B Debauchery

One thing I am asked more often than not is where to draw the line between fetish work and porn. It’s a silly question because the fetish is essentially sexual by nature— and someone will find it pornographic, even if you yourself do not. If you do any sort of fetish work, you are intentionally shooting porn even if it is not explicit or seems quite benign.  The end use of the photos taken are for a spank bank, and no matter how artistic you make your shoots and your work, at it’s basest form it is porn. Dress it up how you like, but in the end it’s going to be used as masturbation fodder. Of course, pretty much anything can be considered a fetish or pornographic when you get down to the nitty-gritty of it—take the Sports Illustrated swimsuit issue, or the pinup queens of the 40’s and 50’s. While publicly and openly not determined to be so, it is also implicitly known what many do with those photographs. If anything, fetish work is more honest because there’s no illusion that you’re not creating something that will be used as pornography. Same with glamour photography. The end result is getting someone off, regardless if you want to think about it or not.

So, where to draw the line for a model who is interested in fetish work but not shooting porn? The only line to be drawn is the one that you feel comfortable with. Decide what it is you’re comfortable shooting and stick to it, no matter what. There will always be naysayers and those who will attempt to push you into doing something you may not be comfortable doing. The simple fact of the matter is that they’re not worth working with. In the modeling industry, pretty much everyone from photographers to models to designers are replaceable. Do not compromise your standards for anyone— the only person who should influence your decisions is you. And that my friends, is where you draw your line. Your line will be different from my line, which is different from another model’s line. Do what you’re comfortable with, and love what you do. Be polite and professional, and that’s pretty much all you can do.

And on a related note: there are times when an project offer is tempting, but it falls just outside of your line, within the realm of consideration. Do you do it with precautions? Or do you pass over the work with a firm “no.” The only person who can answer the question of a moral dilemma (because trust me, more often than not it is a moral dilemma) is you. I noted above to not compromise your standards for anyone. And with any sort of moral decision that needs to be made, remove all of the temptations. Would you do this work if you were not being paid? Would you be okay with your grandmother or boss seeing this work? If the answer is no to either of these questions, then ask yourself why you are actually considering this. Keep in mind future consequences of your modeling work— it may seem unlikely that you’ll receive fallout, especially if you are taking precautions like a stage name and image management. But even with the best of precautions, you should be prepared to face what can and will happen. Melodramatic, yes. But it’s a fact even if it is not pleasant. Friends of mine have been fired and/or estranged from their family. Whatever it is that you’re deciding on doing, make a smart and informed decision. It’s very easy to be taken advantage of in the world of modeling, particularly with fetish modeling. Being informed and knowing your own limitations are exceptionally important. Stick to your guns, and never let anyone push you into more than what you agreed to in the first place.

I love looking at my photos— from my childhood, one with my friends, with my family, and of course, my modeling photos. Each picture is a story, a memory that washes over me and engulfs me. With snapshots, it’s significantly easier to glean the story. Oh, this was the time we all went to the roller rink! Do you remember that time at band camp? Man, Auntie Ellis got TRASHED last Thanksgiving! However with modeling, it’s significantly more difficult. And this brings me to repeat again what it is that modeling accomplishes: a model uses only their body to convey a story. Good photographs have clear and distinct stories that draw you in, whereas poorer ones have common and trite stories, or complex ones that are poorly conveyed.

When I look through my modeling shots from over the years, I not only see what I am trying to convey, but I also remember how I felt, what I was going through in my life when the shoot happened. My most popular picture was taken when I was in a particularly rough spot romantically, and after that shoot I came home to find a Dear John email ending a long-term relationship. I remember such a raw energy during the shoot— I was so emotionally drained from the relationship problems and also I’d also recently lost over $1,000 in wardrobe when a suitcase I’d packed for a shoot went missing. Despite all of these set backs, I drove up to Manchester and shot with one of my favorite photographers and a good friend of mine. The shoot was cathartic for me; I’d depended too much on my wardrobe to carry me and now most of it was gone. “We don’t need no stinking wardrobe!” was our mantra, and with just a pair of black thigh high socks and a set of my everyday underwear we created something that was completely different for both of us, and a little surprising. The energy was palpable, and it’s conveyed in the whole set: the joy, the vulnerability, and the strength a woman possesses. The story of the set was simple: a relaxed, intimate moment. And we just blew it out of the park.

