Q:  If I model for you would my husband find out?  
A:  It sounds like you have an issue at home you need to address before you come work with me.  I'm not into drama and have no interest in getting in the middle of whether your husband is going to find out.  

Q:  My husband says I can model for you but must sleep in a separate tent.  Does that work for you?  
A:  For the most part, no.  But let me rephrase that...  If you want to pay for your own camp site, haul your own tent, sleeping bag, mattress, and pillow, and we are staying at a place where you have made your own reservation, then go right ahead.  Chances of you being able to do that are slim to none, however.  Places that regulate camp sites for the most part are very strict about having only one tent per site.  And to top it off, if your husband is worried about you sleeping in a tent with me, you probably should not be going in the first place.  But you could always sleep outside the tent. But bring something to sleep on as I use a full-size mattress for those of us inside, and it doesn't come apart to share a part with you.

Q:  Why would I want to model nude?
A:  Maybe it is on your bucket list of things to do.  Maybe you want to give some images to your boyfriend or husband.  Maybe you just want them for yourself.  Maybe you want to look back 50 years from now and remember what you looked like.  I would like to think it is because you want to be a part of art as well.

Q:  I know you shoot erotic work.  Can I get a link to that?
A:  No.  My erotic work is created for erotic gallery shows, not for the internet public to view.  You can view my erotic work at a gallery show in your area, when I get there.  Next scheduled one will be in Loveland, CO, December. 2024.

Q:  Do you ever donate your artwork?
A:  I have done so many times over the years, mostly to fundraising auctions for art centers.  Some of the recipients have been:  Indiana University, University of Minnesota, Edge Center for the Arts, Plains Art Museum, and The Center For Fine Art Photography.  I also have donated some work to small, struggling galleries so they could sell the pieces and keep 100% of the money to help them out, both in Minneapolis and Chicago.  I root for the little galleries that struggle against the giant galleries to stay afloat.  The big galleries get too commercial for my liking and cater to the wealthy only with big name artists.  We are in need of more mom-and-pop art galleries in this country that show artwork of the not so well-known artists.  But therein lies the problem.  You can't sell that art for the big dollars you need to stay in business.  So, I help when I can, where I can, and with what I can. 

Q:  What kind of camera do you use, and what program mode do you shoot in?
A:  Currently I am using a Nikon D850 (46mp sensor).  I usually have on a Nikon 24-70mm 2.8 lens.  That covers 90% of what I shoot for nudes in landscapes.  I always shoot in full manual mode.  That said, I will switch to manual with auto iso if I am photographing those damn eagles that like to fly in and out of the shade.  That way I can keep the aperture and shutter speed I want to use and let the camera adjust the iso to fit my need.  Higher iso is not the problem it use to be with earlier digital cameras.  
Aperture priority, shutter priority, and auto tells the camera software to pick what it believes should be the correct settings.  Camera software and I rarely agree on that point, so I set the aperture, shutter, and iso the way I think the shot should turn out.  Takes a little bit more fiddling with the controls, but who's in a hurry?  Not like the lady is going to fly away on me.
All that said, a camera is basically just a light tight box that allows light to enter and expose film or a sensor for a short, given amount of time.  A $6,000. camera body with a $12,000. lens on it will have a lot of features, none of which will make you a better photographer.  If you can't take a good photo with a $500. camera and kit lens, you would be throwing your money away on anything better.  As an example, I have made a 6 foot by 8 foot print that sold for a very high price using a Nikon D100 camera with a kit 24-120mm lens.  You can currently buy one of those with the lens for about $125. now.  It will do to create anything you have in mind, as long as you understand how to use it properly and understand rules of composition.  If you want a tack sharp 1/8" long feather around a bird's eye at 100 yards away, then go get yourself an expensive lens and a higher pixel count sensor.  But the cost goes way up for that sacrifice.  And in terms of the camera body a lot of the cost is for features most will never use, like turning off the focus when you press down on the shutter button.  Now you might be scratching your head wondering why you would turn off the auto focus when you press the shutter button.  Most professional photographers turn it off, as I do.  But if you are reading this you probably are not one who makes their living off of photography and it would be a waste time to explain why we do that.
Point to all of this rambling is, you don't need to spend a lot of money on a camera to take a good photo.

