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Friday, October 18, 2024
Horror Hunks: Dale Stones in Blood of Tribades
2000 years after the Vampire Bathor has established the village of Bathory, superstition and religious violence take over as the men and women battle for control.
Blood of the Tribades takes place 2000 years after the great vampire Bathor established the village of Bathory, superstition and religious violence take over as the men and women battle for control. When the men are afflicted with a mysterious illness, they become certain that the vampire women of Bathory are responsible for their ills, and thus, the hunt begins!
I discovered the 2016 horror film on-line after seeing caps of several of the films actors in scenes with male skin. Directed by Sophia Cacciola and Michael J. Epstein, the script, style, and look are heavily influenced by 1970s European lesbian vampire films. Chris Hallock of the Boston Underground Film Festival, where the film had its world premiere on March 27, 2016, calls it, "a love letter to offbeat lesbian vampire films that offers powerful discourse on self-identity, feminism, and the violence wrought from religious dogma".
One of my favorite actors in the film meets a very rosy, but also thorny and bloody end. Dale Stones plays Jacob, who's death comes after being wacked to death by branches from a rose bush. Researching the film was fun, but it was getting to know more about the Dale Stones that really piqued my interest. Stones is a is a Boston-based burlesque performer, dancer, singer, partner acrobat, and character actor, and co-founded Boston’s all-male Burlesque troupe Sirlesque in 2011.
Stones was very excited to be part of the project, and in addition to his love of performances, has a particular affinity for vampires. One of his favorites is Spike, from Buffy the Vampire Slayer. Stones loves the complexity of Spike and how the character combines sarcasm and humor, alongside blood sucking terror. Being a burlesque performer, Stones also has plenty of experience showing skin, and loved the way his character met his end.
'Weirdly enough, being in a torture scene excites me. I have a lot of fun identifying with characters that are victims of circumstance, as it’s such a great moment to share an instant, sympathetic bond with your audience. I love this part of the story.'
Dale Stones from the director's website
Controlled Remote: Nelson by Creative Portraitures
'I started doing remote shoots during the pandemic when a friend from another state needed some headshots.'
Like so many professions, and so many fields of the arts, photography of the male form was impacted greatly by the pandemic. I vividly remember that almost all of the photographers that I collaborate with cancelled all of their scheduled shoots. Some, sadly stopped shooting completely, but others slowly started up again, using social distancing, masks and the vaccine to ensure the safety of both the model, and themselves.
Before things began returning to 'normal', I remember many creative concepts that began to arise. In person art classes became zoom classes, with models posing nude on-line for artists to draw and paint. Depending on your needs, there was almost everything available on-line, even virtual strippers, performing for both small parties and individuals stuck at home. I think the first photographer I remember experimenting with virtual shooting was Greg Lindeblom, who's pandemic photography I featured back in 2021. (HERE:)
The last two shoots that I spotlighted the work of River from Creative Portraitures, I featured his studio work with Jared, (HERE:) and his Autumn location shoot with Nico. (HERE:) I've been following River's work since, and began to notice an increase in his posts, and the number of models and shoots he was shooting recently. I didn't initially realize that River had begun 'remote shooting', and don't think I would have if he hadn't have noted it on his posts.
I was fascinated with the quality of visuals River was creating, and was motivated to get in touch about his process after seeing the work he posted with Nelson. First off, I'd featured Nelson's work before in a 2019 post featuring his work with New Manhattan Studios. (HERE:) Secondly, I loved what River and Nelson had created and the story and poses they captured.
The specific image that grabbed my attention was River's shot of Nelson posted further below, of Nelson sitting at desk on his laptop. I loved the lines and curves River captured, and really wanted to see more of their work together. The first time I featured his work I was impressed with Nelson's posing proficiency. Elegant and dramatic, with an extra level of energy exuded to tell the story.
Usually, I don't ask photographers and models much about the technical aspect of their work. I tend to focus on their 'feelings' and the ideas that motivate the themes the explore and the stories they tell. With Nelson's remote work however, I was really interested in how he captured such incredible shots given the distance between he and his subject, and the primary connector being a computer screen. Turns out, as many of us discovered during the pandemic, that virtual connector can be both incredibly useful, and incredibly powerful with the right artist and model.
Initial Connections:
CP: I connected with Nelson through social media,. His creative energy and unique presence caught my attention, and we engaged through our mutual interest in photography and creative expression.
Nelson has a captivating look that blends strength and vulnerability, making him versatile for a range of creative concepts. His personality, style, and interests also complement my photography style, which focuses on expressive and boudoir photography
Nelson: When I heard the shoot would be remote, I was curious as to how the shoot would work given the fact that photography is so dependent on the photographer's vision using lighting and camera work. Once the shoot started, I appreciated the collaboration going forward to capturing the ideal shot. I have even more respect for photographers on the amount of work and detail that goes into a shoot.