I always aim to do better than that set in all of my shoots. And while I constantly continue to better myself, there is always an element you can’t control: the outside environment and situation that brings you to that moment. It’s up to the artist to utilize the variable towards their advantage. You can let your set backs use you, or you can use them to your advantage. I advocate the latter.

Welp, in response to my last post I was asked if I had any view points on photographer’s ports, and what made me choose to work with one photographer over another. I accept very limited trade work, but trading and creating art with talented photographers is what really makes modeling worthwhile for me. But even in deciding what paid offers I accept, the portfolio of the photographer does play a part (another significant part being communication, but that is another post for another time).

I love seeing other models that I know and/or respect in a photographer’s portfolio. I don’t care if they paid the model or not, it will always go the extra inch for me. These shots are usually better because the photographer, particularly one who is less experienced, is able to focus on their craft rather than directing the model. I also prefer to see a variety of models in a photographer’s portfolio. If one girl appears over and over without very many other models, I do wonder why. Is this photographer difficult to deal with that other models are refusing? Are a lot of the shots all from the same set or similar hair/makeup— which can signify from the same shoot? Again, I ask why just the one shoot, why not more?

Next I look for is consistency. It really annoys me when I accept a shoot and then the photographer posts newer work that is not on par with their previous work. This is usually an issue with less experienced photographers. (Note: I don’t judge portfolios on the amount of time someone has spent shooting, but instead by the quality of their produced product. I’ve seen plenty of portfolios of photographers claiming to have shot for 20 years who have crap shots, and then extremely talented people who have only been shooting for a few months.) Consistency in post-processing (are some of the shots over photoshopped?), lighting (do they frequently under light or blow out shots?), and angles (do they frequently pick unflattering angles to shoot models from?).

Variety is great, but 12 okay photos in several genres won’t be as strong as say 6 great photos in one or two genres. Experimenting is good, but so is developing skill and the eye for shooting certain styles. I also look at post processing. If everything looks to require a lot of photoshop, I hesitate. Why are they photoshopping so much? It’s also personal preference: I prefer to get everything to as close to perfect in camera as possible to minimize post production. It doesn’t look the same when it’s modified or added in after the fact. Saying that you can just chop in a new background or fix something that should have been dealt with before the shot was taken makes me want to run in the other direction screaming. Photoshop is a tool, not a crutch.

I look at the overall quality and judge it against my own port—this is solely for determining if I will shoot trade or offer rates. I do occasionally take chances on someone who might not be quite there if I see inspiration that could add something new or fresh to my portfolio. I have also turned down talented people who have wanted to shoot something that I shoot, but they have never shot the style before and I judged their portfolio to be doubtful of a useful outcome for me.

I look to see what it is they’re shooting. Based off of everything else I’ve already looked at and weighed in on, I look to see what is due to the models the photographer is working with, and what the photographer is bringing to the table. It doesn’t matter how great of a job I do modeling if the photographer consistently does not capture the outcome well. I look to see where they may be drawing inspiration from. Are they posting mostly overused, cliche poses and/or concepts? Or are they attempting new and unique ways to look at things, exposing a different view point? Can they tell a story with the model in the shot? A picture is worth a thousand words, and some of those words are the photographer’s. As a model, you can only do so much. Speaking of which, how is their shot selection? Are there lots of shots that show promise, but cropping issues, or small details that can really ruin an otherwise perfect shot? Are they able to have a concise portfolio or do they have issues choosing, with their portfolio being all over the map?

I don’t run a charity. I don’t trade with people simply because they’re nice or we’re friends. If I’m doing a photoshoot, I expect something in return for my time and effort. This could be in the form of money, useful photographs, barter for wardrobe, food, travel assistance, etc. At every photoshoot I’m giving all of my effort into producing the best product for the photographer and I do expect compensation for it, just as they will be receiving benefits from me modeling for them. And of course just to note: the street goes both ways— all parties involved should be compensated in some form.