Q:  Do you travel to my location, or must I come to you?
A:  That all depends on where you live and what we are doing.  If you live in an area I would like to work near, I will come to you if I can.  If you live in a large city, I will have zero interest in going there.  For a first shoot with an unknown model, I prefer that you come to me, then we will work nearby.  If you happen to be an established model with a good portfolio that fits my style, I am more likely to suggest we travel to a location with good, known back drops.  And if we have worked together several time, and I believe you are on the same page as I, I will suggest we road trip to locations together.

Q:  Do you charge for your services?
A:  Well, first I really don't have a service.  I'm not doing this for you.  You will get the images from the shoot for helping me by posing for my work, but I'm doing this for me. If I am able to use the images we create freely, I do not charge.  That would be silly.  If you want images for yourself and not ones I can use, I will charge probably more than you are willing to pay, but more than likely I would not take it on in the first place.  My time is valuable to me.  Time I could be using to create my own work.  If I have to give up that time to create something that I cannot use myself, I will want to be compensated for that time lost, and my time is very, very expensive. 
The one exception to all of this is for my work involved with fundraising calendars.  For that I do charge for my service.  There you are getting something I do not use for myself, but I am willing to work on those projects because they involve raising money for a good cause.  My rate for calendar projects varies with the amount of time I have to put in, but it is very reasonable compared to most photography work.  It helps a lot if the people involved have their ducks in a row prior to my work beginning.  i.e.:  All the women who will be involved have a plan on what they want to be doing, and dates for the shootings coordinated with me.  Also, I do not charge for a set if the individual lady I am shooting allows me to shoot some images for my gallery work.  That can save the fundraising program considerable amounts.  But I leave that up to each lady I am working with.

Q:  Why are your prints so expensive compared to other photographers?
A:  Other photographers make hundreds or thousands of the same print.  If they limit their prints to say, 800 8X10s, they will make another run of 800 in a different size.  It's endless churning out prints by the thousands.  And like Bennie Babies, are worthless in terms of collector art.  They also have a tendency to mount their prints on a backer board, so they lay flat.  That totally destroys a collector print.
My prints are limited to one.  If you buy a print of mine, you will own the only print of that image.  It then becomes art collectable and worth something.  It will also be a reasonable size, not something churned out on a home printer.  I will never make another print of that image, not even for myself.  My prints will be shipped to you flat and unmounted, so that a professional framer can properly hang it with linen tape onto matboard.  There will be instruction in the box advising you not to pick up the print, but to only let a professional framer handle it.  It is very easy to create what is called fingernail creases in a photo from improper handling.  My prints will come with a certificate of authenticity, signed and dated by me.  The print will be signed, dated, and with the notation of edition 1of 1.  If you buy one of my prints you will own something of worth.  Worth in value as well as art.  On the other hand, you can buy an 8X10 print of some of the most famous photographers, such as Ansel Adams for around ten dollars.  And it will be a nice print that will never be worth the ten dollars you paid for it because there were millions made just like it, and in actual events, you overpaid by about 9 dollars.  
You also have to remember that I have money invested in the shoot that image came from.  Travel expenses, hotels, gasoline, flights for the model to and from.  Meals.  I may have several thousand dollars invested in a shoot.  In order to recoup my cash outlay, I need to be able to sell a couple of prints from a shoot at that price.
Sometimes I run in the red for a shoot.  Sometimes I make a few dollars if I get enough reasonable images.  
Do you want a nice photo that a few thousand other people also have and is worthless, or do you want a piece of unique art that no one else has that will only increase in value?  
Also, I should point out that not only will I not sell another print of an image someone buys, I also will not sell another image of that entire set.  I find it highly unethical to have the model move into a different pose and then sell that print as well.  Not fair to the collectors, and I won't do it.  So if I shoot a model at a waterfall for a couple of hours, one print is all that I will sell from that shoot at the waterfall.  Everything else we shot is toast.
I hope that explains it a bit for you.

