The
Photographs of…
Chuck Stevens
Jamie
Cotton: How did you get into
photography in the first place and suddenly at the age of 36 decide that
this was the career for you?
Chuck
Stevens: I"had been a rock and
roll drummer for twenty years when a devastating accident occurred which
permanently damaged my hearing and made it impossible for me to continue
as a percussionist. So there was stddenly this huge creative void in my
life. fortunately, I discovered photography and saw that I was able to
express my self through the camera with a similar passion to music. So,
at the age of 36 I began the second major career of my life as a
photographer.
J.C. How did you first get started shooting the industrial nude?
C.S.
I had been shooting fashion and
models for about 4 years before I got into shooting nudes. I had a group
of friends that wanted to do a group show and I wanted to do something
completely different than I had ever done before. I was looking through
a photo magazine and I saw some hand-colored black and white infra-red
photos of some buildings in New Mexico by Jill Enfield. I really loved
the pictures but I felt that I wanted to see them with some human
element added. I decided to try and find some place near, here in San
Francisco with the same feel to them and try and incorporate models. So
I found some abandoned warehouses and then brought the models in not
really knowing what to expect. Creative invention took over and the
results were stunning.
J.C.
When did you decide that it was essential for the model to be nude?
C.S.
From the beginning. The buildings were so unique that I did not want
clothes to make a statement. Also, this way, the images remain timeless,
or at least mostly timeless. They are a part of the industrial age but
there in no era dating due to fashion.
J.C.
What is it that you find so intriguing about this type of work and what
makes you want to continue doing it?
C.S.
The sense of adventure mostly and my passion for the female form. Plus
the finished product is so sensational. The contrast of manmade
industrial waste, weather leftover from war or closed down factories,
with the incredible beauty and grace of one of Gods greatest creations,
the female form, is stark and stunning. And I really do get a thrill out
of the subversive adventure of it all. As many adventurous lovers enjoy
making love just out of eyesight of less observant passers by I enjoy
the making of the images in public just out of view of the unsuspecting
masses. To add another dimension to this already challenging pursuit I
mostly use Kodak high speed infrared film, which is, to my knowledge,
one of the hardest films on the planet to expose properly and print
well.
I
have been fortunate to find enthusiastic models to help me in my pursuit
of creating these images; these visual feasts. I would like to thank all
of my models for there energy and hard work as well as for putting up
with my creative madness.
(...)
J.C.
Share some of your fondest adventures with us.
C.S.
I had found a location along some train track and right at the entrance
to a tunnel were some stairs that lead to nowhere. She had to take her
glasses off, as well as, her dress for the shot and there was nowhere
for her to put them, so I took them down the 20 foot drop off and across
the tracks ... then I heard the train coming. So I ran back and gave her
her glasses but there was no time for the dress. We scrambled down the
stairs just in time for her to press against a train pillar as hundreds
of people sped by on the train.
A
really spooky experience occurred while shooting with a model in an
abandoned warehouse. These three guys walked in and just stood there,
about one hundred feet away. They just stood there and stared right at
me. I didn't know what they wanted or what they were doing or what they
were going to do. I asked them to move but they just stood there staring
and ignored my request. It was really creepy. I told the model, who was
laying on an improvised platform, to just stay still and quiet. I didn't
know if I was going to have to do something drastic or not but I was
prepared if need be. In retrospect I should have shot the picture with
them in the background but at the time my main concern was for our
safety. Eventually they just turned and left. Weird.
J.S.
Where would you like this work to go. What would you like to do with it
in the future?
C.S.
Honestly, I would like to photograph models in unique industrial place
all over the world and be seen in magazines and books and galleries and
share the experience with as many people as possible.
Chuck
Stevens still resides in San Francisco California where he works and
exhibit extensively. Some of his exhibits include Club 181, San
Francisco Open Studios, State of the Art and Art Attack and Stormy
Leather. He is excited about the birth of his own website which should
be up some time in July. The address will be www.chuckstevens.com -
check it out! In the meantime contact him at stevensfw@mindspring.com
(The
Sensuous Line)
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