World of One: Hopeful Despair

Hopeful Despair (from the series World of One)

“Looks like you’re waiting for something to fall out of the sky…like your future!” – Martin Bell

Hopeful Despair is the twelfth image I made in 2013 for the World of One series, thereby completing my goal of making one World of One image a month for the year. This means that in 2013 I made more World of One pictures than I did in any previous year. Although, at times, focusing all my energy on one project has been stifling, I have enjoyed the continuing challenge of pushing my creativity and finding different approaches to this subject matter. In 2014 I’m hoping to make even more World of One pictures, and, with some luck, even surpass my 2013 achievements.

Like many of the images in this body of work, the idea for this picture was marinating in my brain pan for months before I ever got around to shooting it. While the photo was shot around Thanksgiving, December proved to be an insanely busy month for me. Between work picking up at both my internships and a family vacation around Christmas time, I had little time to devote to my craft.

Readers who have been following this body of work over the years may have noticed that the style of the composition in Hopeful Despair is similar to the composition in some of my previous images, such as Focus, and Invictus. The positions of the black and white figures in Hopeful Despair, however, have been inverted from the positions in those older compositions. This time the dark suit is in the center, surrounded by a crowd of white-suited figures.

As the title of the image implies, the central themes I wanted to express in the making of this picture were that of hope and despair. Despite the overwhelming representation of despair (that is, the figures in white) in the image, I believe the real focus of the picture is that of hope (that is, the sole figure in black). I chose to photograph the image in this fashion in part because my personality tends to lean towards pessimism, but also because I think it more accurately illustrates my personal experiences with finding hope. In my life, I often can’t see hope until I’ve been totally overwhelmed, and feel like I’ve hit rock bottom. It is only then that those elusive rays of hope become the most valuable.

Special thanks to Coco Philly Kevin Lim for assisting me with this shoot on such a blisteringly cold day!!!

World of One: War and Peace

War and Peace (from the series World of One)

The internet is not a good place to see this image. Indeed, I think I will be hard pressed to find any place that will be suitable to show it. At exhibition size, it measures in at 24 x 120 inches – which is long, absurdly long.

World of One: Diligentia II

Diligentia II (from the series World of One)

Diligentia II, the image I’m sharing today, was shot way back in August -- on the same day I shot Somnium. Though it normally doesn’t take me two months to produce a new image, my personal work has been moving at a glacial pace since September. Though I’m pleased to announce that I have begun internships with two of my photography heroes, Mary Ellen Mark and Platon, between the time I spend interning throughout the week, and my busy travel schedule, I have been struggling to find time to develop my own personal work.

World of One: Somnium

My pictures usually begin with some notes in my sketchbook, which I always take notes in, but in which I almost never make sketches. Sometimes I have a clear image in my mind of what I want to make, but I have no idea what that image means. Other times I have the title of the picture scribbled on a piece of paper, but no idea how I want it to look. In the case of the image being presented today, I had a clear idea of how I wanted it to look, but I had no idea if it had any intellectual depth. Whenever I come across these situations, I always err on the side of creation, and make the picture anyway. I assume that if the picture looks interesting enough, the meaning will float up from my subconscious through the process of creation.

World of One: Odysseus' Rock

Odysseus' Rock (from the series World of One)

Girlfriend says (as she points at my yellow socks): “It bothers me!”

This is my 100th blog post! While I’d like to celebrate this milestone with shameless debauchery on an epic scale, it instead looks like I’ll have to settle for buying lunch and unveiling my latest creation.

Odysseus’ Rock was shot the same day as The Paradox of Choice, and was actually photographed just a little further up the street. Originally I had wanted to shoot a photo with all the figures in line and staring straight into the camera, with the central figure looking away. However, when I arrived at the scene, I decided to put that plan in reverse in order to better suit the setting.

Completed in just 18 hours, with only 13 frames collaged into the final picture, this was much easier to put together than Paradox of Choice. In many respects, I think it is also the more successful of the two, particularly because I enjoy looking at it more.

I got the idea for the title after reading this line from the Odyssey’s Wikipedia page, under the paragraph about the Character of Odysseus:

“Odysseus’ name means ‘trouble’ in Greek, referring to both the giving and receiving of trouble—as is often the case in his wanderings.”

