphia Inquirer, U.S. News and World Report. myself in beauty. I wasn’t even aware of it at the
You had a promising photojournalistic career, but time. I certainly could not have articulated that or
decided to attend law school at Lewis & Clark even known it was important for me as a balm. I had
Northwestern School of Law, what made you to drop been a federal court civil rights and constitutional
photography and switch to Law? law litigator.

RJ – After I graduated college, I started working PH – So it’s beauty that attracts you the most about
on a photojournalistic story about the Centralia nude photography? How do you describe beauty?
underground mine fire in Pennsylvania. What I
thought would be a weekend magazine project RJ – I don’t. I can’t. Beauty is so ephemeral, such a
evolved into me moving into the town for 6 months product of an individual moment and experience
and spending the next 3 years working on a full- shared.
length photo & oral history book project that was
published in 1986 — “Slow Burn: A Photodocument PH – In your opinion, is it advantage for you to be a
of Centralia, Pennsylvania.” Slow Burn was re-issued woman photographing women’s bodies, or do you
in 2010. As a result of that project, I became very feel that male photographers have an advantage in
interested in environmental issues. The next thing I this field of photography?
knew, I had a scholarship to study environmental law
at the best program in the country for that discipline RJ – I think there are both men and women doing
and I packed my bags and headed to Portland. It extraordinary photos of women. And I think there
wasn’t a conscious decision to stop shooting. At that are both men and women taking horrible photos
point, I thought I could do both. I obviously had a of women. I think the only “advantage” is where a
slightly unrealistic expectation of what law school photographer—regardless of gender—has a strong
was about. enough relationship with their subject to allow the

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 Renée Jacobs
Interview

woman to be completely, effortlessly honest. I am loathe the phrase “boudoir photography” and I’m
a big believer in letting women tell their stories and not really fond of “fine art nude” either.
letting them drive the level of eroticism in the work.
It does neither of us any good to have the model PH – Do people sometimes compare your work to
feel uncomfortable. More than anything, I think they any big names in photography, or do they look at
feel, understand and deeply appreciate that I’m not your work not knowing it’s you and say this can be
judging them. They have stories to tell and I want to such and such photographer?
hear them. It’s an incredibly joyful thing.
RJ – Sometimes. Often, people coming across my
PH – How do you choose your models? work for the first time think I’m a man. Occasionally,
people think I’m one of the models. My biggest
RJ – A hodgepodge of ways. Oftentimes, they find collector accidentally picked up a box of vintage
me. I’ve had women commission me to do private Westons at Kim Weston’s place in Carmel once
shoots from all over the world. I’m always astonished thinking they were prints I had made for him. But it
at the different ways they find me. Friends of friends. was a driving rainstorm and they were in a similar
Online. The incredible woman that served us hot looking box. We all had a good laugh when we
chocolate after a very cold shoot outside in Paris… realized that mistake. But I’m sure that’s about as
two days after she served us that hot chocolate, close as I’ll get to having my work confused with a
we were running around Paris on Christmas day master photographer.
doing nudes all around the city. And she’d never
done nudes. We probably shot 3 more times on that PH – You said you are not fond of term “fine art
trip. And, true to what usually happens and what is nude.” Do you feel that nude is not fine art?
so rewarding, we are still in touch, I consider her a
friend and I’m dearly hoping we get to shoot again. RJ – I find when people self-describe their work that
So Rosy, if you’re reading this… way, it’s too easy of a short cut. It’s not particularly
humble.
PH – Your work has been awarded and exhibited
worldwide. How would you describe market for PH – You visit Europe quite often. What difference do
nude photography? you see between North America and Europe when it
comes to nude photography?
RJ – Fickle. We are so inundated with images
these days. And more than most other genres of RJ – I only really have Los Angeles and Paris to
photography, people gravitate towards certain compare. Shockingly, both cities are probably
nudes for all sorts of diverse, deep-seated reasons. equally difficult in terms of bureaucracy and the
Again, it’s difficult to articulate but people know silliness that seems to pervade officialdom wherein
what captivates them instantly. Photographic photographers are viewed as terrorists. But hands
“analysis” comes later for nudes, if at all. down for me, Paris inspires me. The women, the
architecture...it’s ridiculously romantic.
PH – How would you describe your style?
PH – Besides Paris, what else inspires you?
RJ – Nonjudgmental. I think that sums it up as well as
I can. I’m not one for assigning labels or elaborate RJ – Women, light, music and the moment.
technical discussions to my work. Although I do
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 Renée Jacobs
Interview
PH – You photographed in Paris and the result was monograph of work edited by Jock Sturges to be
“Mes Petites Femmes de Paris.” Can you tell us more published by Alexander Scholz at Galerie Vevais in
about this project? Germany. There are no words I could possibly come
up with to encompass my joy and thanks to Jock
RJ – Well, that book is still very much in progress. and Alex for this opportunity. The books that Alex
The title may change as well. Since I was very little, does are magnificently crafted….true works of art
I dreamt of Paris. I went and I did some shooting. in and of themselves. And Jock is simply brilliant,
I went again and did some more. The next thing kind and wise. Spending time with him working on
I knew, more of my life was in Paris than in LA. I this project was extraordinary. He’s got an amazing
became intrigued by the idea of what Paris does family. He and his wonderful wife, Maia, welcomed
to women. So the project expanded way beyond me and his two little girls are so whip-smart and
simply Parisian women. Women have come from beautiful. That he would take time to work on this
Norway, LA, London, Italy, Brussels—all over—to be with me is simply an incomparable gift. I get to meet
part of the book. It’s what Paris does… Alex in June in Germany to work on all of this.

