Kathleen, Asheville. March 2018

March 23, 2018 at 4:58 pm

Some pho­to­shoots are fun, some are stress­ful, some are for learn­ing from mis­takes and some are for teach­ing. Some are for­ma­tional, and a very rare few are those which you know — even mid-work — there will be a “before” and “after” against which every­thing else is created.

Both times I’ve worked solo with Kath­leen Hahn of idodances.com and Dance­club Asheville have been those last types. Her abil­ity to com­mu­ni­cate not just through dance but in the dia­logue before and after a piece is unique and I’m all the bet­ter a pho­tog­ra­pher for it. Our first ses­sion was a time lapse of sorts, her danc­ing in var­i­ous places and com­bin­ing them in post­pro­duc­tion. The rep­re­sen­ta­tive piece of that ses­sion is “Ten­nis Courts”.

This ses­sion, indoors at her stu­dio in Asheville, was entirely dif­fer­ent. We were look­ing for indi­vid­ual moments where Kath­leen was mov­ing much less delib­er­ately, with quicker move­ments but with more com­mu­ni­ca­tion between us. It was also a ses­sion where she was using a pole, which sur­faced a num­ber of lay­ers to the work.

As a male pho­tog­ra­pher, it’s easy to be in the posi­tion of power in a pho­to­shoot. Ooften the pho­tog­ra­phy stu­dio is intim­i­dat­ing itself, and one is work­ing with a sub­ject who can­not eas­ily stop and say “show me what you have so far”. There are often dis­crep­an­cies in vul­ner­a­bil­i­ties and also the inher­ent prob­lem of “male gaze” that must be addressed in every shoot. Put all of the above together along­side a ses­sion in a dance stu­dio where a main impe­tus is to reclaim all dance forms from patri­archy (if not too strong a phrase here) and impart con­fi­dence, my emo­tions were all over the place. “Should I be here with my cam­era? Should I be here at all? What is my role, what is Kathleen’s role? Why can I do this with Kath­leen as a friend, and is that dif­fer­ent than a pro­fes­sional? Can I pub­lish these? Should I even con­sider sell­ing prints of these?”

For­tu­nately, Kath­leen was more than up for the con­ver­sa­tion before, dur­ing, and after the shoot. And just as before, I came away a lit­tle wiser and grate­ful for all those I encounter in my photography.

Fashionable in Asheville, March 2018

March 14, 2018 at 11:13 am

Asheville, September 2017

September 18, 2017 at 3:58 pm

Gray weather per­sisted for a visit to Asheville. HP5+ 400 devel­oped at 1600 in D-76. Leica M3.

Kathleen, Tennis Court

September 7, 2017 at 1:58 pm


Sum­mer 2013, Mont­ford Park Asheville TN. Pho­tog­ra­phy from a long ago ses­sion that I finally put together.

Asheville, Kanuga, Western North Carolina June 2015

July 28, 2015 at 5:58 pm

 

Extended trip to west­ern North Car­olina in June 2015. HP5+ 220 in the Mamiya 645 and Supe­ria 400 in the Leica M3.

Best of 2014 Film Photos [Part 2]

January 6, 2015 at 4:28 pm

Car­ry­ing on with Part 2 of my Top 10 (ok 11) 2014 Film pho­tos, let’s dive into the next five!


Front Lawn. Natchez, March 2014. T-Max 400, 35mm.

Front Lawn. Natchez, March 2014. T-Max 400, 35mm.


Side Street. Raleigh, June 2014. Portra 400, 120.

Side Street. Raleigh, June 2014. Por­tra 400, 120.


Free Colors. Raleigh, June 2014. Portra 400, 120.

Free Col­ors. Raleigh, June 2014. Por­tra 400, 120.


Rain. Kanuga Conference Center, June 2014. FP4 120.

Rain. Kanuga Con­fer­ence Cen­ter, June 2014. FP4 120.


The Bather. Cheekwood, December 2014. Acros 100, 35mm.

The Bather. Cheek­wood, Decem­ber 2014. Acros 100, 35mm.

Photo Exploration: The Lost Fashion Shoot

August 28, 2014 at 2:05 am

I had worked with Bone­yard Cloth­ing in early 2012, and loved every­thing they did. When another oppor­tu­nity came up in May 2012, I was thrilled for a stu­dio shoot.

It was lots of fun with a vari­ety of looks among three mod­els, and I was excited to get BYC the work. I slipped the mem­ory card in my bag and went home to process the pho­tos. And at home, I opened the bag and looked for the card. And looked, and looked, and looked. And pan­icked. I had never phys­i­cally lost a card before (and haven’t since), and wasn’t really sure what to do. I did the only thing I could do — call BYC, apol­o­gize, and accept that I had let them down.

Until this past week.

Bone Yard Clothing, May 2012

 

As I was dig­ging around in a long-repurposed bag for some­thing else, I felt what could be a mem­ory card. Lo and behold, there was a lit­tle sleeve inside a zip­pered pocket. When exam­ined, it was the lost card! I was greatly relieved to get the ses­sion back (although two years late) and was sur­prised at how much my style has changed, at least in what I was tak­ing for the major­ity of the shots. Although my per­sonal favorite picks from that ses­sion are still (roughly) in line with what I would shoot today, I liked see­ing a lit­tle bit of pro­gres­sion here and there.

My sen­ti­men­tal­ity gauge is pretty unbal­anced with this work, as I believed for years that it was com­pletely gone. The redis­cov­ery of these images has been a great boon, not least of which for the free­dom that I see in the work. There are many ele­ments in much of the rest of the series that I would be sure to clean up now in the stu­dio rather than in post, and even in the above I see a few bits that I would try and adjust in the moment. But isn’t that a lit­tle bit of what makes nos­tal­gia nos­tal­gic? That we can’t go back and relive the past, but we can at least learn and laugh a lit­tle at the experience?

Thanks to Bone­yard Cloth­ing for set­ting up the shoot, and Justin of The Go Dev­ils for being the model in the above photograph.

Biltmore Avenue, Asheville. September 2012

July 27, 2014 at 5:57 pm

A bit of a throw­back with some recently found scans. HP5+, 35mm. Stand­ing in the mid­dle of Bilt­more Avenue.