These images are all of women I knew personally and intimately.  All this work — with the exception of Margo in her swimming pool — came under the general title Late Night Sessions, which they most generally were. There was about almost all of these sessions a feeling of mutual and intimate voyeurism and exhibitionism. These shoots were different from what I imagine similar sessions — photographing women in varying states of undress — are like: I was in no interested in having these women "make love to the camera," To that end, I rarely spoke to my subject except to say something like "ok, don't move anything, but slightly move your eyes to the right, look a little further over; or keep still but let you fingers relax more," and so on.  In many cases I was focusing on certain body parts or areas of the body without telling the women exactly where I was looking or framing the image. That single fact or method resulted in a certain — most often sexual in nature — tension between the subject and me that is evident in many of the images.

I used only one light, a conventional 250-watt light bulb that allowed me only minimal lighting control which resulted in an overall under lit look on the one hand or a high contrast look on the other.  It gives the work a similar look in certain respects to Noir Films and even earlier European films and stage plays from the 1920s and '30s, which heavily depended on light and shadow for setting and dramatic nuance. I was after something slightly different, however, than the majority of those films and plays; a more secretive, psychologically sexual situation in which the sexual tension in the photographs was literally about the sexual enticement of looking, not about the actuality of performing sexually. There is intentionally no drama or narrative in these images. I have also included some single images here from these sessions.  They were hand printed and shown in large format size in several shows. The selection shown here is what remains from a much larger body of work.

The color images, on the other hand are meant to look saturated, not only literally but also figuratively. They are meant to feel real, without any distance between the subject and me. There were no single images taken in color as I did with the black and white images. All of the grid works in color deal with the counterpoint of image against image even in cases where the images seem to be — and some are — literal repetitions.