The photos are strong, sensual, and erotic. The book is a celebration of the three years of creative interaction between model and photographer as they muse each other.
Friday, October 31, 2008
NATALIA - MUSE
Wednesday, October 29, 2008
Natalia My Muse
Natalia was here for a few-days last week. We have been working together for 3 years, we had a kind of anniversary celebration - good food, wine and creme brule with frangelica. We celebrated the blessing of being each others muses, colleagues, artistic partners and friends
We also dod an impromptu shoot until 2:30 in the AM
Delight with light with play with photos
A new model
I saw Allaura in Model Mayhem - she is from Phoenix - We agreed we should do some work together. she drove up here yesterday - we played, rambled through prop-land, made lots of photos. She is the best new model I have worked with in some time. I love her look, her figure and most of all her attitude. We played, created, and made photos.
I reconfigured my studio for the shoot - used a octabank and some flats to scrim off the light. I love the light.
Love the photos
Friday, October 24, 2008
The Hopi Series
Homolovi
Hopi Social Dances
HOMOLOVI - HOPI SOCIAL DANCES
I photographed the Hopi Social Dance Group - Homolovi on the 5th & 6th of July, 2008. I had this unique opportunity, when the Hopi Social Dance Group - Homolovi was scheduled to perform on Heritage Square during the Fourth of July Weekend. I invited them to used the Flagstaff Photography Center to change into their traditional clothes. I set up a studio space and made these photos prior to and after their performances. Their dances in the square worked - because they brought needed rain.
John Running has been photographing American Indians throughout his forty year career as a freelance photographer. His book “Honor Dance” celebrates his work with Native Americans. National Geographic Photographer, William Albert Allard wrote about him in the preface to Honor Dance.
"Running is perhaps best known for his photographs of Indians, but instead of considering himself a specialist, he considers himself to be simply a photographer of people, this is an important distinction. The kind of approach this photographer takes in his work is transferable to any part of the world, to any society. He is never just photographing the trappings of religious beliefs or the costumes of ideology; he is always photographing human beings."
I photographed the Hopi Social Dance Group - Homolovi on the 5th & 6th of July, 2008. I had this unique opportunity, when the Hopi Social Dance Group - Homolovi was scheduled to perform on Heritage Square during the Fourth of July Weekend. I invited them to used the Flagstaff Photography Center to change into their traditional clothes. I set up a studio space and made these photos prior to and after their performances. Their dances in the square worked - because they brought needed rain.
John Running has been photographing American Indians throughout his forty year career as a freelance photographer. His book “Honor Dance” celebrates his work with Native Americans. National Geographic Photographer, William Albert Allard wrote about him in the preface to Honor Dance.
"Running is perhaps best known for his photographs of Indians, but instead of considering himself a specialist, he considers himself to be simply a photographer of people, this is an important distinction. The kind of approach this photographer takes in his work is transferable to any part of the world, to any society. He is never just photographing the trappings of religious beliefs or the costumes of ideology; he is always photographing human beings."
William Albert Allard
Wednesday, October 22, 2008
GENETIC IMPRINTS - the books
Two versions of my book Book - GENETIC IMPRINTS are available on book blurb. The larger 11 x 13 is available in hard or soft back the smaller (10 x 8) has fewer pages.
GENETIC IMPRINTS
GENETIC IMPRINTS : : MUSE OF THE IMAGE
The image comes first.
In the beginning, before there was language, there was a non-verbal way of comprehending the world. There was the image. Now, except in our dreams, we tend to translate images into words.
Recently, I made a series of photographs in my studio of women with wild animal skulls. Now that I have made these images, as I am trying to find words, it comes to mind that these photos are more about something from our distant past – from all the way back to the time of the ice.
I recently read the idea that, back at the time of our emergence, the female - the woman - was more than a fertility deity. More than a mother, she was also the first practitioner of medicine and magic and that, in fact, she was the Creator. Back in our stone age emergence, God was female and this still imprints our genetic codes.
For me, the image comes first. I see it in front of me – a woman holding an animal skull. I suggest to the model that this is about life, not death. She works with some direction at first but soon it seems to me that as she carries and caresses her animal totem she becomes a soul carrier and spirit guide.
I react to this by submitting myself to the model and her intuitions. We become collaborators as we respond to GENETIC IMPRINTS.
The image comes first.
In the beginning, before there was language, there was a non-verbal way of comprehending the world. There was the image. Now, except in our dreams, we tend to translate images into words.
Recently, I made a series of photographs in my studio of women with wild animal skulls. Now that I have made these images, as I am trying to find words, it comes to mind that these photos are more about something from our distant past – from all the way back to the time of the ice.
I recently read the idea that, back at the time of our emergence, the female - the woman - was more than a fertility deity. More than a mother, she was also the first practitioner of medicine and magic and that, in fact, she was the Creator. Back in our stone age emergence, God was female and this still imprints our genetic codes.
For me, the image comes first. I see it in front of me – a woman holding an animal skull. I suggest to the model that this is about life, not death. She works with some direction at first but soon it seems to me that as she carries and caresses her animal totem she becomes a soul carrier and spirit guide.
I react to this by submitting myself to the model and her intuitions. We become collaborators as we respond to GENETIC IMPRINTS.
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