It’s been really exciting being on the wrong end of the lens lately. It feels really different to be the one that people are shooting. I guess in a way, it counter-acts my whole OCD thing about being a photographer, since I can’t really control what the photographer is doing as far as framing or any of the other ideas. Half the time, I don’t even know what the hell is going on or how the shot is going to turn out, especially with Ken. He’s this big old dirty strobist and I honestly don’t get how he gets the shots he does, but he gets them, and I’m mighty pleased with them. I really respect his aesthetic and I love how the shots turn out, which is more than I can say for most photographers who shoot models, especially women wearing short dresses and fishnet stockings.
I haven’t really modeled for anyone else, except doing some really informal posing for a portrait class I organised for my photo group. It was fun, but everyone there was really learning, so it wasn’t the same as working with a single photographer who knew what he was doing. So yes, I have been enjoying working with Ken and seeing the results of our shoots. Amazing really, and his photos make me feel strong and beautiful and, dare I say it, fierce. Yeah that’s right. They just make me feel good about myself.
My current favourite is this one:
Taken using his Mamiya RB67 on Fomapan400 developed in Rodinal, single strobe on the side, sun setting in the background. You can see all the ones Ken’s posted on his Flickr by checking out the ones tagged with “reesie.” I showed them to my dad, and he said that I should do some more modeling because he liked them a lot.
Just for reference, so you can see what a difference a daylight-strong strobe can make, it was relatively bright outside when we shot the photo above. Here’s a digital photo in normal light of what it was like:
Last night, we did some light painting out in the wild. It wasn’t cold, but I’d brought my giant down Michelin man jacket, because I thought it was going to get cooler later when the sun went down. No dice on that idea though. It ended up being quite warm, and therefore FULL of mosquitos. Oh man… you have no idea how long 60 seconds can feel when you have to stand still and there are skeets landing on you and sucking your blood. Sixty seconds is a long-ass time at that point. In between shots, I huddled under my Michelin man jacket, later making Darren give me his jacket to cover my legs as well.
From the sample digital stills, I think the shots came out really awesome, and it was SO fun watching Ken and Darren do the light painting since they basically dance around me like wacko jackos while I stand there trying not to stab one of them in the face because a skeet is sucking me dry and I can’t swat it away.