Kathleen, Asheville. March 2018

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.

Lizard Walker, November 2015

Lizard Walk­er and I are col­lab­o­rat­ing on a long term project, and part of the process is spend­ing time sim­ply talk­ing. No agen­das or plan­ning, just time to refill the well that col­lab­o­ra­tion draws from.

That said, I will still have my cam­era in those qui­et ses­sions and thank you to Lizard for these candids.

Lizard Walker, November 2015

Lizard Walk­er, Novem­ber 2015

Fuji Neopan Acros 100 in the Leica M3, 50mm f/2 and devel­oped in microphen.

Color Self Portraits, February 2015

I do shoot col­or some­times! These are two dig­i­tal images made while test­ing bat­ter­ies and con­fig­u­ra­tions for off cam­era flash setups. 50mm f/1.4 on the 5dmk2