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Chicks with Guns – Seeing RED

February 9, 2015 //  by Steve Marsel

Photo Assignment: Chicks with Guns

Seeing RED

 

You don’t kill animals. You harvest them
You don’t kill animals. You harvest them

 You don’t kill animals. You harvest them.

Not The Obvious Choice: If you think about it, I’m a very odd choice to shoot a project like this. I didn’t speak the language of outdoor sports, especially hunting! In my experience, affinity matters. For instance, I was once up for a commercial account for a golf accessory business. I didn’t get the account simply because I didn’t golf. Everyone that worked on that account had to be a golfer. In retrospect, that made a lot of sense. How could I possibly add anything to a golf shoot if I didn’t know the first thing about golf?

Now we come to “Chicks with Guns” : I’ve never hunted and have only fished on occasion. I’ve always lived in the city. Truthfully, I’ve never really understood why people liked hunting. It seemed barbaric to me. And based on where and how I was raised, it made sense for me to think that way.

They’re not guns. They’re firearms.
They’re not guns. They’re firearms.

They’re not guns. They’re firearms.

A Different Kind of “Shoot”: I fancy myself a wannabe video producer. Since the middle of last summer, I had been traveling to Maine every weekend, working on a peripherally related spec video project to flex my producer skills. When a client asked me to shoot a calendar for The Maine Sportsman Magazine, I didn’t hesitate! I thought, at the very least, the project would subsidize my gas expenses.

I also knew this type of project is why I got into the business of being a photographer in the first place. I wanted experiences that were both outside my sphere of knowledge and/or outside my comfort zone. And besides, this was the Miss Main Sportsman Competition—“Chicks with Guns”! What could be wrong with a photo-essay like that? Little did I know I was in for the learning experience of my life!

Jodi Jennings Haskell - Finalist, 2014 Miss Maine Sportsman Competition
Jodi Jennings Haskell – Finalist, 2014 Miss Maine Sportsman Competition

 

I’m A Liberal from Connecticut:  “Hi! I’m Steve Marsel. I’m a liberal from Connecticut, and I’ve never fired a rifle.” Though I never actually said that, those words rang in my head during each call I had with the finalists of the Miss Maine Sportsman Competition to introduce myself for an upcoming shoot. Their way of life was alien to me: hunting, fishing, stuffing. Words not found in my daily vocabulary. But when I opened my mind and put my preconceived notions to rest, what I discovered about these “alien” people taught me a great deal about myself and my world view.

Britt Humphrey - Finalist, 2014 Miss Maine Sportsman Competition
Britt Humphrey – Finalist, 2014 Miss Maine Sportsman Competition

 

Ballots, Businesses, Bears, Oh My!: This project came at a critical time in the state of Maine. A binding question on the November ballot might have banned the use of bait, dogs or traps to hunt bears in the State of Maine – forever! Animal-rights groups had been streaming in money from out of state for months. The “bear-baiting” question was on everyone’s mind.

Carly Chapman  - Finalist 2014 Miss Maine Sportsman Competition
Carly Chapman – Finalist 2014 Miss Maine Sportsman Competition

I discovered that thousands of people made their living in Maine as registered guides. For those of you who don’t know, a registered guide is “any person who receives any form of remuneration for his services in accompanying or assisting any person in the fields, forests or on the waters or ice within the jurisdiction.” There are more than 4,500 registered guides for hunting and fishing in the state. More people than I ever imagined.

Tiffany Waldron - Finalist, 2014 Miss Maine Sportsman Competition
Tiffany Waldron – Finalist, 2014 Miss Maine Sportsman Competition

 

Against the Odds:  Old school hunters were dying off, and sporting camps and lodges found it difficult to make ends meet in the modern world. For one, the competition for American sporting activities is staggering, leaving hunting and fishing desperate to keep up. For another, gas prices (until recently) had been increasing over the past few years, which really put a crimp in many businesses. It became harder and harder for sporting camps to remain viable businesses. So many of their customers drive from other states.

Georgette Kanach - Finalist, 2014 Miss Maine Sportsman Competition
Georgette Kanach – Finalist, 2014 Miss Maine Sportsman Competition

 

What the average person doesn’t understand about the hunting industry is how many people travel from out of state to hunt and, more importantly, the economic stimulus their travels provide. Hunters and fishermen that drive up from other states usually stop along the way at the Kittery Trading Post or L.L. Bean or the like and spend money. Of course, many of those hunters come for the bear hunt.

