'With the right model, a photograph can make you do many things. it can make you think, laugh, smile, cry, want, need, and of course it can make you wanna be the "model" or even better "it can sell you something" you didn't know you wanted or needed!'
One of the traits I admire most in others is the ability to see light, even when there isn't any. Seeing through the darkness, and not being engulfed by it. April 26th is William's birthday, but since I am not posting birthdays on that day, I wanted to ensure to commemorate the occasion. Working on FH allows me to focus on the aesthetic. When working with the images of a gifted a photographer, I can let go of all that's going on around me and focus on the beauty of work that I am featuring.
William has always been incredibly supportive and no matter what has been going on for him personally, has gone out of his way whenever I have asked. William has had his own struggles the last few years, many incredibly painful and stressful days and months. Yet, whenever I hear from him, there is a always a hint of light when describing the darkness he has experienced. Always looking towards the beauty that spring brings and his ability the warmer weather allows him to get out and shoot again. William, like so many, finds his energy in creating and I wish him many more spring birthdays, and look forward to featuring his future creations.
Check out all of William's work on FH on his Quarternate post HERE:
'My goal is to create fine art photography that unabashedly expresses queer beauty, sexuality and fantasy; that shatters the limits and definitions imposed on us by the so-called heteronormative. And I'm realizing this can't be done in a studio. It has to be OUT in a world that we own, not "borrow" from the straight world.'
Earlier this month I featured part 1 of Richard Rothstein'sBeyond Heteronormative themed trilogy. In the first chapter, Richard shared his experience of working with Tyler and the complexities of capturing the naked male form explored during the process of the shoot. I loved reading Richard's account of shooting Tyler state of tumescence, and how narrow and negative the presentation has often been.
In the first chapter, Richard and Tyler shot from midnight to daybreak in New York's East Village. In the third, and final chapter in the series, Richard is hoping water will be involved in the shoot. These images, were taken about two weeks after the first, and the third will be about two weeks after this set of images.
In addition to Richard's visually brimming and color captures of Tyler, I was personally taken with the location. I love forest shoots, but as you can see through the tree's, this section of woods is located close to the city, above, overlooking what lays beneath. Most stories begin away, and bring the action closer to the center as the story progresses. It was interesting to me that Richard began in lower Manhattan, then moved further away. It also made perfect sense given how New York is so central to Richard's work.
So many people, both in New York, and around the world, spend their lives looking at New York, either from across the water, or across the globe. Seeing Tyler in the city was something I enjoyed, seeing Tyler just outside NY was something I understood. Overlooking from a distance, visiting, but never quite belonging. Given the territory Richard is exploring in this series, it makes odd sense to move further from his comfort zone as the series progresses.
Tyler is the focus in the forefront, a strong sexual presence with forest behind him. So much of the beauty however, is seen through the branches of tree's that surround him. The light the dark, the blues and the pinks, the landscapes and the city are all beyond seen through the winter trees. These same trees, in few weeks will hide what's beyond, when their forces back into covering as their leaves grow back again.... until they fall away next Autumn to expose what's beyond once again.
John with Christine co-stars Keith Gordon and Alexandra Paul
It's always interesting to me what makes an actor stand out. I have seen John Stockwell in many films over the years. He took two turns co-starring with Tom Cruise, in the 80's hits Losin It, and Top Gun. I also have childhood memories of watching him in North & South and Billionaire Boys Club. It wasn't til last week however, on a night when sleep escaped me, I turned on the television and caught John in 1983's Christine.
Stephen King is one of my favorite authors, but I don't often enjoy the movie adaptations of his novels. Because of the scope, most play better on television, where the longer multi-part format can fit in more of the character and story. (think IT) I read and enjoyed the novel Christine, back when I was taking 3 buses each day to get to University. I never had much interest however, in checking out the old 80's version of the flick.
John shot by Andy Warhol
Despite it being the middle of the night, I stayed up to finish it. Keith Gordon was great as Arnie and John was incredibly sexy as Arnie's friend Dennis. I loved the 80's feel, and the way film built tension through Christine's, the Plymouth Fury, hold over Arnie. The next evening I began to look for a bit more info on John and his work.
Partying with Bianca Jagger
I was surprised to learn that the actor began as a successful male model, living in Italy and working mostly internationally. During his time as a model, John was credited as John Samuels became a friend of Andy Warhol. Stockwell was mentioned frequently in the artist's memoirs, The Warhol Diaries, including his brief 80's relationship with Bianca Jagger. John started acting in the early 80's, his first film being the 1981 flick So Fine starring Ryan O'Neal.
John with Calvin Klein, Andy Warhol, and Tom Styron at the Calvin Klein Party for Elton John
In the late 80's John began screen writing, eventually moving on to producing and directing. Although John continued to act periodically, by the 2000's he was mostly working behind the scenes. Some of the big screen films John directed include; Into The Blue, Killer in the Family, Blue Crush and Crazy/Beautiful. John also directed several episodes of The L Word. John's next project is directing Wesley Snipes and Anne Heche in Armed Response out later this year.
With Patrick Swayze in North & South (1985)
With Top Gun co-star Anthony Edwards at a pro-peace rally (1987)
Directing Paul Walker and Jessica Alba in Into The Blue (2005)
Dangerously Close (1986)
I believe John's only nude scene was a brief (and steamy...literally) butt scene in the shower from 1986's Dangerously Close. John has a great body, and given he wrote the script, must have been ok with showing it off a bit. Too bad the director choose to obscure it for so much of the scene.