PH – It seems like you start with simple ideas that Of course, I’m also finishing up the Paris book.
gradually develop into long term projects. Is it I’ll have some work in Taschen’s next erotic
better for you this way, or do you sometimes plan photography anthology and waiting to hear the
a long-term project all the way from beginning to details for another anthology which the editor,
end? Maxim Jakubowski, has asked me to be a part of. I
have a body of work that’s very secret at this point.
RJ – It’s an extension of the way I shoot. I want to Taschen is considering it for a full-length book, so
hear what women have to say and I never presume we’ll see. It’s still very much a work in progress. And,
I know what the hell that will be. So I’m open to go amazingly, a friend has invited me to his house in
wherever that discussion takes us. Saint Tropez at the end of June to have free reign
and stay and shoot with as many models as I can
PH – It seems like European models want to come bring for a week. Needless to say, this is a very
and work in USA and American photographers different life than I had as a lawyer.
love to go and photograph in Europe. If you could
compare European and American models, can you PH – What is the most important thing you can
point out any differences? recommend to young photographer that is
interested in nude photography?
RJ – I can’t really speak to that because it’s a
question that goes more to “pro” or “agency” RJ – It depends on how “young” the photographer
models. But everyone I speak to seems to want is. Too young (and I don’t mean just under-age)
to be somewhere else. LA people want to be in and the photographer doesn’t have enough life
Paris; Parisians want to be in NY…the grass is always experience to have a clue what women have
greener, I suppose. to say. I suppose it’s not an age thing, but a life
experience thing. But regardless of age, I suppose
PH – What are your plans to near future? Any the advice would be the same…shoot what makes
projects we can look forward to? you happy, what takes your breath away. Why
bother with anything else?
RJ – I have some projects coming up that are so
wonderfully exciting that it amazes me I can’t www.reneejacobs.com
even sleep until they’re completed. First, I have a

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 Renée Jacobs
Renée’s work has won awards and been published around the world. She is the
recipient of the prestigious 2008 International Photography Award for Fine Art
Nude (the Lucies). Magazines that have featured her work include Silvershotz,
Adore Noir, Fine Art Photo, Nude Magazine, Photoicon, B&W Magazine, Focus,
FHM Germany, Esquire Turkey and numerous others. Her two calendars in 2009
and 2010 went to #1 on Amazon. Her interviews and photographs of Araki, Lillian
Bassman, Shelby Lee Adams, Douglas Kirkland and others have been featured
in magazines around the world. Her book of Paris nudes, “Mes Petites Femmes
de Paris” should be available towards the end of 2012. Taschen will feature her
work in the next “New Erotic Photography” and Galerie Vevais in Berlin will be
publishing solo monographs of her work, both also set to arrive in late 2012.

Her early photojournalism included assignments for The New York Times,
Philadelphia Inquirer and many other newspapers and magazines. She received
the Robert F. Kennedy Award for Outstanding Coverage of the Disadvantaged
and her work is in the permanent collection of the John F. Kennedy Presidential
Library. Her solo monograph, “Slow Burn: A Photodocument of Centralia,
Pennsylvania” was originally published in 1986 and re-issued in 2010 to favorable
reviews in The New York Times Review of Books and photo-eye. After a 15-year
detour as a civil rights lawyer, she returned to photography.

“My journey through nude photography is highly motivated by the fact that
the genre has always been male dominated. Many people looking at my work
assume I’m a man and I think that’s very telling. But the reaction of women—
models, subjects and viewers—has propelled some of the most interesting
dialogue about my work,” says Renée.

“My desire to embrace and understand the relationship between photographer

and model led me to interview and photograph Charis Wilson, Edward Weston’s
former wife, shortly before her death recently at 94. Charis was astonishing
in discussing the view from the other side of the lens. And of course, not just
anybody’s lens, but Weston’s. One of the great mysteries and ongoing discussions
always seems to be about how much of the image is the photographer, how
much is the model. Charis’ view about that changed over time. Initially, she
couldn’t really see herself in the photos. Much later in life, she did. That’s one of
the many fascinating things to me about this type of work. I don’t think I know
the answer, and I’m sure it will change over time, but more than the photograph
being about me or the model, it increasingly feels to me like it is—at its core—
really about the moment.

http://www.reneejacobs.com/

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 Aaron Kennison
I have been photographing the nude for more than 25 years. My first
experience was in a small hotel while serving in the military. The response
to those first images encouraged me to continue to explore the nude. I
consider the nude to be the pinnacle of aesthetic challenges. My style
has grown over the years, while being faithful to the photographers who
inspired me, including Peter Gowland, Marco Glaviano and Jeanloup Sieff
to name but a few.