A portfolio is one of a model’s greatest assets. Particularly in the world of internet modeling, it’s a big factor in deciding if you get hired or not. We keep them as up to date as possible, with our best work, showing off what we can do but also maintaining a clear representation of our looks. You’re only as strong as your weakest photo. Shots that are old, no matter how excellent don’t really belong in a portfolio if you no longer look that way. And then comes a very difficult descision, letting go of photos that you love but you’ve surpassed that work in quality throughout the rest of your portfolio. But what goes in to a portfolio in the first place? How does a freelance model decides what goes in and what should be passed over?

Your portfolio should reflect the type of work you want to book. If you want to book art nudes, put your best art nudes in. If you want to be hired for fashion work, put in fashion photos. If you’re not booking nude work, then don’t put in nudes. If you’re not actively seeking pin-up work, a pin-up shot really has no place in your portfolio. When looking at a portfolio, one wants to see what you can do in order to see what you can do for them. Seems like common sense, but you would be surprised how many models and photographers alike do not grasp this concept. We become attached to our work and prideful. I find having a separate space such as a website, myspace, blog, facebook, etc is an ideal way to show photos that you like, but really don’t belong in your portfolio.

Bigger is not better. A smaller portfolio of your strongest photos will beat out a large portfolio of mediocre shots any day of the week. You are only as strong as your weakest photo, most people aren’t interested in sifting through dozens of photos.

Don’t put in 5 shots from the same set unless you’re a n00b and you do not have any other photos to start your portfolio. We understand you love your new photos— but that’s why you should keep a separate space just for sharing photos outside of your portfolio. Choose the absolute very best shot and use that. Lots of shots from the same set is repetitive and unnecessary. It’s good to see that the person in question can play well with others— is the success of one photograph carried over to different shots by other photographers or did you just simply get lucky?

Every model portfolio should include the following: A clear, recent headshot and at least one full length body shot where your figure can be seen. And for goodness sake, don’t forget to update your headshot as you progress and update your portfolio (cuz I’ve totally been there, and done that).

What is your single best shot in your portfolio?

Just finished watching Splendor in the Grass with Natalie Wood. Really fantastic film, and the poem that inspired it is so goddamn beautiful. It calls to mind feelings reminiscint of Holden Caulfield, perhaps after he grew up (provided he didn’t end up like the Glass family). Course, literature from the same era about the same time, no small wonder for the similarities. This was life then. Repression, phonies, coping. And certain basics, such as these, maybe change how they present themselves, but they don’t change the truth they represent in our lives, truth we hide from. But why hide from such beauty?

“Ode: Intimations Of Immortality From Recollections Of Early Childhood” by William Wordsworth

There was a time when meadow, grove, and stream,
The earth, and every common sight,
To me did seem
Apparelled in celestial light,
The glory and the freshness of a dream.
It is not now as it hath been of yore;—
Turn wheresoe’er I may,
By night or day,
The things which I have seen I now can see no more.

The Rainbow comes and goes,
And lovely is the Rose,
The Moon doth with delight
Look round her when the heavens are bare,
Waters on a starry night
Are beautiful and fair;
The sunshine is a glorious birth;
But yet I know, where’er I go,
That there hath past away a glory from the earth.

Now, while the birds thus sing a joyous song,
And while the young lambs bound
As to the tabor’s sound,
To me alone there came a thought of grief:
A timely utterance gave that thought relief,
And I again am strong:
The cataracts blow their trumpets from the steep;
No more shall grief of mine the season wrong;
I hear the Echoes through the mountains throng,
The Winds come to me from the fields of sleep,
And all the earth is gay;
Land and sea
Give themselves up to jollity,
And with the heart of May
Doth every Beast keep holiday;—
Thou Child of Joy,
Shout round me, let me hear thy shouts, thou happy
Shepherd-boy!

Ye blessed Creatures, I have heard the call
Ye to each other make; I see
The heavens laugh with you in your jubilee;
My heart is at your festival,
My head hath its coronal,
The fulness of your bliss, I feel—I feel it all.
Oh evil day! if I were sullen
While Earth herself is adorning,
This sweet May-morning,
And the Children are culling
On every side,
In a thousand valleys far and wide,
Fresh flowers; while the sun shines warm,
And the Babe leaps up on his Mother’s arm:—
I hear, I hear, with joy I hear!
—But there’s a Tree, of many, one,
A single Field which I have looked upon,
Both of them speak of something that is gone:
The Pansy at my feet
Doth the same tale repeat:
Whither is fled the visionary gleam?
Where is it now, the glory and the dream?