While that might not be exactly accurate, reading this made me feel like I could identify with the way in which Odysseus is troubled by his lack of a sense of security. For Odysseus, the ultimate goal is to get home, a place of safety and comfort. Similarly, I am also searching for a means of comfort and security, albeit the financial kind.

When I look at this picture, I think it illustrates my feelings of being unemployed and searching for a better solution. The figures are surrounded by prosperity, but they are marooned on a rock and looking for a way out.

Thanks again to Jenn Boudreau for assisting me with this image!

World of One: The Paradox of Choice

The Paradox of Choice (from the series World of One)

Earlier this year, my brother introduced me to Sergio Leone's classic gangster film Once Upon a Time in America, which tells the story of a New York City street gang during the Great Depression. When I arrived in Brooklyn, my brother sent me on a mission to find this area, and specifically this shot, which was used for the movie poster. This is probably one of the most photographed areas of Brooklyn; in fact, if you look at it on Google street view, you can see a whole gallery of images from people who submitted their own shots of the intersection at Washington and Water Street. It was extraordinarily difficult to get a clean shot of the background, as there was a constant stream of tourists walking into my frame. There even was an Asian couple that was literally in 3/4 of my shots, who I've magically erased with Photoshop.

I recently watched the Matrix trilogy again because my girlfriend had never seen it (forgive her, she's a bit of a FOB). This time, I paid extra attention to all the scenes featuring multiple Agent Smiths. Usually one of the first things people say when they see my World of One collection is, "oh, it's like the Matrix!" So I thought it was appropriate to study up on my doppelganger imagery. The composition and placement of the figures in The Paradox of Choice was inspired by the last shot in the playground scene from the Matrix Reloaded. In this scene, Neo flies off after fighting with the small platoon of Agent Smiths, and the camera cuts to the crowd of Smiths staring at the flying Neo before slowly walking off in disappointment. I originally tried to replicate that shot by placing a central white figure close to the camera and looking up, with a central dark figure looking at him. They didn't work too well with the rest of the figures in the photo, so, in the end, I decided to take them out.

For me, this image illustrates my search for success. I keep trying to walk forward, but I can't help but look back. It doesn't matter which side path I choose, they all seem to head towards the same final destination. While there are rays of hope here and there, for the most part I still have to walk through the darkness to get to where I'm going.

Special thanks to honorable pusher of buttons Jenn Boudreau for assisting me with this image!

I'm Alive!

Diligentia (from the series World of One)

Girlfriend says: "Looks like Darwin!!!"

I'm alive! Apologies to my regular readers for the lack of recent updates. In my move to Brooklyn this past June, I did something I have never done since the conception of this blog: I went over a month without any updates whatsoever. When I first arrived in New York, there was a period of about a month when I wasn't shooting anything, and was instead trying to find my bearings/frantically looking for work. When I finally emerged from the chaos that had become my life, I shot this picture. It is titled Diligentia, which is the Latin word for persistence. Though I'm slowly beginning to feel more settled in my new surroundings and things are starting to get better, back at the end of July, when I shot this picture, I still felt like it was me against the world. Everything in this city is loud, confusing, and crowded, and I was feeling somewhat lost and fatalistic. In order to force myself to take action and be productive, I kept telling myself that I had to get out and forge my own opportunities.

My goal for this picture is to illustrate those feeling -- of trying to find the motivation to push forward, past my fears and into the unknown. That being said, I actually don't think this picture is very successful. Instead, it occupies this grey area in which I don't think it's awful but I wouldn't necessarily want to look at it all day. I feel like it's lacking all elements that make the other images in the World of One interesting. It's hard to tell that they are all the same guy walking in the street, and there's no sense of depth or distance in the picture. Though I think the idea is good, the execution is not. I felt very indecisive during the shooting of this photo, in a large part due to not having had a very clear vision of the final product in my mind. The idea was to have a group of the guys in black tapering off into the sunlight (thus creating a gradient of values), and to have the white figure in the middle of the darkest part of the group. But during the shoot I couldn't decide where I wanted to place everything, so instead of a crowd of black suits I ended up with something looking more like a line.

Shit.

In any event, after failing at my first photoshoot in my new city, I felt fantastically motivated to get out and redeem myself. "I was bound to fail at some point," I kept saying to myself, "it might as well have been sooner than later." So the week after I shot this photo, I went back out and shot two more pieces for the World of One. Just from looking at the contact sheets, I can tell that they will be much better. I will be posting them up in the next few days so you can all judge for yourselves.

