The Blight

I wrote a small piece on the Edwardian Ball for my friends over at Coilhouse. Go take a look and stay a while; their blog is a collection of dark and lovely things.

Originally posted at The Blight

As the new year has come around, I thought I'd again bring you some of the past year's highlights (see the post from last year). Two-thousand Nine was marked by two major changes for me: the first, that I actually got enough room for a full studio; and the second, more subtle but much more far-reaching, that I have adjusted my focus to higher quality over quantity (both in events attended and pictures taken). I'm no longer going to three shows a week and taking a million photos; rather, I'll attend two and shoot a few score. So without further blather, here are my favorites from 2009 --

(Every image can be clicked to enlarge)


Jill Tracy for Constellation Magazine
It seems fitting to start with one of my last images of the year, this portrait of the beautiful and talented Jill Tracy; after all, I've had a whole year to hone my craft, and I've hardly been sitting idle... Jill and I have been speaking of doing a photoshoot for years, and I'm quite pleased with the results which will grace the cover of Constellation Magazine, shot at her apartment in San Francisco. You may find some of her magnificently malevolent work at her website, JillTracy.com


Savannah, Raven
This photo of Dreamtime Circus performers Raven and Savannah marks the first official studio shot I ever took; the white of their makeup and costumes, provided by them, was a happy coincidence.


Calamity Lulu, Quaintrelle Designs
It's a serendipitous thing indeed to have as a partner someone as beautiful and talented as miss Calamity Lulu (who made everything you see in this Tudor gown), who now runs a costume and fashion line called Quaintrelle.


Eva, Quaintrelle Designs
Following the thread of both studio work -- still a relatively foreign concept to me -- and costume design is this photo of Eva, where the outfit and assistance directing comes again from Lulu.


Jenny Atomik atop the Sunshine Biscuits factory
Jenny Atomik and Mike Estee came to my studio for a photoshoot, and it was only appropriate to use the architecture and neighborhood as a setting and backdrop.


HUMANWINE poster/flyer shot for show promotion
Visiting from Boston, I had the distinct pleasure of befriending M@ and Holly of HUMANWINE, whose music I've enjoyed for years. The concept and editing for this photo were done by M@ for an upcoming show in Boston. Go listen to their music here.


The Man burns at Burning Man 2009, shot from a boom lift
Watching the burn from a boom lift -- the best seat in the house -- was an incredible (and fortuitous) honor. The story of how I managed to get up there was one of luck and timing, to be told another day. Thanks again to Cameragirl, Andy, and Gadget.


The DPW of 2009
This motley crew is responsible for the building of all the infrastructure of Black Rock City not provided by the participants themselves: the generators, the roads, the trash fence, heavy machinery (for setting up art, etc.), building the Man and Center Camp: the list goes on. But they also stick around after the event is over to clean up the detritus left by 50,000 people who, though good at policing their own trash, are by no means perfect. This image is a composite of seven photographs shot in quick succession with little to no direction from me (I just flipped 'em off to get the official DPW "salute").


John Cervelli in the Black Rock Desert at Fourth of Juplaya
John and I went for a ride and a glass of wine after I finished a grueling two-day epic ordeal to get my blasted car out of the mud. The surface of the playa is treacherous: undisturbed, the dry lakebed turns from tan to white when there's water beneath the surface as salt rises up from below; it's subtle, and if you're driving 25MPH and looking for a crossing over the railroad, you'll quickly find yourself in the middle with a hard way out.


My camera post Burning Man
I am a very vocal proponent of relax and use your damned camera. This isn't to say I go out of my way to damage my gear, but I don't expend much effort to protect it, either: because everything you do to keep your gear safe is one more hindrance to taking a shot. And the harder you make it, the fewer pictures you'll take. Many people refuse to bring their nice equipment out to Burning Man, safe guarding it at home instead (where it takes no pictures). Rather, they bring out cheap gear -- and then, when it dies, use this as justification for not bringing out the good stuff. Counter intuitively, the high quality (and hopefully weathersealed) gear would have been just fine. It all boils down to this: did you buy the gear to sit on a shelf, or to take pictures?