Barbara Plummer - Finalist, 2014 Miss Maine Sportsman Competition
Barbara Plummer – Finalist, 2014 Miss Maine Sportsman Competition

 

A registered guide told me that even prior to election day, when the referendum would finally come to a vote, hunters, who would normally leave there trophy bears with taxidermists in Maine, were taking their bears back with them to their home states. “Why?” I asked him. He explained that the out-of-state hunters didn’t know if they would ever come back to Maine. Even before the first ballot was cast, the state was losing money.

Linda Mercer - Finalist, 2014 Miss Maine Sportsman Competition
Linda Mercer – Finalist, 2014 Miss Maine Sportsman Competition

 

Both Sides of the Coin: Then there’s the larger issue, which is the really big educational concern for me. Most Americans have no idea where their food comes from, and many just don’t care. They think it’s cruel that hunters bait bears in the woods and shoot them. Perhaps these people think that their meat appears out of thin air on a piece of Styrofoam wrapped in plastic. “Blue-state” Americans (seemingly) refuse to make the connection with the food they eat in restaurants or put on their tables and where the food actually comes from. And I must admit that I was one of those liberal blue-state people. I thought that hunting was cruel.

Bethany Terstegen - Finalist, 2014 Miss Maine Sportsman Competition
Bethany Terstegen – Finalists 2014 Miss Maine Sportsman Competition

 

Let me make something clear: the bears in the woods have a much better chance of surviving than any animal waiting to be killed in a slaughterhouse somewhere, such as farm-bred cattle or chickens. The animals we line up in narrow stalls without giving an inch to turn their neck—they stand no chance of surviving! I think that my liberal brethren never think of that. The reason they don’t think of it is because they don’t want to.

Alyson Randall - Finalist, 2014 Miss Maine Sportsman Competition
Alyson Randall – Finalist, 2014 Miss Maine Sportsman Competition

 

Hunting and fishing in America is a birthright. It’s how this country was settled. And it is narrow and shortsighted to think hunting and fishing as simply cruel and unusual punishments. Especially when you consider the slaughterhouses and huge corporate farms that treat animals cruelly as a matter of course day-in and day-out. Where is the uproar for the rights of those animals? No one seems to care.

 

Starley Cashman - Finalist, 2014 Miss Maine Sportsman Competition
Starley Cashman – Finalist, 2014 Miss Maine Sportsman Competition

 

A Look from the Other Side: You’ve probably heard the old saying, “A mind is like an umbrella: it functions best when open.” (Lincoln) That’s how I hope to approach every experience in my life. I want to keep an open mind so that I see both sides of as many issues as possible. True, I am a liberal, from a blue state, but the past few months have educated me. I now better understand where guides, hunters, fisherman and the like are coming from. I force myself to rise above the hypocrisy.

Now, that doesn’t mean I’m going to pick up a rifle and start hunting tomorrow or next year or possibly ever. I’m not sure hunting is for me. But I learned something. I learned that I didn’t understand the issue of harvesting animals from the point of view of the people that were using them. My new friends gave me a new-found appreciation for what those individuals are fighting. I’m glad to engage anyone on this topic and speak on both sides of it. But I think that after this exposure, I’ve been informed and transformed. “Chicks with guns” turned out to be a very educational project for me, and I appreciate the opportunity to have experienced it.

 

 A very special thanks to James Eves for his generous spirit and gifted skills retouching these images.  Thank you my friend!

And to  Rhen Wilson for his superb editing skills.

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All Images on this site are copyrighted material of © Steve Marsel Studio, Inc. & Steve Marsel Studio LLC D/B/A Steve Marsel Studio. Unauthorized Use is Strictly Prohibited. ALL RIGHTS RESERVED

Steve Marsel Studio . 561 Windsor Street A204, Somerville MA 02143 617.718.7407 | 888.254.6505
Steve Marsel Studio Blog | Contact Us

 

 

Category: "Talent", Behind the Scenes, Blog, Casting, On being a photographer, Photography, Production Stills, Social Commentary, Social ConscienceTag: Advertising Photography Blog, Blog, Executive Producer, Photographer's Blog, Steve Marsel, Steve Marsel Galleries, Steve Marsel Stock, Steve Marsel Studio

Our Bravest: A Salute to Veterans

November 11, 2014 //  by Steve Marsel

 My Photo Session with Disabled Veterans from Our Bravest

Our Bravest Composite FullBehind the camera, my own assumptions and comfort zone can be rattled. In honor of Veterans Day, I offer this story about one of those occasions.