I might look like I know what I'm doing, but if you look closely, you can see the fear in my eyes. (photo courtesy of Yen the Lo)

Popping Monsters

Popping Monster: Millions Guns

My buddy Dave (who regularly assists me as "Honorable Pusher of Buttons" on my World of One shoots), asked me recently if I’d be interested in turning him into a Popping Monster. While I am much less familiar with the intricacies of Popping than I am with Breaking, I was up for the challenge and excited to venture into new territory. Dave also insisted on making a behind the scenes video of the entire operation, which I’ve included here as well. Hope you guys enjoy!

Popping Monster: Ghost in the Machine Spiderweb

Popping Monster: Nick the Fury

Popping Monster: Popping Octo

video courtesy of Dave Shi

World of One: School of Cambridge

School of Cambridge (from the series World of One)

This was the most straightforward and yet most labor-intensive World of One image I have produced thus far. There are 91 frames collaged into School of Cambridge (112 before the edits), which is roughly 3 times the number of frames that have gone into any of the other works in this series. This was shot at MIT behind the Strata Center where they have this cool outdoor seating area. I’ve wanted to do a picture at this location for a long time, but a theme never really came to me. Finally one day I just decided to go for it, and I worked out a composition from some scouting shots I had taken of the area.

Unlike many of the other World of One images I’ve been making as of late, I didn’t, going into this picture, have a clear idea of what I wanted to express. Instead, the composition came first and the meaning behind it came later. I knew I wanted the white figure in the center of the circle as well as a black figure in the foreground both staring into the camera. The image came together when I developed the scenario that the guy in white is the teacher and the guys in black are his students. The shot is taken from the perspective of a student asking a question, and the guy next to him turns towards him as he begins to speak. For me, seeing this image brings back long-suppressed memories of asking stupid questions in class, specifically the moment right before everyone turns to look at me in disbelief of my stupidity.

The name of this image is appropriated from Raphael’s School of Athens. I’ve often heard Boston referred to as the Athens of the United States because of the concentration of quality universities here. But the most prestigious ones in the area (namely Harvard and MIT) aren’t in Boston at all. They’re across the river in Cambridge.

As this is an image inspired by experiences from my own schooling, it also celebrates the distractions I found for myself in the classroom. As my friend Dave, the assistant for this shoot, put it, “Just because they’re all in class doesn’t mean they’re all paying attention to the teacher.”

Changing the film on my old Minolta

Costume change

Lining up the shots

Prep before shooting the professor frame

Dave got smart and took this from the viewfinder of my Minolta, I never would have thought of doing this.

Behind the scenes photos courtesy of Dave Shi.

World of One: The Stranger

The Stranger (from the series World of One)

“There is no sun without shadow, and it is essential to know the night”
- Albert Camus

April was a crazy month, but spring is finally here and in full swing. While I originally planned to shoot this picture on the benches next to the Trinity Church in Copley Square, the events of the Boston Marathon bombing totally derailed that plan. Instead, when I shot a Kung Fu Master piece for Sifu Zhou Xuan Yun, I opted for the timelier spring-inspired location.

This was shot at Lars Anderson Park, just down the hill from where I shot The Indecisive Battle. My friend Henry, who assisted me with The Indecisive Battle shoot, renewed his role as the button presser. Continuing with the theme of being alone in a crowd, this is the sister image to Invictus, which I mentioned in the previous World of One post. The Stranger is inspired by feelings of loneliness though, as opposed to those of solitude, as was the case with Invictus. For me, the pain of loneliness is sharpest when we are ignored by others; to illustrate this point, I wanted to juxtapose the feeling of alienation with inclusion, and I chose to do this by surrounding a lonely figure with an engaged crowd.

This picture is the 9th image in the World of One series since I switched to shooting it with film, which means I now have more World of One pieces shot on film than shot digitally. This small fact feels like a big victory for me, in part because the notion of doing these pics on film still seems ridiculous (and expensive) to me, and also because I always thought I would’ve run out of ideas by now. Instead, I am pleased and proud of how this work is developing, and excited to see where it will take me in the future.