Q:  Do you do calendars of just one person?
A:  If you mean, will I do a calendar of the same person on each month in a different pose or setting, yes, I will.  But if you are just looking for one calendar, or maybe five, the cost is a lot more than when 50 are made.  It will end up costing you about $40. for each calendar when all is said and done, plus I will charge you for my time on top of that.  

Q:  Several of us would like to do a calendar for a fundraiser.  What are we likely to run into in the way of problems?
A:  The only big hurdle you will run into will be the "Church Ladies" (both women and men) of the organization who will object because, for some weird reason they think the human body is pornographic and dirty.  Once past them, and with the knowledge that there will be considerable money coming in from the sales, you should not run into any other problems.  There are no legal issues other than model releases being signed by each lady.  You need 12 willing ladies to participate (or 11 and one group photo for the 12th).  Each should have an idea where and what they will be doing for their image.  If you want to make the decision as to who is going to be on each month, that needs to be made ahead of time, otherwise I will randomly place the images on each month.  Decide if you want faces showing, or not showing.  I suggest the entire calendar be the same and not mixed, but that is up to you.  I do not disclose the names of the ladies to anyone, but be it known now, it is almost impossible to keep the names secret when 12 families know who they are.  That is too many people to keep their mouths shut.  Each lady will be required to sign a model release because the calendars are to be sold.  It is a legal thing.  Those model releases are retained by me and not made available to the public, so there is not an issue of people being able to obtain information off of them.  If a lady involved allows me to shoot some images of her for my gallery work, I do not charge for photography services on that set.  The more sets that allow me to do so, the cheaper it becomes for you, and the more profit you make off the sales.  I do not use an image that will be on a calendar for gallery work, only those I shot for my work.  I will probably take up to 20 photos of each lady for the calendar.  If the lady allows me to photograph her for my work, I may ask that it be done in a different location.  The image that will end up on the calendar will be chosen by me (it is a matter of me knowing rules of composition so the calendars look as best they can).  Reference the photo sets:  I do not allow others to be present during a photo session.  Just me and the lady.  Strick rule set up for several reasons that I will not get into here.  That can be addressed as talks begin.  Shooting is usually done the summer before the year's calendar.  In other words, photo sessions done during the summer allows you to have them in hand to sell by September for the upcoming year.  As much as some would like to do winter images, I strongly suggest that you avoid those ideas as much as possible.  I have been through that enough to realize no matter how hard you try, and how much you want to do an ice fishing shot, or snowmobile shot, it will not turn out as well as you would have hoped.  I'll do it, but I'm telling you what is going to happen.
On a side note:  If 12 ladies of a lake want to do a calendar, and the lake association does not want to be involved, I am still willing to do the calendar.  Profit from the sales can be divided amongst the 12 ladies or given to a charity of their choice.  It doesn't have to be tied to a lake association or organization.  That goes for 12 ladies from a garden club, riding club, rodeo gals, or any other organization.  12 ladies will get you calendars to sell.  Just remember, a minimum of 51 calendars is the least I will do for a discounted price.  But it is not hard to sell 50 calendars of nude ladies.  Oh, and I get to keep the 51st calendar as a gift to myself.  One of my perks for being a terrific fellow.

Q:  If I model for your landscape work, will I be pressured into modeling for erotic work?
A:  No, absolutely not.  Everyone has a different comfort level.  Of the models I use on a regular basis, some only model in landscape work, some only in erotic work, and some do both.  I never ask someone to go from one style to another.  That decision is made solely by the model herself.  Whatever venue you apply for is the only area I will ask you to work in.  If you decide to venture into another area, you must ask me to be a part of that style of work.  That rule is for the protection of the models and me.  

Q:  I am interested in modeling for your erotic work, but I am curious as to how far you take it.
A:  I assume you are asking how far the sexual part of the sessions go.  That depends on what work I need for upcoming shows.  I shoot what is needed.  Each erotic show is different in the criteria to be displayed.  What I can tell you is whatever is shot will be real and not fake.  Fake erotic work always looks fake, and that looks terrible.  I have seen too much terrible erotic work to want to be included in that group of photographers.  If I am shooting a model having an orgasm, she will be having an orgasm.  Implied images will be a blocked view or cropped image of reality because I need honest emotions showing in body language and facial expressions.  In other words, I need real erotic work.  If you are going to model for my erotica you need to understand, you must be all in for that experience.  

