July 2, 2025 • 60 mins
The "Jason Lanier Unfiltered" podcast is where real talk meets raw creativity, offering unfiltered conversations about photography, life, and the wild journey in between. Host Jason Lanier invites people he works with to share their experiences, making for enlightening and fun discussions. In this particular episode, Jason speaks with model Krystal Kadaver, who has been modeling since she was 18 and has been a frequent collaborator on Jason's project at Six Flags New Orleans.
The conversation delves into Krystal's experiences modeling at the abandoned Six Flags park, from seeing its transformation from a Jurassic Park like abanbdoned location to it's current half demolished state.
They talk about navigating the challenging environment, including "MRSA water," mosquitoes, and alligators. They discuss the importance of communication between photographers and models, the significance of a photographer having a clear vision, and the role of models as muses who should bring their own creativity and adaptability to a shoot. Krystal shares advice for new models, emphasizing research, bringing a friend (a "Jen" who can help, and being prepared to get dirty.
They also touch on the challenges and rewards of being a creative and balancing it with personal life, highlighting the need for a supportive partner who understands the passion for creation.... The podcast emphasizes the unique and adventurous nature of shoots with Jason Lanier, where "it's an experience, not just a photo shoot.
Chapter Markers
00: Intro
35: Introduce Guest Star Krystal
5:30: What did you think about shooting at Six Flags prior to doing the shoot?
6:35: What was it like shooting with me from an expectation vs. reality standpoint?
7:45: The Importance of Communicating as a model and a photographer BEFORE the shoot
12:07: Struggling to find creative outfits and looks as a photographer
14:15: What makes it a no go for Jason with models and communication
15:36: The Synergy of Creation
16:05: What it means to be a Muse
18:18- How to Not Cheat Yourself out of Great Shots
20:29: Working with Jason compared to working with other photographers
21:30- The Importance of Giving Directions to a Model
22:45- How Male Photographers Should Appropriately Compliment a Female Model
26:40: How Female Photographers Communicate Differently Than Male Photographers
27:25: Learning a Model's Boundaries as a Photographer
29:39: Favorite Shoots we did at Six Flags New Orleans
32:36: What Advice would you give to models that haven't shot with Jason before?
34:35: Setting Off Chinese Dynamite
35:57: What Advice would you give to newer models?
36:13: Bringing a friend or escort to a shoot
41:00: Shooting with Multiple Models on one set
45:21: Having a personal life as a creative
47:39: Feeling the most alive as a creative
51:35: The Importance of Being Who you are as a creative when you're in a relationship
53:58: What a Great Photo Shoot should feel like
55:40: The Importance of Staying Positive on a Shoot
59:00: Wrap up and Future Projects
The conversation delves into Krystal's experiences modeling at the abandoned Six Flags park, from seeing its transformation from a Jurassic Park like abanbdoned location to it's current half demolished state.
They talk about navigating the challenging environment, including "MRSA water," mosquitoes, and alligators. They discuss the importance of communication between photographers and models, the significance of a photographer having a clear vision, and the role of models as muses who should bring their own creativity and adaptability to a shoot. Krystal shares advice for new models, emphasizing research, bringing a friend (a "Jen" who can help, and being prepared to get dirty.
They also touch on the challenges and rewards of being a creative and balancing it with personal life, highlighting the need for a supportive partner who understands the passion for creation.... The podcast emphasizes the unique and adventurous nature of shoots with Jason Lanier, where "it's an experience, not just a photo shoot.
Chapter Markers
00: Intro
35: Introduce Guest Star Krystal
5:30: What did you think about shooting at Six Flags prior to doing the shoot?
6:35: What was it like shooting with me from an expectation vs. reality standpoint?
