Klyment.com - Journal

At approximately 7pm on September 26^th I attempt to book a train trip from Köln to Frankfurt for the 27^th at 6pm. Deutsche Bahn’s website returns an error informing me that my desired itinerary occurs in the past. “The past?” I inquired unto myself and I sat there pondering this software glitch over a Baileys latte at Brownies off Friesenplatz, confident that it would work itself out. And the problem did work itself out – I finally realized that I had failed to advance my watch a day as we crossed the International Date Line on my flight over from Edmonton. It was 7pm on the 27^th when I had attempted my booking. But I still had one thing left to do during this visit. I rush off.

About fifteen minutes and one transfer later I find myself at the Nippes station platform. The air is misty and the streets are deserted. Unlike much of Köln, this area’s population density and commercial density seems very low with large parking lots around sleepy-looking but modern warehouses. I see only a handful of pedestrians some of whom shoot me an occasional nervous glance. So far, everything seemed as I had expected.

There is one road roughly parallel to the direction of train travel but this road angles slightly after a few metres. I am sheepish to admit that I instinctively headed the right way to my planned destination without having to ask a local for directions. I come across a sign board on a bicycle rack pointing me towards a casino. Everything I saw seemed to point me to where I wanted to go. It would be only a few steps before I see the blue, twelve storey building towering over the much smaller surrounding structures. Pascha, Cologne, is the largest brothel in Europe and is licensed by the city and was built on government-owned land. Upon entering, guests are asked to pay a 5euro entry fee that is good for twenty four hours and includes all non-alcoholic beverages and some snacks. If a patron were to choose to leave the premise with the intention to return later, the doorman will offer to stamp your hand (with a star, in my case) so that you may avoid having to pay the entry fee again. In the same building but behind a semi-separate entrance, there is a strip club with similar rules to those in most of North America. But I have seen a strip club before. I was here to experience the brothel. And though I wasn’t here to experience it how most men choose to experience it, I believed that walking the floors would ensure that I not be denied one of life’s greatest and most taboo experiences.

I visited all of the floors except for the floors reserved for transsexuals and I also didn’t visit the club-style brothel at the top floor. Many beautiful women sat outside their rooms or within their rooms with their doors open, casually displaying themselves to those who may peer in. I spoke with a few of these women. Amongst them were a Hungarian, an Italian, a Pole, and a Chilean. But on the fifth floor I happened to glance into a room and could not walk away. A young Brazilian enthusiastically leapt to her feet to greet me at the door and to invite me in. She was short, no more than 5’4” or about 160cm and her command of spoken English was barely functional. It would take me almost two minutes to explain my intentions and another two minutes before we could agree to working terms.

I photographed Nora for about a half hour during which I shot almost two rolls of Ilford Delta 400 through the Leica M7 and the Zeiss Biogon 35mm F/2. Back in Edmonton I would push the film to ISO 1600 in Kodak Xtol at its stock concentration.  Before leaving I pay Nora fifty euros. I left her room feeling somewhat traumatized while toying with the idea that I had just paid for the services of a prostitute. But I also had to think about what was she to me? What had I just paid for? Was she a prostitute or a model whom I directed as I would have directed any other model on the same set and with the same concept? The process and the end result were much more gratifying that I imagined her regular service would have been . . . though I was certainly curious.

Leaving the brothel and telling Leanna all about my experience was sort of a proud moment for me. Being able to honestly recount the events of the night to the most important woman in my life (other than my mother) with the knowledge that many other men making such a revelation to their respective significant others would have provoked wrath and scorn served to reaffirm that Leanna is the coolest girlfriend ever. And for the record, I sent Jonathan Puckrin this series of images first. I felt that he would be my one friend who would likely appreciate this set the most. I feel badly that I had done this shoot at the time that I did and wish that the photos didn't find him during such an unfortunate time.

In the past year I've been able to selectively squelch my inner control freak and accept existing light as it is, modifying it only when necessary. For the film fanatics that read this, it has nothing to do with the fact that I am shooting more film but because I try to shoot and travel lighter I'm needing to improvise more and make up for what I lack in light control with spontaneity and stronger compositions.

Most of the light in my model's room came from string lights around the bed, around the mirror, and interwoven with the translucent fabrics attached to her ceiling.

The mirror added some complexity to the photos but also made some angles unshootable without getting myself in them especially with such a small room. I had to make compromises. Shooting with a lens that wasn't wide enough added to the challenge that made the shoot more enjoyable for me.

This was one shot in which I half-wished there was no cut off but am cool with its composition as it is. My biggest fear was for motion blur holding the camera at arm's length and shooting at shutter speeds slower than 1/8th of a second. The heft of the M7 helped dampen some of the hand shake.

Some of my model's artefacts added to the realism and authenticity of our set.

