Archive for the 'Photoshoots' Category
As the new year has come around, I thought I’d again bring you some of the past year’s highlights (see the post from last year). Two-thousand Nine was marked by two major changes for me: the first, that I actually got enough room for a full studio; and the second, more subtle but much more far-reaching, that I have adjusted my focus to higher quality over quantity (both in events attended and pictures taken). I’m no longer going to three shows a week and taking a million photos; rather, I’ll attend two and shoot a few score. So without further blather, here are my favorites from 2009 —
(Every image can be clicked to enlarge)
Jill Tracy for Constellation Magazine
It seems fitting to start with one of my last images of the year, this portrait of the beautiful and talented Jill Tracy; after all, I’ve had a whole year to hone my craft, and I’ve hardly been sitting idle… Jill and I have been speaking of doing a photoshoot for years, and I’m quite pleased with the results which will grace the cover of Constellation Magazine, shot at her apartment in San Francisco. You may find some of her magnificently malevolent work at her website, JillTracy.com
This photo of Dreamtime Circus performers Raven and Savannah marks the first official studio shot I ever took; the white of their makeup and costumes, provided by them, was a happy coincidence.
Calamity Lulu, Quaintrelle Designs
It’s a serendipitous thing indeed to have as a partner someone as beautiful and talented as miss Calamity Lulu (who made everything you see in this Tudor gown), who now runs a costume and fashion line called Quaintrelle.
Eva, Quaintrelle Designs
Following the thread of both studio work — still a relatively foreign concept to me — and costume design is this photo of Eva, where the outfit and assistance directing comes again from Lulu.
Jenny Atomik atop the Sunshine Biscuits factory
Jenny Atomik and Mike Estee came to my studio for a photoshoot, and it was only appropriate to use the architecture and neighborhood as a setting and backdrop.
HUMANWINE poster/flyer shot for show promotion
Visiting from Boston, I had the distinct pleasure of befriending M@ and Holly of HUMANWINE, whose music I’ve enjoyed for years. The concept and editing for this photo were done by M@ for an upcoming show in Boston. Go listen to their music here.
The Man burns at Burning Man 2009, shot from a boom lift
Watching the burn from a boom lift — the best seat in the house — was an incredible (and fortuitous) honor. The story of how I managed to get up there was one of luck and timing, to be told another day. Thanks again to Cameragirl, Andy, and Gadget.
The DPW of 2009
This motley crew is responsible for the building of all the infrastructure of Black Rock City not provided by the participants themselves: the generators, the roads, the trash fence, heavy machinery (for setting up art, etc.), building the Man and Center Camp: the list goes on. But they also stick around after the event is over to clean up the detritus left by 50,000 people who, though good at policing their own trash, are by no means perfect. This image is a composite of seven photographs shot in quick succession with little to no direction from me (I just flipped ’em off to get the official DPW “salute”).
John Cervelli in the Black Rock Desert at Fourth of Juplaya
John and I went for a ride and a glass of wine after I finished a grueling two-day epic ordeal to get my blasted car out of the mud. The surface of the playa is treacherous: undisturbed, the dry lakebed turns from tan to white when there’s water beneath the surface as salt rises up from below; it’s subtle, and if you’re driving 25MPH and looking for a crossing over the railroad, you’ll quickly find yourself in the middle with a hard way out.
My camera post Burning Man
I am a very vocal proponent of relax and use your damned camera. This isn’t to say I go out of my way to damage my gear, but I don’t expend much effort to protect it, either: because everything you do to keep your gear safe is one more hindrance to taking a shot. And the harder you make it, the fewer pictures you’ll take. Many people refuse to bring their nice equipment out to Burning Man, safe guarding it at home instead (where it takes no pictures). Rather, they bring out cheap gear — and then, when it dies, use this as justification for not bringing out the good stuff. Counter intuitively, the high quality (and hopefully weathersealed) gear would have been just fine. It all boils down to this: did you buy the gear to sit on a shelf, or to take pictures?