Eva at the Edwardian Ball
My favorite portrait from the four days of Edwardian Ball last year, this picture of Eva in her fantastic swimwear was hastily taken in the middle of the crowd in front of the stage. This year's Edwardian Ball is rapidly approaching; do you have your costume yet?



Vau de Vire girls spin 'round the room
One of the most technically difficult (read: "lucky") shots I took all year is this one of two Vau de Vire girls spinning around in big circles in an drastically underlit room in the upstairs lodge of the Regency Ballroom for Sunday's Edwardian Ball.


The fabulous Victor at Supperclub for the Marquis Fetish Ball
A frequent performer with Bad Unkl Sista, Victor can always be counted on for some of the finest costuming and makeup. This was just a quick snapshot on the stairs at Supperclub, where after plenty of contract wrangling, I was finally OK to shoot the Von Gutenburg/Marquis Fetish Ball.

Other than Burning Man, only three of the above images come from events, a marked departure from all of my previous years. I learned photography backward, diving headfirst into the chaos of parties and clubs and galas without ever meticulously working in a controlled environment; it just seemed the natural way to do things. These days, working in a studio is something of a double-edged sword: you have full control over everything, but it's up to you to make it work.

2009 was great -- here's to 2010.

Originally posted at The Blight

There are a number of new galleries for your perusal ~



Lauren the birthday girl in her red and cream cupcake dress

This past weekend saw Les Bal de Vampires, a in Alameda by PEERS. See the gallery here.



Calamity Lulu at the Day of the Dead parade in San Francisco

The second day after Halloween is Dia de los Muertos, or Day of the Dead. The Mission District of San Francisco, having a very Latin American demographic, celebrates each year with a parade and altars honoring the dead. The gallery is here.

Also in the not-too-distant past:

• Burning Man's Decompression Heat the Street Faire


• An abandoned one room schoolhouse


• The Great Handcar Regatta

See the whole gallery here.

Originally posted at the blight
Perhaps in homage to this year's theme, Evolution, I've extended my image-making repertoire to include things that move. Not the campy Photo-Flipbooks of ol', but actual movies, with sound. Shot on Wee Camera (My Canon SD780), they're nothing particularly fancy (coupled with the fact that I'm no videographer) these are here to serve as a documentary supplement to the photos in the gallery (at which you've already looked, yes?)

Without further ado, the first three (and the most exciting, assuredly) videos from my travels:


The Man Burns at Burning Man 2009






Raygun Gothic Rocketship Launch, Burning Man 2009



Burn Night from a boom lift, Burning Man 2009

There are a few more of mine up on Vimeo, and I'll add some more in the coming days (from the DPW Parade, the Balsa Man Regional Burn, and a few others). Enjoy!

The Man burns, Burning Man 2009

My photo gallery from Burning Man 2009 is complete. You can find it here.

Expect a full post-burn report in the next several days.

Post-DPW Parade, Saturday at Burning Man 2009

Your intrepid narrator is hard at work sorting near 3,000 photos taken this past week at Burning Man. They will be online here this evening. Until then, take a look at the handful of images I posted from the playa while at Burning Man here, or occupy yourself with last year's gallery.

We received new information regarding our placement at this year's Burn, and I've reflected that in the above map. We arrive this Saturday afternoon.

Note that this, like the one before, is still a "best-guess" and may not be accurate. The only thing we know for sure is that our address is listed as 3 o'clock and Adapt. Come find us and have a drink. And now, back to packing.

Originally posted at The Blight
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I have two new studio shoots online, both "just because."


Jenni Pigtails


Lissie Bang Bang and Bean of the Can Cannibals

Click either for much larger resolution versions.

This past weekend saw two photoshoots at my studio in Oakland.


