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: "How do you treat a situation when a model brings her boyfriend?"
CRK: "If it helps their comfort level it's fine. Usually the guy is going to be bored and falling asleep by the time we finish a shoot. I discourage it because really I find that they (the models) will actually go a little further and a little more distance if they don't have another controlling influence."
Miss K has arrived to be shot. He's shot her before.
CRK: "I start out looking for the lighting solution. It varies from time to time. Do I use this? Do I want it to be up-lighting? What works with this model?"
EK: "And is the music always on?"
CRK: "Yeah. I'm going to put the right music on in a moment."
EK: "How do you know what the right music is?"
CRK: "I've got my motelesque thing. It's this sound track music from all these films. Undertones. Real trance music. I try and hypnotize them (the models)." Out from the bathroom/dressing room comes Miss K, about to be photographed.
Miss K: "Hi."
EK: "Whose underwear are those?"
Miss K: "His."
EK: "That cigarette butt. Did you, Chas, put it there or did she put it there?"
CRK: "It's been there. Usually if my models smoke, I encourage them to smoke."
The model is undressed, or rather dressed, in panties and make-up. The set is in place.
CRK: (speaking to the model): "OK. The general thing is I suggest a pose, you hold this till I say to move, because I move the camera around to shoot different perspectives then edit to the one that works."
He's speaking to me, having returned from changing the music.
CRK: "OK, it starts out slow then, sometimes, it picks up a little speed until we figure out where it's going."
I hear a jazz beat coming from the speakers. The vibraphone is bringing the mood back in time, a brush runs across the cymbals, a cascading piano riff adds and subtracts. I see the warm tones on the lady's large breasts. She isn't moving. Chas drops to his knees to adjust the model's feet, then back to the camera. He is lowering the tripod but keeps the tripod legs uneven so the camera is at an odd angle. He changes perspective. He is not far from his model. He is constantly eyeing her form, the message her body position is giving off. He lowers a thrift store lamp to the rug, so that that light is from below and her head is bent towards it.
Chas begins to move the lamp around and watches how the movement of the light changes her look. The vibraphone muffles most of what he is saying to the model. I hear "one, two, three." But Chas is directing a constant flow of words at the model. Easy noire. Easy drama. The mood is set. Languid, easy. The sax is prominent. Low light. Jazz in the background.
The daylight fading into dusk at the other end of the room.
Chas is shooting and he says something to Miss K and then turns to me and says "that's my favorite line." I missed it through the blues (music) haze.
EK: "What's your favorite line?"
CRK: "'OK, let's lose the bra.'"
Page [1] [2] [3] [4] [5]
Page [1] [2] [3] [4] [5]
EK: "How do you treat a situation when a model brings her boyfriend?"
CRK: "If it helps their comfort level it's fine. Usually the guy is going to be bored and falling asleep by the time we finish a shoot. I discourage it because really I find that they (the models) will actually go a little further and a little more distance if they don't have another controlling influence."
Miss K has arrived to be shot. He's shot her before.
CRK: "I start out looking for the lighting solution. It varies from time to time. Do I use this? Do I want it to be up-lighting? What works with this model?"
EK: "And is the music always on?"
CRK: "Yeah. I'm going to put the right music on in a moment."
EK: "How do you know what the right music is?"
CRK: "I've got my motelesque thing. It's this sound track music from all these films. Undertones. Real trance music. I try and hypnotize them (the models)." Out from the bathroom/dressing room comes Miss K, about to be photographed.
Miss K: "Hi."
EK: "Whose underwear are those?"
Miss K: "His."
EK: "That cigarette butt. Did you, Chas, put it there or did she put it there?"
CRK: "It's been there. Usually if my models smoke, I encourage them to smoke."
The model is undressed, or rather dressed, in panties and make-up. The set is in place.
CRK: (speaking to the model): "OK. The general thing is I suggest a pose, you hold this till I say to move, because I move the camera around to shoot different perspectives then edit to the one that works."
He's speaking to me, having returned from changing the music.
CRK: "OK, it starts out slow then, sometimes, it picks up a little speed until we figure out where it's going."
I hear a jazz beat coming from the speakers. The vibraphone is bringing the mood back in time, a brush runs across the cymbals, a cascading piano riff adds and subtracts. I see the warm tones on the lady's large breasts. She isn't moving. Chas drops to his knees to adjust the model's feet, then back to the camera. He is lowering the tripod but keeps the tripod legs uneven so the camera is at an odd angle. He changes perspective. He is not far from his model. He is constantly eyeing her form, the message her body position is giving off. He lowers a thrift store lamp to the rug, so that that light is from below and her head is bent towards it.
Chas begins to move the lamp around and watches how the movement of the light changes her look. The vibraphone muffles most of what he is saying to the model. I hear "one, two, three." But Chas is directing a constant flow of words at the model. Easy noire. Easy drama. The mood is set. Languid, easy. The sax is prominent. Low light. Jazz in the background.
The daylight fading into dusk at the other end of the room.
Chas is shooting and he says something to Miss K and then turns to me and says "that's my favorite line." I missed it through the blues (music) haze.
EK: "What's your favorite line?"
CRK: "'OK, let's lose the bra.'"
Page [1] [2] [3] [4] [5]
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