 

An Unusual Pitch

The project started out as so many do—a pitch over the phone. In early spring of this year, a long-time client, Theresa Fisher of CCA Global in Manchester NH (whom I really like!), rang me up and ran through the typical pitch I’d heard a least a dozen times. But my ears perked when she mentioned a “public service project.” I’ve made a point over the years to seek out public service projects, but my migration from still photography to television has spread me a little thin.

I was already primed to agree when the client sweetened the deal with a few more details. I can’t recall the entire conversation—my ADD/multi-tasking brain can only absorb so much—but a few choice phrases stuck out:

“—Fourth of July weekend—”  “—see the fireworks—” “—in New York City—”  “—put you up in a hotel—”

Theresa knew exactly how to whet my appetite. What self-respecting photographer wouldn’t say yes to this?

However, it was only after an emphatic “YES!” that I came to terms with what I had just agreed to. The realization hit me square in the face. I’d signed on to shoot portraits for an organization called Our Bravest, a non-profit that builds Smart Homes for catastrophically injured veterans of the Iraq and Afghanistan wars. In other words, the types of veterans Our Bravest works with include burn victims and double and triple amputees.  I had never heard of Our Bravest.

As I set the phone down, my heart sank.

Exposing My Discomfort

You might be asking why the sinking heart. What was my issue? To be honest, lack of exposure. I’m not from a military family. No contemporary of mine is or has been in the military. I’ve never even met anyone disabled.

My mind raced, envisioning the injuries, the scars, the missing limbs. I’m squeamish to boot. I’m the kind of person who switches channels and looks the other way whenever I see something upsetting. I can’t even get my blood drawn without averting my eyes.  So imagining the day of the shoot, meeting these veterans…it made me – uncomfortable – to say the least!

But what could I do? There was no way I could reject the client’s offer. Theresa (Senior Vice President,Visual Merchandising and Branding) has always been a great supporter of mine. I’d committed myself to the project, and that was that.

 

Shifting the Focus

On an early Saturday morning in New York City, the day of the shoot for Our Bravest, my assistant Alex Mateo and I set up a studio in a function room in the hotel. I brought Alex because he’d done a tour of duty in the Air Force, and I thought someone on my team should have something in common with today’s subjects from Our Bravest.

When the first man to be photographed appeared, he rolled into the room on a motorized wheelchair. My heart quickened, and my equipment felt heavy and slick in my sweaty palms.

When I’m anxious, I become super efficient. I try to control everything I can, while I can, knowing that at any moment, I could lose any semblance of control I tried to cling to.

As the veteran, a triple amputee, approached, I felt that control slipping away. I hardly knew what to say, but the veteran didn’t need an introduction. As if sensing my nervousness, he introduced himself with an apology. “Sorry I’m late,” he said, slapping the arm of his wheelchair playfully. “This thing only goes about eight miles per hour. So traffic was pretty tough to get through.”

Without warning, I burst out laughing. And so did he. It wasn’t even that funny of a joke, but that wasn’t the point. The point was this man, who had gone through so much, used humor to snap me out of myself.

I had been so caught up in my own uneasiness, I didn’t bother addressing the truth. America’s veterans are us. We’re all the same. I didn’t need Alex to share something in common with them to make the day run smoother. We all share similarities, be it art, family, or a little self-effacing humor.

Any discomfort I had entering the studio dissolved immediately. For the remainder of the shoot, good banter and wit united us, and my empathy for the men and women who sacrifice themselves for this country blossomed. The resilience of the human spirit transformed me, and, thankfully, I will never be the same.

 

Special thanks to Theresa Fisher at CCA Global, Frank Siller and Paola Tornabene at Our Bravest for this great opportunity, James Eves for his great retouching, and Alex Mateo for his steady support, and Rhen Wilson for his superb editing skills.  

