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.

Brianna / Aisha, February 2017

March 9, 2017 at 1:20 am

Thank you to Bri­anna Coo­ley, Ish Pic­turesque, and David Morel for putting this ses­sion together.

Feb­ru­ary 2017. Mix of dig­i­tal and polaroid scans.

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.

Brittany, June 2011.

August 25, 2014 at 3:48 pm

I worked with Brit­tany as part of my Back series in 2011. She mod­eled for a cou­ple of ses­sions, in dig­i­tal and film.

I recently found the instant film set and res­canned the work. I’m still blown away by the tonal­ity of the “print” in these scans. Using the FP-3000b offers a high speed expe­ri­ence that is really unique, and I hope to con­tinue using the media for a long long time.

Photo Exploration: Rotten 2. December 2013.

April 15, 2014 at 1:07 pm

This photo is (prob­a­bly) my favorite from my Rot­ten series.

Rotten 2

In this series I pho­tographed food that would oth­er­wise have been dis­carded. I pro­duced this work as a play on the tra­di­tional still life and a reflec­tion of my own habits.
I became frus­trated with the amount of waste leav­ing my own home. At the same time I was enam­ored with col­ors and tex­tures that appeared when food, espe­cially fruit, was left to rot.

By tak­ing light­ing cues from the Old Mas­ters and uti­liz­ing bro­ken, dried, molded or oth­er­wise unap­pe­tiz­ing pro­vi­sions as sub­ject mat­ter, I jux­ta­posed some of our tra­di­tional pre­sen­ta­tions of edi­ble beauty with our waste.

This work also speaks to the lux­ury of my abil­ity to con­sider the scrap­ping of food when a great many com­mu­ni­ties can­not. Our con­tin­ued refine­ment of food pro­duc­tion enables us to have greater con­trol over appear­ances until it reaches our home, but after­wards we eas­ily dis­card that which devel­ops an unpleas­ant appear­ance. Even if the food main­tains qual­ity, we will quickly dis­pose of that which looks unap­peal­ing. Granted, some of the ele­ments used in this work were lit­er­ally dis­gust­ing, but much of the mate­r­ial could have been eaten or oth­er­wise reused with­out ill effect.

With this work I explore con­cepts of what is appeal­ing, suc­cu­lent and edi­ble while explor­ing my own stan­dards of that which sus­tains. This work ven­tures to bring the focus back to ordi­nary decay and nat­ural cycles. With the desire for cleaner, newer, brighter, shinier or clearer sub­stance we read­ily dis­card that which is still — or even more — beau­ti­ful once left to nature’s own processes

Inspired” Portrait Series

July 30, 2012 at 1:45 pm

I have been work­ing on a por­trait series of peo­ple who are cre­ators in some medium. These are a cou­ple of exam­ples of a wood­worker, pho­tog­ra­pher, direc­tor and per­for­mance artist.

More to come!

In the Studio

June 13, 2011 at 9:36 am

A sam­pling from a stu­dio shoot with a vari­ety of mod­els. Good prac­tice and build­ing con­fi­dence with the light­ing systems.

When the cousin comes to town

May 20, 2011 at 2:34 pm

A few favorites from an infor­mal ses­sion with Eryn’s cousin Matt Haynes