For many, black & white is the Tao of art photography. Some venues even refuse to consider color work for exhibit - especially with the nude. This is tied to the perception that color conveys too much reality, and the nude is always a crucible for controversy. This need not hinder the use of color, however. The photographer simply must be sensitive to its increased sensuality and express their concept carefully. If, for example, the photo is about texture, then the scene must be lit and composed to emphasize the textures of the subject and props. When form and shape are the focus, then the opposite approach must be taken to de-emphasize surface features. Color simply allows less ambiguity and should be handled deliberately.

On the technical side, color offers less range than black & white and requires either very diffused light, or generous fill (especially under bright sun). In digital photography, the challenge is reduced somewhat by decreasing the contrast and increasing the saturation (if these controls are available).

Normally, outdoor color works best when shot in favorable conditions, like early morning sun, late afternoon sun, open shade or under cloudy skies. Dark-skinned models can sometimes be a great exception to this because even in midday sun, highlights on dark skin are roughly two-stops less than on light skin. The use of high-saturation film can also go a long way toward compensating for color's typical deficiencies.

After discussing the limitations of color, it follows to look at a few situations in which color can outperform black & white, in truly creative and artistic ways.

What color lacks in range, it makes up for in dimension. A model with vivid red hair, or perhaps striking green eyes, would look no more impressive on film than anyone else, unless those traits could be recorded. Likewise blue skies, lively fabrics and other objects valued for their color, can bring value to a photograph by virtue of that color, if used intelligently and with purpose.

Additionally, techniques like cross-processing have the potential to take color photography into the realm of impressionism. Kodak Portra (print film), processed as slide film, shifts dramatically toward the blue end of the spectrum, and greatly reduces grain-size resulting in a silky-smoothness. Fuji Provia (slide film), processed as print film, has many benefits in mixed or changing-light. While there is a strong color boost in the warm-end of the spectrum and increase in grain-size, there are also characteristic increases in dynamic range and film sensitivity. For available light, this truly represents an expressive, flexible tool in the film-photographer's kit as it tends to produce well-exposed images with a unique, painterly feel.

Should then the fine art nude photographer only shoot in color for added drama, or in cases where color itself is being celebrated? This final point is much in debate. Speaking for myself, I find that sometimes, in desolate and lifeless locations, color can serve a useful role in contrasting a warm, living human body with the background. This simple contrast of living vs. not can become an effective concept.