I’ve decided to share with you a private part of my life and a part of my own home. I’m sharing this with you before I invite models into it and before I start shooting it. That way, you can say that you saw it first. I’m also doing this as a kind of thought experiment. What you are seeing is a kind of “Green Room” in our home. I wonder, if in your own mind, in the theatre of your own mind, if you are beginning to “see” what I’m beginning to see happening in this one room. Let your mind play for awhile on this little stage. As an experiment, put a few of those “visions” into a file in your own mind. Because over the next few weeks, you’ll start seeing what I’m seeing in my mind’s eye. We’ll compare notes later. Enjoy!
Thanks for visiting the Wilde Side!
-JULIAN
PS. Oh!! Is that a copy of my new book “WildeBeauty!?” Such shameless self-promotion!
Some things are too good not to share. This vision is one of my personal all-time faves. There is something elegant and essential about having only three basic elements in an image and still being able to communicate the splendour and the majesty of this world. I feel that if you scraped this world to the bone and this was all you had left, it would still be an incredibly beautiful thing. I shot this yesterday and just heard from my editor today that this image is being used for the cover of my upcoming and soon to be released fine art coffee table book “The Dream Oracle.” I think her choice is perfect and I couldn’t be more pleased. I hope you enjoy it.
Thanks again for joining us,
-JULIAN
This image is also exhibited and for available for purchase on The Red Bubble.
Model Kenzie Smith takes a run at The Love Letter.
Some love letters are harder to write than others. Here, Super Model in the making Kenzie Smith, faces a bout of writer’s block while also working on her typing skills. As Kenzie told me during the shoot: “I just want to get this right!” And yet, something tells me that whatever this girl writes will not only hit just the right note, but will be just what the doctor ordered.
Photogrpahed in The Grand Salon at WildeStudio. March 21, 2012
To be featured in “WildeBlue, Rated W.” 2012 Edition. All Rights Reserved.
The Queen of the Forest and Her white velvet sofa.
After creating this set for a designer friend of mine, my lovely and self-possessed 14 year old model, Courtney Shea stepped onto the stage and with the imperial charm of a Queen assumed her position upon the fur-adorned white velvet sofa. I made the point of playing a romantic and beautiful piece of music by fave French sensation Jeanne Mas. The mood was set. As I sat down to capture the image, I turned to my very talented friend and make-up artist and confided: “Sometimes I cannot help but feel that deep down I’m not really a photographer. People think I am. But really, I’m a Set Designer who throws big parties for a living.” We fist bumped and I shot the image within a few minutes. {winks}
To be featured in “The Fine Art of Dreaming.” All Rights Reserved, 2012.
Nic White watches her fave channel at WildeStudio.
Wilde model Nic White enjoys her fave images while hanging out at the studio. As you can imagine… Nic always has a standing invitation to come over and watch TV with us.
-JULIAN
Featured in “WildeBlue.” 2012. All Rights Reserved.
Every now and then I like to time travel back to a simpler time.
A time before the electric glare and the hammering din of the city.
A time when men supported themselves by the sweat of their brow.
A simpler time when at the end of a long day of honest labor,
dreams came fast and sleep ran deep.
The Waterbearers of Ancient Rome if from that long ago time
and that long ago place in our collective memory.
But for me…
it also strikes a chord so deep in my psyche and my soul,
that it feels like the song of my days
and the living prayer of my heart.
For where there is work,
there is Love.
-JULIAN
“And if you should disdain from work,
then it is better that you should sit at the gates of the temple…
and and take alms from those who work with joy!
“Excerpted from “The Prophet.” By Kahlil Gibran
“Waterbearer of Ancient Rome,” will be featured in my book “The Dream Oracle.”
I remember seeing a lithograph poster while I was in college that blew my mind. The “photographic”image was quite small and centered in the middle of the perhaps 24 x 36″ graphic. And although it was sensationistic or explicit in any way, it did seem to depict a woman “onstage and in the spotlight.” For me, in my early twenties… the image was incredibly erotic and suggestive. Even now, a thousand years later… the image is still burned into my mind. Had I bought the poster I wonder if it would still have the sway over me that it does to this day. That I’ll never know. After all it was 60 bucks I didn’t have. But I do know, that the experience of shooting this image with Canadian glamour model Shelley Lynne is at least a close second! And maybe even a little more fun.
Thanks for dropping by “The Blue Room.”
-JULIAn
PS. A 3 image sequence from the above shoot will be featured in my next book “WildeBlue, Rated W.”
Meet Rachael. This ultra glamour head shot of this new swimwear and beauty model is my choice for Wilde Pic of the Week. The qualities that Rachael brings to a shot like this are obvious to even a casual observer. She has the classic, singular beauty of a young Ursula Andres or a Grace Kelly. But it is her soft yet deeply penetrating intensity that makes this image unforgettable to me. It is her keen connection with the camera, it is her unwavering focus, it is her strength, her poise and her energy that defines this image and recalls for us in so many ways, the eye of the tiger. I believe that there is a special power in beauty, and this image of Rachael speaks directly to that power.
This image is excerpted from the Unrated Version of “WildeBeauty, 2012.”
Every so often I get the urge to see something happen with one model that may be milliniums apart.
And so it was Shantia, my long-legged and ever-so-lovely model from Arizona. I began wanting to see her as an ancient tribal princess. Perhaps a storied Celtic beauty of The Dark Forest–the stuff legends are made of. And so, along with my creative team, aka “Team Wilde,” lead by Raven, we began to imagine our beautiful nubile, ivory-skinned model as a figure of legend. I was looking for a natural, unaffected elegance, so rather than clothe her from head to toe, we tucked her long redhair into a fantastic, reimagined royal headdress of feathers and fur, and let her beautiful body tell the most enchanting parts of the story… Shantia began slowly and subtley posing for us and minutes later, the legend was re-born!
We followed that with a decidedly futuristic look and a more conspicuous lighting scheme. We were looking for the Ultimate Glam Rocker of The Future. Our team strapped Shantia into a tight leather half-jacket of polished leather and fitted her with a platinum blonde wig with a precision industrial cut. My stylist “The Amazing Jodi” powered up the make-up in a number of ways, including large lashes and a harder, slicker, more finished, more defined look. With a touch of Marilyn, a hint of Gaga and a strong helping of amped up sex appeal… Shantia had taken us into The Future!!
The best part? We did the entire 2 sets in less than 15 minutes.
But that’s how it is on The Wilde Side. Life happens fast.
Thanks again for dropping by,
-JULIAN
“Dichotomy,” is featured in my new 2012 fine art coffee table book titled “WildeBeauty, Unrated.”
Q. Julian, as a photographer… can you tell me where these stories come from?
A. It’s my feeling that a lot of “the arts” are like creating music: you start with a note, or a sound or a feeling and you follow that feeling to where it leads. When I’m writing a story I never really know where it’s going or how long it’s going to be. I’ve gotten involved with much longer stories, but I’m the most comfortable with the story length you’re seeing here. Unlike photography where you can control absolutely every aspect of what’s in the frame, short stories have a life of their own. I suppose that’s why this form of writing is as fascinating for me as it is. And in the tradition of “every picture tells a story,” I’ve shared just one story that spoke to me. But I also have a feeling that every picture may tell a thousand stories. And yet I am only telling one.
"The Queen of Carthage on the Roman Auction Block."
Q. How long have you been writing?
A. I remember writing “a book” when I was in the second grade in Canada. It was illustrated with my drawings and it chronicled the adventures of a particular Caveman and his family. I even created a “library card” and had my mother—who always played along—check out the book! Soon she gave me an old Remington manual typewriter and I was typing up stories that I would read to myself—to entertain myself. And I suppose that’s why I still write—for the adventure of writing. But I never imagine anyone but myself and Raven reading them. And many of these I have read to Raven as bedtime stories.
"The Dark Angel Ravenoc and The Chosen."
Q. How do you decide which images you are going to write to?
A. If something comes to me, whether it’s a strong feeling for the story or just a line or two that I feel is evocative, then I’ll sit down and write it out. It’s not something I “decide,” but I do listen. If an image speaks to me in this way… then I do listen. I always honor that. But I don’t push for it to happen. If the story doesn’t feel organic to me—if the story doesn’t start to flow—then it just wouldn’t feel natural to me to write it. In many ways, short stories write themselves. Those are the stories that I have a hand in.
Q. Would you also say the writing, like photography, is a form of “escapism” for you?
A.Oh absolutely! I’m never tempted or even interested in writing in the present tense. I’m never tempted to write about My Life or anything happening in the present. And I would agree that my photography—even much of my fashion work—usually has a feeling for another time, even another world. What does this all mean—I leave this for the psychoanalysts!
"Night Stalker" from The Dream Oracle
Q. Where does the title “The Dream Oracle” come from?
A. First of all, many of the images that come to me, occur to me in “dream states.” Some during daydreams — which I do a lot, some while driving or meditating or shopping, and some even while dreaming. It’s not unusual for me to wake up in the middle of the night knowing that I need to write something down. This happens a lot and I try to pay attention to it. Quite often I’ll wake up needing to write down a couple of lines that I know I’ll be writing on very soon. A case in point: I never imagined writing to “Night Stalker,” but one night I woke up and had to write down the line “At His command, I am Poet of the Unspeakable.” It’s a simple line, but I knew that it carried the seed of the story. I went back to sleep, knowing that I would write the rest of the story when I awoke. I also feel that most of what I do is happening in “dream time.” The “oracle” aspect pays tribute to the notion that what our subconscious works on and plays with, is meaningful and speaks to us on many levels.
Q. Quite often you narrate from a woman’s point of view. How do you explain this?
A. Well… I don’t know that I can! I would say however, that being a man, I understand what men think and for that reason I don’t find a man’s perspective particularly enlightening or interesting—at least I’m not drawn into further exploration. Women however… I find endlessly interesting to the nth power! Women are on another planet. I mean… add to this, that I shoot almost exclusively women. And when I approach a magazine rack, I find myself immediately in the section marked “Women’s Interests!” Italian Vogue, Elle, Town & Country, Zink, Numero, W… I can’t get enough! But I certainly don’t want to Be a woman. I’m very happy being a man. Its women and all their beauty and all their charm that makes being a man it’s own reward. I’m not sure that explains it, but there you go!
"The Dunes of Malabar"
Q. Your work as a photographer spans fashion, portraiture, advertising, beauty and fine art. Which field do you feel capture’s your real “voice” as an artist?
A. I’m glad you asked that question and not me! Because if I did, it would seem strangely self-serving! In many ways, this book is the work that I do for the sheer joy of doing it. I’m not thinking of a client. I’m not thinking of how these images will be used. I create them with no consideration whatsoever other than they be perfect just as they are. Each image is its own raison d’être—its own reason for being. I would even add, that as an artist—this is what I do. Combining writing with photography feels like a full stride to me. It makes me feel complete as an artist and at the same time makes me feel completely exposed as a human being. And there is an honesty and an openess in this that works for me. When I’m writing and shooting, I don’t feel like I’m being misquoted—the way that a public speaker can be misquoted. I feel that this is exactly what I mean to say. This is my truth and I’m saying it.
Julian James Wilde, Writer/Photographer, The Dream Oracle.
Q. First of all I have to ask, “Are these portraits?”
A. Well, they are portraits in the sense that every photograph of a person is a portrait to some extent—unless the person being photographed is extremely clever. But in a larger sense, they are not. And yet elements of the various model’s personalities will emerge regardless of how I stage a shot. I suppose they are not portraits because I do not do portraits. And although I’m not drawn to capture a subject’s essence, there is a reality–even if it’s only behind the eyes– that pervades every image. But I think it would be more accurate to say that my models are more like “actors in a film” than subjects of portraiture.
Q. Having worked with “Miss America,” prima ballerinas, rock stars and international beauties… how would you describe the Perfect Model?
