I recently bought a book called “Porn: from Andy Warhol to X-Tube” edited by Kevin Clarke which is a visual guide following the history of gay porn both in publication and multi-media formats and it’s evolution. It’s actually quite a wonderful book that is put together quite nicely with lots of images of porn stars, cover art, advertising, quotes, and fascinating well written articles by people in the business. It begins with an opening quote by IC Adams from the Gay Porn Times “Porn is an interesting reflection of what goes on in our culture”. The book is then divided into four sections “Porn as Pop Art”, “The Golden Age of Promiscuity”, “Boom Years: Porn as Safe Sex”, and finally ending with “Grab Your Dick and Double Click”. Reading and reviewing this history I see how sexual and sensual pornography was at one time. I think it’s what drew me to do the work I am currently doing from the beginning. It was about defying normal and celebration of our freedom as a culture. This book reminds me of all the things I found sensual in my youth and how the leaders of porn industry really seem to have a soul at one point. I have only read the first half of the book when it was in its golden age, where any and everything seemed possible. It was more of a mind set and truly was a reflection of our humanity and growth as a culture. It just seems recently in the past decade or so, I am thinking possibly with the advent of video and over saturation of product and its evolution as a cash cow has lead to its fall. It seems to me this is the point I remember it becoming so homogenized, where suddenly everyone was looking the same, doing the same, becoming the same. It became a cookie cutter formula that was bankable. This is the point where I seem to have lost interest and it failed to arouse any kind of reaction within me. What made the early porn so fascinating was that it was literally a cinema verite in which the subjects where actually engaging in the actual act of sex, where as now the emphasis has been put on them as performers who are acting, and showing us what they think we want to see, which doesn’t engage us at all. I mean the act of sex is about the connection, bonding and intimate sharing of one’s self physically with another person. We learn from the art we are exposed to and if all we see or experience become superficial, performing instead of engaging, the imitation of life from that art begins to lack its genuine connection to the actual humans with which we are engaging. It is this lack of connection from which my own personal quest for art grows. I still love the idealism of old fashioned romance, of gazing in to my partner’s eyes and seeing his desire for being with me. To watch a man undress, to reveal himself, the see their vulnerability exposed, trusting someone with your intimacy, and that intimacy becoming a sacred gift. The emerging and mingling from and within the darkness where desire and intimacy bind us.
Category Archives: Photography
Perpetual Growth
The Naked Man Project website has been up for a week now and though you may not see changes happening to it, I assure you it is continually still under construction. We are still trying to learn the programs and how it all functions together from the back end and there are still lots of detail stuff going on within that inner structure. Reminder this is a works in progress website so if you are on and you begin to see things shifting around or moving as we are working on various components of the site. It’s a true content management system so everything is always live and you work and change things in real time, which is really quite a fascinating way to work on the web, because you instantly see the impact it has on the site. And yes we are still making lots of mistakes. At this point I am systematically working my way through all the controls, turning new modules on and working with them, seeing if it something we can use, then adapting it or deleting it. There are about a hundred of these modules that can be worked through so you may see things appear and disappear as you are browsing. I really encourage people to sign on and become a member, there is no charge and it does take you to a deeper level so you can see the works as they were intended to be. You actually only need an email address to register and can be as anonymous as you want. I also encourage people to now post comments on the new blog since the old one doesn’t transfer those comments made to the new one and this will become the permanent record of the project. There are so many amazing people with great insight I really want to preserve. We have many galleries built, plus many artists outside the project are beginning to work on galleries to add to the featured section and several new articles written but wanted to get some of the understructure working before I added too much. Any feedback or recommendations are greatly appreciated. I do have a couple of big jobs that I need to finish up this week so a lot of my energy will be focused there. Thank you for making this website such a success already and thanks for helping it to grow.