Eva at the Edwardian Ball
My favorite portrait from the four days of Edwardian Ball last year, this picture of Eva in her fantastic swimwear was hastily taken in the middle of the crowd in front of the stage. This year’s Edwardian Ball is rapidly approaching; do you have your costume yet?
Vau de Vire girls spin ’round the room
One of the most technically difficult (read: “lucky”) shots I took all year is this one of two Vau de Vire girls spinning around in big circles in an drastically underlit room in the upstairs lodge of the Regency Ballroom for Sunday’s Edwardian Ball.
The fabulous Victor at Supperclub for the Marquis Fetish Ball
A frequent performer with Bad Unkl Sista, Victor can always be counted on for some of the finest costuming and makeup. This was just a quick snapshot on the stairs at Supperclub, where after plenty of contract wrangling, I was finally OK to shoot the Von Gutenburg/Marquis Fetish Ball.
Other than Burning Man, only three of the above images come from events, a marked departure from all of my previous years. I learned photography backward, diving headfirst into the chaos of parties and clubs and galas without ever meticulously working in a controlled environment; it just seemed the natural way to do things. These days, working in a studio is something of a double-edged sword: you have full control over everything, but it’s up to you to make it work.
2009 was great — here’s to 2010.
It’s dusty here. I have some photos online; perhaps you wish to see them?
Nifer in her Carhart work corset
It’s still early in the week and many pieces aren’t finished quite yet, so check back again soon for the next batch of photos.
For the last few years, several times a week could you catch me at some event or another, camera in hand. (You may have noticed). Though I’ve picked up many a trick over time to get photos sorted, archived, edited and uploaded in as expedient a manner as possible, it’s still a rather… large amount of work. And doing so has prevented me from experimenting with other avenues of photography, which I have wistfully lamented.
It’s time for something different.
Vignettes and glimmers will be my focus for a spell, shooting in my (brand-new!) studio or on location, working with (mostly) cooperative subjects, as opposed to performers on stage. And I’ll be in control of the light for once. The above two photographs were shot Friday and Saturday night of this past weekend; I would call the experiment a success (if I may be so bold (and I am)).
This doesn’t mean you won’t see me out-and-about with some degree of regularity, like-as-not with camera in-hand — but if you do, I don’t want to hear an exclamation of incredulity on your part; for what else do I know how to do at an event, anyway? I just don’t want to have the responsibility and requirement to cover every act and aspect of a show and editing hundreds of photos later. Maybe I’ll get two shots instead, and perhaps they’ll be something completely different than before. However they end up, though, they’ll be on my terms, and I find that exciting (and a relief). Unless you want to hire me. In which case, we should talk.
So, do you have an idea that you’d like to turn into a shoot? Send me a note and give me your thoughts. I’m looking for models and locations and projects and what-have-you. (I reserve the right to be picky). I have a studio in Oakland and will work on-location anywhere in the Bay Area for the right project (or travel for the really right project).
In other news, I’ve updated my portfolio (with special higher-res versions).
Spy on me on Twitter! Written last night while sipping San Francisco’s own Old Potrero Rye.
There exist in my archives a very large number of images never seen by anyone — a quick estimate puts the number at over 100,000. The vast majority of these are the duplicates, the blurry, the over/under-exposed, the ill-composed; you would be most disappointed to see them, I wager. I have heard it said anyone can be considered a good photographer if they only choose the right photos to post, but I digress: I’m not here to talk about the mountain of bad photos I have sitting here, and I’m not here to tell you the various trite reasons the ones worth posting remain languishing in the dark. No, I’m here to ask: why bother doing it at all?
I have always tried to put my work on display, even when it (frequently) was not worthy of it. My goal was not the criticism and critique of others, for I am and have always been my own harshest critic, and am never satisfied but for a moment with anything I have done. For if I cannot find flaw in a creation, it means either that it is perfect (which is utterly impossible) or that, instead, I’m not yet skilled enough to identify what is wrong. And, if so, I should not rest until I can do so. Nor did I (do I?) present and showcase for the (undeserved) praise that I sometimes received. Instead, all I wanted was acknowledgment. “Look, I did this, and I am proud of it for a moment.” A nod would be more than sufficient.