A. “On time.” One minute late, and I already don’t like you. Beyond that, I would always rather work with professional models first. For the most part, they take direction well, and they understand the process. However, there comes a point when a model comes to a shoot with too much experience. This can turn a photo session into a spectator sport for me, and this isn’t really how I work. Watching a girl go thru an endless litany of moves is the least enjoyable kind of shoot for me personally and professionally. I generally won’t even book a model unless I know exactly what I want her to do. For this reason alone, I’ll take a younger model that listens and takes direction, over a model who’s “too experienced” any day.
"The Enchanted One."
Q. Photography is traditionally thought about in terms of “capturing a moment.” But it seems that your photography is different. Is this something you can talk about?
A. I once heard someone say that “an artist talking about their art, is like a plant talking about horticulture.” And I’ve always liked that—even if I mistranslated it! What I can say, is that it feels to me that my work is more about a “continuum” rather than a specific moment. Perhaps even more about a “state of being” than a quickly passing moment. Not to get spiritual, certainly not—but if there is a sense of the moment in my work… it is more of a transcendental or timeless moment, rather than a transitory or fleeting one.
"Champagne & Isadora"
Q. Your lighting in your photographs is often compared to “movie lighting” rather than having a “photographic” style. Can you explain this?
A. I think there are at least 2 reasons. First of all, there’s the issue of strobes versus continuous lighting. I have a tendency to prefer continuous, because I can be more creative, more adaptive and more nuanced. Plus I feel that when I use strobes, my lighting often looks like everyone else’s lighting. But I think people think of my lighting as more ‘cinematic’ because I prefer not to draw attention to the lighting per se. Maybe it’s like when you’re watching a movie: you don’t want the lighting to be conspicuous. You don’t want to be drawn out of the experience with “Wow! That lighting is great!” As soon as that happens, you have been pulled out of the movie and you are no longer in the moment. Your ‘suspension of disbelief’ as they say in theatre—is shattered. Therefore I like the lighting to feel less conspicuous and more ‘natural.’
Q. You seem to have a ‘stable of models’ that you prefer to work with. Do you work with these models regularly?
A. The way I work… if I have a certain relationship, a certain level of trust, and some history with a model, I find that the results can be phenomenal. There are people I’ve been shooting for over 10 years, and somehow it always keeps getting better. There’s a magic involved that I don’t fully understand. But I like it! There are models like Kenzie Smith, Nic White, Kristian Gia and Kahren Schaffer who come to mind and they’re in this book. They understand that I am there for them 100 per cent and that I will bring everything I have to the game. They know that I have their interests at heart and the trust between us in unconditional. And I know that they are committed to the shoot absolutely and unconditionally. The possibilities in this kind of equation are extraordinary. And even though you’re not going to have this kind of chemistry with every model—it’s certainly the way I prefer to work.
"Nic White enjoying a summer night on the balcony."
Q. There’s a certain amount of nudity in your work, do you consider your photographs “sexual?”
A. Here’s what’s funny: when I’m shooting its more “problem solving” then “sexual.” There’s so much going on when I’m shooting. I mean… I’m staging, I’m building props, I’m creating and tweaking the lighting, constantly checking the make-up and hair, talking to my assistants, I’m solving problems with the set—with the model’s pose, with the model’s expression, with the tilt of the head. Is the background working? What’s not right with the model’s foot? Why doesn’t the model’s hand look right? Is this the best lighting that we can create for her? Does that bracelet really work with that lingerie? Is there a better way to crop the shot? How can I get a vertical out of this? When I’m evaluating and addressing these kinds of things in the moment and trying to get the model’s energy just right… I just don’t have the time to think about it in a sexual way. Add to that, most of the models I work with are also friends of mine and half the time they’re just not old enough for me to even think about them that way! But sometimes, after a shot is done and it’s printed, I’ll look at it differently. (Julian smiles.)
"Kahren playing with her new i phone, on a break."
Q. Which begs the question, “Does your wife come to your shoots?”
A. Raven, my wife– is not only my favorite stylist, but she also has one of the best eye’s in the business! So yeah, I prefer that Raven is not only on the set but deeply involved. She dresses my girls, and as a wardrobe stylist—she has an endless array of props that she brings to our shoots. And quite often, Raven is the one who pulls the entire look together. Another reason I love to have her on the shoot is that I totally enjoy working with Raven and sharing this creative exercise with her. Having her there even gives the photographs a deeper dimension. Because when it’s all said and done, it’s something that we’ve created together. It’s part of our shared history. I can have a great shoot, but if Raven’s not there… it’s not as good as it could have been and we both love sharing this part of our lives together.
"Shea Marie in the Garden Court."
Q. You are thought of as a Studio Photographer and yet you don’t shoot much on backdrop paper. Do you have an aversion to white backdrop paper?
A. Helmut Newton had said that his models don’t live on white backdrop paper, do why shoot them on it? I feel the same way. And more importantly, I don’t find white seamless to be that evocative or inspiring. To be honest, years ago—when I was shooting mostly fashion—I did shoot on a lot of seamless and I actually enjoyed it as a creative exercise. But over the years I’ve become a huge architectural junkie and a collector of furniture and great chairs in particular. So I always have stuff to shoot with. And of course my primary studio is some 10,000 sq ft and has a lot of Period quality Italian Renaissance elements: extensive wainscoting, great corners, fantastic walls, beautiful doorways—so there’s always a lot to work with, without ever having to pull out the studio gray backdrop.
Q. Why would someone who has shot internationally, choose to work in the Pacific Northwest—and Portland in particular?
A. Having traveled a bit, I really find the seasons, the mountains, the forests, the water… and the people to be beautiful here. It’s really about quality of life for me. And to keep me happy, that’s really all I need! I’ve also been very lucky– and I would say I owe this to the internet– that I have been able to have world class people come to me and to work with me, in a city I choose to live in.
A. When I realized how much Sophie had accomplished in her first 4 months of modeling, it was obvious that she was a force of nature and I had to have her in. I mean, in her first couple of months she had already shot with some of the top photographers in the country. Even entering this business at 46–I could see that this lady had a lot to do and she was going to do it! We shot her for almost half and day and it was impossible narrowing her shoot down to a couple of images, but the images of her sitting in the corner is utterly priceless. Usually shooting a model topless can be an issue. In this case, it was so much more organic, because this is exactly what she was wearing at the time! Plus she is a figure model and at 46 has a fabulous body. No brainer. Plus the lady is so unabashed, so fearless, so take-no-prisoners that topless was perfect. It’s one of the few real portraits I’ve taken. And one of the best!
Q. In putting this book together, and in editing “WildeBeauty” you had to ask yourself the question “What is a WildeBeauty shot?” What are some of the things that make this collection of images hang together so well?
A. Well now… that really is The Question isn’t it? OK. I think there’s always an element of glamour involved, but they’re not really ‘glamour shots.’ I also think there’s a level of seduction working, in a lot of the images. Maybe even some sexual energy at play—at least on a subliminal level. And because I am essentially a beauty photographer, ‘beauty’ is the most important element that ties these images together. These are not portraits and they are not about fashion or any particular style—although style is always evident. I suppose every artist has to answer that question “What do you do?” This book, more than any other of my creative works, this book for me, is the answer to that one question.
"The Jeweled Head of the God Queen."
Q. May I quote something from one of your websites?
A. Hey, it’s your show!
Q. You had written something to one of your models that “The seasons will change and the world will someday grow old. But the beauty that we have created together will be like an Eternal Spring.” Isn’t that what “WildeBeauty” really is—a testament and a tribute to that ‘Eternal Spring?’
A. Honestly, I could not have said it better myself!
Q. What is a model to you? And what do you look for in your models?
A.) There are so many qualities that help define a great model that I really don’t know where to begin. But I would say that when a model is totally committed to the shoot, that’s when we get the very best possible results. In fact, being totaling open to ideas and being seriously committed goes a long way with me. The kind of photography I do requires that models listen first and foremost. I’m not looking for models to come in and lay out 30 minutes of “moves” for me. But I do need them to listen and understand where we’re going with the shot. And if you’re lucky, every now and then you’ll get a girl who is not only is listening, but she intuitively understands where the shot is going and in her mind she knows exactly the path to get there. When that happens, the sky is the limit. And to be honest, it’s a little something like great sex. There are moments when you lead and there are moments when the model takes the lead. Once the thing gets off the ground, there’s often really no need to speak. The session takes on a life of its own. Suddenly the timing is just right, the pacing is perfect, the rhythm of the models moves is perfect. Then before you know it, all the anticipation, all the tensions that have been slowly building, it all begins to come into focus and you feel it resolving. That sense of play and experimentation that you’ve engendered… it all starts to pay off. And you get this incredible sense—I mean, everyone in the studio can feel it– that you’re not only “in this together,” but that your riding the same wave and heading towards the same shore. For me, it actually feels like light is pouring into me—like by entire being is being filled with white light. It’s delicious and it’s wonderful and there’s nothing in the world like it. Suddenly, you feel like your dancing in the moonlight and you know that this is what you want to do forever… because you can’t even imagine doing anything else. (Julian get’s up shaking my hand, and winks).
Trans-sexual model Kristian Gia, for teh Dark Cabaret series.
“Kristian Gia, 6′1″ Transexual Model, Crossing Boundaries in the Name of Beauty.” [/caption]
Q. Speaking of models who defy “the rules,” what was your experience like shooting TS* model Kristian Gia ?
A. Well, I never really knew Kristian “as a man.” And I have no history or experience with her as a man. So, for me is was really easy relating to her first and foremost as a woman–as a very tall and beautiful woman! I mean, I think she’s 6′1 without her heels on. And with those heels, those are some of the best legs in the business! Plus, I’ve also known Kristian and her boyfriend for over a year now, and during that time I’ve found her to be as caring, generous, sensitive and as courageous and talented as anyone you’ll ever meet. I especially admire her for having the courage to be true to herself. She’s an amazing example of how much heart it can sometimes take to walk your own path. But you asked what it was like working with her… I think her pictures tell the story better than I can. And once you see her work and you see what she can do in-front of a camera and you see her pictures, you realize that she has created a life that is beyond simply male or female. To me, Kristian is a beautiful human being; and one of the most beautiful, caring and dynamic people-male or female– I have ever photographed.
Q. I see in the Portrait section of WildeBeauty you have worked with newcomer Sophie Larea. What was that like?
A. When I realized how much Sophie had accomplished in her first 4 months of modeling, it was obvious that she was a force of nature and someone I wanted to work with. I mean, in her first few months she had already been photographed by a couple of the top photographers in the country. And the fact that she elected to enter this youth-crazed industry at 46 was even more interesting. But it was obvious that this lady had quite a “bucket list” and it was equally obvious that she was going to make things happen. But I have to admit that after a half day of shooting it was impossible to narrow her pics down to only a couple of images. So Sophie ended up in the book in 3 different chapters! And yet the shot of her in the corner with her arms outstretched is the quintessential portrait of this very remarkable lady. She is so fearless, so unabashed and so chock full of life–that this moment was the perfect capture. We didn’t actually make a decision to shoot her topless, but she is a figure model and this is exactly how she was dressed at that moment. It’s one of the few real portraits that I’m pleased with. And I think it’s one of my best.
Thank you so much for what was for me—a very thought provoking question. I think that rather than generalize it might be more telling if I give you a couple of examples that may serve the purpose.
The image below I took a few summers ago, but the vision of the shot I had carried in my head for almost 10 years.
"Bather with Shell," Ten years in the making.
In my mind I had this notion of a man standing in the water pouring water over his back from a shell. The problem was that it couldn’t be just “any man,” and it couldn’t be just any body of water, and it couldn’t be just any shell. The hardest part was waiting for “the man” to appear. I never do casting calls for my work. For me, it’s just too artificial, too arbitrary and too impersonal. I have a real tendency to really want to find the people I work with “in my life.” Imagine if you took just any man off the street—with just any man’s body– and tried to say what this image says; it just wouldn’t work. The man’s body had to be lean and graceful, but powerful. His body is—for all intents and purposes– representing “mankind.” But the moment I met this particular young man, my plan for the shot went into motion. I ended up driving to the coast to get just the right shell—the right size and the right shape. In my vision it felt like the man was standing in a large lake. But I knew that if I shot across and down the Columbia River, I knew I could get that feeling of expansiveness and the feeling for the exotic that I knew the shot had to have. So, in my mind I had the entire image all but shot. But I needed all the elements before I could actually shoot the thing.
