resting fire face

Spinurn 09/07/16

I’m deeply amused whenever anyone complains about how they’re never smiling in their Spinurn pictures. “I always look so serious, y’know?”

Dude, you’re playing with FIRE! I get it.

Spinurn 08/23/17

Don’t get me wrong, as a photographer I love it when someone plays to the camera or looks like they’re having a blast. But as a fellow flow… person… thing… I also understand how hard it can be to relax enough to look at the audience or a photographer or, say, anything but the BALL OF FLAMING MATERIAL YOU’RE SPINNING PERILOUSLY CLOSE TO YOUR FACE!!!!!

Because, trust me, no matter how familiar you are with your prop, no matter the safety training you’ve done, it’s fire and I think our hind brains will never stop reacting to it as such, because to do otherwise would be potentially perilous.

Spinurn 11/08/17

So yeah, I’m happy for the pictures of people having fun and laughing. But if they’re not expressive…

Don’t we all kind of get why?


by the pound

What’s the last thing you bought by the pound? Vegetables or meat are probably the most likely. Bulk food. Deli meat.

How about larger measures? Five pounds. Ten pounds. Potatoes, likely. A roast. Apples.

According to the shipping manifest, this picture shows roughly ten pounds worth of greeting cards. Over three hundred cards with envelopes.


Believe it or not, that’s not what trips me up, though. Given that I’ve actually gotten a vending date or two coming up, I’m happy for the inventory.

No, what’s really messing with my head is the fact that almost all of these are from my Lego Kink “line” and, unless I’m misreading the email or something equally weird happens, more than half of these are earmarked for a local shop to carry.

And that blows my mind. And that gives me hope.

I’m not about to threaten Hallmark any time soon, but it’s really heartening.

almost over

let it burn

Are we there yet? I mean, beyond the slow shuffle of linear time and all that.

2017 was:

  • Two shows of my photos at two venues in town
  • Making more Lego comics
  • Selling Lego cards for the first time¬†(Etsy link)
  • A burst of creativity across three days that I’m still amazed by.
  • Making a phenomenal friend, losing her and regaining her for both high and low points of the year.
  • Lots of fire!
  • I photographed dancers, belly dancers,¬†MMA fighters and protesters
  • PAX!
  • I built a studio in my garage and I used it to get my foot in the door for a new job.
  • More therapy


  • I’m submitting to SEAF and have some kinkier offerings in the works.
  • I really want that new job
  • Lots of fire, more open flow shoots.
  • Did I mention a studio? I’m going to hustle.
  • I plan to hustle.
  • At least two more shows this year, preferably one of my fire photos.
  • And I think I’m going to be ranting about smut here a lot. Stay tuned.

Now if I can just keep posting somewhat regularly? I’ve got a fun rant about porn coming up…


I meant sexually.

looking back on burlesque

The other night at my regular fire spinning gathering, I was talking with a friend I’ve not seen in months and I mentioned burlesque in passing.

“Don’t you miss anything about burlesque?”

This being a very amorphous group with people coming and going I didn’t actually get a chance to answer, but I did think about it.

And to be honest I do miss parts of it. But not necessarily the bits people think about.


The Red Queen

Kitten LaRue, Burlesque Through The Looking Glass, Triple Door


It’ll come as no surprise that I miss the spectacle and grandeur of the best of it. Productions by Verlaine/McCann or almost anything at the Can Can would leave me breathless. Or the performers who brought such a strong dance background that what they did could transcend “just” burlesque.

But I also miss the joy of the people who couldn’t perform and owned that shit. I shot for Indigo Blue’s Academy of Burlesque for about five years, which was a mixed bag. There were experienced performers and neophytes. Some could rock the stage, some had never even considered it. And oddly enough, the students who knew their limitations and embraced them were phenomenal and memorable. Hell, I remember an act from the very first graduation class ever simply because it was so simple, silly and joyous. They may not have had the chops, but it was clearly fun, which was the best.

And as much as I loved the Triple Door, I missed the intimacy of places like the Pink Door. I hated having to shoot on the floor and management could be flighty, but the pictures were amazing.