7:45: The Importance of Communicating as a model and a photographer BEFORE the shoot
12:07: Struggling to find creative outfits and looks as a photographer
14:15: What makes it a no go for Jason with models and communication
15:36: The Synergy of Creation
16:05: What it means to be a Muse
18:18- How to Not Cheat Yourself out of Great Shots
20:29: Working with Jason compared to working with other photographers
21:30- The Importance of Giving Directions to a Model
22:45- How Male Photographers Should Appropriately Compliment a Female Model
26:40: How Female Photographers Communicate Differently Than Male Photographers
27:25: Learning a Model's Boundaries as a Photographer
29:39: Favorite Shoots we did at Six Flags New Orleans
32:36: What Advice would you give to models that haven't shot with Jason before?
34:35: Setting Off Chinese Dynamite
35:57: What Advice would you give to newer models?
36:13: Bringing a friend or escort to a shoot
41:00: Shooting with Multiple Models on one set
45:21: Having a personal life as a creative
47:39: Feeling the most alive as a creative
51:35: The Importance of Being Who you are as a creative when you're in a relationship
53:58: What a Great Photo Shoot should feel like
55:40: The Importance of Staying Positive on a Shoot
59:00: Wrap up and Future Projects
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
This is the Jason Lanier Unfiltered Podcast where we'll talk
meets raw creativity. No scripts, just unfiltered conversations about photography,
life and the wild journey in between. Let's die man.
Speaker 2 (00:22):
This is Jason Lennair Produce Lennar. I'm filtered, I am
this is the podcast. What we're gonna do is I'm
gonna start inviting a lot of the people that I
work with because I think it's it's gonna be fun
and and it's gonna be enlightening, I think for for
me to learn what their experiences were like with me.
So introduce yourself. Crystal.
Speaker 3 (00:44):
Hi, I'm Crystal Katapper and friends with Jason.
Speaker 4 (00:49):
We're pretty cool. I live in New Orleans. So you know,
we linked up on the six Flags project and here
we are almost a year later, podcasting and doing other
well amazing things.
Speaker 2 (01:03):
So yes, so but yeah, how long have you been modeling? Crystal?
Speaker 4 (01:09):
Okay, So my sister got into it first, and then
she maybe piggyback along because she didn't want to go
by herself, which thank god she did, shout.
Speaker 3 (01:17):
Up, Carolyn. Okay, but yeah, pretty much she just didn't
want to go of ourselves.
Speaker 4 (01:21):
So I went, and then it just kind of snowballed
into this whole thing. And then probably since I was eighteen,
so I'm thirty three now, Oh my gosh, so a
long time.
Speaker 2 (01:36):
So you've been modeling a long time and I hadn't
met you. A mutual friend of ours introduced us. I
just asked my buddy, Richard, if you knew anybody that
wanted to come in a model at the park. Because
for those who have not been in my universe, and
again I haven't published a ton on it because of
the desires of the powers that be to they asked
(01:58):
me to not I'm under no legal obligation to not post.
I'm allowed to post wherever I want, but they asked
me to not post. And I wanted to a bye
by that while I was there, and so I wasn't
posting a lot about what I was doing, and so
on and so forth. But now that the demolition on
the park has pretty much halted as of right now,
(02:21):
I'm able to to start to work on some of
this stuff. So I reached out to Richard, who's a
great photographer, older gentleman who lives in New Orleans, and
he said that I said, you have you have, remember
who wants to model at the park and he brought
me Miss Crystal. So my my first memory of meeting
you was at the Bumber.
Speaker 3 (02:41):
Cars Magical Times, Yeah.
Speaker 2 (02:44):
Times, and and I remember you You're coming up and
pulling up and getting out and you're you're had a
friend with you. Shout out jin Jan as well as Richarie,
and you got out and it was so funny because
something that I do with a lot of the models,
yourself included, is you start a dialogue ahead of the
shoot and you try to figure out what you're going
(03:05):
to do. You're trying to figure out what the vision,
the vision of the shoot. The mood board. I've never
made a mood board, but I guess I have mood
boards in my own weird way. But my mind, right,
I have a mood board in my mind. But but
we're going to get into some of the shoots that
we did, a lot of the crazy stuff. But the
(03:29):
bottom line is Miss Crystal ended up shooting with me
at the park, I think more than any other single
model over a duration of time. I had other models
that came in a shot and they're all amazing. I
love them all, but Miss Crystal was you know, from
August of last year, twenty twenty four up until now days.