"Roman Holiday"
Another example might be “Roman Holiday.” I had been shooting all afternoon with 2 beautiful girls; but I was shooting them separately for different clients and not together. Before I knew it, the day was all but over. I knew I had another client at 6pm and my focus had to change at that point. I turned to Raven and asked “how much time do I have?” She said “It’s 5:55. You have 5 minutes!” I felt like I had one last shot in me to cap the day. With just 5 minutes on the clock we all flew into high gear. The below image of Shea Puranen and Lanna Baronnes was staged, styled, lit and photographed in less than 5 minutes! In my mind I imagined them lying there just as they are; and I knew that together—just like that– they would be perfect. They say that a crystal can take thousands of years to grow. Or, if the conditions are just right… a crystal can grow very large in seconds—even instantaneously! I think photographs can be like that. But for me, it’s always the idea that comes first and then I look around to see who can pull it off. Just works for me that way!
The above topic and post was inspired by a question put to me by Nashville model, Sophie LaRae. Thank you so much Sophie!
"Do Butterfly Catchers Dream of Catching Butterflies?"
I am frequently asked to do workshops on photography and I quite frankly never know what to say. As tempting as it is to spill my guts and hand-over carte blanche 20 years of experience to a roomful of strangers, I’ve never been tempted to do workshops. Partly out of the fear and the understanding that what I do comes from a place so deep inside of me, a place so sub-conscious that I don’t really have the luxury of thinking about it—let alone the luxury of speaking about it. It may help for you to know that I am a chronic and incessant daydreaming. I think it’s called “lucid dreaming.” It’s one of the reasons I don’t actually drive. That, and the other reason being I hate the tiny distractions that invariably come with physically managing a moving car amongst other moving cars in city traffic. I am simply not present enough to do this in an accident-free way.
So I daydream, and this is the unrelenting fountain and source of my inspirations as a photographer.
Quite often, while engaged in my dreaming world I’ll see things so vivid, “scenes” that are so real, so completely realized that I know that I will have to bring them back to this world in a photograph—just so that I can have the opportunity of looking at them in greater detail and sharing these images with others.
The way I light: since I see most of my images in my head while “dreaming” I like my images on paper to have that same quality. Am impressionistic, dream-like quality. I like the idea that the lighting is actually changing from moment to moment—like the lighting itself is alive. And so I try to achieve that quality of aliveness when I’m photographing an image. Honestly, when I use strobes I find that my lighting looks like everyone else’s lighting. And that doesn’t feel right to me. It doesn’t feel true to what I’m feeling inside. So, most of the time I create the lighting as I go along, and different shots often require different lighting. If my lighting looks different from everyone else… that’s why. And if this spontaneous and always unpredictable approach to lighting gives me yet another reason to not do workshops, then I’m fine with that too. After-all, I haven’t noticed that there seems to be any kind of shortage of workshops!
Next Blog: “This World vs The Real World: Which is More Real?”
There is an often-used phrase in the photography industry that I have recently been having trouble with. The phrase I’m talking about is “The Real World.” We use the phrase to include virtually all photography that is outside of internet photography: printed magazines, newspapers, corporate advertising, sports and entertainment, even weddings. We even assign to the phrase an air of superiority and a sense of authority. And yet, in all fairness, we don’t refer to internet-based photography as “The Unreal World.” We just refer to all photography experience outside of the internet as having authenticity, genuineness and a “reality” that the internet experience seemingly doesn’t have. Here’s a classic example: “In the Real World… photographers, stylists and models get paid their full day rate.” And because “The Real World” is the oft-perceived greener grass and does often-times involve an enviable pay stub, we willingly infer that the Real World—as we describe it—is more valid, more reputable, more respectable and somehow just more “real.”
Now, having been involved with corporate and fashion photography for over 10 years and the internet community of photographers and models for almost 2 years now, I have come to feel uneasy around this often-touted and always lionized phrase. I’ve come to realize that there is indeed a difference between internet-showcased photography and commercial photography, as we experience it in the “Real World.” The bottom line is that internet photography is different from Real World photography. And even though a judicious person is hesitant to generalize, there are salient differences in both the approach and the perceived effects of these 2 kinds of photography. Even more so, these 2 kinds of photography both reflect and define the 2 worlds they are a part of.
The quickest way to break this down is that with internet based photography there is quite often no all-powerful “client” either directing the photography or censoring the photography, or in any way diminishing the photographic potential. This is very different from The Real World, with its Art Directors, Photo Stylists, Editorial Directors, Editors, Producers, et all, who can all be responsible to even another “board of directors.” In this world, the photographer has an entire legion—who can be seen or unseen—all peering over his shoulder and all conspiring to reduce the power of photography as an art. This virtual committee often seems hell-bent in reducing the photography to its lowest common denominator. This is called “art by committee.” And it rarely succeeds in producing great art—if ever. Now add to this scenario a number of paychecks that are dangled like beautiful carrots, just within the reach of everyone’s fingertips who are part of this surreal equation.
This is how pico di gallo is turned into vanilla pudding. Now there’s nothing wrong with vanilla pudding. I happen to love vanilla pudding. But a constant diet of anything has its necessary ill effects. And a society presented with the choice of vanilla pudding for its entire adult life will necessarily suffer. Photography that is created for the Real World is not only based on censorship, but it must survive a series of ongoing censorships, including the censorship of the actual marketplace of readers and consumers. And it’s this series of censorships that ultimately dumbs-down all photography that is presented to the public.
On the contrary, the equation to creating and showcasing photography on the internet is dramatically different. Without a “client” hovering about like an airborne pest, both photographer and model have the real tendency to step up to the plate and swing for the fence. And they swing with all their might. Empowered and emboldened by their dreams—and often steeled by their own naiveté—they swing at the ball for all the glory that can be had. They swing to fulfill their childhood dreams. In this Unreal World, there’s no small army of frantic editors waving their arms, no unending gantlet of stoplights, no series of roadblocks, no picket line of church ladies, no “community standards” that need to be addressed or other needless paraphernalia in their way. This is the Utah Salt Flats. It’s wide open baby! It’s time to put the pedal to the metal. And with no one looking over their shoulder second-guessing their every move, willing to judge and jury them for this or that, they want nothing more than to feel the wind in their hair. And now with their dreams of fame riding on every shot, they swing like there is no tomorrow. And, as you can imagine… this is the stuff that homeruns are made of.
What I have come to believe, is that –like Alice in Wonderland—perhaps we are all looking at this upside-down world through the wrong end of the telescope. We give credence and credibility to our paychecks and then willingly diminish the importance of our deepest dreams and fondest desires. Is this really who we are. Is this really how our minds and hearts work? What if we turn the telescope around and look through the other end… What might we see?
But in all fairness, let’s take another look at what we so fondly and with such deference call “The Real World.” Is The Real World in fact, everything it’s cracked up to be? Is it truly worthy of all the esteem we so happily heap upon it and all this obsequiousness? I have to wonder…
When a 20 year old blushing bride wants you to photograph her $100,000 dream wedding… is that really The Real World?
When the Art Director of a magazine—fresh out of art school—feigns to hold your hand while you photograph her half-baked ideas… is that really The Real World?
When a corporation with an unlimited advertising budget cuts you a check for work that in your mind is quite simply “not your best”… is that really The Real World?
When a fashion mag has you shooting 8 pages of editorial at union wages, because you’re getting such “great exposure”… is that really The Real World?
When you take on a job with a national client and they’re willing to pay you next to nothing—with a straight face– because there are 20 photographers in the waiting room, all clutching brilliant portfolios, willing to give up their first born to get this assignment… is that really what we want to call “The Real World?”
It makes me wonder whether The Real World might be a lot closer to home. I wonder if The Real World is really in fact, the manifestation of our dreams. I wonder– if like Alice in Wonderland—we aren’t all looking at this upside-down world through the wrong end of the telescope. And as we looks at our world in this way, our paychecks begin to float menacingly about us like colossal hot air balloons, achieving larger-than-life personas all their own. The cars we drive suddenly become us and we become nothing more than a shadowy figure inside. And just as suddenly, we stop seeing each other for the miracles we are, and we begin to see ourselves as wearing these large and ungainly sandwich boards with our job titles boldly emblazoned on the front and back. And as we step onto the street, instead of seeing one another as individuals… we see each other as interchangeable automatons set into a massive chessboard that stretches unending to the horizon. Is this Orwellian world the world we would choose to live in? Is this the vision we would want to empower with our talents and our lives?
Or… would we choose to see the world as it flowers naturally from our dreams and hopes and desires?
After all, what does a young man do when he gives up so many paychecks and trades them for a ring for his beloved? Not only is he inviting another into his dream, but he is investing his heart and soul towards a relationship that statistically is doomed. No matter. This is his heart’s desire and his dream.
And what is a family, if not the existential dream of shared happiness?
I would ask, what is a building if not an architect’s dream of inhabited space?
What are cities created by such buildings, if not the communal dream of people living together in harmony?
What are the advances in civil rights and religious freedom, if not the undying dreams of our greater selves?
What of the advances in science and medicine and technology, if not the wild dreams of what could and can be created by the mind of Man?
And what of civilization itself? Is it not the collective dreams and hopes of all humankind?
I would submit to you… that we are not our paychecks and we are not our cars. Rather, we are indeed our dreams. What if our lives—like internet photography—is driven by our desires and our dreams?
And what does that say about “The Real World?” I would submit to you.. If we are to find the “Real World,” I would advise that we all Look to Our Dreams. For it is our dreams and our desires that define us; more than our paychecks, more than our job titles, even more than the car we drive. The most powerful and defining force in our lives… is the Very Real World of our Dreams.
I had an experience in an elevator today that has left me a bit unsettled. As I was riding up, the elevator stopped on a floor in the building where I know a lot of people. In fact, one of my “friends” on Facebook stepped into the lift with me and we rode a few floors together. It was the most awkward 10 seconds I’ve ever spent in an elevator—and that’s really saying something! Why was it “awkward?” I really had to think about this. Previous to being “friends” on Facebook we ran into each other quite a bit and frequently enjoyed each other’s company. She’s a dancer, I’m a photographer—so for years we worked together and even played together. But since being on Facebook, our interaction has been fairly limited to the kinds of one-liner cyber chat that Facebook is famous for. “ ” O.K. let’s spare ourselves any further examples. The point is, without the arms-length distance that this kind of social network gives us; we can end up feeling a bit inadequate—if that’s the right word. Seeing each other in person, we don’t have the luxury of those extra 10 seconds we have on Facebook to be witty and charming and so “off the cuff.” We don’t have the time to hand-craft the perfect, most succinct responce. Plus, we don’t have the advantage of being able to “get in and get out” in a way that serves our own comfort zone. Unlike Facebook, we may actaully encounter a number of awkward seconds where nothing is being communicated. In person, you actually find yourself “looking” at the person and realizing how very distracting that can be! Compared to the internet, running into a friend “in person” can be a little raw and unrefined and alarmingly “physical.” All this can lead one to feeling a bit uncomfortable and out-of-your-depth. Especially considering how non-physical and surreal the internet experience can be. I mean in real life, there’s no way to hide behind a monitor and there’s no way to effectively say: I’ll get back to you when I have something clever to say.
The real problem: we may quickly become a nation of cyberheads. Comfortable discoursing and being dashing from the safety of our laptops and our home computers, but fantastic disasters when it comes to interacting with each other in Real Life. Just a thought.
This post is a follow up to “Figure Model begins Modeling at 46!” Let’s call this “Part 2.”
