In addition to photographing incredible men, Hans Fahrmeyer is also a master of visual combination. Hans loves to fuse together images and themes, creating composites and collages telling more of a story. Each individual image tells us something about the couple, but all together we are voyeurs to even more of the relationship.
'Cameron was one of my all-time favorite models, and not simply because of his great looks. He brought an upbeat attitude, a sense of adventure, and a truly professional demeanor to our shoots; which made it easy to create some of my most well-received photographs.'
One of the natural responses to experiencing something you like is to want more. Whether it is something you eat, something you watched on television and especially with something you visualized. When I check out the stats for FH there are thousands of hits for people looking to see more of the model and celebrities they like, more of course, meaning naked. I too want to see more when I viewing an image I love, usually for me, more of the work of the photographer. Even more so however, I want to learn more.
I know some may consider the words I annoyingly insert between the purdy picture annoying or clutter just getting in the way. The images are what inspired me to start FH, the words, why I continue. Great images make me curious, about the artist, the model, the location and theme. Part of what stimulates me about some images is wondering what the experience was like for man in front of, and person behind the camera. What inspired the image, what led up to the shoot and what was going on before and after the click of the camera. If I don't instantly ask myself these questions, my eyes, and mind, quickly move off the image, then instinctively look for another that might arouse my curiosity.
I love hearing about what went into a models decision to be naked, the factors that determine why they choose to work with certain photographers and vise versa. Equally intriguing is the photographers experience and through my six years of writing the blog, the stories continue to excite me, and bring a greater depth to my appreciation of the work. To me, without the story the ability to enjoy a piece of work is on par with watching television with the sound on mute. I know a great photo can speak for itself, I just believe they can also speak louder, and most certainly longer, with story.
Doug Vetter was a photographer I did not just want on the blog, I wanted to feature his work badly. As soon as I saw his first image of Felix, (-A Window-) I was anxious and excited to put the story together and share it with those who enjoy the blog. The combination of an exquisitely beautiful model, talented artist and stunning location combined together to create everything I usually look for with a profile.
When revisiting Doug's work, my eyes darted back to the house and barn that were so central in Doug's work with Felix. There was a magical quality about the structure, the lighting and the way Doug shot it, that makes it the perfect spot to shoot the male form. Within the house this time was Cameron. With Cameron's incredible body, beautiful skin, freckles and patch of red, my affinity for redheads kicked into full gear. Doug Vetter, aroused my curiously yet again, and brilliantly satisfied it with story.
My first shoot with Cameron was on the same day as my first shoot with Felix. An artist/photographer friend of mine, Bob Worthy set up a cooperative shoot with both models at a location near his home that features an abandoned house and old barn. We took turns working with each model individually. When it was my turn to work with Cameron, I was immediately impressed by his great physique, striking ginger coloring, and easy smile. He also has a spectacular fish tattoo in his right side, which was inked on by a friend of his who was actually just learning the process. Cameron was completely at ease even though it was his first time posing nude.
We got some great shots almost immediately using setups similar to those I had been using with Felix inside the abandoned house. My second turn with Cameron took place in the old barn, and we were able to get some nicely textured shots using a combination of daylight filtering in supplemented by flash bounced off a sheet, which required some experimentation. Cameron was extremely patient and good-natured during the entire process. We finished up the day’s shooting in Bob’s lap pool, which was a nice finish to a warm September afternoon. That day working with Cameron and Felix remains the most amazingly productive photo shoot I have ever been a part of.
Cameron agreed to come to my home studio a few months later for a follow-up shoot. He traveled all the way from Richmond to Manassas (over 80 miles) on a scooter-style motorcycle on a cold December day and arrived chilled to the bone. After a few minutes and some hot coffee, he was ready to go. We had decided on a “red” theme for our studio shoot, so I had a new backdrop and some props on hand. Cameron was just as good natured and at ease as on our first shoot, and working with him was a distinct pleasure. We got a nice variety of shots before he had to get back on the road so he could return to Richmond before it started to get dark.
I spent some time last week getting caught up on The Americans and watching Richard Thomas on the screen had me realize that I have been watching him on screen most of my life. Thomas still looks good at 63 and it is great to see him back on the tube.
Growing up in the 80's, repeats of The Walton's used to play on my local CBS every afternoon at 4. My mother encouraged our viewing, not just because of the family content, but because it kept it us out of her hair while she made supper. Although initially a Jim Bob fan, as I got older it was John Boy who drew most of my attention. I am sure I am not the only one who found something attractive about the combo of overalls, integrity and cheek mole.
One of my favorite performances from Thomas was in Stephen King's It (1990). I still believe It to be one of the best adaptations of one of King's books.
Last Summer (1969)
September 30, 1955 (1977)
I posted this video before, but I think besides playing a body on slab in another King adaptation, Nightmares and Dreamscapes, this is the only nudity from Thomas.