(03:53):
You know, I think you were the last model I
shot at the.
Speaker 3 (03:55):
Park first and last. I'll take it.
Speaker 2 (04:01):
You weren't the first.
Speaker 3 (04:03):
Oh dang, just one most just repeat defender.
Speaker 2 (04:09):
But no, we shot a lot together. We had some
amazing times. We're going to share some of that going
on and what it was like, because the other thing
that was really cool is that you were able to
you know what was really cool, Chrystal, just realizing it
now is based on when we met in August. You're
the only model that I worked with and maybe except
(04:32):
for the demolition team and Adam who was assistant me.
Shout out to Adam.
Speaker 4 (04:35):
We love Adam well.
Speaker 2 (04:37):
Good old Gators. But outside of Adam and the demolition
crew and Elvin and his team, you're the only one
other person that I'm aware of that really saw the
park go from completely untouched from a demolition standpoint to
all the way demolished. Yeah.
Speaker 3 (04:59):
No, I saw the whole thing.
Speaker 4 (05:00):
And it's kind of cool because you can literally see
the timeline over our shoots of you know, that's not
there anymore, That's not there anymore, Like that moment in
history is gone forever and we got to catch it.
Speaker 3 (05:11):
So cool.
Speaker 2 (05:12):
It's really it was really remarkable experience, and I'm so
grateful that you were able to join me. Join me,
so let me get some of my questions, and of
course your your your free and ask me any questions
as well. What were your thoughts like when you first
heard about shooting at six Flags.
Speaker 4 (05:31):
I was very excited, so I went as a child
because local right, so to see it from literally the park,
like last memory there, eating popcorn and you know, experiencing
the rides, to showing up and possibly getting in one
of the very bumper cars I.
Speaker 3 (05:50):
Was in as a child, just the shell of it.
Speaker 4 (05:55):
So it was really cool to kind of see how
it had transformed into this like post apocalyp post like
realm essentially.
Speaker 3 (06:05):
But yeah, it was really cool.
Speaker 4 (06:06):
I was trying not to run over anything in my car, nails, tires, glass, whatever.
Speaker 2 (06:11):
But yeah, I went. I throughout my time at the park,
I went through at least I'm not exaggerating when I
tell you I went through at least ten tires.
Speaker 3 (06:22):
I was blessed by the gods and did not pop
a single stock. I'm tire. I need some wood to
knock on. But let's keep those blessings going.
Speaker 2 (06:31):
But you were excited to come to the park. What
did you expect it to be like the shoot itself?
What did you how was shooting with me from an
expectations standpoint versus a reality standpoint.
Speaker 4 (06:44):
So again, mister Richard kind of hooked it up and
I was like, all right, send me his stuff. I
need to check it out, try to get a feel
for you, know, your style. I like to do that
ahead of time. Anytime I work with someone, I'm like,
who is this person?
Speaker 3 (07:00):
I'm not to do?
Speaker 2 (07:01):
It's interesting and I'm gonna sidebar that, okay, Because I'm
always looking for opportunities for photographers to learn. I always
tell them that, you know, when you reach out to
people and you want to work with them, sometimes they
never hear back from models, and sometimes models will change
their minds and not shoot with them. Whatever it may be.
(07:22):
What's that like for you? When you when you look
at a photographers profiled, you look at their website and
I just want to brutally honest answers. Do you look
at their webs because no, they need to hear this.
Speaker 3 (07:34):
They do.
Speaker 2 (07:34):
Yes, photographers need to hear this and and it's the
same way for me, and I'll share my thoughts. Want
to look at a model's profile too on why I
would you know, pass over somebody to do a shoot with.
But when you looked at my work and when you
look at other people's work, what makes you say yes
versus saying no? What? What are some of your thoughts there?
Speaker 3 (07:58):
First and foremost, it is the quality of the communication.
Speaker 4 (08:02):
So if I hit you up and we're making plans
and then you're ghosting or anything like that, already sketchy.