This shoot inspired a new level of appreciation for the benefits of Xtol especially with designer films like Delta, Tmax, and Acros. I believe much of this shadow detail would have been lost had I developed in something like D-76 or HC-110 or even Ilfosol S or 3. And to top it off, Xtol is free of the more toxic components commonly found in other developers; it's primarily an ascorbic acid (vitamin C) developer. I even keep its working solution in an old Tropicana orange juice bottle in my studio.

I wished that my subject spoke more English. I wanted to know more about how this room had come to look like this and how long she had been working here.

This shoot offered one of the rare instances where I could meter off a model's chest to get my desired exposure values. Furthermore, having shot the M7 for some time and shooting with the Biogon 35/2 for even longer I was often able to focus in the centre, guess and adjust slightly, and shoot without having to focus and recompose from another part of the scene.

And just for Justin Poulsen, I believe my subject had a foam mattress but I did not confirm whether or not the foam was of the memory variety.

Today we completed a Contessa entry we started over one year ago.

I never thought that we'd take this long to complete a Contessa entry. Or that we wouldn't qualify as finalists. But I have nothing to regret. This project has offered me an opportunity to work with people with whom I'd like to work again and it has also given me a rare opportunity to work with my own mini-supermodel with full hair, makeup, and styling support by the best MUA and hairstylist that I know. To Nikolas, I never take for granted the times you've chosen me to be your photographer for your personal projects. You're regularly booked by Edmonton's top photographers to work on some of the most coveted and closely held contracts we get to see in this market and I know that any of us would be just as honoured to have this privilege. To our models from this shoot and our shoot at the same location in 2009, I doubt you fully realize how easy you have made it for just about any other photographer to have picked up the same camera and created something beautiful with you in front of the lens. And to the person who owns this abandoned property north of Bon Accord, I need to meet you! In the meantime, I'll just thank Jason Hafso for sharing this location with me.

That's kind of a strange place on you to put bug repellent, Leanna.

Leanna helping Michelle with bug repellent while Nikolas does some touch ups.

Leanna receiving some touch ups of her own.

Not every photo is a winner but every shot is important. First photo lit with a tiny Norman 200B battery system and head shot through the diffuser of a 5-in-1 reflector as held by Nikolas. I wanted to keep the look consistent as with the previous year's shots so we went back to existing light.

The image Nikolas selected of Leanna's set for the final entry. I still remember Leanna being so upset with herself and with me because she thought that she did so badly that I gave up after under fifteen minutes of shooting. The selected image was the second shot after I changed camera angles and location slightly. Nikon D3 with the 135 F/2 Defocus Control Nikkor at ISO 100, 1/1600s, F/2.

Michelle catches me sneaking a shot of her from within the grass. I first saw Michelle on a motion picture set five years ago not long after I started shooting. This would be the first opportunity that I have to work with her and hopefully won't be our last.

It would be just seven minutes before we create the image that Nikolas selects for submission.

Same settings as with the other images but at 1/2500s. This was one of Nikolas' night looks for his submission. But we were shooting during the day and I was kind of lazy with lighting and tried to "nightify" the shot by improvising with some of the burnt remnants of one of the buildings on the abandoned site.

I had some time to expose a few 4x5's. All 4x5's shot on Portra 160NC with a jade green Toyo VX125, 135mm F/5.6 Schneider Symmar-S/Calumet Caltar-S at F/5.6. Exposure time was approximately 1/250s for the two shots with both subjects. Rear rise and front swing applied to maintain perspective and get both models in focus.

All 4x5's scanned with the Howtek Scanmaster 4500 driven by Aztec Digital Photo Lab Pro attached to my little tethering workstation. Some fine tuning of colour done in Photoshop CS4.

The sun came out and made this photo a bit more daytime-looking than I would have liked for Michelle's wardrobe and makeup. I hadn't thought of that when I was shooting but I'll remember for next time. It also looks as though I have some sheets of old 160NC and new 160NC mixed together. Look at the edges of the film!

Donna Zazulak of Zazulak Marketing & Communications Inc. requested that I document Pure Pride Edmonton as produced by her and Greg Burns. I invited Corey along. The little Albertan homophobe in me was a bit apprehensive at first but I am glad that I accepted Donna's offer. Even though I am not a member of the target audience of this event, even as a regular attendee and not as a photographer I would have enjoyed the entertainment, atmosphere, and lighting. Oh yeah, lighting and sound by Axe Music. Below are two shots of the setup taken before an evening where my ass was slapped no less than five times.

Shot on Kodak Portra 160 NC with a jade green Toyo VX125 and the Schneider 72mm F/5.6 Super-Angulon XL at F16 and 10s exposure time. I think it's first generation Portra 160NC . . . most of my other film has version number markings next to the film type. Light is unfiltered since most of the light is designed around white LED equipment.

Both images were scanned with a Howtek Scanmaster 4500 driven by Aztek's Digital Photo Lab Professional software. Film mounted in Kami mounting fluid sealed within an optical mylar sheet. All colour corrections were done in the scanning software yielding what I believe is a mathematically flawless tone curve in the original scan file.