Tuesday, July 19, 2011
The Artist's Accomplice: Boston Aiden By FLYFOTO -Part 2-
Earlier this month I profile Massachusetts photographer FLYFOTO's work with model Boston Aiden. FLYFOTO has captured thousands of images of Aiden through their many shoots together over the past several years. It was an almost impossible task to narrow them down to the usual 10 or 15 shots I use for a feature.
Thankfully, with FLYFOTO's support, my task got a bit easier by deciding to do a part 2. Check out part 1 HERE:) In the second part of The Artist's Accomplice, FLYFOTO gives a peak behind the scenes and shares with FH some of what was going on at as each shot was taken!
Thanks again to FLYFOTO for sharing his work and his words with FH!
Check out more of the work of FLYFOTO on Model Mayhem HERE:
& on his great blog HERE:
Check out more of Aiden on his Model Mayhem page HERE:
Blue Moon: 2010
'This was a spontaneous shoot. It had come at the tail end of a rather whimsical study of Aiden in silly winter hats against a silver drape. The work that proceeded this was high concept and meticulous. Both of us wanted to take a break, and work on something less conceptual and more sensual. We went into this shoot with a completely blank slate – which was to say, neither of us had any idea of what we were about to shoot. The idea spark was ignited and I began quickly moving lighting around my studio so that this moody stage was set. Aiden was looking through a glass French door and the lighting was all carefully manufactured to appear as though he was staring out at a dark, blue evening sky. He controlled the pose and the emotional tone. We were both very pleased with the surprising visual drama that was accidentally created.'
Smoking Hot: (or the Easter basket shoot) 2009
'It was Easter Sunday and we had both just come from our respective family holiday meal disasters. We were bored to tears and chose the opportunity to venture into imagery that would serve to tell a very mysterious, murky and sensual tale. (In hindsight, I think we were both feeling a bit of religious rebellion.) Unlike most shoots, this one was eerily quiet – which is to say there was not much interaction as we worked. There was a certain degree of intensity as the rather intimate nature of the moments, were captured. This was a difficult image to edit, but in post production, I manipulated it further to enhance the seductive nature of the shot.'
Egg Lamp: 2011
'At Aiden’s suggestion, we ventured to the home of his friend to do some location shooting. In the renovated attic, we discovered a wonderful assemblage of modern furnishings and a large, illuminated egg. The egg was intentionally hidden behind the sofa so that the glow of the attic eave, would be mysterious and backlight him in a way that competed with the natural lighting coming through the window. In his usual fashion, Aiden delivered a refined sense of sensual.'
Orange Balls: 2011
'I had discovered a stash of cast off inflatable balls in my wanderings and the idea for this image popped into my head. The concept was so strange and unusual, that it was difficult to communicate it to Aiden, but he agreed to go along with it. We spent a considerable amount of time (and lung capacity) blowing up those damned balls! Aiden donned the orange gloves, grabbed an orange out of the fridge and hopped in the tub naked. I spent a considerable amount of time positioning the balls around him in such a way so that he was completely concealed. From a ladder above, I shot with my wide angle lens. Interesting side note, Aiden was in the tub for so long that he actually began to fall asleep!'
Popeye n Bud: 2010
'I stumbled upon my old Navy uniform when cleaning one day and the idea for this shoot instantly began to germinate. So many military inspired shoots are so one dimensional and rely upon the cliche’ of delivering that same sexy message. I wanted to put my own spin on it. I drew from my memory of my years in the military what being a sailor really was about; drunken ambivalence. I set about to tell the story of a drunken sailor who was just horny enough to take on any ‘port in a storm’. After conveying the concept to Aiden, he nailed it – bringing forward just the right attitude.'
A Room With A View: 2011
'This was shot on the same day, in the same location as Egg Lamp, but in a completely different part of the home. We came across this simple, but spectacular room that was filled with light. The furnishings were modern and the drapery bold and impactful. Through the window, we discovered the view of a neighboring property that had recently been ravaged by a tragic fire. The space was filled with quiet drama and we deduced that Aiden himself must bring his own element of curiosity into this mix. The tux pants, top hat and skull suspenders were chosen specifically to add complexity, texture and story to the image. We shot hundreds of images and in this one in particular, he delivered the right amount of mystery in both pose and expression.'
Blow Me: 2011
'The idea behind this capture was to generate images that might represent one as they had simply slipped out of bed naked in the morning, and set about to prepare for their day. My niece had brought me back a silly tourist mug from Scotland with the quip ‘Blow me” written upon it and that prop, paired with a bright red tea kettle, triggered the inspiration for this image. While it may not seem readily apparent, there was some tricky lighting set in play to make this shot more dramatic, more sensual. But it was that intense, smoldering gaze that Aiden delivered that brought the image to life.'
The Fighter: 2010
'Believe it or not, this may be one of the more technically complicated images that I have every created with Aiden. We had decided to try and shoot him against a green screen, with the intent of capturing a variety of different personality types. The styling, pose and expression of this image, was his interpretation of himself as fighting mad. Post production, it was paired with a background of urban graffiti and then further manipulated in Photoshop to create a jagged, scratched patina to the image. The final edit was sent through a sepia wash and given a rough edged frame. I have always loved this image as it really does illustrate Aiden in a way that is in very stark contrast to who he is as a person.'
The Bicycle: 2009
'We had spent the morning working on location at a seaside spot just outside Boston. Aiden had discovered an abandoned, rusted bicycle and was completely fascinated by it. At his encouragement, we began to shoot with it as a prop in the exact location that we discovered it. We shot hundreds of images – with the goal of pairing his emotions and expression with this curious object. This image spoke to us both as his emotional tone took on the sensation of the bicycle; poignant, lost, alone. It is one of the rare of images that I have of Aiden where the sentiment of melancholy is discovered.'
Batting Cage: 2009
'We returned to Aiden’s suburban hometown and chose his high school athletic field as a location. It was a crisp early morning shoot and while both of us were completely ‘in the creative zone’, the beginning of this shoot was lackluster and unproductive. Then we discovered the batting cage. From the moment he stepped into this chain link enclosure, his personality changed and suddenly, the visual sparks flew. Aiden took on a larger than life “all American boy” persona and as I snapped away, I was enthralled at his acting chops. Side note; in the middle of this shoot, a security guard from the school decided to become an audience for us and monitored our activity closely from 25 yards away. He finally shooed us off the property!'
The Pick-up Game: 2009
'This was shot this alongside a very busy highway in Boston. It was a crisp, bright Sunday morning and both of us were just starting what was to become a long day of shooting. The shorts themselves were the seductive style choice of the shoot, but neither of us could ever have predicted how the sun gods would bless us at this moment. After it was shot, both of us gazed at the image and had a classic “OMFG” moment. We chuckled at the simple perversity of it and realized that we had struck visual gold.'