 

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All Images on this site are copyrighted material of © Steve Marsel Studio, Inc. & Steve Marsel Studio LLC D/B/A Steve Marsel Studio. Unauthorized Use is Strictly Prohibited. ALL RIGHTS RESERVED

Steve Marsel Studio . 561 Windsor Street A204, Somerville MA 02143 617.718.7407 | 888.254.6505
Steve Marsel Studio Blog | Contact Us

 

 

 

Category: "Talent", Behind the Scenes, Blog, On being a photographer, Photography, Production Stills, Public Service, Social Commentary, Social ConscienceTag: Blog, Boston Photographers, Consulting Producer, Executive Co-Producer, Executive Producer, Leftfield Pictures, NatGeo, national Geographic Channel, Nick Rigg, Photographer's Blog, Steve Marsel, Steve Marsel Galleries, Steve Marsel Stock, Steve Marsel Studio

Reflections of a Fashion Styling Intern by Stacey Lamb

June 17, 2011 //  by Steve Marsel

Skinny models, Jimmy Choos, exotic locations, top-of-the-line pieces—the world of fashion screams “glamour” to the everyday viewer.  But when you get down to the nitty-gritty details, fashion shoots are not as glamorous as they are cracked up to be.  I was given the chance to produce and assist my first professional shoot from start to finish and Boston Photographer Steve Marsel where learned a lot about the industry and myself in the process.

©2011 Steve Marsel Studio
©2011 Steve Marsel Studio

With the simple yet vague assignment to “come up with a shoot” the wheels started turning and the creativity was let loose.  Steve taught me the three most important aspects of a successful photo shoot: 1) the outfit, 2) the concept and 3) the location.  Achieve all three and the shot is golden.  With that in mind, I set off to tackle part one, the outfit.  I had the great opportunity to attend Rhode Island School of Design’s (RISD) Senior Collection fashion show, and was blown away by the talent I saw.  I left that show with the extreme urge to drop everything I was doing and transfer to RISD, but my better judgment kicked in and I continued with the shoot.  I contacted the designers I enjoyed most, received several responses and chose one piece I particularly swooned over.  Linzi Kofsky, a senior at RISD, crafted a beautiful pair of chartreuse pants with such an elegant flow I couldn’t look away.  The top was simple and glistened with a closer look.  Part one, Outfit: complete.

Next, I thought about the concept.  I knew I wanted the outfit to be the strongest focus, and decided to find a way in which the slits in the pants would be reflected in its surrounding environment.  Steve and I picked our brains for locations and concepts with verticals stripes.  A yacht club with rows of tall sailboats all sporting clever signs of Reilly , a loading dock with long shifting curtains, a forest with endless trees, or my favorite—a field with a zebra.  I called every zoo and petting zoo between Boston and Providence, but came up with the same response every time—“sorry it is not in our policy, a zebra’s kick is extremely powerful.”  I were Anna Wintour of Vogue, there was no chance I was getting that Zebra.  You win some and you lose some, and I learned this many times over in pursuit of the perfect concept.

1P1000123sm

With the Zebra out, we decided on the trees.  After days of stalking Google Earth, swearing at my droid’s navigation app and creeping through poison ivy on a stranger’s property—Steve found the perfect location.  We chose a marshland that had numerous tall, thin trees that looked dated and decrepit, it was beautiful.  However, creeping onto a stranger’s property and conducting a photo shoot is not considered normal or legal without the owner’s consent.  Luckily, Ben Farnum of Boston Hill Farm graciously agreed to let us use his property freely, and the location was finally determined.

 

Walking to the location at Boston Hill farm, North Andover, Massachusetts
Walking to the location at Boston Hill farm, North Andover, Massachusetts

 

With the three main ingredients stirred up, the final course was ready to be delivered.  But wait, there is more.  I personally did hours of research, sent out half a lifetime’s worth of e-mails and finally pulled together a team of makeup artists,  I professionals and most importantly—the model.  Gathering people together for a last minute shoot was challenging, but paid off in the end when every one showed up excited and ready to work.  You would think it is simple from here—make the model pretty, tell her she looks good and snap some pictures.  But other factors need to be taken into consideration, such as Mother Nature.  The shoot was scheduled for Thursday at four o’clock in the afternoon but come Thursday morning, the weather man was screaming bloody murder and the skies grew darker by the minute.  We had no other choice but to take our chances, so we prepped the model and hurried to our location.  It felt like a scene straight out of the Wizard of Oz, we were all Dorothy and the tornado was brewing.  Steve quickly set up the shot, we carefully hurried the model across a beaver dam to her spot and within a matter of minutes and eighty snaps of the camera, the rain drops started falling.  We ran back to the car and made it inside safely before the skies opened up and purple lightning shot across the sky.  Though our shoot was cut short, we luckily had a number of images to work with and proclaimed the shoot a success.  Being five minutes close to having nothing at all is a terrifying thought that I have chosen to push to the back of my mind.

