I have caught up with all my commercial photo work for the year and this site is now tweaked and I’m ready to begin adding new material. It has taken a couple weeks longer to clean up than I anticipated. I spent this week working with the gallery component developer adjusting and figuring out all the issues with the galleries and how they would look and function across all platforms. This was the last major issue to work out. The site is now visually linkable and fully functional.
Recently I have been looking at all the people I have shot over the years and, considering this is Montana, it seems quite remarkable to have so many! I had a new guy in the studio I was shooting this week. Someone I had begun working with last year but we didn’t get too far with the process because he was so busy. It was so fun to get back to shooting this sort of stuff. When I began shooting naked men they became more of a study to help me develop lighting techniques for my regular photographic portraits. I have a great studio and lots of variations on lighting filtration equipment. I have collected just about every type of light filter size and shape available to focus light from a broad softness to a pinpoint direct spot. The naked male is the easiest subject, because it is all skin tone and in portrait photography is it all about lighting the skin in beautiful ways. It also allows me to focus on compositional elements. The next step is the photographic process is to figure out the personality of the subject and match the lighting technique to get to the core or essence of who they are. Some people are soft, some are hard, some are sculptural, some not. Next I factor in my relationship to the subject. What feelings does this subject evoke within me. Are they alluring, raw, do they connect to me or are they evasive. What part of my own life intercepts with theirs, do they bring out a remembrance or connection to a time in my own past or sensual development? We all have memories of times we connected with someone on a very sensual level that lingers in our thoughts that we would like to relive. Photographically these become great ideas for exploration. When you begin to put all these elements together this is where photography really become fun. I am lucky I don’t do this for commercial gain so I can just focus on what’s important to me in a sense becoming my own personal journey.

When I first began this project I brought up the question are we born to be an artist or is it something that we learn. I talked to a number of different artists and remember there was a mixture of responses. For me I grew up on a family cattle ranch in the mountains of Montana where I wasn’t really exposed to much of anything creative, yet as a kid I was drawn to coloring and creative hobby type things as gifts for Christmas. My parents must have recognized some semblance of talent there because they always gave me things that captivated me or mostly things I had to build. When I colored I worked had to stay within the lines. My grandmother taught me to cook and sew when I was about ten and I began to make clothing I would wear to school. My parents tell stories of how I gathered all my brothers and cousins and created stage shows in the barnyard for everyone to see. I was a drama nerd in high school and created a drama club and began doing stage productions. I then won a scholarship to the University of Montana in Missoula for theater and earned a degree in performing arts with an emphasis on directing live theater production, essentially creating my own program at the time. I was mostly interested in lighting design and work anything back stage. I worked in professional theater for many years until I got burned out of constantly being on the road, returned to Montana, and took up photography. Looking back, everything about my life has been creative and I feel fortunate to have made a living pursuing my passions. I still make a living and do quite well with it and still live a creative life.
I am beginning to feel like Meryl Street in Adaption where her world of reality begins to blur with the fiction of her creation! Where does one draw the line between themselves and artistic integrity? I have always been intrigued by the age-old question. Does art imitate life or does life imitate art?
Do we really change patterns in our lives or do we just learn to adapt to them. I began this year by coming back to this project I had started two years ago. I’ve decided to read and follow the project on a day-by-day basis, just as I had written it two years ago. I managed to create an index to the year-long project that made it easy to navigate back to the beginning so I can easily find the specific blog and date it was created. What I find ironic is that yesterday I was working on expanding and creating my business website www.cyrphoto.com. I spent the day working through my catalogs of images and pulling out new images for the expansion. When I opened yesterday’s blog, two years ago, “Postcards from The Edge” it was about the very same issues I was dealing with then as I was today. The website of course is completed but it took me a year to really make it happen and pull it together. I saw so much doubt in myself as I began to move forward with a project I was not even sure anyone would be interested. Well since the project has grown from a page on blogger to a full website with over 200,000 people looking at it. I also now know the answer to many of the questions I was asking then. Is there really a market for such types of imagery as a viable way to sustain myself? I think not. The internet is already over saturated with this type of photography and the only viable way to access it is to view it on our computers or use it as interesting screen savers for our mobile media devices. I have to say I loved this project and loved devoting a year to it. I had so much personal growth during this creation. It awoke a sleeping passion within and became an amazing means of self-discovery.
I often see a vision that becomes quite sensual to me, a beautiful man, standing naked, in the shadows of the room. I watch the light play on his skin in the darkness as only the shape of his figure is outlined by the highlights across his sensuous skin as he moves about in that darkness, lit only by a streetlight, faint, dim, dappled with emotion, spilling through the window. He subtly moves to expose the youthful shape of his abs, not well defined, but in the darkness I have felt their tightness, another shift and I recognize the powerful contour of his arms filled with tension. As he turns toward the window I recognize the flatness of his chest muscles as they ripple from the darkness yet the highlights expose a supple softness of his skin that I want to reach out, touch, caress. It transports me to a timeless place when I was young and suddenly the vitality of my own youth comes flooding back. He is unaware I am watching him so intently as I am inspired by this remarkable moment as if suspended in time. How do I bring this into the studio? How do I reveal my own thoughts, feelings and the emotions that overwhelm me? I am utterly entranced by the sensation of this remarkable beauty and merely desire to bask in it for an eternity, but know this moment is fleeting, and soon he will dress and go home. The essence of that moment lingers on however fleeting it may have been, savoring it, reliving it, playing it over in my head as it dances through my thoughts for days to come.

