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Vince Hemingson says older women are some of his favourite subjects to photograph naked

Sandra Thomas Mar 11, 2020 12:37 PM

Photographer Vince Hemingson's latest body of work is called, Nude in the Landscape. Photo Dan Toulgoet

Soar from the Nude in the Landscape series by Vince Hemingson. Photo courtesy Vince Hemingson

Shadow and Light, from the Nude in the Landscape series by Vince Hemingson. Photo courtesy Vince Hemingson

Sarah Wellington posed for Vince Hemingson's Nude in the Landscape series. Photo courtesy Vince Hemingson

The 'Tree of Life' by Vince Hemingson. Photo courtesy Vince Hemingson

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*Warning: The story below features several photographs of nude women.

Vancouver photographer Vince Hemingson says his latest body of work, the "Nude in the Landscape” series frames the human figure in the natural environment of the Pacific Northwest, “from its beaches and shorelines, to its rivers and streams, forests and mountainsides, encompassing every season, spring, summer, autumn and winter.”

Hemingson says the black and white photos of naked women “juxtapose the delicacy and fragility of the female form against the scale and rugged grandeur of the landscape, contrasting the textures and tones between those two elements, and examining the relationship between the viewer and the subject.”

Curious as to how — and why — Hemingson began photographing women in their natural state, the Courier had some questions for the artist about his craft.

When did you first know you wanted to become a photographer?

I learned how to process film and use a darkroom in high school in Qualicum Beach on Vancouver Island. (Thank you, Dr. Beard). It was a transformative experience to see images emerge in a tray of developer and added a powerful alchemical and magical element to the process of making art.

At the time I don’t think I ever considered it as a career. But I was always an avid amateur photographer. As a college student, I travelled to Poland with (Canadian writer and commentator) Stan Persky and did the principal photography for his book, At the Lenin Shipyard: Poland and the Rise of the Solidarity Trade Union.

Working with National Geographic in the late nineties and early 2000s on a documentary series, I found photography a welcome diversion from the responsibilities of being a producer, writer and reluctant on-camera host.

After some early success with stock images, I thought that, in a perfect world, I’d much prefer to focus on photography.

When did you decide to start shooting nudes — and why?

I was a painter before I was a photographer, so to do a figure class with a nude model seemed the most natural thing in the world.

I started shooting nudes again specifically because I was photographing people with large tattoos and extensive body art. In most cases the best way to see and appreciate the tattoo was without the distraction of clothes.

Friends, acquaintances, casting calls, people I’ve never met before on the street. I now have the luxury of having people approach me because they’ve seen my work and would like to collaborate.

You use models of all shapes and sizes, was that always the plan?

Initially, almost all of the models I was working with were agency models and fine-art figure models used to posing nude. They were almost all in their mid-twenties and very fit. And I was hiring them because I was an unknown photographer.

But once I had a body of work I began calling, Nude in the Landscape, my propensity to overthink everything came to the fore. What’s nude, who is nude, what does the nude represent? What is the landscape?

As the years went by, I became fascinated by the passage of time and photographing the ebb and flow of the seasons. Women’s lives have seasons as well.

The cultural anthropologist in me liked the idea of the Paleolithic trinity of Maiden, Mother and Crone to illustrate the seasons in a woman’s life.

And I noticed quite quickly that while women might admire and love some of my earliest work, they were somewhat distanced from the nudes because I was portraying culturally accepted notions of idealized female bodies. Which wasn’t my intent, as I was hiring models who were willing to shoot nudes.

I then started asking friends to pose for me and started seeking out a much larger range of representations of ages, shapes and diversity of ethnicities.

This was difficult initially. I had to convince a lot of women that they would look wonderful as art.

The first few friends I photographed in their 40s and 50s gifted me with their trust and their photographs inspired a lot of women to pose. The work became much more powerful and meaningful and spoke to a much larger audience.

In the case of The Tattoo Project: body. art. image ., the emphasis and intent was always about showcasing the tattoos. And I asked everyone, male and female, what their comfort level was beforehand in regards to their partial or total nudity.

I also quickly learned how important communication was. But yes, it was totally awkward initially.

Later, when I was photographing the Nude in the Landscape series, I found that the more I communicated with the models the more comfortable it was for everyone involved.

Your admiration for older women shows up in your work. What is it about older women that makes them such great subjects?

I’m an increasingly older man myself. None of the women in my life have become any less beautiful to me as they have aged. In most cases, their confidence, life experience, wisdom, and self-acceptance makes them even more beautiful. It’s shocking to me that we see so few representations in art of women past a certain age.

There are almost no fine art nudes of post-menopausal women, and nudes of women in their sixties and seventies are beyond rare. That saddens me.

If art represents who we are as a culture, and allegedly our highest ideals and aspirations, what does it say about us that we — and by “we” I mean mostly white, privileged men of a certain vintage because they're still the gatekeepers of the art world — don’t represent, venerate and elevate art that portrays women who are no longer physically fertile, but who are the heart and soul of our lives and communities?

And of course the same goes for women of colour or women who don’t appear in fashion magazines. On a personal note, it’s great to spend time on a photo shoot with a woman who knows all my pop-culture references!

Your photo shoots are largely outdoors and even near or in water. How do you keep your models from freezing?

I shoot year round, including rain and snow. Everyone has a different tolerance when it comes to cold or being in water. For many shots, there’s a lot of behind the scenes smoke and mirrors going on.

Blankets and towels you can’t see in the frame. And just about anybody can lie naked in the snow if there’s a hot tub twenty feet away. The key is never to get so cold you can’t get warm in a few minutes.

On the occasional gallery wall and my website. Sadly, my work on social media platforms is relentlessly censored and deleted. I am shadow banned on Facebook and Instagram. I am constantly threatened with permanent deletion.