Q:  We have a nude in landscape photo session coming up.  What do I need to bring, or do?
A:  Items to bring:  Good fitting shoes for hiking.  I wear a good tennis type shoe.  Hairbrush, toothbrush & paste.  If you forget yours, I have new ones I keep just for that reason.  Also, something loose fitting that you can put on and take off easily.  Sarong or loose house dress works well.  Your camera gear if you are going to photograph.  Tampons if need be.   I carry some for-emergency purposes.  And don't fret about swapping out in front of me.  Been through that hundreds of times, and having you dash off just wastes time.  All I ask is that you give me the used ones to carry in my camera bag so they don't get left out in the landscape.  Trust me, I have no fetish for used tampons, I just don't like garbage left lying about.  I spend too much of my time cleaning up after others as it is.  And I normally have a baggie in there to put them in.  (My stained camera bag is rolling its eyes...)  Your pillow, shampoo, etc. if you don't want to use the ones I have (stuff I have glommed onto at motels).  I have plenty of towels and soaps as well, so you don't need to bring those.  One good set of clothes if we go out for dinner some place nice.  You will not need makeup or jewelry.  I don't want any in my images.  Loose fitting sweatshirt and warm pants / skirt for cool mornings and evenings.  It can be damn cold sometimes.
What to do:  Take off bra, panties, also socks if they are tight fitting before leaving home.  I do not want to sit around for an hour waiting for ligature marks to go away.  You won't be wearing a bra or panties during our entire adventure unless we go out for dinner one night, and I don't care if you do then, but that is up to you.  Let me know what beverage you like to drink around a campfire in the evenings, so I have it on hand.  Also, what your eating habits are.  I can accommodate whatever, I just don't want to be cooking a Porterhouse steak only to find out you are vegan.  I can do vegan just as easily if that is the case.

Q:  I was told by another model that you pose nude with your models.  Is that true?
A:  Yes, but not with all models.  I model as well, and just because I am male instead of female seems to be an issue with a few people.  If it bothers you, please find someone else to work with.  I have yet to have a model that I have posed with complain.  This is my show, and I am going to do with it as I choose.  I have posed with many of the world's best-known figure models over the years and will continue to do so.  I also pose with models during erotic work because I know exactly what I want the male model to be doing, not another person's interpretation of what they think I want. 
If the weather is suitable on any shoot, outdoors or in, I may shed my clothes while we work.  Why should the model be the only one who gets to enjoy being nude.  I really dislike wearing clothes and will be without them as much as possible.  That said, I do understand some models prefer that the photographer remain clothed.  Those models are free to find a photographer that does just that.  But do not come to work with me and ask that I keep mine on.  I do not bend my routine to fit someone else.  

Q:  I have been to one of your erotic shows.  There were several images with you in them.  Are those women married, and if so, do their husbands know that they posed with you?  
A:  Yes, of the ladies I have posed with that were married, their husbands/wives were aware that we worked together on them.  People who work with me have no need to keep secrets from their partners on what we do.
I do wish people would get over this connection of infidelity to, creation of art.  There is no correlation.  If a wife's / girlfriend's breast, or other parts get touched, kissed, licked, etc. it won't get broken.  She will be returned in the exact same condition she was in when she arrived.  And I'm not going to steal someone's wife / girlfriend.  I've got a wife already, and certainly don't want a second.  Not that trading up hasn't crossed my mind, but at 70 years of age I think I will ride it out with what I've got. 