Just before the rains came - shooting to get the best possible pose!
Just before the rains came – shooting to get the best possible pose!

 

The final stages of the shoot were coming together and the only thing left was to chose the image and make it beautiful.  Steve used his contacts and found an amazing retoucher who turned this shot into something extraordinary.  With my jaw dropped open, I sat at the computer for at least ten minutes switching back and forth between the before and after images.  Don’t get me wrong, the image was awesome before, but I learned a great retoucher can make all the difference.

The beautiful calm before the storm.
The beautiful calm before the storm.

The rambles tell it all—fashion is much more to the eye than a pretty face.  The number of details that go into one photo shoot is outstanding, but completely worth it.  This will not be the last photo shoot I produce for I am sure I have many more to come.  As Steve would say, “don’t be such a slave to fashion!”

 

 

 

Guest Blogger Stacey Lamb

 

 

 

 

Guest blogger Stacey Lamb is an undergraduate student in Communications and Studio Art at Florida State University. The next six months should prove to be quite an adventure for her—following her internship with Steve she will be backpacking Europe and studying abroad in London in the fall. Her passion for photography, fashion, travel and music strongly influence her adventures and life goals.  Read more of Stacey’s thoughts on her blog Slamb the Jam

 

Photography by Steve Marsel Retouching by Katja Bruijn – de Govorushchenko Original copy written by Stacey Lamb Hair styling & make-up by Aly Heifetz, Model – Aileen Benson. This image available for licensing at Steve Marsel Stock

Visit Steve Marsel’s other sites: Steve Marsel Studio, the assignment site and flagship site of the Steve Marsel brand, Steve Marsel Stock, the rights managed digital stock library of Steve Marsel Studio, Steve Marsel Galleries, the private gallery site of the Steve Marsel Studio. Visiot one of Boston Photographer Steve Marsel’s other blogs as well: Steve Marsel Studio Blog , the creative blog of the Steve Marsel Studio. Steve Marsel Galleries Blog, Steve Marsel’s blog that discusses the stories behind the photographs, and Steve Marsel Stock Blog, the blog of Steve Marsel’s rights managed digital stock photography library that discusses the stories behind the images on the stock site.

 

Steve Marsel Studio | Steve Marsel Stock | Steve Marsel Galleries| Boston Corporate Portraits| ICE HOLES on Facebook

All Images on this site are copyrighted material of © Steve Marsel Studio, Inc. & Steve Marsel Studio LLC D/B/A Steve Marsel Studio. Unauthorized Use is Strictly Prohibited. ALL RIGHTS RESERVED

Steve Marsel Studio . 561 Windsor Street A204, Somerville MA 02143 617.718.7407 | 888.254.6505
Steve Marsel Studio Blog | Contact Us


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Category: Behind the Scenes, Blog, Casting, Finding Locations, Make-up Artists, Retouching, Wardrobe StylingTag: 363-2.org, Blog, Boston Corporate Portraits Blog, Boston Corporate Potraits, Return of the Ice Men, Return of the Icemen, Stacey Lamb, Steve Marsel Archives, Steve Marsel Archives Blog, Steve Marsel Fashion Photographer, Steve Marsel Galleries, Steve Marsel Stock, Steve Marsel Stock Blog, Steve Marsel Studio, Steve Marsel Studio Blog, Steve Marsel.com, Steve Marsel.com Blog

A Few Good Women – Cinemagraph by Steve Marsel

May 25, 2011 //  by Steve Marsel

“Serving in the USMC was an experience that is a part of me.  I live it day to day.”