Prep Work:
CP: I usually ask the model to do a quick walkthrough of their space a few days before, so I can get a sense of the environment, available light, and potential areas to shoot. This helps me plan how to make the most of the setting and come up with ideas that reflect the model, the space, and my photography well. I also like to do test shoots when time allows. They give me a chance to get familiar with the model's creative style, experience level, and comfort in front of the camera. It’s a great opportunity for us to connect and find a rhythm, so when the actual shoot happens, everything feels natural and relaxed.
Nelson: Given it was remote, you had to prepare the 'work space'? Once our first photoshoot was set, I forwarded him images of the space in which we were working with, aka my room/bathroom. I also was able to send photos 24 hrs in advance with natural lighting to observe any differences throughout the day. I also have a ring light which is a great help.
What are the specific challenges with a remote shoot?
CP: Remote shoots come with their own set of unique challenges, especially when it comes to managing lighting, angles, and working within the technical limitations of the model's environment. Lighting is usually the biggest hurdle, but I’ve learned to adapt by planning shoots during the best lighting times and adjusting the vision of the aesthetic to match the available conditions. A lot of this can be controlled by a photographer who understands the nuances of remote shooting, and I’ve been able to shoot in most lighting environments.
I’ve often been asked how my remote shoots turn out so well, or models have shared how their experiences with other remote photographers weren’t as successful. There’s definitely a learning curve when transitioning from traditional DSLR cameras to using a smartphone camera. But once you understand the differences—especially in how lighting and phone camera quality impact the image—the results can be just as powerful. It’s all about knowing how to work with these variables to achieve the best possible outcome.
When and why did you start remote shoots? Was it connected to the pandemic?
CP: I started doing remote shoots during the pandemic when a friend from another state needed some headshots. At first, when he mentioned the idea of a virtual shoot, I dismissed it because I assumed it meant taking screenshots from video conferencing apps. As someone who values high-quality images, I didn’t think a screenshot from a video stream would be anywhere near good enough for proper editing or professional results.
He convinced me to explore apps specifically designed for remote photography, and I was shocked by the quality. Initially, I didn’t even believe some of the examples I saw were truly remote shoots—I thought it was a gimmick. But I agreed to give it a try, and from the very first session, I was impressed. I realized I could capture actual RAW photos during the session, not just screenshots, and I had many of the same manual controls I would use with my $6,000 DSLR. Since then, I’ve refined this method and integrated it fully into my work. Remote shooting has allowed me to continue collaborating with models worldwide, overcoming the restrictions of distance and lockdowns. It’s been a fantastic way to stay creative and connected.
Do you plan themes, or shot/pose lists beforehand?
CP: Some are very planned out, while others are not. I like to at least have a rough concept or theme in mind, but I typically go with the flow during the shoot. Flexibility is key, especially with remote shoots, where spontaneity often brings out the best moments.
Nelson: A mood board was set on specific imagery that we were aiming for. The conversation continued even throughout the session which was great. That way we were both on the same page.
The Model's View:
You're always so expressive in your work, was there any particular story you wanted to tell?
Nelson: When it comes to expressionism and physique modeling, it is a semi vulnerable experience for me. It truly is a moment that I allow someone in even for a few minutes. I express what I am going through in my movements and expressions. I portray the phase of my life I am currently in. I enjoy seeing how others interpret them and I enjoy being surprised when there are those who look closer.
What stands out most about this experience?
What stands out most would be the results of the photoshoot. Where a stationary camera is tricky for any photographer to make it work, River from CP does a phenomenal job and keeps delivering. -Were there any challenges? Limiting Angles, space and lighting will always be a challenge. But it's how we work around them that makes the photos even more of an accomplishment.
Working with River has always been a joy. He is creative, professional, and supportive throughout every part from introductions to the final shots taken. I highly recommend any models to give him a call for a remote shoot session.
The Artist's View:
Has it been easier or harder to find models to shoot remotely?
CP: It's definitely becoming easier with the advancement of technology. I now shoot models from all around the world—just today, I did shoots in both New York and Naples, Italy. Remote shoots offer a unique experience for models of any experience level because of the flexibility in location, timing, and the comfort of shooting in a familiar space. The model doesn’t need extensive technical skills, as most of the work is handled on my end. Artificial lighting and tripods help, but are not necessary.
Tell me about your shoot with Nelson?
Shooting with Nelson was a great experience. His ease in front of the camera and ability to interpret direction made the process smooth. What always stands out during shoots with Nelson is his creativity and his infectious smile.
In boudoir photography and modeling in general, the tone often leans toward being somber or serious, but Nelson brings a refreshing perspective to the genre. His natural personality shines through, adding a unique and uplifting energy to every shot. I think my favorite part was Nelson's collaborative spirit. He was open to experimenting with different ideas and fully engaged with the process, which made the shoot dynamic and fun.
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