Our birth is but a sleep and a forgetting:
The Soul that rises with us, our life’s Star,
Hath had elsewhere its setting,
And cometh from afar:
Not in entire forgetfulness,
And not in utter nakedness,
But trailing clouds of glory do we come
From God, who is our home:
Heaven lies about us in our infancy!
Shades of the prison-house begin to close
Upon the growing Boy,
But He beholds the light, and whence it flows,
He sees it in his joy;
The Youth, who daily farther from the east
Must travel, still is Nature’s Priest,
And by the vision splendid
Is on his way attended;
At length the Man perceives it die away,
And fade into the light of common day.

Earth fills her lap with pleasures of her own;
Yearnings she hath in her own natural kind,
And, even with something of a Mother’s mind,
And no unworthy aim,
The homely Nurse doth all she can
To make her Foster-child, her Inmate Man,
Forget the glories he hath known,
And that imperial palace whence he came.

Behold the Child among his new-born blisses,
A six years’ Darling of a pigmy size!
See, where ‘mid work of his own hand he lies,
Fretted by sallies of his mother’s kisses,
With light upon him from his father’s eyes!
See, at his feet, some little plan or chart,
Some fragment from his dream of human life,
Shaped by himself with newly-learned art;
A wedding or a festival,
A mourning or a funeral;
And this hath now his heart,
And unto this he frames his song:
Then will he fit his tongue
To dialogues of business, love, or strife;
But it will not be long
Ere this be thrown aside,
And with new joy and pride
The little Actor cons another part;
Filling from time to time his “humorous stage”
With all the Persons, down to palsied Age,
That Life brings with her in her equipage;
As if his whole vocation
Were endless imitation.

Thou, whose exterior semblance doth belie
Thy Soul’s immensity;
Thou best Philosopher, who yet dost keep
Thy heritage, thou Eye among the blind,
That, deaf and silent, read’st the eternal deep,
Haunted for ever by the eternal mind,—
Mighty Prophet! Seer blest!
On whom those truths do rest,
Which we are toiling all our lives to find,
In darkness lost, the darkness of the grave;
Thou, over whom thy Immortality
Broods like the Day, a Master o’er a Slave,
A Presence which is not to be put by;
Thou little Child, yet glorious in the might
Of heaven-born freedom on thy being’s height,
Why with such earnest pains dost thou provoke
The years to bring the inevitable yoke,
Thus blindly with thy blessedness at strife?
Full soon thy Soul shall have her earthly freight,
And custom lie upon thee with a weight
Heavy as frost, and deep almost as life!

O joy! that in our embers
Is something that doth live,
That nature yet remembers
What was so fugitive!
The thought of our past years in me doth breed
Perpetual benediction: not indeed
For that which is most worthy to be blest—
Delight and liberty, the simple creed
Of Childhood, whether busy or at rest,
With new-fledged hope still fluttering in his breast:—
Not for these I raise
The song of thanks and praise;
But for those obstinate questionings
Of sense and outward things,
Fallings from us, vanishings;
Blank misgivings of a Creature
Moving about in worlds not realised,
High instincts before which our mortal Nature
Did tremble like a guilty Thing surprised:
But for those first affections,
Those shadowy recollections,
Which, be they what they may,
Are yet the fountain light of all our day,
Are yet a master light of all our seeing;
Uphold us, cherish, and have power to make
Our noisy years seem moments in the being
Of the eternal Silence: truths that wake,
To perish never;
Which neither listlessness, nor mad endeavour,
Nor Man nor Boy,
Nor all that is at enmity with joy,
Can utterly abolish or destroy!
Hence in a season of calm weather
Though inland far we be,
Our Souls have sight of that immortal sea
Which brought us hither,
Can in a moment travel thither,
And see the Children sport upon the shore,
And hear the mighty waters rolling evermore.

Then sing, ye Birds, sing, sing a joyous song!
And let the young Lambs bound
As to the tabor’s sound!
We in thought will join your throng,
Ye that pipe and ye that play,
Ye that through your hearts to-day
Feel the gladness of the May!
What though the radiance which was once so bright
Be now for ever taken from my sight,
Though nothing can bring back the hour
Of splendour in the grass, of glory in the flower;
We will grieve not, rather find
Strength in what remains behind;
In the primal sympathy
Which having been must ever be;
In the soothing thoughts that spring
Out of human suffering;
In the faith that looks through death,
In years that bring the philosophic mind.