Sgt. Heidi Larson Hurley USMC

Sergeant Heidi Larson Hurley served in the Marine Corps for nine years.  “I decided to join during my senior year of high school while all my friends were being accepted to college,” she reflects.  “I still recall Parris Island like it was yesterday.” As graphic illustrator, she was part of a team that created training aids and presentations for briefings and events during the Saudi Conflict in 1991.  She went on to study at Mass ART and to work at Boston ad agency Hill Holiday.  Today she teaches art and design at Braintree High School outside of Boston.

Sgt. Heidi Larson Hurley USMC
Sgt. Heidi Larson Hurley USMC

The flag waving in Heidi’s classroom this Memorial Week is a reminder of – and a tribute to – all who have served their country and the cause of freedom.   “I belong to the Women Marines Association,” says Heidi.  “Some of the members are in their eighties and nineties now, among the first women who served in the USMC. I am honored to know them.”  Semper fidelis.

 

Want to know more about Steve Marsel’s animated Cinemagraphs? – Click here!

 

 

 

Guest Blogger Jack Brady
Guest Blogger Jack Brady
 
 
Guest Blogger John (“Jack”) Brady is a writer, editor, author and biographer.  He was editor-in-chief at Writer’s Digest and Boston magazine, and founding editor of The Artist’s Magazine.  His byline has appeared in New York magazine, New Times, Esquire, American Film, The Sunday New York Times, The Boston Globe Magazine and numerous other publications.   His interview with author Evan Connell appeared in the March 2011 issue of The Writer magazine. He has taught journalism at Boston University and has been visiting professional at the Scripps School of Journalism, Ohio University and was Hearst Visiting Professor at the University of Missouri Journalism School.

 

John Brady lives in Newburyport, Massachusetts and can be reached at 978/463-2255 or at 978/270-6686 (cell); or by e-mail at Bradybrady@aol.com.
 
 
Visit Steve Marsel’s other sites: Steve Marsel Studio, the assignment site and flagship site of the Steve Marsel brand, Steve Marsel Stock, the rights managed digital stock library of Steve Marsel Studio, Steve Marsel Galleries, the private gallery site of the Steve Marsel Studio. Visit one of Boston Photographer Steve Marsel’s other blogs as well: Steve Marsel Studio Blog , the creative blog of the Steve Marsel Studio. Steve Marsel Galleries Blog, Steve Marsel’s blog that discusses the stories behind the photographs, and Steve Marsel Stock Blog, the blog of Steve Marsel’s rights managed digital stock photography library that discusses the stories behind the images on the stock site.

Steve Marsel Studio | Steve Marsel Stock | Steve Marsel Galleries| Boston Corporate Portraits| ICE HOLES on Facebook

All Images on this site are copyrighted material of © Steve Marsel Studio, Inc. & Steve Marsel Studio LLC D/B/A Steve Marsel Studio. Unauthorized Use is Strictly Prohibited. ALL RIGHTS RESERVED

Steve Marsel Studio . 561 Windsor Street A204, Somerville MA 02143 617.718.7407 | 888.254.6505
Steve Marsel Studio Blog | Contact Us
 

Category: Blog, Cinemagraph, Cinemagraphs, Holidays, PhotographyTag: 363-2.org, Advertising Photography Blog, animated gif, animated gif photo, animated photo gif, Blog, Boston Corporate Portraits, Boston Photographer, Boston Photographers, Cinemagraph, Cinemagraphs, email marketing, from me to you, Heidi Larson Hurley, Jack Brady, James Eves, Jamie Beck, Kevin Burg, Photographer's Blog, Photography Blog, Return of the Icemen, Steve Marsel, Steve Marsel Archives, Steve Marsel Galleries, Steve Marsel Stock, Steve Marsel Studio, Stevemarsel.com

The Body Paint Renaissance by Paul Roustan

February 18, 2011 //  by Steve Marsel

Logo t-shirts, skinny jeans, and boys with shoulder length haircuts: what do these all have in common? They are all popular fashions from the seventies and eighties that became freshly rejuvenated styles in the 2000s.

Body painting, the application of paint/makeup to human skin, like many other fashions and forms of art, also experienced this reawakening. Except many people may not have realized this yet.

It can be debated that body painting is one of the oldest forms of art, often used in tribes as a form of rank or hierarchy. And over the centuries, the art-form evolved into different applications ranging from the traditional tribal, to go-go dancers, to Hollywood cinema, including such techniques as fantasy, camouflage, decoration, conceptualization, and tromp l’oeil.