When I posted my first blog on this subject, I had no idea of the interest level in this particular phenomenon. As it turns out, I’ve experienced enough interest and questions to lure me into another post on the subject. And I thought since Sophie was the subject of my first post on this subject, it seemed right to share our conversation with you on the matter. The subject being : a beautiful and married woman posing for photographers at the rather “ mature” age of 46.Having given the subject considerable thought over the last month, I’ve come to understand that this surge of “alternative models” into the modeling and photography fields is something that is going to be around for some timeand for a number of reasons. In my experience, the justifications for this are many fold. The most prominent factor is that as more photographers enter the field, from novice to beginner to experienced, the demand for certain kinds of models changes. Not all photographers are interested in working with 18 year old “stick figures.” I’m using this phrase in the most meaningful way that I can. And Sophie, along with a tidal wave of models entering the field over the last 5 years, Sophie has “curves.” Lots of curves and all in the right places. Having shot with Sophie twice now, I invited her in for a chat, to talk about the kinds of things that she’s experienced in her first 2 years of modeling.
JULIAN: How did you ever get started as a Figure Model while living in a small town in Tennessee, of all places?
SOPHIE: Well, I was always interested in modeling, since I was a little girl. Every litte girl has dreams! But things get in the way and you get older and before you know it, The Dream has gotten away from you. Then at 45, I realized I just didn’t want to give it up and that I wanted to get into the best shape I’d ever been and I wanted to take my shot at it. So I got into shape and joined an internet site for models and photographers called “Model Mayhem.” Then I started going thru this on-line site–which is international and has over 400 thousand members and has some of the most talented photographers in the country on it. As it turns out, one of the best glamour shooters in the country is out of Nashville and his name is Randall Llyod. I started shooting with Randall and realized that I could do this. There were 2 other photographers that I put on my Wish List: Don Bersano out of Chicago and Julian Wilde out of Portland. (winks at Julian)
JULIAN: Long story short: you shot with everyone on your wish list in your first year? Sophie, that’s amazing! I mean there are beautiful girls here in Portland that haven’t managed to get a shoot with me and I’m right down the street! I think that’s the thing that caught my eye: I noticed that you were getting the attention of very talented photogs and getting shoots in your first couple of months modeling. For a girl outta Nashville, I thought that was quite impressive!
SOPHIE: Well,thank you! I was very flattered that my top 3 photographers wanted to work with me. That alone was all the encouragement I needed to really get to work on this and see what I could create.
JULIAN: Regarding nudity in a shoot: I’m aware of what our arrangements are, but I’m wondering, with other photographers how do you—as a model for hire-how do you control the level or the amount of nudity involved?
SOPHIE: Actually You are the only photographer I’ve worked with who NEVER tells me beforehand what we’re going to do! But because I trust you and I luv your work, I have no problem with that. I think with you, I even like it that way! With other photographers, I direct them to my portfolio. I’ll say: If you see it in my port, there’s a good chance that I do that. If you don’t see it in my port, there’s a good chance that I don’t do that. This way I can give them some visually parameters of what I’m comfortable doing and not doing. I’ve found that people have a tendency to understand that and respect that. It works for me.
JULIAN: Speaking of your port, let’s throw some pics down on the table and you can talk about them.
Cool? This first shot is something we did during your first trip to Portland.
Sophie in her first set, at her first shoot with Julian.
SOPHIE: I LUV this shot! In fact this was the very first thing we did that day. I also think it’s a classic “Julian Wilde image.”
JULIAN: I think it’s cool because it’s something that you are perfect for. Your maturity, your Lady of the House quality, makes you perfect for it. You are very believable in this shot and as this character. I think it’s even fair to say that a younger girl wouldn’t be as interesting and might not be able to pull it off.
JULIAN: Another photo… This is something I saw you do with Don Bersano before we shot that made me think: this girl has some attitude! I think I like her! It’s a great example of the kind of energy and charisma that you bring to a shoot.
Sophie being Sophie, with Don Bersano in Chicago.
JULIAN: I think this shot really shows some of the charm and Kitty Cat energy you can bring to a shoot. It’s easy to see you’re having fun with it!
SOPHIE: I have a lot of fun shooting with Don. He has a tendency to turn me loose. And that’s when Anything can happen! (big smile)
JULIAN: And now speaking of “Anything can happen…”
JULIAN: I’d like to talk a minute about an image that is decidedly “Playboy” in it’s influences and it’s market. This is another great image by Bersano from that Ladies Room set. And since we’re all adults, I want to talk about images that relfect and represent visially what we’re talking about and the kind of modeling we’re talking about today. This image of you is more than a full on body shot. It’s also an image of a beautiful, confident, sexy woman at the hiegth of her powers who is fully empowered by her sence of self and her own sexuality. It’s a wonderful shot and I would have loved shooting it! And it’s a marvelous portrait of you and of what you bring to the party. It’s obvious that you have all the confidence in the world to pull this off in a very charming way. It’s exceptional. Sophie??? I’ve never known you to be speachless.(Smiling and looking to Sophie.)
SOPHIE: I was enjoying your critique! I didn’t want to stop you!(laughs)
JULIAN: You know I recently had a rather uptight woman ask me point blank: “WHY would a beautiful woman DO such a thing?” I think I should ask YOU that. Why would a beautiful, sexy mature woman be willing get in front of a camera wearing only her birthday suit?
SOPHIE: I’ll tell you! It’s a great way to feel sexy and have a kind of sexual outlet, without having to be actually “sexual.” And I feel good about my body. And I’ve worked hard to have the body I have at 46. I exercise, I’m conscious about what I eat. And I think there are some good genes at work here too. The fact is, I’m comfortable nude. I’m comfortable in my own skin. Plus it’s a great motivator for me to stay in shape for photo shoots as well as for my darling husband!”
JULIAN: And how does your husband feel about this outlet of yours?
SOPHIE: “He luvs the pictures that come off of the shoots I do with Don and Randall and Julian. During a shoot I can be playful, I can be flirtatious, I can be fun, but at the end of the day everybody knows I’m getting on a plane and going home to my husband! There’s not a jealous bone in his body, because he knows I’m coming home to him. Everybody wins.”
JULIAN: With all the sexual energy flying around, do you ever feel at risk during a photo shoot?
SOPHIE: I’ll be totally honest with you: I will only schedule to work with a photographer AFTER I’ve had a number of emails from him and gotten a real feeling for what he’s about. If I sense any red flags coming up in this area, I’ll just let the thing go. Plus I have both a friendship and I have a professional relationship with the photogs that I work with. I trust them completely and they have earned that trust. That keeps everything “on the table.” (smiles)
JULIAN: Hey, how about this shot of you at the window in the Venetian Room…
Sophie at Her Window...
SOPHIE: I love this picture, because when I look at it I’m reminded of being at your studio and all the fun we always have. It reminds me of the way you make me feel like a princess in your world.
JULIAN: Thanks Sweetie! I like it even more now!(smiles!)
JULIAN: We were talking earlier about all the things that Plastic surgeons can do these days. Do you mind sharing with us what things you’ve had done?
SOPHIE: First of all, I’ve had a few things done. But exactly what… I’ll leave that to your very capable imagination! (winks and follows with that famous and perfect smile of hers!)
Sophie enjoying the view and the mid-town city lights.
JULIAN: Let’s talk about this shot of you and that silver Hermes leash! I think this image is incredibly erotic! What was going thru your head as that shot was happening?
SOPHIE: OK I admit: that Was Fun! But what’s going thru my mind is “What does my body look like? I’m thinking about the camera angle, and I’m thinking about the fact that I want to keep the shot interesting, but not “too interesting!” If you get my point. (smiles) There’a fine line there and as aware of it as I am, my photographers are even more aware and more conscious of it than I am. And that’s where that trust comes in. If I trust a photographer and his instincts… I can concentrate on the pose and projecting my energy and not worry about things that really aren’t my responcibility. And of course, when I’m working with you, that’s exactly how I feel. I feel honored. I feel appreciated and I feel safe. That allows me do do something like this and enjoy the whole process.
JULIAN: Do you find that being only 5’2 is a challenge for you in a field of taller models?
SOPHIE: In a way, I don’t feel like I’m competing with other taller or younger models. If photographers want that, they’ll find that. If they book me for a shoot, it’s because they want to work with what I specifically bring to the table. They want the look that I have and they want the things that I do.
SOPHIE: You know, when I first became aware of your work, I noticed that you had shot a few women who were definitely not “girls.” And I found that interesting! What kinds of things do you look for in your models?
JULIAN: Well, not being a kid of TwentySomething myself, I do find a little more maturity to be a lot more sexy!
But really, the single most important thing to me is attitude. Not bone structure. Not height. Not legs. And not any body part. But a girl with a great attitude goes a long way with me. Having said that, I do shoot my share of Twenty-Somethings and I try not to complain about it.(smiling)
JULIAN: Let’s talk about the money game! You’ve figured a lot of this stuff out. Want to talk about it?
SOPHIE: Sure! “Shoot with The Best and the rest will follow.” That’s how it works. Photographers like you and Don Bersano in Chicago and Randall Llyod in my home state of Tennessee, you’re at the top of the food chain. You guys are the big sharks. You guys are the ones that everyone else wants to be”when they grow up!”. When they see the work I’ve done with you, all the other photographers, they want some. And they are happy to pay for it. They see what I’m capable of and they want to work with “your models” of models that you’ve worked with.
Of course, there are the photographers that just Don’t want to shoot a model after someone like you has shot them. They’re intimidated by your work. At this point—even in my young career– those photographers aren’t really worth my time.
JULIAN: I can tell you’re definitely having fun with this. How long do you imagine doing this?
SOPHIE: I’ve been around long enough to know the value and the importance of living my life and enjoying every single day that I’m given. As long as I’m enjoying myself and there’s a demand for what I do… I’ll be there with bells on!!
JULIAN: I don’t know about you… but I’m feeling like another glass of champagne. How about you??
Sophie: I just luv this business!!(smiles)
And that’s the end of our official ”About the Business” chat. If you would like this to be a bit more “interactive,” please feel free to leave your comments or questions for either of us on this topic and Sophie and I will try to respond as time permits. Thank you once again. And thanks for dropping by.
As a photographer you can measure your work in terms of what other people like or you can measure your work in terms of what means the most to you. They are both fair ways of assessing one’s work. Sometimes, if you’re lucky, an image will float to the top of your imagination like a kite on a string riding a stiff wind. And if you’re really lucky, it will stay high in the air and you will never lose sight of it. The days and the weeks and the years come and go and that image remains ever present—a crystal clear piece of your consciousness; never fading never diminishing and you come to understand that a moment of your life is eternal. As a photographer, this is the gold at the end of the rainbow….
Everyone has someone that changed their life in ways that are ineffable and beyond calculating. I imagine that in my life Camille was one of those people. We both came from small towns but longed for the bright lights of the Big City. For us, Seattle was The Land of Oz. I was in my fourth year of college, studying architecture, when I met Camille. I had just started shooting semi-professionally when I saw her in the stands of a volleyball game and knew that my life would somehow be incomplete if I did not approach her and did not photograph her. And although she looks very much like a woman in this image, Camille was only 19 at the time and very much a girl and innocent in every way imaginable. But she had the uncanny ability to look deeply and soulfully into the camera and conjure a persona that was a kind of alter ego for her.
It was our work together that introduced us both to the fashion industry. I was only 22 at the time, but I knew that I had found something that would hold me mesmerized for the rest of my life. I lost contact with Camille some years after this image was taken, and so for me, Camille will always be just as she is in this photograph: deeply passionate, darkly transcendent, breathlessly beautiful and seductive, sure and in absolute control of her powers, and filled with dreams of a life taking off—like a kite in the wind.
