Monday, February 20, 2017
The chemistry between them was rather intense. It was even rougher than it looks. All I had to do was stand back and keep pressing the shutter. Easy peasy. Well, not entirely easy— the hot lights and steam made it quite uncomfortable for me, and my lens kept fogging up...
Sunday, February 12, 2017
Most of my newer work tends to consist of movement and spontaneity— trying to get away from being posed and composed. This is one of my occasional returns to my roots of very formal compositions with careful lighting and a film noir essence. Of course, closer to the truth is that my newer work is a mash up of quick and sloppy— mixed with decent lighting and quick but careful thinking on the compositions. I don't think that I could ever fully embrace that lazy hipster snapshot aesthetic that is really popular these days.
Monday, January 23, 2017
Monday, January 9, 2017
Friday, December 30, 2016
Thursday, December 22, 2016
I'm really happy with all of that black, negative space in the center. It's as if it is a vacuous void drawing you in. There really is no detail there— I had two 1000 watt light boxes behind her, and nothing in front. All of the side detail comes from that massive amount of light trying to wrap around her like an eclipse.
Sunday, December 18, 2016
Tuesday, December 13, 2016
I tend not to interfere during these couples shoots— I let them know in the beginning what I'm looking for. I like for there to be a push & pull, a realness without being posed, and I tell them to ignore (as much as possible) my presence. I also like consensual violence, which I think makes for more dynamic images. That request does not seem to ever pose much of an issue with the people I've been working with lately...
Tuesday, November 29, 2016
I've always really liked this image below, with the cigarette— even though out of context it does not hold any particular meaning for anybody else. Well, it happened to be shot just after a very intense shower scene— where she had got herself off with a Waterpik to the point of exhaustion. So consequentially she is taking a relaxing smoke break, hair still dripping. Photographs are often like that. A favorite quote of mine by the photographer Diane Arbus sums it up best— "A photograph is a secret about a secret. The more it tells you the less you know".
Sunday, November 20, 2016
Wednesday, October 5, 2016
Wednesday, September 28, 2016
Setsuki is a circus performer— so whereas I usually employ rope work for a suspension, this just her and a simple heavy chain that we linked up to the ceiling hooks. She did it all— I just stepped back and clicked the shutter. The brick wall, which is always behind the backgrounds that I typically use, is a nice departure. I've tried the brick before and did not like it, as it tends to be too busy looking. I think that I got it right this time...
Monday, September 12, 2016
There is an interesting story behind this image, as it almost did not happen. For a good majority of my shoots, I have always done the make-up myself— this dates back to when I first began photographing people. I made use of a very retro aesthetic from the very beginning since I wanted to emulate early masters and early Hollywood glamor photography. I started doing this in the early 1990's, which for all intents was still really the 1980's. This was not exactly a good time to find people with hair and make-up that looked like the time periods I wanted to represent in an authentic way. So I had to scrub everybody's faces clean, do their make-up and hair as well as find clothes for them. Yeah, no easy task. I like doing it, though, and it tends to relax women before a shoot. It has had another added benefit in that my early work (and most of it since) does not look badly dated now. Things got much easier later on when Swing and Rockabilly music came back in vogue (and to a certain extent has remained so). Suddenly women were showing up at my studio with these wonderful dead-on looks, all ready to go. It felt like 90% of my work was now cut out for me. It was not like I had not paid my dues, though. When women don't have their own cosmetics, I often tend to go for a fresh-scrubbed natural look nowadays. Anyway, to make a long story short (too late?), I've since started to get a little more experimental with maquillage when I do it myself now. For this session, I used white and black eyeliner on the top of the lids, along with some white mascara, in order to try something a bit weird and futuristic. I have to say that both she and I thought it looked kind of clownish, and she wanted to wipe it off and try something of her own. I convinced her to just shoot it for a few minutes first since I spent a while doing it. I'm glad that I did because it turned out to look a lot more elegant and distinctive in the shot than it did in real life. It was also by far the best thing we shot that day. It is one of my favorite images, and it even looks better in color— but I don't like to show color work here. I'm always amused at how often people are reluctant to trust me at first, but then turn out to absolutely love the results of something that they were initially rather wary of trying...