Foundering in the 1980s includes nude and lingerie work looking for a place to be: less formal, more erotic, still in touch with the engagement I was looking for in PHANTASTIC PORTRAITS. In terms of the coherence of the work, it was not the best of times. For part of it, however, I did little shooting and focused on making smaller prints with more chemical manipulation -- occasionally with rather striking results. MARY S...THE SEX SESSION is sort of a transitional group for that time. Also pretty hot.

During these few years I did a fair number of POLAROIDS some of which are reproduced here. In some cases the process is highly attenuated: a digital scan of a print made from a negative copy of the original.

Occasionally prints were HAND COLORED by Kim of State of the Art framing in Buffalo. Some of it is wonderfully whimsical and transforms an indifferent photograph into something worth looking at. Sadly, they are now memorialize a great individual who passed away in early 2006. See www.framaree.com

During the early days in Sarasota (late 1980s) I didn’t have a place to work so I used parking garages, squash courts and alleys, usually on Sundays. I can’t say it was great experience, but there were moments. few pieces with Judie [JudieMaasRoof] are ok, the Judie Ramp Series is a handsome rendering of the structure and some passionate light, and the singular piece where we attempted to cover Christine’s World with Judie’s Parking World, is a simply wonderful homage to Wyeth’s classic 1938 painting.

The work with CHELE in the early 1990s is of another order, however. This young lady was a Ringling Art School student I met on her job as a retail clerk. Our first sessions were at a new outdoor mall and an old warehouse; we then did a studio session, an at home session, and a session with her guy which is a classic of parking garage romance. She was remarkably beautiful and completely comfortable with the camera.

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