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Schneider has equal — or more — disdain for bad pop-culture influences, like slutty girl clothes at Old Navy and the Bratz dolls, which make Barbie look downright prudish.

"Bratz dolls are acceptable, makeup for kids is acceptable, but my naked picture isn't?" she asks.

Gleek
Betsy Schneider
Gleek
This ran in The Sun, a British tabloid, in 2004.
This ran in The Sun, a British tabloid, in 2004.
Jamie Peachey

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View more of Betsy Schneider's work in this slideshow.

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When the London press made such a big deal out of the fact that she was showing the world naked pictures of Madeleine, Schneider says she really didn't worry at all about pedophiles sneaking into the house late at night.

"My biggest fear, my deepest fear, was that this controversy was going to make Madeleine feel ashamed of her body," she says. "That's part of what the pictures are; they love their bodies. That would have been the dereliction of the parental duty."

And Schneider acknowledges that she does have a duty, on many fronts. She admits that Madeleine is a pleaser, that she wants to make her mother happy. She knows the power she holds as her mother.

Sherrie Medina, who among other things is a curator and artist in Phoenix (and one of those people Schneider complains is always leaving town — Medina's soon off to Chicago), says of Schneider, "She's had to really, really think about her work in ways that a lot of people don't have to. I really admire that."

Ekeberg says he's never had a moment of regret over the project.

"The way it has evolved, with the kids being in control of whether to keep it up and willing to engage in the work, is good," Schneider's husband says. "They have to be part of any decision process with regard to the work, anyway. More than 10 years of daily photos of someone is quite unique, and it's a great thing to have; even if the kids deny any public presentation of it, the pictures are still there for us."


It's a hot Tuesday morning in June, and Schneider's taking the "Photo of the Day." Ekeberg gets out the camera to photograph a New Times photographer photographing Schneider photographing Madeleine.

As Schneider had described it, it's over before it feels like it should have started. Looking bored, Madeleine crashes on the couch with a book about flags. Viktor runs around the house with his blue plastic camera. Viktor Schneider didn't even try to develop the film; he kept opening the back and exposing it, she says.

The four gather for what Schneider thinks must be the first family portrait, ever.

Afterward, Madeleine pauses outside her bedroom door for some questions. (She wasn't so willing; even Ekeberg agreed only if he were to be interviewed via e-mail.)

Why does your mom take your picture?

"I don't know." Pause. "She wants to see the difference. You can see it yearly, how I dress, sometimes, but it's mostly how I grow up, sort of. The difference."

Do you like it?

"I don't know." Pause. "It's cool looking at them, but it's routine."

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