In my opinion, body painting reached its undisputed highest glory in the 70s, when renowned fashion model/experimental artist, Veruschka (http://www.veruschka.net/), took her explorations to the most radical levels. She was essentially responsible for popularizing the camouflage technique, in which she would be painted, by herself and occasionally the photographer, to resemble the decaying environment, sometimes to the point where she seemed invisible.

Veruschka was also responsible for very conceptual photographic series’ where she would “remove” her painted clothing until nude, and then remove her skin to reveal the illusion of clothing underneath. Many of her techniques are still copied today, and those that knew of her then, still talk of her today, forty years later.

In the 90s, the art form was pioneered into the commercial industry by Joanne Gair (http://www.joannegair.com/). She is most notably recognized for her work with Annie Leibovitz and Demi Moore on the cover of a 1992 Vanity Fair (http://glamourphotography.co/wp-content/uploads/2011/01/Demi-Moore-Vanity-Fair-cover-1992-BodyPaint-by-Joanne-Gair.jpg) in which a fully nude Moore was painted in a tromp l’oeil styled, faux suit and tie. That image was arguably the most influential image for countless body painters today, including myself. This also proved to be the main springboard for Gair’s career. She has since continued on to do numerous episodes of America’s Top Model(and other continental versions), is the head artist for the painted bikinis seen every year, since 1999, in the Sports Illustrated, and she is regularly involved with countless magazines, fashion campaigns, and TV/Film spots. Gair is perhaps the most prolific body painter to date.

The commercial popularity of body painting resulted in endless amounts of copycat styles, which consequently began to cheapen its reputation. In the 2000s, when people thought body paint, they pictured cheetahs or faux bikinis, quickly reducing it to cliche. As a result, many have written body painting off as a tacky pursuit.

Which brings me to my point… Before you consider the art-form an old fad, remember that like the revival of the Fedora and enormous Sunglasses, the body paint wave has hit again!

With the aid of online social networks, the next generation body painter has arrived, and the exploration continues. A whole new world has opened up as more and more traditional artists are getting involved in the medium of paint on skin. The talent level has become plentiful and diverse. Many artists, such as, Nelly Recchia (http://www.nellyrecchia.com/), Anastasia Durasova (http://www.adurasova.com/), Nick Herrera (http://www.facebook.com/TheBodyPainter), and Alex Hansen (http://www.alexhansenart.com/) have managed to consistently push the current limits, and discover new ways to apply techniques, textures, and concepts. And let me be the first to say, this may be its renaissance.

If you are one of those people that frown upon the idea of body paint, take a moment to look again. You may be pleasantly surprised. After all, it’s not like it’s the rebirth of the mullet.

http://www.bikenewyork.org/rides/fbbt/index.html
Body Paint Artist Paul Roustan

Guest blogger Paul Roustan is a native of Chicago, IL, Roustan received a Bachelor of Fine Arts degree from the School of the Art Institute of Chicago in 2002. After his move to Rhode Island, he completed a Master of Arts in Teaching degree at the Rhode Island School of Design in 2006.

Multi award winning and internationally published artist,
Paul Roustan’s work has appeared on Spike TV, the Chicago Sun-Times, Airbrush Action Magazine, among others. His work has been displayed in over a dozen galleries in the past year.

Roustan’s airbrushed bodypaintings have been used for corporate, private, television, and nightclub events worldwide, including clients Playboy, Bacardi, Tupperware, Absolut, and more. His work has also been featured in fashion shows, parades, photographic workshops, and magazines.

Visit Steve Marsel’s other sites: Steve Marsel Studio, the assignment site and flagship site of the Steve Marsel brand, Steve Marsel Stock, the rights managed digital stock library of Steve Marsel Studio, Steve Marsel Galleries, the private gallery site of the Steve Marsel Studio. Visit one of Boston Photographer Steve Marsel’s other blogs as well: Steve Marsel Studio Blog , the creative blog of the Steve Marsel Studio. Steve Marsel Galleries Blog, Steve Marsel’s blog that discusses the stories behind the photographs, and Steve Marsel Stock Blog, the blog of Steve Marsel’s rights managed digital stock photography library that discusses the stories behind the images on the stock site.  Special thanks to Retoucher James Eves Model featured in photograph above Akonwara.. For future party and events checkout these awesome painters and decorators in london.

