Occasionally, an older piece from the site get's linked elsewhere, and recently, there were quite a few new hits on my 2011 profile and interview with photographer Greg Weiner. Greg was one of Playgirl's most famous photographers and when I recently looked back at the interview, (HERE:) I was again taken with the image above. Greg did a spectacular job highlighting the beautiful curves of model Jamie Bales. Check out more from the shoot on PAGE 2 HERE:
Last week, when putting together my birthday post for actor Mario Casas, I was taken back to 2009, and one of my favorite Spanish films, Mentiras y gordas. (Sex, Party and Lies) Those who saw and remember the film, know that Mario's character Tony was having a confusing summer, especially when it came to his feelings about his best friend Nico.
Nico was played by the achingly beautiful Yon González, and it was not at all difficult understand and see why Tony was so drawn to his friend. I too had (have) a huge crush on Yon, a crush that began when first saw clips and caps from his roles on Spanish television soaps like SMS and El internado. (The Boarding School)
Yon has the most beautiful eyes and face. I remember the opening scene from Mentiras y gordas when he stripped down to go skinny dip, but before heading to the water, looked back at Tony to join him. That brief welcoming glance may have been misread by Tony, but it was it was a look hard to resist.
Yon with Martin Rivas (The Boarding School)
Since his early days on television, Yon has worked steadily on both Spanish television and on film. Over the last three years, Yon has appeared on the Spanish series Las Chicas Del Cable (The Cable Girls) That many have seen on Netflix. Although Yon has been working hard with his English, the show was dubbed by American actors for the Netflix version.
If you were a fan of Mentiras y gordas, check out my look back at Yon's nude scenes onPAGE 2 HERE:
Like many famous actors, Yon has appeared nude on screen, but also had several pesky paparazzi moments of nudity captured and published in Spanish tabloids.
'I spent too much time reading Stephen King novels and watching the entirety of the “Children of the Corn” cinematic movies. I was honestly BEYOND terrified of some 4” demon child popping out of nowhere to start telling me about he who walks behind/among the corn.'
Charles inside, before heading into the corn field...
Normally, I don't head into the corn fields until Autumn. The yellow stalked vegetable is usually harvested from mid-September through late November. It's during this time, especially around Halloween, that corn mazes are created and viewings of Stephen King movies are at their peak. When I saw this series of images from Revolt Visuals however, I decided it was time for a visual leap, albeit premature, towards Autumn.
You can understand Jamonn's feelings about the field, movies and TV have taught us horrifying things often lurk and hide within those rows and rows of stalks. Being from the Caribbean, this was also Jamonn's first time working in an Indianapolis corn field, so you can understand why his most intense connection to corn fields were those child demons, imaginatively imprinted while watching horror films as a kid.
Those childhood visuals can be very powerful, and follow throughout our lives. It was visuals, that also help form Jamonn's passion for photography and art. As a kid, Jamonn loved to go through the many photo albums around his house. He'd spend hours flipping the pages, and getting lost in the images. After his father bought a point and shoot Kodak, Jomonn burnt an entire roll of film photographing black birds bathing in a puddle of water. Jamonn felt a compulsion to hold a camera in his hands.
It wasn't until several years later, after a crash course in live events, that Jamonn would find himself behind a camera once more. During his time as a film student, Jamonn also worked as a volunteer with NGO's, working with at risk groups. His task became producing visuals to accompany and compliment this work.
'The focus or the incorporation of the male form for the most part comes from an interest in subjects that are taboo. In particular as an Afro Caribbean man. Another man showing interest in male visuals for lack of better terminology was frowned upon. Though it was a step in a direction of expression and possibly an egoistic journey in finding comfort in myself. Thankfully I did have a few friends who were artists themselves and were willing to be my visual guinea pigs.'
The first male form that Jamonn worked on was with a dancer, who also happened to be his friend. Working with Charles, a complete stranger, turned out to be an entirely different experience. Jamonn is normally quite reserved, so the shoot turned out to be an exercise in both connection, and most of all being comfortable himself, and ensuring his model was comfortable as well.
'I was hired to do shoot in Indianapolis for a client who I did previous work for during his visit in Barbados. Charles who shared an appreciation of men’s underwear and at the time, I had never done an underwear shoot. In my mind, it was autumn and as a Caribbean guy. It was too cold outside already to brave shooting outdoors for me. I was thoroughly mistaken (lol). We started indoors, going through a LARGE collection of underwear (briefs, jockstraps, boxers) you name it they owned it. During this time I conversed, selected locations in the house where natural light is best. Side note, where I was staying during my time, there was a massive cornfield nearby. Due to my lack of chill tolerance, I had minimal to no intention to conduct the shoot outdoors. However, between Charles, the client who hired me and the voice of adventure on my shoulder egging me on. I caved.'
'I guess my ramblings about horror movies and demons completely broke the ice. When we arrived, after what felt like an eternity of walking in this field, we were able to hit the ground running. The field felt less like the setup for a horror movie and more of a playground to me. It was a full immersive energy, I love shooting outdoors, and the lighting, the colour even the temperature were ideal. Charles was bold and comfortable in front of the camera, he possessed a cheeky humorous personality. That worked well with combining humour with directions I provided for each of the poses, and he also gave suggestions and we built a brilliant synergy that carried on for the remainder of the shoot.'