A hideway for dreams of love and desire
... an internatinal sensation from TASCHEN! Excerpts from Eric Kroll's interview with Chas Ray Krider
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EK: "I don't believe that. I think there is more there than what you are able to buy. My photos refer back to the woman that I lost my virginity to-high heels, vintage girdles, teased hair."
CRK: "Yeah, I have an affinity for these panties and girdles, coming in as I did at the end of the girdle world."
EK: "I don't see ANY pantyhose."
CRK: "No I've never been interested in pantyhose...I guess I'm really drawing on the sixties. Here in the Midwest, going to a thrift store is like a recreation. I've done it for thirty years and twenties years ago I started collecting girdles and panties for no particular reason and somehow when I got to this motel stuff I had this whole wardrobe."
EK: "And did it click for you?"
CRK: "In the wider world? It was the first thing that I had actually done where all of a sudden, people outside this city, were interested in. And that's because the code of seduction and fetish is an international language."
EK: "How did you hook up with Taboo magazine?"
CRK: "A former Columbus person, Cynthia Patterson, is from Columbus. She knew my work and knew I had this motel thing and they said they wanted to run it in Leg World and went through everything and picked anything that might appeal to that crowd. And then they did it later and ran it in Taboo and that really sort of started it off."
EK: "And then you started to be flown out there to be photographed?"
CRK: "No, you know the whole thing out there is strictly a speculative thing. They liked my style and it looked like the logical digestion for me to go out and shoot something for the industry. I wanted the action. I wanted the models and the talent and to talk to people about fetish and photography. To talk shop. You can't talk shop here. So I went out and said 'you book the talent and I'll pay the talent, make-up artist and studio fee and everything and if you buy it, cool.' First time out we shot in a motel and then a studio."
EK: "How did you create the sense of a motel in a studio out there?"
CRK: "At first we thought we'd shoot in a motel and we scouted 20 or 30 motels in LA and they all sucked. Not good color, not good anything. We ended up shooting in one with beige carpets and beige lamps. It had nothing. No color. You know. Later we bought a hunk of rug and went to the thrift stores and got some lamps and did what I did here."
EK: "What are some of the photographers that influenced you. Obviously, Paul Outerbridge."
CRK: "Yeah, (Ralph) Gibson, Helmut Newton, Man Ray, all the surrealist painters. I think you study all that art history and then one day you don't. It's in there and it comes out. If I'm shooting the figure in the studio and it's not in a motel, then it's very Horst, very Man Ray."
Page [1] [2] [3] [4] [5]
Page [1] [2] [3] [4] [5]
EK: "I don't believe that. I think there is more there than what you are able to buy. My photos refer back to the woman that I lost my virginity to-high heels, vintage girdles, teased hair."
CRK: "Yeah, I have an affinity for these panties and girdles, coming in as I did at the end of the girdle world."
EK: "I don't see ANY pantyhose."
CRK: "No I've never been interested in pantyhose...I guess I'm really drawing on the sixties. Here in the Midwest, going to a thrift store is like a recreation. I've done it for thirty years and twenties years ago I started collecting girdles and panties for no particular reason and somehow when I got to this motel stuff I had this whole wardrobe."
EK: "And did it click for you?"
CRK: "In the wider world? It was the first thing that I had actually done where all of a sudden, people outside this city, were interested in. And that's because the code of seduction and fetish is an international language."
EK: "How did you hook up with Taboo magazine?"
CRK: "A former Columbus person, Cynthia Patterson, is from Columbus. She knew my work and knew I had this motel thing and they said they wanted to run it in Leg World and went through everything and picked anything that might appeal to that crowd. And then they did it later and ran it in Taboo and that really sort of started it off."
EK: "And then you started to be flown out there to be photographed?"
CRK: "No, you know the whole thing out there is strictly a speculative thing. They liked my style and it looked like the logical digestion for me to go out and shoot something for the industry. I wanted the action. I wanted the models and the talent and to talk to people about fetish and photography. To talk shop. You can't talk shop here. So I went out and said 'you book the talent and I'll pay the talent, make-up artist and studio fee and everything and if you buy it, cool.' First time out we shot in a motel and then a studio."
EK: "How did you create the sense of a motel in a studio out there?"
CRK: "At first we thought we'd shoot in a motel and we scouted 20 or 30 motels in LA and they all sucked. Not good color, not good anything. We ended up shooting in one with beige carpets and beige lamps. It had nothing. No color. You know. Later we bought a hunk of rug and went to the thrift stores and got some lamps and did what I did here."
EK: "What are some of the photographers that influenced you. Obviously, Paul Outerbridge."
CRK: "Yeah, (Ralph) Gibson, Helmut Newton, Man Ray, all the surrealist painters. I think you study all that art history and then one day you don't. It's in there and it comes out. If I'm shooting the figure in the studio and it's not in a motel, then it's very Horst, very Man Ray."
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Motel Fetish
Hardcover, 22.5 x 30 cm (8.9 x 11.8 in.), 280 pages
$ 39.99
$ 39.99
Lustful places, luscious women
Photo: Chas Ray Krider