Self Service Issue # 38: Cover # 2

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In the beginning of my career, though, I was doing a lot of boy stuff-it Was Easier for me for personal reasons. Also, politically, I was basically Told not to shoot women. A female photographer shooting women was seen as a continuation of Representing Women in A Certain limited way. It was this idea Essentially That did the world need more images of women Because there was a huge library of them already, and That if you took a picture of a woman, it rendered her speechless. It was a lot of heavy stuff art. The art world in the mid-’80s was kind of a revolution. Half the art world was making money and making Jeff Koons-type work and painting, and the other half was really conceptual, political, really interesting, but there really was not a place to take a picture of a woman. So, I just shot boys and I figured, ‘Fuck them,’ [Laughs] I was not like Concerned With Their reputation, but I was treating them like girls Essentially … I was admiring them and fetishizing them and making them pretty and soft and girlish. In a way, it was great Because It was like shooting training for women. But at some point, I just realized, ‘Oh my gosh, it’s so repressive. How can I not be talking to women and picturing women? They’re completely missing from my work and I love them. ‘So, then I thought,’ Well, I’m damned if I do, damned if I do, ‘so I just went for it and let my work stand there for itself and created a bunch of pictures That incite some type of dialogue and That Are Engaged With Each Other and the World.

I used to be really shy About shooting women. I basically felt like They Were going to walk in and see a girl standing there with a camera, all ‘Hey, how are you?’ And there would not be disappointed Because be loud music and this guy in tight jeans saying, ‘Yeah , baby, yeah! That’s hot. ‘It took me a while to understand That there was something else That women would get out of the experience was just as exciting That. I also wear jeans and I also tell them they’re looking hot, I just tell them in a different way, and I think That I give them permission to gaze Strongly more. I think They Feel That They Have the Power; That Their power is not momentary. That it’s not just an artificial power they’re projecting in the picture-they’re actually having a powerful experience. They’re not characters, And They feel, I think, nine times out of ten, That I like them, I think they’re sexy That, and I think that feels good, you know? And it has nothing to Do with lingerie, or something. A lot of things changed in me after I shot Freja [Beha Erichsen]. I shot her in 2009, or 2008 maybe-it was a while ago-for iD, in the stylist’s house, in his bed. There was no hair, and makeup was only allowed to be in the other room, and the stylist pretty much was not in the room. It was just me, not very much camera equipment, not very much light, and I was literally standing on the bed looking down on her. She was saying That Either people want to put her in a suit or a ball gown, and neither one of those are her. I really got what was sexy About Her, and it did not have to be ‘dressed up’ to create the image. The pictures felt really good. And simple. I guess I do not want to overdo things, I do not want to create Such a costume drama. I remember when I was younger, I looked at pictures and movies and I was like, ‘Oh, is she really like that?’ I want there to be That Possibility: that she’s really like that. I do not want to make a picture that’s so ridiculous That eve

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