Big Apple Con Costumes

When I shot at the NYComicCon in February, with the amazing DDB team(R.I.P.), I started working on a loose thesis about Cons and the costuming experience. In short, Cons, like the convention of Comics themselves, allow us to transfer our favorite parts of ourselves, whether they are prominent traits or not, into a character who is built broadly to represent the favorite parts of ourselves. When the tangible obstacles around you are suspended, in your ideal universe, are you strong? Are you sexy? Are you clever? Which superpower do you possess? How does your alter ego relate to the world around him? This, and not body type or day job is what puts us into the costume we wear. And it's effects are gigantic and little. There IS a difference between a character with long violet tendrils and one with short, spikey hair. Ask the artists who drew them. I went to the Big Apple Con with two agendas, and furthering my study of fans in costume was one of them. From seasoned vets (Superman has 12 different costumes he rotates) to noobs, you costume says something remarkable about you, and the Con is a safe environment to explore those expressions.

Big Apple Con Celebrities

Still working on a thesis for Celebrities in attendance at the Cons. For now I'll just say that I've met some actors whom I've always respected, and some who I have new respect for. But unlike press junkets, there's an interesting window into the human being that plays an actor that plays roles in movies and tv series'. Tender and tense, giving and guarded and ultimately stripped from the buffer of the screen. To be continued...

Thomas Jane

Rekha Sharma

Alessandra Torresani

COTN Studio

Sometimes I double dip. I was in studio with Children of the Night, shooting their video for "Rumpus" and thought we should do some portraits while we were there. This picture is the last frame, of the SINGLE roll of film I've shot in '09. It also happens to be one of my favorite shots I've taken of them in the past year.

Alecia Medley, Twilight Eclipse

I had worked with Alecia on a previous project this summer, and was thrilled by her ability to inject nuance and authenticity into a bigger picture/moment. We were talking about putting together another concept when she mentioned how badly she wanted to be in the third Twilight Movie that will be filming next spring. She had accidentally gotten hooked on the books, and like everyone else, hooked meant obsessed. She felt that her look, style and ability would make her a perfect fit for one of the supporting characters, so I suggested that we shoot some character shots to submit along with her resume. Admittedly, our resources were low, and my grasp of the character was incomplete without having read the books. But we opted to go the long way around. No sfx shots, no scene recreations, just moving through moments as the character. On the surface, there's no real context to build a story. And yet, there's something about these shots, and Alecia's control of the moment that still leave you feeling like you're witnessing a scene from a dream that you haven't put together yet.

It was an other time.

Dangerous wanted to borrow my Yashica point n' shoot that I used to schlep all over Manhattan when I first moved here. Of course, I had migrated to digital without finishing off the roll. So we shot out the roll, and I took it to get processed. In 2009, that means, developed chemically, and then scanned at way bigger than I'll ever use it. You know, for back up.

So naturally, I was excited to see what was on a roll, sitting dormant since probably 2004. There's a bunch of good stuff, Halloween party, intimate morning portraits, Zip passed out in fetal position on the middle of his floor...

...And Remote Lounge. I only went there once, maybe twice. I remember The Chad telling me how awesome it was (for picking up chicks). But one night, Ron and I were restless, as we tended to be, and decided to pop in. It was probably a Tuesday, and was very empty. We still got to see some boobs. I'm not sure why that didn't make it onto the camera.

But this looks like an old sci-fi B-Movie. I don't know if it's the grain, the control panels, or the turtle necks and Joe Barbershop hair.

tech note: for those interested, this was shot on Fujipress 1600, sat in various household range temperatures, and was processed at +1/2.

This means something. This is important.

Children Of The Night @ Highline Ballroom

Children of the Night, killin' it at the Highline. It's funny to watch their evolution. I've been working with them now for near a year, and you can see these little, nuanced differences. Stage presence and blocking, interaction with the audience, the lyrics, the beats. It's moving.

But there's external stuff too. The venues are getting bigger, better. The crowds are getting larger. But also the crowds are getting larger because they're now old enough to get in. It's cool to get to track a progression like this, since we're mostly focused, fixated, on our own effort for evolution. And our stagnation.

They keep pushin. Like the rest of us. But there's no shortage of hustle. Mark my words, you get them in the right hands, in the machine, and they will be big.