As a result, I self-censor. It’s deplorable. It’s about placing corporate profits above women’s rights and human rights. The so-called “Community Standards” violate Canadian law as it pertains to female nipples.

But it’s also about placating some of the worst regimes in the world with regards to women’s rights and human rights. It’s corporate sexism and misogyny at its worst. It’s about controlling women by policing and controlling their bodies.

One of your most famous photos is dubbed, The Tree of Life and includes more than a dozen women. How long did it take you to pose all of those women in such a way?

My background in film and television comes in handy when directing large groups. I start at one end and then give directions across the frame. It takes about a minute per person to construct a pose. After four hours of that my brain has used up all of its bandwidth.

Beginning this week, Hemingson has 10 over-sized photographs hanging at Cafe il Nido on Thurlow Street.

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By Antoinette Bueno

7:00 AM PDT, August 2, 2017

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Sofia Vergara is feeling body confident!
The 45-year-old Modern Family actress recently posed nude for Women's Health 's Naked Issue, looking undeniably gorgeous on the September cover. In the accompanying interview, Vergara gets candid about how her body has changed through the years, the work she puts in to maintain her famous physique and why her husband, Joe Manganiello, appreciates her for being herself.
Vergara says posing naked for Women's Health was especially important to her because of the message it's sending.
"Here's a woman, 45, being able to show her body," she points out. "It's not like before, when it was just young girls who would make the cover of a magazine."
Though Mangianello, of course, had some thoughts.
"Joe's like, 'F**k, you're going to be naked in everything now? Why?'" she says with a laugh, referencing a steamy shower scene in her upcoming spy thriller, Bent .
Vergara has no problem getting candid about aging in Hollywood.
"I'm 45. Even if you want to, at this time in your life, you can't be perfect," she explains. "It's not that you hate it, or that you're upset about it, but it is our reality. We're changing. I see it happening to me. I want to look my age, but I want to look great. I think if you are obsessed with this 'I want to look younger' thing, you're going to go crazy."
"People say, 'Oh, you look like you're in your 20s.' Well, it's not true," she adds. "Our skin is different. I had never thought of the word pore, then I'm like, 'Sh**! What do I do with these?'"
Another topic Vergara isn't shy about is her bra size.
"I can barely cover my boobs with two arms -- I'm a 32-triple-D!" she says when noting why most nude magazine poses won't work for her. "My boobs are real, and I had a baby. If I grab them, I can't even cover the nipple!"
The actress is accepting of her body, including that she'll never have six-pack abs. But she does strive to eat healthy, and works out with a trainer three or four times a week using the Megaformer, an advanced Pilates machine.
"Joe built a very nice gym in the house, so I don't have any excuses," she admits. "It's not about having muscle or cut abs. I don't have abs because I'm not 'I need to be like a fit model with a perfect body.' That would take too much effort!"
"It's like torture for me," she later admits about exercising. "I'm in a bad mood two hours before, I'm in a bad mood while I'm doing it, I'm in a bad mood at the end because I have to schedule the next class."
But if there's one thing she does love, it's looking her best for any occasion. Vergara admits she almost always wears lipstick, even if she's at home by herself.
"One of the first things Joe told me when we started dating was, 'I like how you're always very well put together,'" she reveals. "He said, 'I've had girlfriends that are all day long prancing around the house in sweats, no makeup…' I'm not saying that's bad; it's great. For good or worse, it's the way I grew up: Accept yourself but also be better than yourself."
ET spoke to Vergara last month at the Emoji Movie premiere, where she talked about playing the flamenco dancer emoji.
"Who who else is gonna do that than me?" she quipped.

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Posted 12 Aug 2021, by
Andrew Shore
Trawling through Art UK, I came across this 1927 work by the artist George Spencer Watson .
It was the first painting in the collection of The Harris in Preston to feature a naked woman. As such, it was controversial, and some Councillors thought it would corrupt the morals of Prestonians.
History has not recorded any specific debauchery or low moral behaviour in Preston as a result of this artwork's display.
Watson's works in UK collections are a strange mix of sombre portraits and sensuous nudes, and sure enough, another of his nudes is now in Bournemouth, in the collection of the Russell-Cotes Art Gallery & Museum.
Photo credit: Russell-Cotes Art Gallery & Museum
There is no specific reaction recorded to this particular painting, but it set me wondering if this had been a common occurrence in galleries throughout the land.
Surely the Preston nude can't be the only one that caused some controversy at the time... Well indeed not. Artistic nudes have had a complicated history, tied up with the male gaze, the public perception of what was 'decent' at different times in history, religion, and plenty of other factors.
There are famous examples that caused a stir in public such as Manet's Olympia and the 1917 exhibition of Modigliani's works that was closed, supposedly due to the depiction of pubic hair. There are private works not originally intended to be shown to the public, such as Goya's La Maya desnuda (The Naked Maja) and Courbet's L'Origine du monde (The Origin of the World) – both are now in major museums (the Prado and Musee D'Orsay respectively). But here's a quick look at some of the other works in the UK that have a salacious or saucy history.
The next nude on our list is by the firmly establishment figure of Sir Gerald Festus Kelly . Kelly was one of the foremost portrait artists of his time, and yet even his standing could not prevent a public backlash when this painting went on display in Newport Museum and Art Gallery in 1947.
© the copyright holder. Photo credit: Newport Museum and Art Gallery
To be fair to the denizens of 1940s Newport, the fuss seems to have been caused mainly by one man, Dorian Herbert, who was the bishop of Caerleon for a small independent group called the Ancient British Church. His sister had seen some girls sniggering at the work, so he (naturally) went to see the picture for himself. Clearly it left quite an impression as he subsequently described it as 'b
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