If I'm looking at your work and I just don't
like it, like pop it up, lighting's just poor, or
you know, you're really not hitting the angles, or if
it doesn't look like you tried, you're just out there
taking pictures like I can do that on my phone,
(08:27):
and then I guess, you know, as a gorgeous female,
the creeper level.
Speaker 2 (08:31):
So so that's what makes you hit What hits the
red flags free you from a creeper level?
Speaker 3 (08:38):
Why are they hitting on me immediately?
Speaker 2 (08:40):
Okay that beginning?
Speaker 4 (08:44):
You know, yeah, if they're again, if they're it's kind
of a vibe too. The responses are they just like
flat and dry, like what do you want me to wear?
Speaker 3 (08:58):
And why?
Speaker 4 (08:59):
Like if you don't have a vision, but you want
me to, you know, wear this particular app and I'm like, Okay,
what are we building with that? If you just want
to see half naked hout girl, well watch porn or whatever.
Speaker 3 (09:10):
But yeah, so, like the creeper level is definitely there.
Speaker 4 (09:16):
I've also been in like very creative, you know, fooudoir shoots,
like very sexy shoots, but you know, the photographer is respectful.
Shout out to like Sydney. Actually he's in New Orleans,
but he's really fun, cool and he's always just respectful.
Speaker 2 (09:34):
And that's the no. You bring up a really good point,
and that's why I love to talk about some of
these things. I know we're going to talk about about
six flags, but I love some of the things that
we can talk about. That's just why I'm trying to
do a lot of more guest interactions on my podcast,
because I want people to be able to hear these things.
Because when I have a lot of meetings with photographers,
they have one on one consultations, workshops, they see me,
(09:57):
they ask me questions. These are some of the things
that they ask, and I always tell photographers it's not creepy.
If you want to shoot nudes, it's not creepy. If
you want to shoot boudoir, you can be creepy and
want to do you know, a fully closed Parker shoot.
You know what I mean. But it's not really the
nature of the content, That's what I meant to say.
(10:18):
It's more of how you approach it. You have a
vision for it, and is it something that you can
try to communicate. I can speak from a guide level.
Sometimes it's hard, especially when you're a newer photographer and
your guy. It's a harder thing to talk with women
about what you want because you assume that if you
ask them to do something, is that is more revealing
(10:42):
or more risque that's going to set off You almost
feel like I should I be asking this person this.
Speaker 4 (10:52):
I guess I'm gonna like jump in right there. Jumping
is when I'm hearing the vision. Is it coming from
like a place of like beauty?
Speaker 3 (11:02):
Is it?
Speaker 4 (11:04):
Are you trying to make the woman like this central
being that she is, or are you taking this picture
for the.
Speaker 3 (11:11):
Dogs and the men?
Speaker 2 (11:13):
It's a really good point.
Speaker 4 (11:14):
Yeah, So again that getting that vision and That is
one thing I asked every photographer up front. I'm like, hey,
do you have a vision for this? Like, what is
the story we're trying to tell? Because again I want
to bring my best work, and without the story, I
can't really bring that emotional, you know, state to it.
But yeah, if the photographer's just like yeah, just like leather, like,
(11:37):
well that's nice, get a cow on.
Speaker 2 (11:43):
But do you do you remember our initial do you
remember anything about our initial conversations coming into the shoot?
Do you remember any of the okay, so what what?
Speaker 4 (11:53):
So?
Speaker 2 (11:53):
Share? What were they like?
Speaker 4 (11:54):
So again that iconic question I asked for your vision,
you kind of telling me about like the bumper cars
and what you had going on, and then of course
I rolled up with a full car of outfits and props.
Speaker 2 (12:08):
Here's the struggle that I've had is that you want
to create something that is beautiful, and especially somebody who
shot a lot like me and I shoot a lot lot,
you don't want your work to be derivative. And as
much as people try to convince you that this Fashion
Nova outfit, this Amazon outfit is everything and it's just
(12:30):
gonna blow away the world, guess what two hundred thousand
other people have the same shots. I mean, maybe my
work is better, maybe my lighting is better, and maybe
my location is better, which honestly usually they are, but
it's still the same outfit, and that to me gets
really boring. So you pull up next to the bumper cars.
