Kati Kill

This is one of those images where a story behind it is just as interesting as the image— and the picture doesn't really tell the story. Kati is a contortionist, among other skills that she possesses. She was not only thrilled with the idea of being tied up but she also claimed that she could get out of whatever I put her into, within reason. Indeed, it took her less than five minutes to get out, and this documents a point towards the end of that process. It was fascinating to watch. The ratty wig and nice bruises (she always seems to have nice bruises) only add to what I consider one of my favorite shots. Of course, a happy memory or an engaging anecdote tend to bolster my own feelings towards a photograph of mine. I'd like to believe, though, that this stands on its' own well enough even without that all that being known.

Lee

Lee is pretty serious and experienced with ropework, so I wanted to do something both different but well executed. This tie is fairly traditional Kinkabu, although the use of cheap twine definitely is not. Kinkabu usually employs quality jute rope (or hemp rope). I tend to be more concerned with my own aesthetics rather than being proper. I think that the twine gives a wonderfully rough look- practically falling apart as I apply it. It's difficult to work with, and it's not comfortable- but I none the less want to try some more of this. It really digs into the skin and leaves nice marks, too...

Sylvia

I'm pretty happy with this series on suspensions. I think that it's ironic, though, that their appeal seems to be in their visual simplicity— suspended model/ white backdrop and nothing else, while the actual setup is pretty involved.  It takes about 12 feet high and 15 feet deep of white backdrop, with me being positioned about 20 feet back to get the shot. The lighting is more complex than anything else that I do— two heavy duty Mole-Richardson fresnel spots, supplemented with a pretty good array of Smith-Richardson photo flood lights. The nice thing is that once everything is ready to go, all I have to do is press the shutter. That's good, because the most time I have to get the shot is ten minutes tops, and sometimes as little as a minute or two...

Meira & Mara

Unfortunately (especially for the artists concerned), only time will tell if an artists body of work will stand the test of time. An artist becoming famous while they are young is the exception rather than the rule. There is a good reason why young artists becoming famous fast are often touted as over-rated or a fad— because they often are. It's even harder for a photographer as an artist. Most of the great 20th century photographers were not seriously collected as fine art until late in their lives or after their death. Edward Weston, although appreciated by many, died relatively poor and unknown... as did many like him. Man Ray (and a few others) was somewhat of an exception to this— but he was a shameless self-promoter, and he also did a lot of commercial work.

Caroline & Martin

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...

Stephy

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.

Thora

Midnight in the rain. Seriously.