DAVID was my dear friend from the late ‘70s to the early ‘90s when time and distance did their thing. He was smart and beautiful and attentive and a most reluctant photo subject. Fortunately, I prevailed some of the time.

JUDIE and I were together from ‘85 to ‘93 so there are lots of pictures, but FIRST JUDIE and LAST JUDIE say it all.

THE BAG PICTURES were done at the end of the ‘80s using my face and Judie’s double exposed with a shot of a carefully crumpled brown paper bag. The results were unpredictable, but with some careful printing succeeded on a few occasions. At the time I did not have a darkroom so some of the first prints were done as monochromes on commercial color machine printers. Subsequently, I produced a few conventional silver prints.

After 1990, the portraits, nude and otherwise, include some specific projects worth mentioning. A number of the subjects in this clutch were either students or models from the Ringling Art School. I see no need to identify them as either. KIM & EMILY were close friends since early childhood and I think it shows in their level of comfort. The original 11x14 prints were stolen, so the scans here are from the set that appeared on Michelle7.com. No high resolution files are available. My first session with THEA LOBO was when she was 17 and about to graduate from high school. After that we did a session each year during her mid-semester break for several years. Many of the images appear on www.thealobo.com.

The RESURRECTION HOUSE [RH] PORTRAITS came to be called ‘images of hope’ since the homeless people I asked to sit were, at that moment, on the way toward establishing themselves as self sustaining and sheltered. Some did not make it, some did not make it for very long, some have since died from disease or age, some have gone on with a comfortable life so far as we know, and nothing is known about others. But the photographic record remains as portraits of individuals who were, at one time, without shelter. This is all that holds these images together, and so they are as coherent, but no more so, than the term HOMELESS itself.

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