(12:54):
You get out. Now, I did ask you, as I
was very clear with you, because I told you one
thing that I like to do is I like to
put the models into the environment. Yeah, I want to
make that. I want to make it look like you are,
you belong there.
Speaker 3 (13:09):
I think after what you told me, if you the
little story, you're.
Speaker 2 (13:12):
Like, yeah, ahead, go ahead.
Speaker 4 (13:14):
You are like the caution tape is so that you
cannot be moved, like anything in the caution tape is
to remain at the park, And that was what you
kind of told me.
Speaker 2 (13:23):
So I was like, eh, and that's cool, but allow'd remember.
Speaker 3 (13:25):
That revel I shall remain. Yeah.
Speaker 4 (13:29):
So again the importance of having the vision. I wouldn't
have been able to bring that. You know, I wouldn't
have brought the five minute fixed book or this arrival
book if I wouldn't have known the vision up front.
And you know, honestly, the props are always coming in hot.
Speaker 2 (13:44):
So no, and and to your credit, you did such
a great job bringing the props. I think this is
such an enlightening conversation. Crystal doesn't struggle with her ego,
by the way, or the fossing at home, but she's
worth it. She's amazing. We love her. I love her.
The you have to really you hit something that is
(14:05):
really key for me. And it's another key factor that
will pretty much make me write models off to be candid,
it's the communication. When models don't communicate, I don't care
how gorgeous you are, just like if a photographer doesn't communicate,
and how great a photographer he or she is. And
this would apply to men just the same as it
(14:27):
with the women models. If you don't communicate, we're done, Like,
I have better things to do. I've been with I've
been on set on shoots with countless models. I've looked
at their phones. You know. Red flag for me is
when you know, when you're standing extra model and she
gets a text and you look at her look her
phone and she's got like, you know, two hundred thousand
(14:49):
read alerts, like telling her she's got messages, and I'm like,
how do you read through. All those people respond to
people that they care the most about. So to me,
if you're not respond into my tax, if you're not
responding to this or that, it pretty much means that
either A You're gonna come to the shoe unprepared or
B you might not. You might not even show up.
Speaker 4 (15:10):
I'm coming early, chatting up the security guard at the
front gate.
Speaker 2 (15:16):
You are, you are, which is why you're such a
great model. You you. It's why we shot so many
different times at the park because you always did. You
always came with something that was brand new and creative
and we wanted I think that the best part about
(15:37):
the synergy between a model and a photographer, and it
can go it doesn't matter male to male, female female
female and male male female that matter. It's that synergy
of creation. How how much do you two want to
get together to create something beautiful?
Speaker 4 (15:52):
And because I find especially models first getting into it,
they really are are like, oh, I just want to
take a pretty picture. I'm like, no, you're it's not
just modeling, like you really are the muse, Like this
photographer has a vision. You are there to create this vision.
(16:12):
If you don't have if you're not bringing anything to
the table. You're just bringing a pretty face and not
you know, adaptability, you know, a vision of your own,
because what do you do, You're you know, for the
bumper cars, your vision. We shot it and then I
was kind of like, hey, can I climb on this car?
Can I do some different stuff? We got some amazing
shots climbing on that car and like, get it different
(16:34):
poses that you know, not saying you wouldn't have thought of,
but maybe on that first time wouldn't have suggested to
a model that was brand new to you. But I'm like, ah,
you know, I'm gonna kill in this car and toushed
it backwards and all that stuff. So for models just
starting out, be creative, like, don't be shy, like you're
(16:54):
a model, you're getting in front of the camera.
Speaker 3 (16:56):
Don't be shy now you know, yeah.