Kung Fu Master: Zhou Xuan Yun

Zhou Xuan Yun, Daoist Sword (from the series Kung Fu Masters)

Zhou Xuan Yun, Daoist Sword White (from the series Kung Fu Masters)

Sifu Zhou Xuan Yun is a Master of Wudong-style (more commonly spelled Wu-Tang-style) martial arts. He grew up on Wudong Mountain, where he trained in Chinese martial arts since the early age of 10. At age 20, he left Wudong Mountain to wander as a monk for 4 years and to seek out a dialogue with other martial artists. In short, this guy (who resembles a bad guy from a Tony Jaa movie) has the classic hero back story of an old-school Chinese kung fu flick. And now he teaches in Boston!

I met Sifu Zhou through my friend Henry, who some of you might remember from my post Crouching Tiger, Hidden Photographer. We have been planning to do this shoot with Sifu Zhou for almost a year, but were unable to due to scheduling conflicts. While Sifu Zhou had originally wanted to do a shoot in the snow, when I informed him of the logistical difficulties of photographing in a blizzard, he opted for a shoot “under a tree with white leaves.” “Wonderful,” I thought. At least with white leaves we’d have a week or 2 to schedule a shoot, as opposed to a single miserable day, as is the case with shooting in the snow. Now all I had to do was figure out which trees bloom white in Boston (cherry blossoms).

Both of these images are collaged from photos that capture the movements in the “Daoist Sword” form, or “玄門劍” in Chinese. I love that these pictures function both as documents of a traditional cultural practice as well as cool things to look at and ponder. What draws me to this work is that, while it is clearly a work of fantasy, that fantasy is deeply rooted in the traditions of reality.

World of One: Invictus

Invictus (from the series World of One)

"Being unconquerable lies with yourself:
Being conquerable lies with your enemy."

- Sun Tzu's the Art of War

The next two pieces in the World of One, Invictus (Latin for “unconquerable”) being the first, will explore the idea of being alone in a crowd. While originally the idea was to only create one picture exploring themes of loneliness, the more I thought about it, the more my thoughts started to focus on the difference between being alone and wanting to be alone. For me, loneliness is about the unrequited desire to be seen by others. On the other hand, the desire to be alone, or what I would call seeking solitude, is more about ignoring the presence of others. Invictus was created with this concept of solitude in mind, which is why I did not have the central white figure in the picture return the gaze of the crowd. They all see him, but he does not see them. Instead he is staring straight into the camera and beyond the crowd.

World of One: the Indecisive Battle

The Indecisive Battle (from the series World of One)

Above is the picture I had originally envisioned when I was shooting Painful Pleasures.

Internal Destruction

This image, Internal Destruction, was shot about two weeks earlier and is a previously failed attempt at creating the snowball fight of my dreams. When I completed the collage (after 12+ hours of work), I found myself grossly disappointed. Although I do see redeeming qualities about the picture, I feel like it is lacking what I like to call a "leading man," a central figure in the picture to pull in the viewer; also, I wanted there to be more of a mix of the two sides in the middle of the picture; more chaos, less order. Basically, I didn’t get the picture I wanted because I didn’t try hard enough.

On Monday 3/18, when I heard that we were going to get 4-12 inches of snow in Boston, I knew that this was my chance. I sent out an SOS on Facebook for volunteers to assist me with an early morning shoot the next day. I got one single volunteer, my buddy Dave (who also writes an awesome blog here), and I also got in touch with Henry, my assistant from Narcissus and Yin Yang Whisper. They agreed to wake up early and help me press buttons and chuck snowballs at me in the middle of a blizzard.

here's Henry, probably wondering why he volunteered to come on this shoot.

The morning of the shoot 3/19, the last day of winter, I woke my ass up extra early so I could shovel myself out of my driveway and pick up my friends. I had barely slept the night before, as thoughts of different scenarios of how the shoot would go kept running through my head. After having picked up Henry, I called Dave to let him know I was almost there, to which he replied, "Okay, I'm finishing a poo. I'll probably be out by the time you get here." At this point, I knew this was going to be a fun shoot.

Testshot when we arrived

By the time we arrived at Lars Anderson Park in JP, the weather had changed from heavy snow to hellish hail with gusty winds -- later, it would change again to freezing rain. So one of the first things Dave did when I picked out a spot to shoot was to put up a snow wall.

(Photo courtesy of Dave Shi)

But, as you can see in this picture, the snow wall behind me, while an appreciated gesture, didn't go up very high. So the winds still felt miserable. But I didn't give a shit. Sometimes that's how I know when I'm onto something good -- when I don't care about how much work I have to do to achieve my goals.