 

Steve Marsel Studio | Steve Marsel Stock | Steve Marsel Galleries| Boston Corporate Portraits| ICE HOLES on Facebook

All Images on this site are copyrighted material of © Steve Marsel Studio, Inc. & Steve Marsel Studio LLC D/B/A Steve Marsel Studio. Unauthorized Use is Strictly Prohibited. ALL RIGHTS RESERVED

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The Rosa Parks Bus Shoot by Steve Marsel

February 4, 2011 //  by Steve Marsel

One aspect of this job of being a professional photographer that really challenges me is the ability to find props – quickly.  I was doing a shoot last month for our other blog – stevemarselstudio.com/blog for Martin Luther King Day.  The topic of my blog posting for Martin Luther King day was how Dr. King had single handedly started the Montgomery Bus Boycott.  I had never seen an iconic shot of the back seats of a vintage bus.  I looked.  Google images had nothing.  A thorough search online of the major stock photography agencies turned up little or nothing. I knew that if I wanted to create an image that represented Dr. King, it would need to be straight forward and direct.  I want to shoot THE “back of the bus” image.  An Image that would be the visual manifestation of that concept for all time.  But…  I needed a bus!

"Back of the Bus" image © 2011 Steve Marsel ALL RIGHTS RESERVED
“Back of the Bus” image © 2011 Steve Marsel ALL RIGHTS RESERVED

About the Bus:

The MBTA’s (Massachusetts Bay Transit Authority) RetroBus #2600 was built in 1957 by General Motors at their truck and coach plant in Pontiac, Michigan.  It is 35 feet long and 96 inches wide and is model TDH-4512 (for “T”ransit [sigmifying two doors, one for each entrance and exit, as opposed to “S”uburban with only one door], “D”iesel engine; “H”ydraulic transmission(as opposed to a manuel stick shift), “45” seated passengers, “12” is the model number – the even number “2” signifying a 96″ wide bus.  All 102″ wide buses had odd model numbers).

Number 2600 was built for the City Bus Company of Oklahoma City, and assigned their number C605.  The Eastern Massachusetts Street Railway Company, one of the MBTA’s predecessors, purchased the bus secondhand in the early 1960’s. The eastern Mass was eager to retire the last gasoline buses in its fleet, and consequently acquired a large number of used diesel buses in this time period.  The bus was assigned the number 3183 by the Eastern Mass.  The MBTA acquired the Eastern Mass in 1968, and took possession of all of its property.0 including 3183.  In 1970, 3183 was part of a group of buses leased by the MBTA to Middlesex & Boston Street Railway Company (M&B), a private bus operator serving Newton, Waltham, Lexington, and other communities in the western suburbs of Boston.  In 1972, The M&B went out of business and the MBTA took over it’s routes, so 3183 returned to the MBTA. The bus was retired shortly thereafter by the MBTA, and sold to the Gateway Bus Lines of Wareham Mass.  The bus sat in storage at Gateway for many years.  In 1988, the bus was returned to the MBTA and completely rebuilt by volunteer labor by the men and women of Everett Shops.  The bus was assigned the number 2600, to represent all of the General Motors “old look” buses owned and operated by the MBTA and its predecessors in the period between 1940 and 1975. Number 2600 has been used for parades and other special occasions ever since.

Photography by Steve Marsel Retouching by James Eves Original copy written by Steve Marsel This image available for licensing at Steve Marsel Stock

Visit Steve Marsel’s other sites: Steve Marsel Studio, the assignment site and flagship site of the Steve Marsel brand, Steve Marsel Stock, the rights managed digital stock library of Steve Marsel Studio, Steve Marsel Galleries, the private gallery site of the Steve Marsel Studio. Visiot one of Boston Photographer Steve Marsel’s other blogs as well: Steve Marsel Studio Blog , the creative blog of the Steve Marsel Studio. Steve Marsel Galleries Blog, Steve Marsel’s blog that discusses the stories behind the photographs, and Steve Marsel Stock Blog, the blog of Steve Marsel’s rights managed digital stock photography library that discusses the stories behind the images on the stock site.

 

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