Aerialista Ornament

Aerialista, Triple Door


I miss the variety of some of the venues. The ones that would bring in opera singers, aerialists, actors or even (ugh) performance artists to break the sameness of evening. Burlesque, burlesque, burlesque… and now a blues singer? Cool!

I miss the good emcees, whether classy like Jasper McCann or crass as fuck like Armitage Shanks. The ones who gave the audience a chance to breathe before the next Big Number. And I miss the time Jasper helped me mess with my parents when they came out west to visit me one time.

I made a lot of friends and I miss them. But I couldn’t share their enthusiasms anymore and it was painful to have to bite my tongue.

Belle Cozette - Bedtime for Belle

Belle Cozette, Pink Door

I miss the weirdly wonderful surreal experience of backstage or post-show conversations. It’s where the ephemeral and the mundane collided. Beautiful women, scantily clad, it’s a teenage boy’s wet dream… and they’re talking about the weather and holy fuck, that coworker? Or talking with Vienna la Rouge, a gorgeous and amazing performer, at the bar at the Pink Door about traffic. It was rarely about anything truly bizarre but it never felt normal either? So it was wonderful.

I’ll admit that selfishly I miss having a pool of talent to work with in the studio. But can you blame me?

Jesse Belle-Jones

Jesse-Belle Jones, in studio

Beyond that, I don’t miss anything. Granted, a lot of that is a function of having been intensely active in the scene for six years. I was on and off stage. At some points, I was going to more shows in a week than most people would see in a month or two. Familiarity bred contempt, weariness, boredom…

I don’t miss the de rigueur nudity or the hype. It’s too much like being shocked to see a fight at a hockey game, and the odds of that happening aren’t as good there. The odds of a fight are more like 90%. Or the crass, long-winded emcees who relied on that hype.

For that matter, I don’t miss the performers who only brought a willingness for a certain, specific form of exhibitionism and nothing else. Half-assed props, flimsy costumes and no choreography to speak of? Pass. Hard pass.

I really don’t miss the hypocrisy of such an “edgy” scene. You know, the kind where everyone wants to push buttons and test boundaries until they’re the ones who are offended? I saw a lot of that there.

I don’t miss the feeling of obligation to go to every show.

And ultimately I do not miss the culture of extreme politeness that seemed to preclude any kind of criticism. That everything was OK. Don’t believe me? Go check out Dan Savage’s review/critique of three shows in three nights from 2010 and then go read the comments. I love the people complaining that he didn’t go to have fun but, oh my, to be critical? How dare he!

Vienna backstage

Vienna la Rouge, Re-Bar (backstage)

Don’t get me wrong, for all my grousing on this topic, I neither expected nor wanted every performer to have Juilliard training or corsets covered with Swarovski sequins. But we are talking about an artistic community whose only real barrier to entry is a six week course. After that, you can perform for a long time.

On the one hand that’s great and encourages steady growth in the scene. On the other, would you see a band that had only ever played their instruments for six weeks? Really?

I think I’ve been in karaoke bars that had higher standards.

Would I go back? No. I did go to a show to support a friend of mine three or so years ago, but apart from her act, it was so ritualized and anemic. You know. Tits. Except my friend’s, which was about her breast cancer, so… kind of different emotional arc there.

Of course I miss the spectacle. But now I shoot fire. Hell, I play with fire. When I want to. With no expectations and no need for an audience.


toy story (or, why I hate moss)

Last time I wrote here, I was talking about using photos to tell a story when you can’t capture a moment. This becomes important when I’m working with Lego minifigures that, let’s face it, tend to just stay there without a lot of inherent dynamism. So Batman v. Joker or robbers robbing or even a staged “conversation” can make all the difference.

But crucially, I think the story needs to be explicit in the photo. It’s not enough to simply put an action figure on the ground and say “Oh yes, it’s Daredevil and he’s running from the Hand and…” without anything else in the frame to fill that narrative out.