But regardless of the number of years that have now passed, this image still holds its value for me. Perhaps because of what the image means to me; perhaps because of the way it recalls an innocent and formative time; perhaps because of Camille’s timeless beauty; perhaps because of who Camille was to me. Perhpas it is the Perfect Storm of all these elements coming together. Whatever the reason or reasons, this one image remains a favorite of mine and holds a special place in my world. In my mind, Camille will always be 19 and filled with unfathomable mystery and looking at me like this, exactly as she did when I was 22. Looking at this picture… I can still remember exactly how I felt as a young man at that time. And perhaps this is the real power that photographs have over us.
When asked, what kind of photography do you do? I invariably say I am a “fashion photographer.” And yet, truth be told my interest in fashion per se, is somewhere between nil and zero. I am, however a seeker of The Greater Mysteries, of which for me, Beauty is the most hypnotic. And although I do appreciate Beauty in its myriad of endless forms and incarnations, the kind of beauty that I experience as I breathe in this one image, this is the kind of beauty that has riveted my attention—for better or for worse–for the whole of my life. This is the stuff that motivated me to take up the camera. This is the stuff that has inspired my imagination and my dreams. This is the holy and sacred quest that has shaped my days, my nights and colored my life.
I reflect upon this, now at year’s end… and it occurs to me that I could never have been anything other than a photographer. And if there are those that have enjoyed my work in this regard, it pleases me more than I can say. But there has never been a moment in my life when I did not know why I do what I do. It has always been and will always be for the sheer, unadulterated, all-encompassing love of it. It is for the unmitigated joy and the promise I feel every time I pick up the camera. My prayer… is that this feeling will never end.
Copyright 2011, Julian James Wilde
Excerpted from the Introduction to my book “WildeBeauty.”
"Sometimes a different perspective is all you need."
Over the Holidays I had invited New York fashion photographer Richard Warren to spend half a day shooting in my downtown Portland Studio. This was an invitation that I did not extend lightly or without due consideration. In fact, I’d never invited a professional photographer to shoot in my space before. The reason I had never allowed another shooter in my studio before has a lot to do with the fact that my space is very personal to me. I’ve designed most of the space and built as much of it with my own hands. As a photographer, watching another pro working there is something like watching someone make love to your wife. At least that’s how I imagined it would be. But Richard was coming out west for the holidays and was willing to drive down from Seattle over the weekend, so the very least I could say was “Of course!”
The fated day finally came, and I was as nervous as a bride on her wedding night. I was so anxious about the whole thing I thought for certain that I would end up backing out of the deal at the last minute! But I didn’t and Richard arrived exactly on time with his team of make-up artists and a bevy of beautiful models and carrying a chilled 6 pack of Pilsner. At this point I like him already.
I should mention that as young photographers, Richard and I both received our earliest inspirations from the legendary Helmut Newton. And Richard had come to my studio, which is loaded with Italian Renaissance themes, to not only “pay homage” to Helmut’s vision, but to put the finishing touches on his own soon-to-be edited coffee table book. Without going into too much detail, I watched with one eye as Richard spent about 3 hours re-imagining, re-thinking and re-working some of the favorite aspects of my 10,000 sq ft studio. He would position furniture in the middle of the room, rather than shooting it “against” a wall. Instead of shooting “at” a wall, he would shoot “down” the wall with a wider lens. Rather than shoot “in” a room, he would shoot from outside the room with a longer lens. Instead of opening decorative wrought iron gates, he would shoot “thru” the gates. Instead of closing said gates, he would open them and allow the eye to wander thru. Instead of shooting “in” a corner, he would position the model in the foreground and use the corner as a backdrop. And I thought I’d “seen it all!”
Perhaps needless to say, by the time Richard was finished shooting, I was looking at my studio from entirely different perspectives. Reminding me again: it’s not “what you shoot,” it’s “how you shoot it.” Add to this, that throughout the entire evening Richard was a joy to have in the space. He was always respectful, appreciative, generous and I would invite him back in a New York second.
Long story short: the experience of “watching someone make love to my wife,” turned out to be a rather fascinating experience. What began as an altruistic gesture towards a respected peer, turned out to be a dynamic gift to myself! What began with anxiety and trepidation, ended up being a most pleasurable experience. And what I was most reluctant to share with another pro, ended up being a blessing to me, in the form of a “New Studio!”
But then, life’s like that!
Seeya on The Wilde Side, -JULIAN
JULIAN JAMES WILDE, COPYRIGHT 2011, ALL RIGHTS RESERVED. WILDEVISION.COM
FYI: Look out for Richard’s new book. It looks like a most pleasant eye-opener. And you heard it here first!
Let’s be upfront about a couple of things. First of all, the game is changing and more and more models are getting onto the court and getting real playing time with bigger and bigger studios. One of the factors contributing to this is known as “on-line flirting.” And some girls have perfected this on-line practice into a fine art and a thing of stunning beauty.
I recently had a very attractive model message me on one of my on-line sites. She was someone I was unfamiliar with but she had a way about her that genuinely caught my attention. After she left a rather thoughtful comment on one of my pictures, I responded by leaving a comment on one of her pictures on her on-line modeling site. She came back to my site with: “I feel like the most popular guy in high school just noticed me for the first time and smiled!” OK. What do you think I did then? Exactly. Even though she was an out-of-town model, I noticed that she had done some traveling, so I invited her to shoot with us the next time she’s in town. Long story short: I booked her for a shoot next month. The moral of this story: a girl who knows how to flirt can make things happen.
And generally speaking, that’s exactly how it works. After a month or two of “back and forth” on-line messaging, a model and a photographer can begin to form a kind of professional relationship. It’s also not unheard of to find myself committing to shooting a model who, if they just walked into my studio and asked for an interview, I wouldn’t give them 10 seconds of my time. That’s the beauty and the danger of on-line portfolios. What a girl looks like in professional photos is one thing. What she looks like after an hour of professional re-touch, that’s an entirely different matter. And quite often, that can really be a horse of another color.
But the larger point that I’d like to highlight, is that models who take the initiative, make the introductions and get the chemistry moving… these are the models who get themselves into studios and ultimately these are the girls who make things happen and score the points.
And this is another example of how the game is changing. Because of on-line messaging and on-line portfolios, models are in a much better position to make things happen; independent of an agent and independent of any modeling agency. Once a model learns how to make this play on her own, an agency can quickly become nothing more than an overpaid answering service.
On line flirting is one example of how savvy models use the internet and thereby increase their access to photographers. There are other ways, even far more insidious. And I’ll be sure to share these with you as well. But that’s fodder for future posts.
BTW, the above long-legged and exceptionally beautiful model is Lanna Baroness. And not only can Lanna flirt with the best of them, she is also one of the loveliest creatures I have ever met in person.
I’m devoting this current series of posts to changing trends and the factors that are driving these changes. The glorious rise of the MILF is one of these changes. Wikipedia defines this acronym as “a sexually attractive woman, generally between the age of 30 to 50.” What this popular acronym stands for exactly, I’m really not sure. But like art, good or bad, I know one when I see one! Now I’m not talking about the MILFs in porn, or MILFs on “reality” TV, or the countless MILFs in the stands at soccer fields around the country. No, I’m talking about MILFs in photography and MILFs in modeling. A number of factors have contributed towards this rising trend, including the ever-advancing age of the general population and a select number of highly visible MILF representative “spokespersons,” including among others, the most famous MILF of our generation, the very telegenic, let’s say her name all together: “Sarah Palin.” Ahhh…
Another factor shaping the MILF trend is the advances and ever-increasing acceptance of cosmetic surgery. Whether it’s the “tummy tuck,” “the boob job,” “the eye lift,” “the nose job,” “the skin peel,” “the lips,” or just ever-increasing amounts of Botox here there and everywhere… The undeniable results are that women are staying in the game longer and looking “flawless” even longer.
And the ones who don’t opt for these costly surgeries and elective “treatments,” still have the added benefits of post-photographic digital re-touching. Suddenly a less than perfect complexion looks as smooth as polished glass. A less than flattering nose becomes perfectly proportioned. Crow’s feet disappear. Eyes become crystal clear, lively and vibrantly colored. Jaw lines become firm and taunt. Problem areas are photo shopped, “cloned” or “liquefied.” Eyebrows are strengthen, shaped and elegantly arched. The combined result is now something that if not “perfect,” is now teetering ominously towards “perfection.” A bit like a professional magician, I am not inclined to “reveal the illusion” by posting “before and afters.” It’s just not my style. Suffice it to say that there are certain grand illusions afoot. These illusions not only make the MILF a real player on the scene, but allows them to become is some cases a Most Valuable Player.
I must admit that all this is not “news.” Certainly not to this industry. But what I will say, is that I am most pleasantly surprised to see this trend in the upswing. I mean, how really interesting is a flawlessly beautiful 18 year old anyway?
Seeya on The Wilde Side! -JULIAN
FYI, In the interests of fairness and factuality, the above model “Maria,” is not only one of my fave Milfs, she also is everything she appears to be. And more.
Now, by industry standards, Kenzie Smith is most definitely what we call a “Rock Star.” Kenzie is a tall, beautifully proportioned 18 year old blond. She is not only physically and genetically blessed, but she also has a flawless complexion, classic features, a killer smile and a dynamite personality. But the fact is, to be involved in this New World of modeling; you don’t need to be a “Rock Star.”
It’s time for a little Myth Busting. The demands for and the appetites for certain types of models has changed. With more and more photographers entering the fray, there is now simply not enough commercial work for even a fraction of the self-described photographers in the fashion/beauty/modeling fields. Now the question arises “What to do with all that equipment?” The answer rather unequivocally is: shoot girls with next to nothing on! The exclamation point is mine, but you get the idea.
The problem, and this really IS a problem, is that models with traditional agencies like Ford, are all very tall and very thin. And I quote a Ford representative when I write “Ford Models are all about tall and thin.” Now what’s the “problem” with that, you ask. Tall and thin in lingerie, or in a swimsuit or in their birthday suit for fine art nudes… Sorry, it’s just not that much to look at. Photographers want curves. They want something to wrap the light around. Hips are nice, a chest is nice, booty is nice, a little belly is nice. Even some flesh to cushion the visual impact of a skeletal frame, is nice. You just don’t get these kind of “curves” on a girl who’s “tall and thin.” The terms are almost mutually exclusive.
What’s the upshot of all this? Photographers are looking outside of traditional agencies for girls. And they’re finding them. What they find are “internet models.” And Lots of them. As my Grandpa would say “more than you can shake a stick at!” These girls, averaging between 5’3 and 5’8 are perfectly suited and proportioned for this kind of photography and many times more available. Not only are these girls available, they work for a fraction of what agencies girls will show up for and also do the “body work” that agency girls are unable to do by reason of agency contracts state as much. And the upshot to all of this? Not a single modeling agency is making even a dime on all of this work that’s going to these internet models. This is work that agencies are simply missing out on.
And here’s My Prediction: the Modeling Agencies of the future, the ones that survive, will have sizable divisions representing “figure models.” These well-stocked divisions will have some of the best bodies available, beautiful girls with an average height of 5’5”. We will always need the Kenzie Smiths of high fashion, the “tall and thin” girls for designer runway and print fashion, but the models that most photogs will be booking in the future will be the girls in the agency’s new “Figure Division.” This is my shout out to agencies to get hip to what’s happening in the New World. And this New World is not “tall and thin,” and it’s not flat!
Ladies and Gentlemen: it’s “curvy!”
Today I happened to share an elevator ride with a young and apparently easily impressionable photographer in my building. The photographer I only know as an acquaintance. The conversation was as follows. He says “I hear you’re a KILLER photographer.” Now, I’m as modest as the next guy, so I smile, bow my head a little and say, “Well, I do get lucky from time to time.” We both laugh and he follows that with “And I heard you have an AMAZING LIGHTING SET-UP in your studio up there.” The added emphasis is not mine, but his. I say this, because anyone who’s been in the business for any length of time, or knows anything what-so-ever about photography, knows this: it’s really not about the impressive “lighting gear” or the number of expensive cameras you have lying around. But I wasn’t about to share that little bit of information with this new guy. He’s got lots of time to learn that stuff. (wink. wink.)