Calamity Lulu and the Settee of Contention [click for gallery]



Lil Miss Never for an aerial promo shoot for an upcoming fetish event [click for gallery]

Reposted from The Blight

Originally posted at The Blight.
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I've made a few recent exceptions to my event-photography hiatus (does this surprise anyone?) and you can take a peek below. You'll find Throbbing Gristle, Vau de Vire's "Sideshow" at Cellspace, Circus Metropolus's "Funhouse" at the Oakland Metro, and a special bonus vignette.



Genesis P-Orridge of Throbbing Gristle at the SF Regency Ballroom

Throbbing Gristle -- the pioneers of noise as music and of shock theater (who are credited with the invention of industrial music, along with Cabaret Voltaire and Einstürzende Neubauten) -- who had broken up in 1981 (coincidentally after last playing Kezar Stadium in San Francisco) are back on tour. To quote Jon Longhi of NBC Bay Area (where my photos ran!) "Throbbing Gristle wasn’t just showing all these young techno kids that they could still do it, they were showing them how it’s done." See the photos here.



Illy of Circus Metropolus at Cellspace

Vau de Vire Society joined forces with the Eric McFadden Trio at Cellspace for some stellar performance and fantastic music. If you weren't there, you missed out. I have some portraits I shot here, including those of the chanteuse Jill Tracy and Andrea Zerilli (Oryx Incruentus).



Bad Unkl Sista at the Oakland Metro

Circus Metropolus -- joined by Bad Unkl Sista (pictured above), Dreamtime Circus and (obviously) Gooferman -- took over the Oakland Metro for a production called "Funhouse." I again took mostly portraits, though I did shoot Bad Unkl Sista's lovely butoh performance.



My grandfather's WWII / Korean War MB Jeep

Finally, for something a little out-of-the-ordinary, a very small gallery of my grandfather's WWII / Korean War MB Jeep. He's a veteran of the Merchant Marines, WWII (United States Army, German Theater), and the Korean War, where he was an MP and drove a jeep just like this one. I wish to thank him here for all that he's done (and show some nifty pictures of his toy!).
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Originally posted at The Blight.



White Witches -- Savannah, Raven. Touch to view large (and larger).


For the last few years, several times a week could you catch me at some event or another, camera in hand. (You may have noticed). Though I've picked up many a trick over time to get photos sorted, archived, edited and uploaded in as expedient a manner as possible, it's still a rather... large amount of work. And doing so has prevented me from experimenting with other avenues of photography, which I have wistfully lamented.

It's time for something different.



Lulu de la Calamité by midnight. Touch to view large (and larger).


Vignettes and glimmers will be my focus for a spell, shooting in my (brand-new!) studio or on location, working with (mostly) cooperative subjects, as opposed to performers on stage. And I'll be in control of the light for once. The above two photographs were shot Friday and Saturday night of this past weekend; I would call the experiment a success (if I may be so bold (and I am)).

This doesn't mean you won't see me out-and-about with some degree of regularity, like-as-not with camera in-hand -- but if you do, I don't want to hear an exclamation of incredulity on your part; for what else do I know how to do at an event, anyway? I just don't want to have the responsibility and requirement to cover every act and aspect of a show and editing hundreds of photos later. Maybe I'll get two shots instead, and perhaps they'll be something completely different than before. However they end up, though, they'll be on my terms, and I find that exciting (and a relief). Unless you want to hire me. In which case, we should talk.

So, do you have an idea that you'd like to turn into a shoot? Send me a note and give me your thoughts. I'm looking for models and locations and projects and what-have-you. (I reserve the right to be picky). I have a studio in Oakland and will work on-location anywhere in the Bay Area for the right project (or travel for the really right project).

In other news, I've updated my portfolio (with special higher-res versions).

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Spy on me on Twitter! Written last night while sipping San Francisco's own Old Potrero Rye.