What followed thereafter were the two most painful hours of my life. During our first take, as soon as I yelled "action," Dave let out a war cry, screaming and running towards me with snowballs in hand. For a minute there, I was legitimately scared – his level of commitment to playing the character of the “attacker” was totally unexpected. I screamed back and let go a volley of snowballs. This continued for the first three rolls, until it was time for a wardrobe change. By the end of the shoot, my body felt so numb that I didn't even feel cold – but it was worth it.

After an hour of getting my ass kicked, it was time for a wardrobe change. (Photo courtesy of Dave Shi)

While this work is similar to Painful Pleasures, I think Indecisive Battle has a very different tone to it. I see Painful Pleasures as a picture that is more about self-destruction, particularly how self-destructive behavior is often fun; on the other hand, Indecisive Battle is a picture about indecision and personal conflict. For me, it illustrates how I feel when I'm trying to make tough decisions in life.

Henry and I checking the frame before shooting the White figures (Photo courtesy of Dave Shi)

Dave destroying his snow wall after we finished the shoot (Photo courtesy of Henry Lee)

On Craneface

Craneface

Craneface has been (and remains) one of my most successful images to date, which is why I shamelessly use it for just about everything. Because of its ambiguous elements, it is also one of the pictures about which I get the most questions. The practical function of a portrait is to show a person's face, an element that acts as an emblem of individuality. However, by masking the face, as I have done in this image, one’s individuality is removed or suppressed, and exchanged for another’s.

The Craneface, to me, is a juxtaposition of two different notions of work. I purposely used a suit as the basis of the figure because it connotes images of the modern worker and is the uniform of choice for bureaucracies around the world. I see the suit as representing this faceless notion of work, one in which we all just become squirrels fighting for the largest nut beneath the corporate tree. The origami cranes, on the other hand, represent an intimate notion of work, as origami is something that must be made by hand. There is no machine that can fold origami for you. Anyone who has ever folded even simple origami knows it can be frustrating process that requires a human’s touch.

When I shot Craneface I was in the midst of trying to decide whether or not I wanted to walk the paved path of a nine to five, or if I wanted to cut my way through the jungle that is fine art. This is a question I am still grappling with today, and perhaps the act of hiding my face behind the cranes reflects on my indecision. Alternatively, one could also read the image as a statement that says, “I have become my work and wish to be recognized for my art (that which I have created with my hands), rather than with my face.”

World of One: Painful Pleasures

Painful Pleasures (from the series World of One)

For months now, the idea for this picture has been dancing around my brain chamber, taking up space like a chubby elephant. However, since the level of snow in Boston has pretty much been shit for most of the season, I’ve found myself sitting on my hands for most of this winter, waiting for it to either start snowing or get warmer so I could move onto other ideas. Earlier this month, my family started planning our annual Tang Family Vacation Expo. This year we decided to go up to Lincoln New Hampshire, for a weekend of skiing/snowboarding and 6 - 8 hours of me sliding on my face. At the time of planning this trip, it looked like it wasn’t going to snow anymore this year, so I decided that I might as well head north to where the snow was guaranteed. We had planned our trip for this past weekend to coincide with the Lunar New Year (yay fireworks!), and, just as we were leaving town, low and behold, my prayers were answered! As I was leaving Boston in search of pristine fields of snow, the second biggest snowstorm of a decade comes rolling into town. I felt silly.

This was by far the most painful shoot I’ve ever done. The snow up that dropped in New Hampshire over the weekend was of the dry, light, and fluffy variety, which makes it absolutely terrible for making snowballs. I circumvented this problem by making the snowballs with my bare hands, using my body heat to melt a bit of the snow and to create enough moisture to make the snow adhere to itself. Since I was using my family as the crew on this shoot, I also had to deal with my mom and her safety concerns, as well as my dad and his obliviousness to what we were doing. The moment that sums up this experience for me is when my dad asked me, “But how are you going to hit yourself? There’s nothing there!”

“Magic Dad, magic.”

While I would have preferred to shoot more frames for this image (I usually shoot at least 5 rolls), after shooting only 3 rolls, my cold resistance had reached its limit. While I don’t usually need 500 frames to make a World of One, shooting more will provide me with more options, and will usually improve the quality of the work. That being said, Painful Pleasures actually ended up being a simpler version of what I originally had in mind. Maybe if I get lucky I’ll have a chance to make another snow picture before the winter fades away.