BTW. Not to dissappoint my young photographer friend, but Nic White as “The Beast of Roma, was shot with only one light and a reflector!
That’s what I call myself: a “Fashion Photographer.” And when I’m shooting for a fashion client, there’s nothing in the world that interests me more than “fashion.” But when I’m not, make no mistake about it: I couldn’t care less about “fashion.” And who really does, except for the Designers themselves. The rest of us care about pretty much the same thing: Beautiful Women. The clothes either look great on them or they don’t. The clothes either make them look more amazing, or they don’t. But the rest of us really aren’t going to invest much of our day in belaboring the pros and cons of the issue.
Beautiful women are what it’s all about. Their faces, their lips, their eyes, their bodies, their legs, their hair, their breasts, their curves, their bellies, you name it, that’s what we’re really into. As men, we’re not into pumps; we’re into the glorious effect that way on women’s legs. And the effect that has on us. It’s only the Designer that cares about what the fabric of this or that is made of. It’s only the Designers who care about the line of the dress and the way the fabric falls. But we do care about how good the models look wearing the dress. On the Red Carpet, we care about how beautiful the actress looks, and not so much about how beautiful the dress looks. For me, the most ridiculous question is, “Who are you wearing!???” Like I really care! For that matter, I have never seen a designer gown, not even a Roberto Cavalli, that can even begin to compare to the Real Thing. It falls to the Designer to create an outfit that will “tease” our eyes; to create something that will beguile, delight and enchant us. But let’s be Real: we’re men. We really don’t need a lot of beguiling, a lot of teasing, or a lot of enchanting. We’re easily fooled and we’re ready to roll. We were born ready to roll. We’re not like bulls in a ring that need a bright red cape flourishing before our eyes to get us interested. We’re built to respond to the least amount of visual stimulus imaginable. I mean, when was the last time a beautiful girl just batting her big eyes didn’t send us into a full sweat?
Now, it’s not that I’m “against” Designers. It’s just that I’m deliriously “for” women. And if I were to be even more honest with myself-brutally honest– I’d have to admit that even more than being for women, I’m for “beauty.” Beauty in all its glorious manifestations. “Even the beauty of a particularly well-built man in heels?”
Oh, thanks for asking!
Well, and that… I think that may be fodder for my Next Post. Helmut Newton, are you out there?
See you on the Wilde Side! -JULIAN
Post Script. I can’t imagine doing a post on Beautiful Women, and not mention the passing of one of our civilizations great divas: Elizabeth Taylor. Liz, you were one of the greatest cats to roam the plains of our imaginations! And we, all of us who adored you… will miss you! -jw
Now, I’m not the first to use this term to describe the way disaster video footage is currently being viewed. I heard the term first on CNN and then on FOX News reports. I immediately was reminded of a number of well-meaning comments by viewers of video footage that I had posted on several social networks of the recent tsunami in Japan. More than a few comments read: “Fantastic footage!” and “Great Video!” And of course, the obligatory “WOW!” and “OMG!” What I had to wondered, is how do we go from watching a cataclysmic event that involves massive loss of life, immeasurable suffering, insurmountable property damage and on-going misery beyond our understanding… to equating this very real footage to the artificial experience of watching “porn?” How can we be so detached, so selective with our attention and so insensitive? These are not paid actors who are about to go back to their million dollar, air-conditioned trailers after a couple hours of shooting. This is not a computer-generated scene created by ingenious tekkies. These are Real People experiencing real time horror of a magnitude that should drop us to our knees and bring us to tears. Even the best footage of this apocalyptic event doesn’t convey the reality of being without a home, or shelter, or water, or electricity, or even blankets in what is—the dead of winter in Japan. The reality is that snow is falling and temperatures are near freezing and over-night, tens of thousands of people are without shelter and are looking for their families in vain. I cannot help but pause…
That is why I feel strongly that it is my sacred responsibility as a photographer and as a maker of images, to be especially mindful of the fact that this tragedy in Japan—like tragedies the world over—is about human beings. Just like us. Human beings with hopes and fears. Human beings with hopes and families that have to swept out to sea and lives that have been utterly devastated. Human beings who’s greatest fears have been realized. And they are having to face this very real human catastrophe, virtually alone. These are our brothers and sisters fighting for their lives and trying desparately to hang on to the smallest thread of human dignity. May we respond like the compassionate human beings we are. May we all contact the relief agencies of our choice and give.
Let us Give and be Grateful, that the Season of Giving is Ours.
And to the People of Japan:
“During this winter of your greatest travail,
May you find the Strength and the Will,
that has made you the marvel of the world.”
I recently posted the above image of fitness trainer Jason Meade to several of my websites. I photographed Jason for my new book on modern eroticism titled “Provocateur.” I’m certainly not so naïve as to think that I’m the very first photographer to shoot a man in heels. Far from it! But what was interesting to me, is that when I was pitching the idea to both my stylist and the model, and then trying to describe the shot to others… I noticed immediately that no matter how I described the idea of “a man in stiletto heels,” the effect on my listening audience was never close to what I had in mind, or what I think is now on paper! I don’t experience this image as “gender-bending” or any other term that might suggest that the model is anything less “a man” and a manly man through and through.
Yet, as I tried to describe the idea, it always came across quite frankly as sounding effeminate. And yet what I had in mind was certainly not “effeminate!” Perhaps “beautiful, strong, majestic, commanding, elegant, regal, powerful, magnificent, imposing” and other adjectives that come to mind and were offered by appreciative viewers. But in this case, certainly not “effeminate.” Then again, I wasn’t imagining just “any man” in black strappy heels. My vision was a powerfully built man, a handsome man with a beautiful body, in heels. And that, my friends, makes all the difference in the world. I think.
But then again, what else would I do?? I’m a “Fashion Photographer!”
Thanks again for stopping by.
See you on the Wilde Side!
-JULIAN
A fellow photographer asked me today, “What Magazines do you read for inspiration?” Immediately I was conflicted. Part of me wanted to admit to reading ELLE from time to time; I mean, you do have to keep up with what’s going on! I enjoy “W” and the European “Vogues” from time to time, but there’s nothing for me in photography that’s My Bible. In fact, I make a point NOT to even glance at photography mags. For the simple reason, that I’m not even vaguely interested in what “other photographers” are doing. For me, photography is so personal, that it’s like watching someone else kissing their girlfriend. That’s “their thing.” It’s their connection. It’s not mine. And because it’s not mine, I have very little relationship to it. Unless of course, it’s something I would do or something I’ve already done or it’s the kind of thing I’m currently doing. But to see another photographer’s work and then want to copy or reproduce it in any way… that’s just not interesting to me.
If a vision doesn’t come from my own experience as a human being, if it isn’t consistent with my values and demons and my personal dysfunctions… it just doesn’t mean as much to me. Maybe it has something to do with the point I’m at in my evolution as an artist… I don’t know. But I do remember being younger, much younger, and trying to duplicate another’s work. I realized on the spot, that it gave me no pleasure what-so-ever to copy another’s vision. I just didn’t have the connection to it and therefore it meant nothing to me. And maybe that’s why I don’t make a point of reading photography magazines or photography books for that matter.
But I didn’t say that. I told him about what REALLY does excite and entertain and inspire me: “Architectural Digest!” Go figure.
See you on the Wilde Side! -JULIAN
And it goes without saying: “Beautiful Girls and Great Architecture!”
1.) My favorite words are “Yes!” “More!” and “Again!”
2.) My all time favorite musician is Argentine sax legend Gato Barbieri.
3.) My favorite movie soundtrack is “Last Tango in Paris,” by Barbieri
4.) My favorite instrument is Tenor Sax. Which I have been playing for over 20 years.
5.) My favorite Super Model is Linda Evangelista. No one else compares.
6.) My Favorite Magazine is “Architectural Digest.” Always has been. Sorry “ELLE.”
7.) My favorite quotation is: “En boca cerrada no entran mosca.” Mainly because I get to say it in Spanish and really trill the r’s.
8.) My Favorite Photographer is Helmut Newton. His work is Why I became a photographer.
9.) My favorite writer is Susan Sontag. Wrote some of the great essays of our time. Including “On Photography.”
10.) My Favorite music to shoot to is French Pop sensation Jeanne Mas. I have DAYS of her music! And I get to sing along in French. Badly.
11.) My favorite mornings always start in bed with Raven and a cup of her amazing coffee.
12.) My favorite position is “ON!” (Unfortunately I have no “OFF” switch!)
Excerpted from an Interview in the Collector’s Edition of “WildeBeauty.”
There is a beautiful phrase missing in the English language. Perhaps it’s missing in the French language as well, even though I would expect the French to have originated the idea of the phrase at least. And here’s the thing: as it turns out, when a model and a photographer are working together to create something that is good, or great or even hopefully “transcendent,” there is often a special chemistry that is part of that creative and collaborative experience. My sense is that this special chemistry is absolutely needed for the collaboration to be authentic, to be real and to be truly successful. Otherwise, “the work” can be inauthentic and ungrounded in any kind of reality. Without that special chemistry the work can only be at best a “bastard child.” It’s for this reason that I always interview my models before I ever commit to working with them. I have to feel that there is at least some chance that I will be able to “fall in little in love “ with them. At least for a moment. I have to feel that I can be charmed by them during the shoot, at least for a moment. I have to feel that “the little fall,” is possible. Because it’s that little fall that makes the result of our collaboration real and not forced. It’s what imparts to the art that we make together, an integrity and an honesty. It’s also one of the reasons that I will never ask a girl to “smile for me” during a shoot. It’s inauthentic. That would be a performance and not genuine. If she smiles or laughs in the course of our photo session, great. And I will capture that pure moment. But I will never force it. Because some things should not be forced.
In the same way, when a model looks deeply into my camera or looks as if she feels something deeply and is experiencing something deeply… I want that moment and that emotion to be just as real and just as grounded in the reality of the shoot. An example would be the above photograph of a friend and model named Dana. It was a rather warm summer afternoon in the studio and I had an assistant spraying a fine mist of Evian in the air, just a few feet above our model. Dana was wearing a form-fitting Versace dress and arching her back in a way that was working in overtime. No doubt she was enjoying the fine mist as it landed cool on her skin. I asked her to imagine that she was gettting out of bed and stretching and I asked her to allow herself to experience how good that would feel; and to know that it was going to be an amazing day! The soundtrack to “The Last Tango in Paris” was playing… and like I said, Dana had her beautiful brown eyes closed and was arching her back, breathing deeply and swaying to the music so sensuously, so deliriously.
And that’s when it happened: “Le Petite Amour.” I remember at that moment the feeling of falling just a little in love. Truthfully, it can happen at any time. The point is: we want it to happen. We look for it to happen. We wait like loyal attendants at the very gates of heaven, waiting for it to happen. And when it does… there’s just nothing better in all the world.
And here’s where I must raise my glasss: “Ladies and Gentlemen, here’s to ‘Le Petite Amour!’ And to all those who have been lucky enough to have experienced the spendour of falling just a little in love. Cheers!!”
I’ve been writing this blog for almost a year now. To be honest, I’ve written about this and that and given my impressions on a number of things. But I don’t feel I’ve ever written about anything that really matters. I’m thinking that this post is going to be different.
In every person’s life, there comes a time– and maybe even a number of times—when the events of the world at large actually impact our lives. And when we become witnesses to these momentous times, it falls to us to take the full measure of ourselves. Because how we respond and how we react to these events forever defines us as human beings and the humanity of our culture. Recently, one of the world’s most wanted and most deadly international terrorists was executed in Pakistan by an elite team of US Navy Seals. And now, we are wondering how we are to respond to the news that Osama bin Laden is finally dead. As the acclaimed mastermind behind some of our generation’s most heinous crimes against humanity, do we run in the streets, shouting and waving our arms to celebrate his long awaited death? As Americans and as a country, no one would argue that we have not suffered most gravely under the dark influence of this man.