And O, ye Fountains, Meadows, Hills, and Groves,
Forebode not any severing of our loves!
Yet in my heart of hearts I feel your might;
I only have relinquished one delight
To live beneath your more habitual sway.
I love the Brooks which down their channels fret,
Even more than when I tripped lightly as they;
The innocent brightness of a new-born Day
Is lovely yet;
The Clouds that gather round the setting sun
Do take a sober colouring from an eye
That hath kept watch o’er man’s mortality;
Another race hath been, and other palms are won.
Thanks to the human heart by which we live,
Thanks to its tenderness, its joys, and fears,
To me the meanest flower that blows can give
Thoughts that do often lie too deep for tears.

So, I was recently asked via Formspring to give advice on posing nude. My answer was “i honestly don’t treat posing nude any different from any other type of modeling that i do. just be very clear before hand what you will do, and don’t be afraid to say no if someone tries to change the plan. but most important of all, have fun and enjoy what you’re doing.” Not bad, but I feel that it should be expanded upon.

I don’t treat modeling nude different from any other modeling that I do. Doesn’t matter if I’m wearing clothes or in various states of undress, it’s not going to effect how I model. Part of this is that I’m not a particularly modest person, which is a good thing considering I’m naked on the internet. Anyone (and everyone) can see me naked. It doesn’t bother me at all, in fact my modeling business card uses an implied nude alt glam shot. The power of nudity, is what someone gives to it. Others may feel embarrassed for me, or attempt to embarrass me because they feel that having seen me naked they might have some sort of power… but it doesn’t. Anyone and everyone can see me naked. When posing nude, you have to assume those photos will make it to the internet and once it is on there, ANYONE AND EVERYONE CAN SEE YOU NAKED (this includes your grandma). Forget about filters and friend lists and “privacy” once it’s on the internet, it’s public. If you’re not comfortable with this prospect, I highly suggest you don’t pose nude.

I don’t treat nude modeling any differently than any other type of modeling because I don’t give nudity power. I’ve got the same bits and pieces and parts as everyone else. What I do differently is bring my creativity and posing in helping to create art. A lot of my favorite art to view is nude/semi nude, from the masters in the MFA to the alt glam of @Dastardly_Dave. I can’t help it, I just like looking at naked chicks. The nude female form is beautiful, and worthy of creating art about it (which has been done for thousands of years). I’m lucky I get to participate in creating such beauty. But in this creation, I am picky. I have limits on what I term art, and what I am willing to pose for. Just because I don’t give nudity power, doesn’t mean I’m going to pose for someone who says it’s art but I find downright trashy. All of the projects I work on align with the image I have created for myself. I like to think of it as beautiful and classy, though these terms can vary from person to person— after all, beauty is in the eye of the beholder. Advice to glean from this: Know your limits, what you won’t do.

You don’t have to limit what you will do, and by keeping an open mind, you could be turned on to great things. However, keeping in mind what you won’t do, and what you’re not interested in, can help you in finding new things you will do that you are indeed comfortable with. Most people in the world will attempt to get you to do everything they want you to do, regardless of if you actually want to do it. Some people don’t like receiving “No” as an answer, and will continue to push. Be prepared for this. Know that it is okay to say “No” if you’re uncomfortable with it.

I have a rule that all content for a shoot must be agreed to in writing before the shoot. This usually sidesteps issues with miscommunication and unprofessional behavior. It also allows for me to easily say “No” if needed— If I didn’t agree to it before the shoot, I am in no way obligated to shoot it. Course, this is not in place for me to quell all spontaneity and creativity on set. But it does root out a lot of underhanded attempts and unprofessional behavior. Because I don’t use modeling as a means to support myself, I’m always okay with walking away from a project that seems to be more trouble than it’s worth. And that’s what it comes down to. Advice: Have fun and enjoy what you’re doing.

Almost forgot to announce, I am performing for @Dawnamatrix at the Fetish Flea next week. It’s sure to thrill with latex and geisha!