Q:  If I model for you, you will give me all the images from the session on a flash drive.  What am I allowed to do with them?  
A:  With nudes in landscapes, on the flash drive you get from me will be two folders.  One, with most of the images, will be labeled as, Printable and be full resolution images.  One will be labeled as, Do Not Print and will be high quality for viewing on a computer or TV screen or posting on the web, and may have one to five images in it.  After a session I will decide what I am going to use for gallery shows.  These few images I do not allow you to make prints of because they will be sold to collectors as the only image produced, and the collectors pay for that knowledge.  All of the images you get you can view, post on the internet, or share with others.  You can print any of the ones in the "Printable" folder.  If you find one in the "Do Not Print" folder that you just can't live without a print of, you email me and I may take it off my list for gallery work and send you a full resolution file so you can print it, or I may not.  An exception to all of this is with erotic work.  All of the images from an erotic shoot will be given to you in full resolution and you may do whatever you wish with them.  My erotic work is shown at gallery shows as erotica, and the prints are not sold as editions of one.  Models can make prints of any of the files or put them on the web or social media if they choose to do so.  On a side note, I suggest using mpix for printing of images.  They do a wonderful job and are reasonably priced, and quick.  Stay away from places like Walmart if you want a good print.  Plus, places like Walmart get a little fussy about printing nudes for some reason.  I don't get it, but then I don't get a lot of things these days.

Q:  I would like to work with you as your muse.  Can I?
A:   This is a question that needs some understanding.  Most people who ask really don't understand the concept of being an artist's muse.  A muse is not a model who the artist uses a lot, despite what a lot of photographers say and like to claim that they have a muse, but a person who inspires the artist to create.  A muse usually becomes extremely close to the artist as a partner, friend, and sometimes lover.  A true muse will pour all her emotions into helping create art.  This can leave her a total wreck by the end of some shoots.  Emotions play a large role in muse / artist relationships where it is not uncommon to cry and have the need to be held, by both.  When emotions run that high, they flow in all directions, which is how and why artists and muses become involved.  Most models lack the ability to give that kind of emotional outpour.  This is not saying they are not good models, but muses, no.  A model can become a muse, but it is something that is developed over time, not something you just decide to do.  In all my years, I have only had one muse.  I suggest you check out MUSE ABIGAIL in my portfolio section to get a better understanding to that question.
If you are asking if you can model for me on a regular basis... certainly.

Q:  I have seen a couple of your images that you refer to as light paintings.  What is that?
A:  Light paintings are a form of lighting that is done in the dark, or near dark conditions.  Normally your camera is set on a tripod and the shutter is opened so it stays open.  Then, with a flashlight or similar light source, you, for the lack of a better term, paint the light over the area you want to expose to the camera.  This can be just the subject, or a vast area.  I have done light painting that covered several acres in size, and ones that just covered less than a square foot.  There is a light painting in the OUTDOOR portfolio here titled, Sleepy Hollow #2, for those interested in seeing what the results look like.  That was done in almost total darkness one night when neither of us were sleeping well and we decided to do something to pass the time.  And it was painted with light from a 2-cell flashlight that I keep in the tent near the bed in case someone has to get up to pee at night.  I have used that tree several time over the years because it is pretty much in the campground I stay at quite often, and it is a friendly tree.  You can see what the tree looks like during the day in another image titled, Sleepy Hollow with Hanna in it somewhere else in that portfolio.  Light painting creates a dramatic effect that changes everything.  You must be careful not to have yourself between the light source and the camera however as it will silhouette your body in the image.  Takes some getting use to, but it is a fun thing to experiment with.

Q:  If I model for you do I get to decide which images you can use?
A:  No.  If I take an image, I own that image and hold the copyright to it.  You have no say in what I can or cannot use or keep.  If it makes you feel any better, I don't recall ever having a model complain about an image I took and used here, or at a gallery show.  You also have no rights to ask me to take down images in the future, should you decide then that you do not want them up on the internet.  You can ask, and I may be a really nice fellow and remove them, but I don't have to.  You have to remember that a shoot is not about you.  I have a lot of time, money and effort invested in those images, which I am attempting to make my living off of.  When you ask me to take down images of you, you are also asking me to give away all that time, money and effort I put in, and any income I may have made from those.  There is way more than you involved with this. 
With all that said, I abide by one exception to this rule.  If you are involved in erotic work with me, I will not post images of you on the internet without your written permission.  Mind you, I am not bound to this by any law, just that I choose not to post them as I do not want my erotic work circulating like that.  I photograph erotica solely for gallery shows.  

