Jezz

I've always tried to maintain a strong lock onto the eyes. Normally, there is a natural rhythm of looking at people and looking away. When it feels right, we can hold our gaze a little longer, relishing a simple moment of human connection. We are naturally drawn into images by eye contact. There is nothing like that feeling of a tie bound by an invisible thread, as in sharing a unique moment with them. It’s very hard to articulate and explain in words that feeling that connects you to a subject, either in the viewfinder or on the printed page. When that connection is there, though, it's obvious— and doesn’t need words to explain it; we feel it.

Li

Yeah, I've always had a thing for super long lashes. I'm particular, though. They usually don't look good straight out of the box- at least the cheapie ones that I buy. So I get ridiculously long ones and trim them to my liking first. That seems to make them a little more original...

Setsuki

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...

No One

A statue and a vintage nudie toy. The inanimate becomes animate.

Sophia & Cammy

Rhythm & Marks.

Mistress Veronica & Maggie

In my early years as a photographer, I was pretty content to simply emulate past masters, which was basically how I self-taught myself photography— study a style, and imitate it as well as possible. Pictorialism, Hollywood Glamour, f64, Pin-ups, etc. Eventually, though, I became frustrated by my lack of any special distinction in my work— other than that is was always well done. Searching for a singular style, all I was managing was a derivative portfolio. The need to establish a personal style (and to garner gallery and/or book worthy attention) had overridden the sheer joy of simply shooting. I wanted to truly create, rather than just follow in the footsteps of others. I gradually began to develop and refine a particular vision by giving more thought to portraying something contemporary in a way that I was not seeing elsewhere. That is what you are mostly looking at in this blog— current subcultures documented with old techniques, which I find to be a wonderful mash up. Everything really came together when I applied what I learned to a newer subject matter, along with little additions of my own particular way of looking at things— which is in large part getting in (almost) uncomfortably close to my subjects as well as trying to capture genuine emotions. Hopefully, that is what is coming across here...

Autumn

I made the mask myself, picked from a collection of masks that I've made but have not used except for this shot. I've always like the use of masks in photography (especially Ralf Eugene Meatyard), and this is my attempt at it...

Vanessa & Julie

Double trouble.

Autumn

Underwater.

Meira

This is from our last and something like one-hundredth shoot together.

Autumn & Percolate

I believe that I asked them to wrestle— but wrestle slowly, and with precision. My silly directions often lead to the most interesting images.

Natalie

"Happiness radiates like the fragrance from a flower and draws all good things towards you." ~Maharishi Mahesh Yogi

Ash

I believe it was Confucius that wisely said: "time spent researching the best camera models on the internet is not time spent learning a craft". 

Ash

My own opinion is that, in photography, the hierarchy of values runs something like this: subject… composition… exposure… focus. I’m certainly not the voice of photographers everywhere— but to me, small flubs can’t wreck a great photo. In the past, if one tried best with what they had and spent some time learning the camera and the fundamentals— then a little out of focus, enlarged grain, blur… won’t wreck it. On the contrary, it makes the photo easier to look at and love. The newest digital cameras are amazing, but they are often too good. Perfection can take the soul out of an image. Ironically, I have lately been purposely messing up my images a bit in order to give them some more organic feel that a perfect sensor doesn't quite give.

Katie

"No object is mysterious. The mystery is your eye."   ~Elizabeth Bowen

Ash

Upside down Ophelia.

Percolate & Kati Kill

A little baby oil never hurt anyone...

Rachael

Non-representational body painting.

Sophia, Kammy & Percolate

"There is nothing worse than a sharp image of a fuzzy concept."  ~Ansel Adams

PXE

This image is from a shoot with a model who goes by the moniker PXE. It's pronounced pixie, which is fitting due not only to her petite size but her squeaky voice. Her voice is a dead ringer for Carol Kane's voice (from Taxi). She's definitely one of a kind— a fascinating person, capable of switching back and forth between a bubbly cartoon character and intense sexual persona. Speaking of bubbly versus intense, I think this is one of my strongest images— despite the fact that we were both pretty much laughing hysterically the whole shoot. It seems to visually convey a celebration of female empowerment. "I am Woman, hear me roar".