To not share is to be unfulfilled: it’s akin to laughing at a joke in an empty room. You turn and cast about, hoping to share it with someone — anyone — and thereby expand your own experience and joy, but no one’s there and you sigh and carry on. It’s like filling your mouth with fine wine and not swallowing.
I am not some artist laboring in obscurity to fill some void, some need in my psyche, only to have my work discovered posthumously — I cannot claim that dignified a goal. It is a performer whose traits I share, the desire for an audience. Though instead of even a quiet, polite applause, I instead satisfy myself with pageviews and bandwidth (oh woe is me). Ours is work to appreciate after the fact, for though we and the performers are plying our trade at the same moment, their act is the moment, and my photos will be up tomorrow.
Periodically someone will ask why do I bother? Why do I spend all this money and time and effort and go through the stress and pain and sleepless nights to do this? (For, perhaps you do not know, but I do not do this for a living. In fact, it barely — if at all — pays for itself. It depends on how I do my books). And I will not offer up some asininely banal reason such as “I enjoy it.” I can do better than that, and will explore that topic in a future post.
Ultimately, the answer here is that there is no point whatsoever for me to shoot something if no one ever sees it. There’s your tree-in-the-forest solution; did anyone hear it? Yes? No? Irrelevant.
All this was a very fancy (read: longwinded) way of saying “Oh hi, look, I didn’t post these last year for various reasons, but I am now. You should look (and thus validate their existence and my effort). Kthxbai.” And so, without further ado, I present you with a very small gallery of “studio-esque” — that is, contrived and posed and planned to some degree, and not a live performance — photos of miss Erica Mulkey, aka Unwoman, from a shoot she hired me for mid last year. She has not made use of them yet, but I have her permission to publish them — go here for the full gallery.
New photo galleries — GWAR, BRAF’s Artumnal Gathering, Bohemian Carnival, Hubba Hubba Revue, and 5&Diamond’s AnniversaryMonday, December 1st, 2008
All jam-packed in this extra-special bonus post! Separate descriptions and writeups coming soon.
GWAR, Kingdom of Sorrow, Terror, and Toxic Holocaust at the San Francisco Regency Center Ballroom in November.
Bohemian Carnival at the DNA Lounge, at which my 24-70 2.8 Zeiss was knocked down and broken.
Hubba Hubba Revue’s Girl Gang at the DNA Lounge.
Black Rock Art Foundation’s (BRAF) Artumnal Gathering at the Bentley Reserve, at which I ran a portrait station the entire evening.
5 & Diamond’s 1-Year Anniversary party at Supperclub San Francisco.
This Saturday saw the second installation of the Crazy Hay Maze party in Half Moon Bay by Circus Metropolus and Anon Salon. The Nexus party the week at the same location a scant week earlier stole much of the thunder this this party, for people were fairly wrecked after the first (or so I’ve heard). I ran a photo studio tucked into one of the rooms in the maze; pictured above is Star St. Germain.
Last week at the DNA Lounge was a show with Bloodline, Claire Voyant, and Stripmall Architecture (sometimes Halou) and they played music. And it was good. All three of them. Fans of Halou are still raving about the show. Click image above or here for the gallery.
And now, for some upcoming events at which I’m shooting (or you could just check the calendar):
TONIGHT: GWAR at the SF Regency. I’ve been hired to shoot them. I find this hilarious. (Monster costumed thrash metal? Oh yeah). Going to have to watch out for the sprays of fake blood, however.
TOMORROW: Hubba Hubba Revue at the DNA Lounge.
SATURDAY: The Black Rock Art Foundation’s Artumnal Gathering at the Bentley Reserve; my photos will be on display, and I’m running a small on-location studio for portraits.
SUNDAY: Five and Diamond’s 1-year anniversary party at Supperclub San Francisco.