Looking for the Catch Light in Their Eyes
Yesterday I began a discussion about analyzing light in a photograph to use it to your advantage. The discussion began with my looking at a book of rare vintage nudes from the 60’s. And there was a prime example of what I wanted to talk about in one of the images but I can find a decent enough image of it online to show my examples so I am going to take this image of Travis. It’s harder to do on an image that I already know and have created. To me my own lighting techniques are so simplistic that they are hard to describe but here goes. My concept for the image was to show a gritty dirty mechanic sort of guy who had been working in a shop possibly most of his life. Growing up in small towns in Montana there are guys I know well and in high school I was particularly drawn to one kid who really exited me. He was a smart kid from a poorer family and work to help supplement and support his family. I watched him struggle most of the time and often worked instead of having fun with some of the rest of us his own age. He had an alliance to duty and I felt he often felt trapped in that world longing to be out from under its burden. He always seemed to live in a very fractured world. Yet there was something sexy and sensual in his honesty and how humble his work in the garage became. Every time I would visit he would just dirty in his coveralls, grime smeared across his face. The smell of the grease and mechanic dirt somehow become intoxicating to me and I found a strong desire to somehow be closer to him and somehow ease his fractured world.
I used Travis as me subject for this study because he so much reminded me of the person I used to know. So now that you know the history of the image I want you to begin looking that the image and analyze to see if I have indeed captured the properties of my intent tough the use of light. Typically I do this with images I don’t know the story behind and try to discover the artist’s connection to the subject though their use of light and exposure. The first thing I look at is the overall feel of the image. What does it stir or evoke within myself? There is a distance yet longing with in his eyes and a power and a strength in his hands that embrace the chain the bind him around his neck with a sort of comfort while he stands back, distant, yet there is a longing in his bloodshot eyes to connect to something different. Once you have established the over all mood, you must search the image for what supports that feeling. How does the light impact the psychology of the image? How many lights did the photographer use and where were they placed. The first place to begin to look for how a photographer uses light is to look at the catch light in the subject’s eyes. If you can zoom in close it will give you a lot of detail what the shape of the light was and where it was placed. On Travis you will see I used two lights in the front one a very long narrow light with a soft filter almost straight out in front, slightly to the right. You will also see just a faint small secondary light to the left that fills in the shadows on the left side of his face. This is what captures the longing in his eyes. I then used two very strong lights one to the left, not very high to sculpt the right side and a secondary light with little filter over his left shoulder. These are slightly behind him because I wanted there to be shadows on his face that represented and fractured light coming from different angels across his face, enhancing him being pulled in different directions accentuation his own fractured world. To discover the placement of these lights you look at where the highlights hit and the shadows fall. You see dappled patches of highlights across his face that mirrors the dappled grime on his face. Look at how the shadows fall on the veins of his hands and try to visualize where the light would need to be outside of the image to create such an effect. Then the image is slightly underexposed to give it a pervasive darkness that was really the mood I remember about this kid.
I can spend hours and hours looking at photographs trying to analyze the intensity of their felling. I think many photographers once they learn the tools of their craft subliminally allow those powerful tools to work for them. We don’t really have the time to necessarily analyze the image as we are taking them, but all we have ever learned just instinctively comes into play.
Though my thoughts of this boy go back to when we were both 16, nothing developed between us, just a remarkable friendship, but I still remember that longing to become a part of his world; to somehow linger beside him. He ended up marring my best friend and entered a world of greater joy that I had never seen within him before. He finally seemed content. Years later I heard of his passing, probable suicide, and a sickness filled the pit of my stomach. I know I have become a success with this image, when I gaze deep into Travis’ eyes and am haunted by the memory of our faded youth.