After a long hiatus through the 1990’s I again returned to photographing

women, naturally leading to rediscovering the nude. By this time in the
early 2000’s the ability to work with a much larger, more experienced and
diverse range of women allowed me to explore the nude as never before.
I have a fascination with contrasts. For me contrast is more than black
or white; I find the most meaning in contrasting textures, colors, shapes,
forms, and ideas. When I create contrasts in a scene I feel there is a special
beauty to it. Contrast can invoke both tension and balance, and even
contradiction. My work with the nude form explores these themes. The
pure beauty of the human body I feel is a perfect counterbalance to the
contrasting elements I frame in my photographs.

I respond in a visceral way to the way light interacts with the environment,
whether in the studio or on location. The light guides me, inspires me, and
pushes me to capture it. It’s a game that we play; I am always chasing the
light hoping it gives me the pieces of a story to be told. When it does and
the contrast is right, I simply cannot wait to see the result.

The photographs shown here feature the nude primarily in natural

settings, where the simplicity and familiarity of the human form contrasts
the wilderness. With the fitness models that I sometimes work with, I love
the extra contrast of their strength, which I find very beautiful. It’s not the
typical view of the female body, but still very feminine. I’m looking forward
to creating more images like these this year.

www.aaronkphoto.com

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 Thierry Magniez
I think it was the feeling of magic that I had in my youth when I saw a
picture appearing in the developing fluid that first aroused the wish to
capture the world around me with my father’s Foca Sport. Ever since then
I have taken photographs and developed them, but it has only been in
the last few years, since the emergence of digital photography, that I
have really engaged in what has become a passion, a means of artistic
expression and even a profession.

Encountering the woman who has become my muse and partner has
also crystalized my urge to to work in nude photography. My sources of
inspiration are in Jeanloup Sieff, in Dominique Isserman or Paolo Roversi via
Jean-François Jonvelle or Francesca Woodman. Enjoyment of developing
and printing has remained from my initial love of photography.

Most of the photos presented here are from a series entitled “Itinéraire
d’une Femme libre” which was on show in Arles in 2010. For my part this
series brought a change of perspective: Takala, my model and my partner,
can be seen in the photos, and she also presented her own photos. My
view of her, my entering into moments of her daily life or staged scenes,
where the natural light is highly important.

I am currently working on a new nude series entitled “Eve et le paradis

perdu”— a series which examines the place of the woman in the
contemporary society. I see photographic art as an indivisible whole. It
begins with thinking out a project, staging it, doing the shoot and finally
implementing it in high-quality enlargements and fine-art prints.

www.thierrymagniez.com

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 Klaus Kampert
Born in 1953, lives and works as a freelancer in Duesseldorf, Germany.
As a photographer he is self-taught.
After working for many well-known photographers in the advertising field,
he established his own business in 1981 in Duesseldorf.
His main interest is people photography, focusing on beauty, portrait, nudes
and dance.
He works for leading advertising agencies and companies but also indulges
in artistic photography.
Many of his images, especially nudes and ballet dancers have been printed
in international publications and are highly sought by collectors.
Membership in Bund Freischaffender Foto-Designer, BFF ( leading german
Photographers’ association ) since 1984.

My work is mainly concerned with the human body.

Still, I do not consider my images to be classic nudes or erotic
photography, although these genres may have an impact on my work.
I am not interested in showing beauty as an outward phenomenon.
Rather I would like to present the human being as a whole:
Body and mind united.
By picturing nakedness in an image, it is to reveal mind and emotion,
not only showing the body as such.
Among my models, especially the ballet dancers, are those who succeed in
expressing this wholeness in a particular manner.
Their bodies bespeak the constant pursuit of beauty, grace, achievement
and perfection.
It is my intention and my passion to display this to the viewer.

www.klauskampert.com

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 Mike Cary
Born Kansas 1961.

I can’t remember exactly when I first became interested in photography,

but I can remember the reason: the little black and yellow plastic 126
camera that I received as a Christmas present one year. My interest or
rather love of capturing (or to put it honestly, my attempts to capture)
the beauty of the female nude didn’t start until 30 something years later
after taking a refresher course in photography. The course ended up
being mostly about studio lighting. For the first several years of shooting
I mainly concentrated on shooting glamour and studio style nudes, only
later finding my love of natural light and working outdoors. Over the past
number of years I’ve worked with a mix of digital and film equipment,
sometimes using them side by side, sometimes using one or the other for
several months or years all depending on how I felt at the time.

figuremodels.org/insomniacure/

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