Serpentine bellydance from Portland, Oregon

With Saturday's passage came too the end of Orbis Nex, one of the bastions of Bay Area underground venues. Though the reasons were different than budget and economy, it follows a long list of other recently closed venues that will also be missed: the Xenodrome, the first underground I called a second home; Ace Auto, where Death Guild set up Thunderdome and Cookie Mongoloid growled out his ode to cookies; and the Parkway, which I only recently rediscovered several months ago after first being dragged to a Rocky Horror Picture Show there some five years prior.



Final rites at Orbis Nex

Being the last night of a space so infused with the heart and soul of its curators, it was steeped with ritual and ceremony. And from Portland, the world-class Tuvan throat-singer Enriqué, performing as Soriah and joined by Serpentine delivered a staggering performance.



The Tuvan throat-singer Soriah

Orbis Nes is dead and buried, and she will be missed.

Please find a small gallery of the final turn of Orbis Nex here.

Orbis Nex was fronted by Patricia Cram of the darkly beautiful Vial Magizine.

Originally posted at theblight.net

Gravity Plays Favorites at Bohemian Carnival

Photos from February's Bohemian Carnival and Hubba Hubba Revue Mardi Gras are online!



Madame Chartreuse at Hubba Hubba Revue

You may have noticed by now that a very large portion of my photo galleries come from events at the DNA Lounge, the staple of independent underground performance and live music in San Francisco's SoMa district. You also may have noticed that they recently received an all-ages license, which is important as concert-goers are usually in the age group of 16-25, a large portion of whom are under 21. The DNA Lounge was originally denied the license, but won it on appeal. That's when the funny business started.

The DNA Lounge has been accused of running a "disorderly house injurious to the public welfare and morals," and are trying to permanently revoke their liquor license (essentially shutting them down). Besides the obvious "wtf?" such a statement should elicit from any thinking individual ("what right do they have legislating and enforcing morals," I hear you ask) it appears they're doing so not only in retaliation for appealing and winning the all-ages permit, but doing so by specifically targeting the gay and lesbian club nights.

From the DNA Lounge blog :

• Though it is clear to me that ABC's investigation of our gay events is retaliation for our successful conversion to an all-ages venue, the events they are citing us for were 21+ events.


• The majority of the offenses they are charging us with were dancers flashing for just a few seconds. We're talking about some guy mooning the audience for three seconds. That's the level of these offenses.


• The people doing these things were not DNA employees.


• The ABC considers "several" fully clothed pelvic thrusts, as a part of a comedy routine, to be an illegal "simulated sex act". There's hardly a music video in the world that would pass their standard.

posted by Jamie Zawinski, owner. Read the full post to learn more.

The DNA Lounge employs people, and is a second-home for many of us. This petulant gesture by the ABC reeks of discrimination and retaliation, and is an utter waste of our tax dollars.

What you can do.

( Read below for people to contact )

There exist in my archives a very large number of images never seen by anyone -- a quick estimate puts the number at over 100,000. The vast majority of these are the duplicates, the blurry, the over/under-exposed, the ill-composed; you would be most disappointed to see them, I wager. I have heard it said anyone can be considered a good photographer if they only choose the right photos to post, but I digress: I'm not here to talk about the mountain of bad photos I have sitting here, and I'm not here to tell you the various trite reasons the ones worth posting remain languishing in the dark. No, I'm here to ask: why bother doing it at all?

I have always tried to put my work on display, even when it (frequently) was not worthy of it. My goal was not the criticism and critique of others, for I am and have always been my own harshest critic, and am never satisfied but for a moment with anything I have done. For if I cannot find flaw in a creation, it means either that it is perfect (which is utterly impossible) or that, instead, I'm not yet skilled enough to identify what is wrong. And, if so, I should not rest until I can do so. Nor did I (do I?) present and showcase for the (undeserved) praise that I sometimes received. Instead, all I wanted was acknowledgment. "Look, I did this, and I am proud of it for a moment." A nod would be more than sufficient.

To not share is to be unfulfilled: it's akin to laughing at a joke in an empty room. You turn and cast about, hoping to share it with someone -- anyone -- and thereby expand your own experience and joy, but no one's there and you sigh and carry on. It's like filling your mouth with fine wine and not swallowing.