Q:  Can I pose for erotic work with my boyfriend (husband; girlfriend; wife)?  
A:  (I get this question all ways.)  No.  Several reason for that.  One is that I have an idea in my head, and it is hard enough to get it across to one person, let alone two people.  Second is that, just like my other work you will constantly be looking to your partner to see if they think things are okay.  That never works out well.  Third is, you are too comfortable around your partner, and when I need an emotion, I don't want to sit there waiting for it to build, I want it now.  With someone you are not familiar with it usually can happen much quicker.  If I was into taking photos of couples snuggling, then things would be different, but I'm not into that.  And remember, I'm taking images of what I want, not what you and your boyfriend / husband want.

Q:  I'm an amateur photographer and would like to work with some of your models.  Can you give me their information so I can contact them?  
Q:  I really like the way that one girl expresses herself.  I would like to chat with her.  Can you give me her email?
A:  To both, and all similar questions.  NO.  I do not give out any of my model's information to anyone.  And, if you work with me, you will be given the same data protection.  You can also go by any name you want, should I include a name with an image.  Although some models use their real first names, you never see a real last name associated with an image.  Only makes sense.  If someone who is considering working with me would like to speak with some of the models I have worked with, they can request that those models contact them, and I will pass that information onto those models.

Q:  Can my boyfriend come along if he promises to stay out of the way.
A:  No.  Same goes for friend, girlfriend, husband, wife, or any other person.  If they are not in the images, they are not welcome.  Period.  If you show up with someone I will pack up and leave you there by yourselves or send you on your way and we will both have wasted our time, and we will never work together in the future.  I will not tolerate breaking this rule.  It is such a simple rule, and yet...  some people just can't follow rules.

Q:  Do you allow other photographers to go out with you on your shoots?  And do you host workshops?
A:  No, and no.  I do not do workshops anymore. I have been known to go out with a friend on a few shoots, but I rarely come back from those outings feeling like I accomplished anything.  Last one was in 2018.  I need to be alone with a model to get any serious work done.  I do work with models who also like to photograph, and some of them are very good photographers.  But that is a give and take where I have to model for them as well.  But dragging another photographer along so they can do their thing... no.  I have been burnt too many times by other photographers stealing a shot of my set ups with a model.  Plus, it is not fair to the model to ask her to adapt from one photographer's style to another.  I need my model to be in tune with what I want the entire day, or days we are working together.  I see no good coming from a shoot with multiple photographers.  That is why workshops are for beginners.  Serious photographers won't be found at one.  They are a good gig for a traveling model however.  Also, I dislike men and find them exceedingly boring.  I have zero interest in sports of any kind, and the last thing I want to listen to is some guy telling me how great his new Canon L series lens is, why I should be going to mirrorless, or babbling on about some Photoshop process, thereby wrecking the peacefulness of the beautiful landscape I am trying to enjoy.  Nope, no thank you.

Q:  Do you have a pay web site where you have your work?
A:  No.  My work is shown in galleries and on this site.  I've tried blogs in the past, but always failed to see the benefit.  They seemed to be just a waste of time, like most social media. There may be some old work floating around out there.  My images can also be found elsewhere on the internet by people who have stolen them.  I run across them occasionally where morons have made collections of other people's hard work.  Pay web sites are for the porn industry.  I don't shoot porn, although the "Church Ladies" regularly call all my work, porn.

Q:  Why are some of your images titled, and some not?
A:  If an image was shown in a gallery show it is usually titled for that show and appears here.  The ones without titles generally have not been in gallery shows.  There are exceptions for reasons I will not go into here 

Q:  When did you take your first nude photo?
A:  That is a story unto itself.  I was young.  Pre-teen.  Maybe 11 or 12.  I had been given a sheet film camera that had belonged to my grandfather.  It was an odd size for the U.S. market, and I had to cut down 4X5 film to fit the holders.  I had a darkroom in our basement and spent a lot of time shooting, developing, and printing.  I thought I was pretty good.  I really wanted to photograph a nude woman.  I had already seen the neighbor girl of the same age naked, and it did nothing for me.  I wanted to photograph an adult woman with a curvy body.  So, I did what any boy that age would do, I asked my mother to pose for me.  She was a painter and was not one to flat out tell me no.  But she did ask me to draw what I had in mind.  I quickly grabbed a pencil and paper and sketched out what I thought might look like a nude woman on a couch.  I'm sure it was very bad.  My mom looked at it and said, "If you can't draw the human figure, you have no business photographing it."  But the story didn't stop there.  She gave me some of her drawing books to study, and I did.  I practiced drawing and drawing, and drawing.  About a month later I asked her to pose for me.  And once again she asked me to draw what I had in mind.  With my pencil and paper, I drew a nude woman on a rock, all shaded in with various amounts of shadow and detail.  She looked at my drawing and smiled.  She posed for me that afternoon, although not on a rock.  My father was not pleased, and I suspect was responsible for me not being able to find my negative when I went to make a print of that image.  Moral of that story holds true with me even today as I look at other people's nude work and I find myself muttering to myself, "If you can't draw the human figure, you have no business photographing it."