Speaker 2 (16:58):
Yeah no, And you bring up I'm gonna hop in
now you bring up some really great points because to
kind of set the stages to what we did on
our first shoot, there was the fiberglass shell of a
bumper car and uh, it was in the middle of
the road on what we call steel Alley, which is
(17:19):
the back alley of of of six flags, and I
you know, of course I love anybody knows me loves
to play. I love playing with fire, smoke bombs, all
that stuff. So the whole idead is we shi, we
put I put crystal inside of the shell of this,
and that the shots are Nope, they're they're a wild
(17:44):
You'll have to like insert one. Oh no, I'm gonna
put it. I'm gonna put some some of the shots
that we get so people can see. But the the
car sitting there and she got inside, I lit smoke
bombs on fire. I lit some smoke bombs and then
she she had her book and the what are the books?
The survival it is. Guys are diffude, like yeah, yeah,
(18:06):
it was. It was a really cool book. And and
then she did these poses where she's like, h you know,
and she's reading the book. But but but but one
thing I try to tell photographers is that I've had
to learn it's what. It's wonderful for a photographer to
have a vision, but the photographer also has to let
the other creative in this endeavor, which would be the model,
(18:29):
the muse. They have to let them and all of
their characteristics and their creativity out to the They have
to allow for that space. If you're so rigid that
you say do this and do nothing else, you're you're
you're cheating yourself as a photographer. You're cheating yourself of
honestly some amazing shots. One thing that I love to
(18:50):
do is when I first work with somebody, Like the
first shoot with with you was I like to let
I like to just kind of watch what you do,
kind of wrong. I'll give you direction if I think
you're going too far, of course, but and you know me,
I don't lack for direction. I'll get But at the
same time, you have to learn how somebody moves and
(19:13):
how they pose and where they feel confident, and that's
where you're gonna get your best shots.
Speaker 3 (19:19):
I agree. Yeah.
Speaker 4 (19:22):
And then just the adaptability again, like don't be afraid
to climb on stuff, you know, check your footing, ask
for a hand, but you know, get get out there
and get in it. You know, wait till we get
to the chapter on Merci the water. We're not even
there yet.
Speaker 2 (19:39):
Yeah, it commsal water. I forgot about the mercal waters.
Speaker 3 (19:43):
I could do.
Speaker 4 (19:44):
I must have said eight hundred times every time you
make me get in that nasty water.
Speaker 3 (19:48):
The too fear, I can't no clothes are fired and start.
Speaker 2 (19:53):
You're gonna start rumors because you're saying mercial water. But
there there's no evidence that there was mur.
Speaker 4 (20:01):
Just alligators, alligators, lugs whatever, brows.
Speaker 2 (20:07):
So we did that first shoot and then later that
night we went back into the back area of the park.
We shot in the Mercy Water.
Speaker 3 (20:16):
The Rusty Mercy the Water, Rusty.
Speaker 2 (20:18):
Mercy the Water. You did an amazing job. Miss Crystal
has a rule that she's down for anything until the
mosquitos come out. Yes, and once some mosquitos come out,
she's out. So what was it like working with me
compared to some other photographers that you've you've worked with
(20:38):
from a crazy standpoint, experience standpoint, And I'm certainly not
asking you. I don't want you to actually to like
name any name, drop anybody in a negative way.
Speaker 3 (20:47):
I'll keep up a secret.
Speaker 2 (20:49):
Well you can keep the names out, and I don't
even I just want people to understand from a uh
is it unique shooting with me? Or is it normal?
I'm what is it like?
Speaker 3 (21:01):
Definitely definitely unique?
Speaker 4 (21:02):
Uh, the most direction I've ever received in my life. No,
I love that because a lot of times photographers are
just like and I guess that's how I've come to be,
this way of just kind of doing my own thing too.
So it worked down long term. But yeah, they just
turned you loose and then they're just like.
Speaker 3 (21:22):
Like, did you get it? They did? I knew you
fail your eyes at the flat No.
Speaker 2 (21:29):
Photographers, guys, and i'd get if your brand new photographers,
it's okay, but you have to try. When I met
one of my workshops and I watched the photographers, I'll
tell the man you got talk more. You got to
talk more, you got talk more. Hey, he's your words,
u'se your words. You have to be.
Speaker 3 (21:47):
Uh good tellers. She's pretty?