I am not some artist laboring in obscurity to fill some void, some need in my psyche, only to have my work discovered posthumously -- I cannot claim that dignified a goal. It is a performer whose traits I share, the desire for an audience. Though instead of even a quiet, polite applause, I instead satisfy myself with pageviews and bandwidth (oh woe is me). Ours is work to appreciate after the fact, for though we and the performers are plying our trade at the same moment, their act is the moment, and my photos will be up tomorrow.

Periodically someone will ask why do I bother? Why do I spend all this money and time and effort and go through the stress and pain and sleepless nights to do this? (For, perhaps you do not know, but I do not do this for a living. In fact, it barely -- if at all -- pays for itself. It depends on how I do my books). And I will not offer up some asininely banal reason such as "I enjoy it." I can do better than that, and will explore that topic in a future post.

Ultimately, the answer here is that there is no point whatsoever for me to shoot something if no one ever sees it. There's your tree-in-the-forest solution; did anyone hear it? Yes? No? Irrelevant.

All this was a very fancy (read: longwinded) way of saying "Oh hi, look, I didn't post these last year for various reasons, but I am now. You should look (and thus validate their existence and my effort). Kthxbai." And so, without further ado, I present you with a very small gallery of "studio-esque" -- that is, contrived and posed and planned to some degree, and not a live performance -- photos of miss Erica Mulkey, aka Unwoman, from a shoot she hired me for mid last year. She has not made use of them yet, but I have her permission to publish them -- go here for the full gallery.

...wherein I made a surprise appearance on stage (as a photographer, I'll have you know) and got my tasty brainmeats eaten by a zombie (the lovely and aptly-named miss Calamity Lulu). Of course we botched our routine (almost entirely my fault since hey, that's why I'm usually on the other side of the camera). Oh well, I hope it was entertaining. That's all we're really going for, right? My mistakes included missing queues and moving too quickly (must delay more!) and laughing too hard to assist in the tasteful undressing of hot zombie girl; she forgot to unclip her garters and ended up slipping on the fake blood (I hear she bounced when she hit, too). Hah!

Pictured above is the aforementioned Calamity Lulu after I shot her in the head (with a cap gun, people) and actually took photos while on stage during the routine (what do you expect?). See the photos here.

Having not yet recovered from the tiredness built up from last weekend, Friday night I embarked on a whirlwind trip to Los Angeles with my good friends Nifer and Slim to do it all over again: the first-ever Edwardian Ball in those hot southron lands at the delightfully decrepit and partially restored Tower Theater in downtown Los Angeles. Being familiar with the otherworld couture of the cocktail costume party that is the Labyrinth of Jareth Masquerade Ball that takes place yearly in Hollywood, I was curious to see how the LA installment of the Edwardian Ball and the costumes thereof would compare: I was not disappointed.

The weekend itself was a blur of fantastic things: we arrived late in the night and crashed at the Brewery, and then spent Saturday afternoon on a well-planned and better-executed thrift-store shock-and-awe campaign which resulted in bags and bags of magnificent wearable bits of awesome (my favorite score, found and suggested by Slim: a vintage tuxedo jacket with tails so old it's literally falling apart, a perfect match for the Tower Theater). At the Ball I got to spend some time with Nadya and Meredith of Coilhouse, though we never found Zoetica for the group photo; I met many really great people, and this time -- for once -- shot no performance on stage (with the notable exception of Jill and Paul), eleccting instead to focus solely on my portraits which I felt much more important for an event like this where it is the attention to detail in each individuals' costume, not something on stage necessarily, that makes the event what it is. I delight in the attendee-wide participation.