Surely, there comes a time when evil must be stopped and when hatred must be silenced. And that time had come. But when we consider offering up for public viewing the “death mask” of a leader who is now considered a slain martyr, I cannot help but be reminded of the unfortunate photos that surfaced from the malaise of Abu Ghraib and similar situations. The fact is, this is and is seen as disrespectful of our enemy. It shows no compassion, no empathy and to do these things… it is below us. I am reminded of the Taliban of Afghanistan cheering in the streets when the Twin Towers came crashing to the ground, in flames. This is a time when, rising to the cause of an international cry for justice, we have done our duty. But it is not a time in which we need to gloat of our deeds.
To do so will only bring the vitriol and the anger of those who would see our right actions in a far different light. And to be truthful, it is beneath us. As a country, we have brought down the guiding star of world-wide terrorism and dealt a surely devastating blow to its perpetrators. But we do not need to add to extremism or to inflame their cause. Our actions have been just and justice has been served. The rest we may leave in larger hands than ours. Let us be simply thankful that it is a new day and as Americans iving in a free country we are alive to enjoy it.
Sometimes I wish I had a dollar for everytime I’ve been asked, “I’d love to assist you! Do you wanna see my book!??” And even though I have a line going all the way around the block for “assistants”, I’m really only looking for a few things from my assistants. And it’s really not that complicated. They could be an undiscovered Ansel Adams, but if they don’t pay attention, I can’t have them in the studio for 5 minutes.
So let’s just answer the question: What am I looking for in an assistant?
First of all, do they listen? Do they know that I’m not going to be entertained nor do I have the time to explain something more than a few times? Are they smart enough not to hit on the models? Do they know where the nearest Starbucks is? For that matter, do they know where Everything is? Can they do a few basic lighting set-ups after I’ve showed them once? Do they know how to lower a strobe on a telescoping stand and not break an expensive bulb? Are they smart enough to know that when I ask them during a shoot for any ideas, the correct responce is “I love what you’re doing!” Can they remember how to plug in over 5000 watts and not blow a circuit? Do they remember to turn the “hot lights” off a few seconds after we finish a set? Are they smart enough not to stare at the models when they’re changing or when they’re particularly underdressed? Do they know when it’s appropriate to leave the room? Do they remember to hand the models their robes as soon as we take a break? When I tell them how to make a Sambuca Press, will they remember? Are they pleasant to be around? Do they have good hygiene? Do they know to shut the eff up when I’m shooting? Can I hand them an $8000 camera and know that they’re not going to drop it? Do they know not to walk when I’m using a tripod? And do they know that, just like in Vegas, what happens in the studio Stays in the studio?
Now a kid could be a young Helmut Newton, but if he doesn’t get the above and quick… I can’t use him.
Quite frankly, none of this stuff is “brain surgery.”
And as my Dear Old Dad use to say, “it’s not digging a ditch!”
So, if you can handle the above, step right up!
I’m always interviewing. (smiles)
Not believing in The God that men have created in our day and age, any more than the feared volcano gods of the islands or the many gods created by the Romans over 2000 years ago, it falls to me as a sentient being, to put forth “what I do believe.” My friends, I felt called to write today… and this is what I wrote.
Beauty walks among us
When we tread lightly upon this earth;
as if it were a wondrous garden and we
its humble keeper.
Beauty walks among us,
When we feed the hungry
and answer the call of the helpless;
knowing that the cry we hear in the night
is indeed our own.
Beauty walks among us,
When we endeavor to teach others
out of the longing that we may learn;
knowing that The Book of Life
is not written by one,
but by many peoples, by many nations
and by many faiths.
Beauty walks among us,
When peace is not the absence of war
but the natural state of our respectful
relationships and rightful tolerance;
and as we offer others the same respect that
we would of them desire.
Beauty walks among us,
When in our hearts we seek compassion and
mercy for harms done;
for we know that mercy is not ours to give,
but only ours to share.
Knowing that we may no more separate the
deserving from the undeserving
or the righteous from the unrighteous,
any more than we may rightfully cleave
the night from the day.
Beauty walks among us,
When in our quest for Equality,
we remember that in the eyes of the Creator
we are all Equal;
and that it does not fall to us
to add or subtract from this,
but only to be mindful of the truth.
Beauty walks among us,
When in our quest for Justice,
we labor with equal measure
for the cause of Mercy;
knowing that healing can only happen in the
name of Compassion and understanding.
Beauty walks among us,
When in our quest for Beauty,
We see her face outlined in the stars
of a sparkling summer night,
When we see her dancing
in the bright eyes of a child’s face,
When we see her arms reaching up thru the great oak,
That her leaves might caress
the sky’s ever moving face.
Beauty walks among us,
When we answer without reservation
the unanswered needs of our neighbors;
who are indeed our brothers, our sisters
and our countless selves.
Beauty walks among us,
When we at our own peril,
hold another’s hand and steady them
along the high precipice of their own dreams.
Beauty walks among us,
When we walk with pride and humility
in equal measure;
accepting with appreciation and gratefulness
the many unnumbered blessings of our days,
As the earth accepts rain from the gathering sky.
Aye… Beauty walks among us,
Even in times… when in our blindness
we may see her not.
JULIANExcerpted from “The Dream Oracle.”
By Julian James Wilde, All Rights Reserved, 2011
“One Night in Venice.” Chicago model Christie Gabriel photographed in The Crown Ballroom by Beauty & Fashion Photographer Julian Wilde for “The Fine Art of Dreaming.”
A lot of photographers like to put up pictures and call it a “Blog.” I’m sorry. A “Blog” involves actual writing. Ideally, one coherent sentence following another and hopefully addressing a common theme. And at LEAST seven sentences. Just putting pictures up… that’s called a “Photo Album.” Big difference. Just sayin’. -JULIAN
I’ve decided to institute an ongoing feature to my blog titled, “Pic of the Week.” Let’s just say that this feature will showcase current work that merits special attention. The rest, we’ll leave open for our combined creativity.
In this case, our winner is “The Barbarian Queen,” with the elegant and beautiful Shea Marie. I chose Shea for this image, not only because she is incredibly easy on the eyes, but she has a kind of natural regalness about her, a kind of modern Goddess, and an obvious athleticism. And I like the idea that she has the elegant bearing of a woman but also has some of the attributes of a girl’s body. I knew that with Shea’s body, I could do the shot nude without it falling into a gratuitous category. PLus I knew that she could bring a sence of artful movement that would suggest the seductive powers of a Sherazade or a Salome. All in all, I always had Shea in my mind for this image.
The styling was done by TeamWilde, with “The Amazing Jodi” on make-up and hair, and my breath-takingly talented wife Raven, on wardrobing and accessories. I wanted a sence of The Barbarian Queen being brought before the Holy Roman Legion; thus the classical Roman architectural background–which is not photoshop–it’s part of my studio. Since I knew I wanted an historic feel, I knew that I would be desaturating the full colour image to maybe only 10% original colour. And then driving up the yellow and red levels in increments to the point where I could achieve a kind of warm “leathery” tonal range. This also helped disguise the fact that we had a wide range of silver and gold accents in the jewelry, and I didn’t want that to distract from the feeling of “modern antiquity” in the final image.
I love the feeling that Shea brings to the “scene.” The feeling of being both very much in her body and at the same time, giving the viewer the feeling that she is “out of her body,” in a dreamlike way. It lets us feel that we are very much in her presence and at the same time, her loveliness gives us the feeling that she is “untouchable” or out of our reach. And it’s the synergy of these two things coming together that makes this image so dynamic for me.
But hey, that’s just me. Feel free to weigh in with your thoughts or comments.
As always, it’s a pleasure to see you on “The Wilde Side!”
-JULIAN
“The Barbarian Queen,” was chosen this week to be showcased in Scarlet Opus Design “Trends.” Also to be featured in my new fine art/coffee table book “The Fine Art of Dreaming.”
“What’s NEXT!??” I’ll be sharing excerpts from a recent interview with the Editor of UGotStyle Magazine.
I’m here with Paul Fitzgerald, the creator and editor of the on-line magazine “UGotStyle.”
“Alright Julian… since we’re talking about photography today, and you’re a photographer, who are the photographers you’re liking these days?
JW. I admit I have a problem with that these days. Especially with “living photographers.” It’s easier if I think about a few of the legends like Helmut Newton and his work during the 70’s and 80’s. I also loved Mario Testino, Steven Maisel and Guy Boudin back in the day! I don’t know that anyone has recaptured the “crown” that guys like Francesco Scavullo, Irving Penn and Skrebneski wore. You know, there’s also an Italian photog, Patrizio De Renzo who, when he’s shooting high fashion is remarkable. And I think James Russell is doing a good job for Victoria Secret. As far as shooting men goes, I don’t think anyone is doing a better job than Luis Rafael out of Miami. There’s also a current “internet photographer” named Philipe, who turns out to be one of the most consistently dynamic and original artist/photographers I think of this century. He’s a Beast on sites like Model Mayhem.
JW. His work is largely created for an internet audience. He’s out of Los Angeles, and rather than shooting for print clients or fashion houses, he shoots internet models, and does it in such a powerful way that he has created quite a niche for himself and certainly a world-wide internet following. His entire “canvas” is like a 4 by 6 foot space and in that space he is incredibly prolific. And not only is Philipe an accomplished photographer, he’s also reccognized internationally as an award-winning make-up artist and hairdresser. The guy’s on his own planet!
PF. What about Terry Richardson?
JW. I would have to say… that I’m amazed at what the guy has accomplished with the talent that he has. (smiles)
(As a sidebar to “the camera,” I think we’re ready for our next subject!) ))
Paul Fitzgerald, Editor and Founder of on line magazine UGotStyle, interviews fashion and beauty photographer Julian James Wilde.
PF: Julian, people in the industry can tell your work a mile away. I wonder, in your words, how would you describe your own process in creating a “Julian Wilde Image.”
Julian Wilde: Well… for starters, I have a tendency to see Everything in my head before I shoot anything. Most of the time I won’t even schedule a shoot until I see the entire image, crystal clear, in my mind. It’s like the image is right in front of me; like I’m looking at an 8×10. This visualization can take seconds or if it’s a personal project, it can literally take years. But at the point that it happens and I see the entire thing, I am manic about having to “put it on paper” as soon as possible! The “happy accidents” do happen from time to time and things happen that I cannot forsee; but I’m certainly not dependant on them. But I will compose and crop the image in my mind until I’m happy with it. I also cast my photo shoots like someone would cast a movie. And I think that is important for my style of image-making. For the most part, the models are not really “interchangeable.” Having said this, I would have to admit that there’s a certain amount of “control” in my images. The funny thing is, sometimes something amazing happens that I didn’t forsee and for reasons I don’t understand, I don’t feel as connected to the image. To me, it’s more like a bastard child. It’s not like I don’t enjoy it; but it’s like I have a different relationship to it.
PF: Do you ever find yourself swayed or influenced by the work of other photographers?
JW: Certainly not to the point that I would want to copy another’s work. If only for the reason that it wouldn’t feel like it was “mine.” Maybe, like I said, this relates to my process. For me to relate to one of my images I have to feel like it’s coming from a very deep place inside of me. That’s why, if a client were to hand me a “blueprint” for a shot, that’s a client I would drop. So the people that have had the most success with me are the one’s that say “Do that Wilde thing that you do!”
PF: Can you tell us about how “Table for two” happened?
JW: The attached photo actually happened at a birthday party for one of our dear friends. It was a small private party for one of our models, and right before Shea was going to open one of her presents from us, I had this idea. So to be perfectly honest this entire shot happened in a matter of minutes. And then we were back to drinking champagne! I know that confessing this may fly in the face of everything I’ve said about “planning” everything, but there you go!
Thanks for stopping by! My interview of Paul Fitzgerald/UGot Style Magazine will continue in installments.