Q:  I'm not comfortable by myself.  Can I model when other models are going to be there?
A:  I would not count on that.  Although in my Behind The Scenes section here you see several models on set, it is actually rare that I use more than one model at a time.  Most sets are done with only one model.  Makes my life a lot less complicated, and there is more room in the tent.  Also, I really dislike having multiple models at once.  One director / one model gets the best work done.  My last multiple model shoot was in 2018, and I see no future shoots where I will have multiple models.  I'm getting too old to waste my time shooting with more than one model and ending up with photos that would have been better had I only brought one model along.

Q:  You wear kilts and skirts.  Do you wear anything under them?
A:  First, why would you ask such a question?  I find kilts and skirts way more comfortable than pants, and at my age I don't give a shit about what people think of it.  I'm in this for comfort, not fashion.  Think about it for a second.  With our extra body parts already crowded between our legs, why would you want to shove a couple more wads of fabric up there.  Skirts were worn by men long before some idiot invented pants and thought that was a good idea.  No, I don't wear anything under them.  I like to ventilate.   

Q:  Can I come along and carry your gear?
A:  No.  If I ever need someone to come along and carry my gear, you would now be number 3,887 on the list of people who have asked the same question. 

Q:  I am interested in buying one of your prints.  Where can I do that?
A:  If you buy one of my prints, you will own the only one of those prints.  I only make one.  The collectors that regularly buy my work count on them owning the only one in existence.  That said, there are two ways to buy my work.  You can go through one of the galleries that represent me, or you can deal with me directly.  Through me you will get a better deal as the galleries mark the price up to cover their costs, and it is a healthy mark up.  Usually, some 40 to 60%.  Use the email address on my contact page if you want to deal with me.
If the image has already been made into a print for a gallery show, that print is what you will be buying.  I will not make one of a different size.  If it has not been printed yet, then I can make it in whatever size you are wanting, within limits of what I think it should be.  I will not make an 8x10 or some such piece of crap.  11x17 would be on the small end of the spectrum.  And the cost of the print would not vary with the size.  I charge for my time involved in creating the work and a bit for my profit margin.  The difference between a 17-inch print and a 48-inch print is negligible.  Also, I do not sell an image that is color as a monochrome, or vice versa.  It is what it is.  A portion of the work you see on this site has already been sold, so if you see something here that interests you, email me to see if it is available.  Normally my work is sold after having been viewed in a gallery show where one can see the actual print in person, but I do sell work from time to time off of this site.  All prints are signed; numbered 1of 1; dated; and come with a certificate of authenticity.
And for those of you who have asked, yes, I will sell you a behind the scenes image, if you really want one.  But remember, most behind the scenes images are more of quick snap shots that really are not quality photos, but just glimpses into the workings of our adventures.

And last but not least the most asked question, for some odd reason I have yet to understand: 

Q:  Do you sleep with your models?
A:   Yes, all of them.  Occasionally I have trouble shutting down my brain, but normally I am out like a light as soon as my head hits the pillow.  After a hard day of hiking and shooting sleep comes pretty easily.  Although Beth snores real loud and sometimes I do have trouble dozing off with her.  And Abigail.  She likes to roll the cover off me, and I wake up freezing.  Oh, and Nadine, who likes to snuggle, so I don't want to fall asleep, but sleep overtakes the desire to stay awake.  Also, Denise because I stay awake hoping she will snuggle, but never does.  So, I guess I would have to say, about 95% of them I sleep very well with.  The other 5% I manage to get at least some sleep with.