From the Miss Rubber World performance by @Dawnamatrix

B. Debauchery started off as a dream. A dream from silly girl with many ideas, some silly and some great. The idea popped into her head years before she actually began modeling with any seriousness— first when she was studying photography herself in high school. Her first experiences modeling were favors to friends, one being specifically in order to coach a friend named Brittni on how to shoot glamour, something B had experience shooting for a class project.

Fast forward a few years— B has another friend named Brittany who models and enjoys it very much. B is inspired and sets up a shoot. With advice from the second Brittany, she discovered OMP and soon after booking two shoots on there, Model Mayhem through those new contacts. Yes, B. Debauchery is the product of internet modeling and social networking at it’s finest. A dream from a silly girl, with the internet at her fingertips and the motivation to teach herself the fine art of modeling.

Sometimes I wonder if I’m still dreaming when I look at my portfolio.

There are easy poses, and there are hard poses. There are hard poses that look easy but are actually painful to hold. And the whole time, you’re to look relaxed, comfortable, and beautiful.

Whenever someone says to me that modeling is easy I laugh at them, and ask them to try to do what I do. Many times modeling is physically and even emotionally tasking. From contorting the body to holding and balancing, just a few poses can be physically tasking. Emotionally, you can run the gamut while conveying the story/idea/concept of the shoot. Drawing up emotions in order to display genuine facial expressions is a common practice. But it does become simply draining.

But really, how can one continually come up with pose after pose after pose? What’s the magic formula? Well, as a friend and fellow model (one Miss Jessyka Ann) put it, it’s dancing. You start with a pose. Tweak it. Tweak it a little more and then tweak it even more. There’s a reason for this madness— the more times you tweak a pose, the more chances you and the photographer have to capture it in the best way possible. When looking at proofs, nothing is more frustrating than bemoaning, “If I’d only tilted my head the other way! If only I put my hand on my hip instead!” By going through several variations of a pose, you’re allowing for that pose to be captured and fully worked through. Remember to keep moving, bit by bit through your poses, flowing from one to the next. Jumping statically from one pose to the next can cause you to miss the in-between and hidden poses that you might not have consciously thought of.

Listen to direction, but also take it with a grain of salt. You can’t see through the lens, it’s very important to adjust as a photographer requests (Tilt your chin down, relax your shoulders, etc). But the more comfortable and solid you become in your posing and modeling, keep in mind what you are conveying. When asked to do a dominant pose and facial expression in the middle of a set of submissively styled photos, it’s okay to question that— you’re checking for a discontinuity in the story/idea/concept you’re portraying. It’s always good to try new things, but also keep in mind the story/idea/concept you’re portraying. If you lose sight of that, it’ll be harder to get the shots you want. I mean, how can you achieve what you want when you don’t know what you want to achieve?

Some general posing tips:

-Keep your shoulders down and relaxed. Even if you’re attemping a pose that requires you to be hunched over— no visible neck is not attractive.

-Be mindful of body language and what it conveys to the viewer. Rounded shoulders are submissive, while level and back are confident and dominant. Your hands can be inviting, or they can be unwelcoming.

-Be aware of your wardrobe, and how it looks as you’re posing. Adjust to flatter.

-Relax. No matter how uncomfortable a pose is, don’t let it show. No one likes a grimacing model

-Stretch, before and after. Modeling, when dynamic, is phsycially taxing. Stretch out your muscles to avoid injury, excessive soreness, and of course, improve flexibility.

-Perfect practice makes perfect. Schedule test shoots, practice in front of a mirror, run through poses and facial expressions when convenient. Try to avoid mistakes, and always strive to improve. No one is perfect— but you can sure try.

-Do something different. If you don’t know what to do, do something unexpected. Change your perspective (literally and figuratively!)

-Research. Find other models with your body type and see what they do. Find other models in your genre and see what they do. Rather than emulate their posing, try to appropriate what you like best from a variety of sources and make it your own. You won’t get far copying someone else’s poses, but there’s no harm in drawing inspiration to create your own.

-Don’t forget to eat. Seriously. Skipping meals before modeling is one of the stupidest things you can do. I’m not saying sit down and have a ridiculously huge meal, but something healthy and light, especially complex carbohydrates (bread/pasta) and protein will help keep your energy up throughout the day. Stay well hydrated.