Every so often as an artist or as a photographer you are involved in creating something that is everything and exactly what you had dreamed it might be. It makes you feel incredibly satisfied; in a way that really nothing else can. You feel, that what you have created represents exactly how you feel, that it is fully capable of “speaking for you,” and you can’t imagine your life as an artist being complete… without it. This is how I feel about this image of favorite Wilde model Lanna Barrones and fitness model Jason Meade. Of course I shot this last night and I always love what I shoot immediately after I shoot it. But I have a feeling that I’ll be enjoying this for some time. This image is one of hundreds we shot for a short music video and it wonderously reminds me of that 70’s erotic sensation “The Night Porter” with Charlotte Rampling. Like the movie, it is marinated in it’s own seething juices and offers plenty of subliminal tension and ulterior motives to keep the drama alive.
The shot feels very “black and white” to me, so I desaturated it some by pulling back on the yellows and reds, and letting the photographer’s ivory pale skin project a little more. I also decided give a little of the “storyline” and posted that to one of my favorite international sites: RedBubble.com.
Thanks again for coming by.
Seeya on the Wilde Side!
-JULIAN
“The Photographer & Her Model,” featured in my new fine art book “Provocateur.”
Selecting one shot as Pic of the Week was a particularly vexing exercise this week. But when I remembered that I was looking for something that challenged our conventions, the choice became quite obvious. This week I had the pleasure of working again with one of my favorite fashion models Shea Marie. Shea brings a number of things to the party, and one of the most obvious is her natural elegance and her natural beauty. But when you combine that almost aristocratic elegance with a sense of submission… something interesting happens. For one, the image becomes much more complex and conflicted.
I recently came across a very enlightening quote about a subject that is certainly part of the Greater Mysteries:
“Everything in the world is about sex. Except sex itself. Sex is about Power.” -Oscar Wilde.
So the idea of employing a gold metal Versace belt–complete with lion heads and black leather–to somehow to control this elegant, aquiline creature– seemed interesting. I don’t really consider this “fetish,” certainly not in the conventional sense, but I do see it as a kind of “implied fetish.” We have a tendency to see fetish as it’s portrayed on the internet; and as it’s presented on the internet, and because it it limited to certain adult sites on the internet… there is no really possibility to cross-pollinate with other forms of art or commerce. No matter that there may be a gajillion adult web sites carrying fetish content. For as long as fetish is limited to these sites, there’s no real way for fetish and the message that fetish brings to ever get into the mainstream of art/commerce/fashion. And that’s one of the reasons why I’m as fond of this image as I am. I also think it’s one of the reasons that the image works so well. But “fetish”, as it’s presented in porn sites, is not part of our national advertising concsiousness. But “Implied Fetish,” is here. And if I’m not mistaken… it’s knocking at the door.
Are you ready???
Seeya on the Wilde Side,
JULIAN,
All Rights Reserved, Copyright: Julian James Wilde, 2011
Paul Fitzgerald, Editor of UGOTSTYLE: In some of your shots there’s always a calculated feeling that something is “off” or just “not quite right.” In the case of Kenzie’s Broken Doll image, there’s the missing stocking and the sense that something is wrong. I think this is just one of the things that makes your work stand out. But I want to ask you, How does this stuff happen?
Julian Wilde: Well, it doesn’t happen by accident. I would even say that it’s a kind of reoccuring theme that surfaces in some of my most personal work. It comes out of the “broken doll” tradition that you mentioned. It comes out of the feeling that we’re all a little “broken.” I mean, that’s why we’re here. I’m reminded of the beat poet Alan Ginsberg: “that we are all broken and that’s how the light gets in.” We are all here to help each other mend, as best we can. We are here to make ourselves whole, as best we can. The beautiful part of the Broken Doll tradition is that the subject is often in two places at the same time. Physically they are just as we see them. But psychologically or spiritually that are somewhere else. They are quite often in the golden and shining place where everything is perfect and they are safe again. So they are also in a parallel time. They seem to be in this time, but often they are in another time, a time of their choosing. I think that we can do this, is remarkable in itself. But seeing it, is even more fun.
PF: It certainly has a “cinematic” flavor to it.
JW: I think for the Broken Doll pretense to work, the entire set-up has to feel real and believable. And yet, it has to have a noticably surreal element as well. In my shot with Kenzie, the set feels both real and also has a hieghtened sense of reality. The soft, feathered spotlight that surrounds her is really quite theatrical andit tells us that “we’re not in Kansas anymore.” The shadowed lighting on the background suggests both a stained glass window and possibly even moonlight–which we love–filtering thru a hole in the cieling. And like any good piece of theatre, you want it to feel real and also more than real.
PF: I love the look on Kenzie’s face! What a beautiful girl!
JW: I’ve always thought Kenzie was exceptional. She’s also one of the very few girls I’ve worked with who were under the age of 18. In fact, I started shooting her when she was 16! So it’s no exaggeration to say she feels like part of our family. And I think it’s that closeness, that level of trust and that feeling of being safe that allows us to create the images that we do.”
This is the Third Installment in my on-line Interview with Paul Fitzgerald, creator of ugotstyle.com.
I was about to put this photo session with Courtney, into the ‘Pic of the Week” category.
And then I relaized: this 14 year old phenomenon is bigger than Pic of the Week. At 5′9, this long-legged blonde has “Big Time” written all over her. With those perfectly sculpted legs, that hieght, flawless skin, a beautiful personality, the natural grace of a prima ballerina, and a face that could stop a New York cab… this girl is holding the winning ticket. So, rather than talking about this as a “fashion shot,” I’d rather approach it from an appreciation of The Girl.
First of all, she managed to track me down thru the internet via a couple of different sites, including www.modelmayhem.com. Being able to sift thru the veritable haystack of photographers on a mega-site like this, is like finding the proverbial needle! But find me she did, and managed without professional pics to wrangle an interview with myself and Raven. She also had the advantage of me seeing her in a recent fashion show and the memory of her coming down the runway burned her face into my brain.
So, not only does she show up on the second, with her mother, but is perfectly poised and lady-like the entire interview. Needless to say, I’m impressed at this point. Even though I make it almost a policy of NOT shooting anyone under the age of 21, we schedule the very young Courtney for a full day session.
About 3 weeks later she again shows up on the second, and we send her into make-up and hair with one of my favorite stylists, The Amazing Jodi. I asked Raven–my insanely talented stylist/wife–to throw something together for Courtney that was “very high end/very Designer.” Within minutes this beautifully long-legged swan walks, with that unforgettable walk of hers right up the the set, lowers herself upon the big mirror with the grace of a prima ballerina, crosses those stiletto-heeled legs and turns her face just a bit towards us. With all the poise and self-confidence of a seasoned pro, Courtney looks deep into the camera…
What you’re looking at, is the Very First Frame I fired. Something told me that we were off to the races! And that this photo-session would be only the first in an appropriately long and unforgettable series of shoots for this uber talented young sensation. Stay tuned. I’ll be looking forward to watching her bright star rise, from the comfort of a front row seat. This is going to be fun!
As a photographer, my job is to “capture moments.”
These moments that exist in real time and are captured digitally are quite often referred to as “snapshots.” These moments exist independent of whether someone captures them or not. However, when moments are created for the sake of a viewer who is not present, this is rightfully called “photography.” And that’s the difference between “snapshots” or reality on the one hand and “photography” on the other.
Considering the above statement, I will ask you: is the above image a “snap shot” or a “photograph?”
Let’s consider two different scenarios.
In the first scenario, I surreptitiously enter a private “gentlemen’s club” with a camera and once inside, I happen to capture something quite private happening in a rather private room. In the center of this darkened room, a beautiful young woman in her early twenties is wearing lingerie while on all fours in the middle of a grand mirrored table. There is a short line of men extending into the darkness on both sides of her. The two men that have approached the mirrored table are touching the woman in ways that suggest that they are clearly appreciating her many apparent charms. Despite the fact that this is an obviously intimate situation, the lighting in the room is such that I am able to get an acceptable exposure of what is happening before me. In this scenario, my timing has been impeccable and I have taken a decent exposure. It is more a “snapshot” than anything else. A good snapshot to be sure. But still a snapshot.
On the other hand… if this is something that first happened in my mind, and only in my mind… and I somehow managed to recreate the scene… then it is something more.
Then it is a “photograph.”
One cannot help but wonder…
Thanks for dropping by!
Seeya on the Wilde Side,
-JULIAN
Copyright Julian Wilde, All Rights Reserved, 2011. www.wildevision.com
Novella, a talented Interior Designer and a dear friend of ours, just turned 30 and wanted to be photographed for prosperity. With her singular beauty and those long legs… I could not help but to oblige and honor her request. I share it with you, because I think it’s an excellent example of the kind of work that can transpire where there is a great amount of affection and mutual respect at play. As it turns out, the horizontal version of this image is slated to be featured in our new book of fantasy portraiture and fine art “WildeBlue.” And as evidenced by this image, “WildeBlue” is full step beyond my book “WildeBeauty,” and is decidedly “a paler shade of blue.”
I will also be uploading a 20 image demo of “WildeBlue” in the weeks to come.
Just our way of saying what an amazing year it was, and how blessed Raven and I feel for having so many talented, beautiful and dear people in our lives. You mean more to us than we can say. The time we spend with you and the memories we create are truly some of the most cherished of our posessions. To our Friends New and Old… May your Holidays be filled with Light and Love! Always, Julian & Raven
When a natural athlete in the prime of her life trains 6 days a week year round, you expect her to be somewhat amazing. But Emelle is many things more than “amazing.” In this day and age “Amazing” is as cliche’ and as common as “Awesome!” I remember the first time this California swimwear model walked into my studio: I could tell immediately that all this beautiful skin, the easy and unaffected smile, the gorgeous body, the great hair and that natural cat-like grace… was only reflecting an even more amazing inner beauty. And after 2 long days of working with her, I was right. Emelle is a dangerously beautiful, intelligent, well-spoken and charming woman, who never misses the opportunity to speak from her heart or find the humor in life. She also has the uncanny ability to do fitness as well as high-brow glamour and big time girl-next-door sexiness.
And if that’s not enough to separate her from the crowd, she makes herself unforgettable by being 110% committed to the shoot, taking direction flawlessly and still managing to be the coolest person in the room. But my favorite memory of Emelle was at the end of an “implied” set that we did. I remember her getting up off the floor with the grace of a ballerina and walking away from me–and I swear it was in slow motion– with hardly anything on at all. As a professional photographer I’m accustomed to “amazing.” But this was definitely more than amazing. I turned to my stylist who was sitting behind me and had seen everything that I had seen. And then she nodded and whispered the word that was no doubt plastered across my face: “Magnificent!”
I couldn’t have said it better myself. “Amazing” I see all the time. I get used to that. But “Magnificent” is an entirely different thing. It’s an adjective that’s reserved for experiences that cause your jaw to go slack and things that inspire within you an abiding sense of wonder.
And Emelle… is “Magnificent.”
Oh, did I mention that Emelle is 36 and the mother of three!? Yeah.
” O.K. let’s spare ourselves any further examples. The point is, without the arms-length distance that this kind of social network gives us; we can end up feeling a bit inadequate—if that’s the right word. Seeing each other in person, we don’t have the luxury of those extra 10 seconds we have on Facebook to be witty and charming and so “off the cuff.” We don’t have the time to hand-craft the perfect, most succinct responce. Plus, we don’t have the advantage of being able to “get in and get out” in a way that serves our own comfort zone. Unlike Facebook, we may actaully encounter a number of awkward seconds where nothing is being communicated. In person, you actually find yourself “looking” at the person and realizing how very distracting that can be! Compared to the internet, running into a friend “in person” can be a little raw and unrefined and alarmingly “physical.” All this can lead one to feeling a bit uncomfortable and out-of-your-depth. Especially considering how non-physical and surreal the internet experience can be. I mean in real life, there’s no way to hide behind a monitor and there’s no way to effectively say: I’ll get back to you when I have something clever to say.