Painful Pleasures is dedicated to my high school English/Film teacher, Mr. Brown. I learned more about art in the year I spent in his class than 3 years of college. I will always remember him teaching us that “All Truths are paradoxical,” and “The things that make us laugh, also make us cry.”

On Narcissus

Narcissus (from the series World of One)

As the name implies, this piece was inspired by the story of Narcissus from Greek myth. In summation, Narcissus was a hunter who fell in love with his own reflection in a pool of water. He then died of starvation, as he refused to take his eyes off himself. This is essentially meant to be a cautionary tale: Basically, don't be too much of a douche.

I feel as if we now live in a hyper-narcissistic society. Social media has enabled us all to live in our own digital "World of One"s. Whenever we sign online, the digital world that we inhabit is personalized and catered towards our specific needs. In other words, it's all about us. We now literally watch other people watching us. To me, it feels like my reflection has run away and has taken on a life of its own, not all that different from Peter Pan's shadow.

The great post-modernist philosopher Michel Foucault famously described society as a Panopticon: A special type of prison in the shape of a nipple, with the guard tower in the middle and the cells surround the tower in the outer ring. The inmates can't see into the guard tower, but the guards can see into the cells, giving the inmates the feeling that they are always being watched. Foucault said that, in society, we are simultaneously both guards as well as inmates of the Panopticon that makes up our social landscape. I find that this has never been more true than it is now. Big Brother is already here, and it is us: Our own reflections stare back at us, watching us from the pool.

Treasure Hunt

The most common question I get from people in regards to my work is usually something along the lines of, "What does this mean?" Generally, and like a reflex, when I hear this question, the first thought that runs through my brain is, "After you finish a book, do you get to ask an author what the moral of the story is? Do you even care what they think???" Of course, I never say that. After all I'm biased to convince them to actually buy my shit (art), so I tend to give them my best art school bullshit. That is to say, I'm not interested in what I think about the work. Of course, I like it, otherwise I wouldn't be showing it. But what I’m interested in is other peoples' interpretations of my work. I can tell you what the work means to me, but what I really want to know is what the work means to you, the viewer.

Be that as it may, at this point anyway, no one else is really writing about my work. Most of my audience, especially for this blog, is made up of my friends (and the majority of which are bboys) who, through no fault of their own, are lacking the proper tools to interpret any art in an a more engaging sort of way (Josh!!). Like pretty-sounding lyrics sung in a foreign language, the meaning of the song goes straight over your head.

So in order to help nudge people along towards the path of engagement, and because I don't think anyone will write about my work anyway, I've decided that I am going to start posting more about what some of my work means to me. Naturally, some work is easier to talk about than other work (as a byproduct of some work being much better than others). And I will make these informational postes completely at my own discretion. Since I feel like I'm kinda bending the rules here a little bit, when I post these "narcissistic self serving reviews," as you will, I'm not going to promote them. Instead, it will be the jobs of whoever's interested to come back and find them on their own. This is a treasure hunt after all, and it will be starting..................................NOW!

BBoy Monster: El Nino

BBoy Monster: El Nino, Vitruvian BBoy

Happy new year everyone! Trying set this year off right, today I unveil my latest creation.

Behold! The BBoy Monster: El Nino!!!

If you're a bboy, this guy needs no introduction. If you're a bboy and you've never heard of him, then you're doin' it wrong! El Nino has been a dominating figure in the bboy scene for over a decade...which is ridiculous when you consider the fact that he's barely old enough to drink! It's pretty difficult to overstate his bboy credentials. At age 11 he teamed up with Kmel of the legendary Boogie Brats crew to win Lords of the Floor (the precursor to Redbull BC One, for many the most coveted title in bboying). At age 19 he became the youngest recipient of the Spy Award (breaking's equivalent of a lifetime achievement award) given by the Rocksteady Crew. Showing no signs of slowing down he continues to travel the world teaching workshops, entering jams, and smashing/inspiring bboys' dreams everywhere.

I felt both an honored and humbled to be able to work with him on these pictures. While there are definitely some glaring technical mistakes in terms of the photography here (my old studio lighting teacher is probably pulling her hair out right now). In terms of creating the illusion of one body with multiple limbs working together, I think this was one of my more successful attempts.

BBoy Monster: El Nino, Super Chair

BBoy Monster: El Nino, Face Grab of Death