Case in point, here’s a picture I took earlier in the year.

to the temple

It’s pretty, the red and green are a nice contrast and the composition is OK. But what’s actually happening in this photo? Yes, I had a story in my head, something about a noble lady going through the woods to a temple somewhere but without that, what’s really in this photo? Minifigure. Moss.

I don’t think I would have noticed this if I hadn’t taken two pictures that, despite featuring different figures, were essentially the same. Minifigure on moss. The story I told was different, the images were the same.

By the way, this is something I find frustrating with a lot of things, seeing the same cliches and tropes treated mostly the same with only cosmetic differences. In burlesque it was ¬†performers who used essentially the same choreography for most of their acts or the same set-up of “She’s an innocent little $JOBTITLE but really she wants to be $BURLESQUESTAR!” In pin-up photography it’s the same ten poses but different hair colors. In genre fiction it’s particular set ups or character types. It all adds up to a point where I can only see the cliches.

In toy photography… moss and minifigures.

Moss is great for toy photography because it serves as natural scenery at any scale. It looks right, it’s not jarring, it’s just green and lush and beautiful. It’s great.

Until you see it in almost every photo.

Which happens, especially in the Instagram tag communities that ask people to post their favorite photos of the month and you get layouts like this:


Each image on their own is fine. Seen en masse and I feel overwhelmed by sameness despite the slight differences.

Moss. Minifigure. No moment. No story. You could swap the subjects around without losing a thing.

And dammit, the most polite I can be when confronted by tedium like this is silence, which can be frustrating when I think everyone can do better or at least push their art in different directions than this.

We all love a visual art, yeah?

Then next time, show me.



moments in miniature

such a sweet heist

Someone complimented one of my photos on IG saying that it seemed like all my photos told a story. I thanked her but really I was thinking “Of course! Why bother otherwise?”

I’ve written before about how, most of all, I want to capture a moment. If my camera can capture thousandths of a second, why am I setting up shoots like I’m going to be working in oil paints? It’s why I love shooting fire and dance and burlesque.

And you can do that with toys. Kind of. It’s tricky. Photoshop is helpful, or patience and a bit of wirework.

good hit

But lacking that, what am I doing with toys where moments as such don’t really exist? And, let’s face it, Lego is not known for its “lifelike” range of motions. Well, you stage them, obviously. But what better way to do that than to set up a story? It doesn’t have to be an epic generational tale, something simple. Whether it’s with established characters:

oh dear...

Or, y’know, just a common idea.

here comes the DRAGON!!!

Do I need to tell you precisely what’s happening here? Well it helps if you know Harley and the Joker, but apart from that, I think it’s pretty clear, yeah?

But this is why I got in to toy photography in the first place. I love the story telling. A single picture can hold what my most sappy writing could never convey. Or at least enough so that I don’t have to write descriptive text about how he walked in to a room that was so big and yea high and… nah. Here’s a picture. Hell, here’s a comic. Have fun.

That’s why Lego really opened things up for me. Two dinosaurs fighting are interesting but limited. But a Doctor Who fig and a Batman fig and… well how would that work? What about the Joker and Emperor Palpatine? I did that one, it was fun!

Remember, if you can’t make a moment, tell a story. You’d be amazed how easy it can be.


[to be continued]

new tricks…


Learning curves are fun. Mostly. And terrifying. Usually.

At the beginning of the summer I started selling some of my Lego photography as blank cards at a local(ish) bookstore and I’ve had a relatively strong response to them. If I’m not rolling in the cash, I’m making my costs and expanding the line a little each time.

A couple weeks ago, I opened up a shop on Etsy (which you can find at BlakeleyPhoto.Etsy.Com) and, again, not lighting up the skies yet but I’ve enjoyed sending out a couple cards to complete strangers. And this week, I’ve arranged to drop off some samples at another local bookstore with a price list and, well, you never know. And I’m certainly hoping. Who knew you could type with your fingers crossed?

Just a quick update. I’m still taking pictures and thinking about this weird stuff. Had the strangest experience of doing a headshot shoot for someone a couple weeks ago and another friend is picking up her first dSLR, so I’m going to be… teaching-ish? Teaching adjacent?

Stay tuned. I’ve got some brainstorms…