The Value of Tear Sheets
I have recently been working through the Reed Massengill book Uncovered: Rare Vintage Male Nudes and am struck by the remarkable beauty of the images, not so much the models that are paraded though out the book, but by the photographer’s skills in crafting the images. One particular photographer from the 60’s, I think who had an exceptional eye, was Al Urban, a photographer I had never even heard about. He used stark backgrounds and you can tell from the images spent quite a lot of time working with the light to create a perfect balance. As a photographer and I suppose particularly as a lighting designer, I learned early to pay close attention to light, the source, the color, the quality. Photography is a process that I think really can’t be taught. Sure, you need to learn the basic skills of how the camera functions and when you yourself have absolute control of the tool, but the remainder of what you need to know is, how do I relate to this subject and that is developed through your power of observation. The best way to learn your craft is to study the masters who have crafted images before you. I used to love fashion magazines, not for the stories, but for the remarkable lighting in the images the photographers created to sell the products. My ideal Sunday would be to buy a stack of magazines and slowly go through them page by page ripping out all the images that excited me in any way. Sometimes it’s a look in one, sometimes it’s a line in another, a makeup technique, a piece of clothing, an exposed neck. Every image had a quality that I adored. I would scatter these images across the floor and study them for hours or even days. Soon I began to understand the dynamic of what made a specific image so alluring. Soon a set of skills begins to develop that helps us to evaluate the image. Since I am so drawn to light, that is the first thing I began to explore in the image. Then I take the concept from the original inspiration, bring it into my studio and begin to explore the properties of lighting within the images. I began with hot lights because I was fascinated with the old Hollywood glamour lighting styles and knew I could maintain absolute control and could actually see the results. Then each month I added another piece of equipment that would do something else until eventually I had strobes and eventually designing my studio to channel the natural light into in certain ways. Everyone that walks into my studio seems mesmerized by the remarkable structure of light of the building. This all begins with understanding the photograph and is fed by an impulse. It’s funny as I write this the morning sun is coming over the hill and the room took on an extraordinary glow, since the trees are barren and can no longer filter on the east side of the house. I now wish I had someone naked standing before me to use this beautiful radiance as an example. And in this moment I feel in tune with the universe and as it gives this extraordinary moment just as I write about it. I digress, today’s topic was going to the about viewing a photograph for the lighting properties, but suddenly the preface on light seems to have taken up the entire blog. Tomorrow I will talk about how to evaluate images to extract their lighting values.
With A Little Help From My Friends…
It has been about two and a half months since I returned from my inspirational trip to France and Germany and have since accomplished the goal I set out to do. This morning I have began reconnecting to some of my Man Art and Red Bubble friends and approaching them on the possibility of building a gallery of their magnificent works that could become featured artist on the new site. It feels that I have been in a creative hole since my return from the trip that I have lost touch with all my creative artist friends that are also exploring the nude male form. Hopefully you will begin to see new galleries of their work begin to populate the new website and it will finally begin to grow. Not that I don’t have enough work of my own to do because I still have 32 of my own galleries that we have created, but not had the time to put up yet. The site will continue to grow in the upcoming weeks. I am still trying to figure out some of it operational features and placement and links to the home page. And, I have been trying to take some time off and get caught up with my own life. But perhaps, this is my life. Not a bad life at that if so. The gardens are about to bed for the winter and this seems like an excellent way to spend my winter, stuck indoors working on this vision. Today I have to say thanks to Franz Werner in Berlin, who is one of the most inspirational people who have given me the idea for making this project happen. I have never seen a man so passionate and dedicating so much of his life to showing the modern male erotic form.
If you are interested in contributing to the website here are the requirements. You can link to your own website or to places where the images are for sale, for instance back to Red Bubble or if you sell them yourself. The site is protected, as much as such sites can be protected, and I will be able to put a watermark overlay on the image. We are looking for image sizes 600dpi at it’s longest point 100 dpi resolution roughly 100kb. Please contact me if you are interested in becoming a featured artist on the site.
“What would you think if I sang out of tune,
Would you stand up and walk out on me?
Lend me your ears and I’ll sing you a song
And I’ll try not to sing out of key.
Oh, I get by with a little help from my friends
Mm, I get high with a little help from my friends
Mm, gonna try with a little help from my friends”
Lyrics from “With a little help from my friends” as sung by Joe Cocker originally written by the Beatles.