Sunday was simply the long-haul back up the 5, and was proceeding without incident until just before the Grapevine when I got a phone call from Paul Mercer whom, with Jill and Evil Sarah, I had just passed. Their thought was "Mr. Nightshade should have that license plate ... oh wait, he does!" We stopped for coffee and gas in some desolate tourist trap (after a long dearth of nothing, there's always a gas station with INCREDIBLY over-inflated prices for gas in the midst of absolutely nothing, so in desperation, you pay for it; a scant few miles up the road is a veritable oasis with a whole town and trees and restaurants and gas stations charging the state average price for gas. It's really annoying.), and then off on our separate ways went.

I hope you enjoy the photos. I had a great time making them.

With the final installment of the Sunday Gorey Sunday gallery, pictures from all three days of the 9th annual San Francisco Edwardian Ball are now online. Sunday took place in the wood and red velvet room at the top floor of the Regency Ballroom, and was a decidedly more intimate (and dimly lit) affair. Performances included those by Oryx Incruentus (Andrea Zerilli, guest Paul Mercer) performing to the 1911 silent film "L'Inferno," The Ghosts Project (Paul Mercer, Minka, Davis, and guests Jill Tracy, Nathaniel, Erica) with Finn from Abney Park dancing, Shovelman, Lee Presson, Alison Lovejoy, and Agent Ribbons. Non-musical acts included Finn from Abney Park dancing to the Ghosts Project, Evil Sarah (burlesque), Helios Jive (the buffoon clown), Fou Fou Ha!, and several vignettes from the Vau de Vire Society (like the incredibly-difficult-to-photograph swinging-'round-the-room rope act pictured above).

Tonight, via horseless carriage, I do depart for the arid southron lands of the City of Lost Angels for their installment of our grand affair at the historic Tower Theater tomorrow night. Go here for details.

Eva, aka Miss Never -- click for Saturday's photo gallery

It is one of the "only in San Francisco" sort of affairs in which we love to indulge, with thousands of people decking themselves out to the nines for three days of decadence in the extravagant and recently beautifully renovated Regency Ballroom center (Mike Vau de Vire told me they were pulling the blue painter's tape off on Friday during setup). Having moved from the Great American Music Hall, where the Ball has been held in prior years, there was some concern as to whether the much larger Regency Ballroom could be filled; after three days of packed halls, that question has been answered.



The Ballroom Saturday night -- click for Saturday's photos

Saturday was the main night of the ball, with the headliner and chanteuse Jill Tracy playing with the Malcontent Orchestra, and later the hosts Rosin Coven, accompanied with performances by Cirque Berzerk and Vau de Vire Society.



These may be my favorite costumes of Friday night -- click here for the gallery.

Friday night was steampunk-themed (though not explicitly advertised as such so as to avoid offending us purists), but brass and goggles and steam-powered contraptions were certainly donned by many an attendee, and those self-ascribed purveyors of steampop Abney Park definitely put on a great show. Rounding out the lineup musically were those corseted and quirky Rasputina, of whom I am a fan (what's not to like? women playing cello, corsets, songs of nonsense and tomfoolery sung with a straight face? Indeed).

Sunday's gallery is coming as soon as I finish editing the 1,000+ photos I shot for it. Check back Thursday night -- they had better be up by then, for the next eve I depart for an additional fix of hats and corsets at the Los Angeles edition of the Edwardian Ball at the Tower Theater. (You should go).

And did you know I added a "prints" section?

It's off to the third night of the extravagant gala that is the Edwardian Ball, and though I had delusions about getting Saturday's photos up before I left, and though they're nearly finished, they shall sadly have to wait until tomorrow. I have but one thing to offer you as a stop-gap measure before you begin hounding me for imagery of this fantastic affair, and so I present you Meredith Yayanos, violin player and thereminist extraordinaire, as well as editor at the love letter to alternative culture that is the dark and beautiful Coilhouse Magazine.



Meredith Yayanos with her Penny Farthing at the Edwardian Ball 2009

Come back and look for photos from all three days of the Edwardian Ball online here starting tomorrow evening. And now, it's off to see the Ghosts Project in the red velvet upstairs of the Regency Ballroom.

*** UPDATE ***

Saturday's photos are now online -- See them here.