Speaker 2 (21:50):
Yeah, yeah, tell her she looks Great'll have the shots
are great a lot of the times these poor women,
And yes, I shoot man by primarily shoot women, just
more triple especially with me and some of the crazy
stuff I do. There are some pretty uncomfortable scenarios mosquitos
and mers of war and alligators. So that being the case,
(22:14):
if you're not giving them encouragement, I think it goes
a long way. Now, one thing I want you to
talk on is when you said tell her she's pretty
or whatever. Again, when people hear that because I know
that photographers asking me this, male photographers asking me this
is when you come to the workshops? Is well, how
do you communicate that stuff? And I know what my
answer is, but how do you communicate that without the
creep factor? Right? And there's a to me, it's very simple,
(22:38):
the differentiation between the two. But how how as a woman,
how do you take it differently when a man is
complimenting you and being appropriate versus being inappropriate?
Speaker 4 (22:50):
Again, I think it's going to be like that vibe,
like how respectable is it? Like? Is it in the
tone even? Like is it coming off creepy as hell?
Or is it more like fun and light hearted? And
we're just you know, playing on that praise kink I have.
But you seem motivated. Uh, but yeah, I guess to
(23:12):
tell a story about a photographer who I will not name,
linked up on a Facebook page. You know, gotta love
a good modeling photographer, link up facebook page and we
went out to the Fountain Blue.
Speaker 3 (23:26):
It was cool, communication.
Speaker 4 (23:28):
Was okay, but I was already there and I'm like,
already better shall okay?
Speaker 3 (23:32):
Shows up? We got good shots because I'm amazing, But like.
Speaker 2 (23:39):
I told you, guys, she's incredibly humble.
Speaker 5 (23:41):
Yeah, the creep factor was there, Like he was a
newer photographer, So I got I understood that, Like he
just wasn't confident in, you know, directing me, especially as
a more experienced model.
Speaker 4 (23:54):
And I guess I can kind of be a little
bit much where I'm like, I know what to do. Oh,
you can definitely be a lot so intimidation factor. Hi,
but I don't think he can hang and it. You know,
it didn't show the photos as I said, they were gorgeous,
but uh, we are not going to shoot again.
Speaker 3 (24:13):
I'll tell you that he just didn't have the energy.
Speaker 4 (24:17):
I wasn't like motivated or having fun out there, Like, yeah,
we got good shots because I'm gorgeous, but like, was
I having a good time?
Speaker 3 (24:26):
Was I out there?
Speaker 4 (24:26):
Like?
Speaker 3 (24:28):
No?
Speaker 2 (24:29):
So well, and I think i'll answer the questions since
you you didn't. Oh, but you're good. Okay, So I'm
shooting shooting, shooting, and I'll say, wow, that's beautiful, that's
a beautiful shot. You look amazing. Yeah that's how you
appropriately call you know, uh.
Speaker 3 (24:48):
Comment, I don't use the common slang. Do not use
the word sexy, do not.
Speaker 2 (24:54):
Maybe that's sexy. No, don't.
Speaker 4 (24:58):
It needs to be very respectful. I want you complimenting
like a hobo at the gas station.
Speaker 3 (25:04):
You are the sun and stars back there. Okay, I would.
Speaker 2 (25:08):
Define And you send that to me. And what did
I say to you?
Speaker 3 (25:12):
Uh?
Speaker 4 (25:12):
You said to you have changed a little bit. And
I said, no, I cannot support your local basketball team.
Speaker 3 (25:19):
Move along.
Speaker 2 (25:21):
I don't know. I had a better one, I said,
I said, would you like to buy a candy bar
and support of my.
Speaker 3 (25:28):
Not get your girls got cookies?
Speaker 4 (25:30):
Thinks?
Speaker 2 (25:31):
Uh no, there is a difference, Like you really do
need to find a way and and do the male
photographers out there, because typically, you know, female photographers are
better at communicating than male photographers. Doesn't mean it's always,
but typically they are. If you look at a lot
of the very successful male photographers, you know, myself being
(25:54):
part of that group, we are we we have no
problem communicating, and we have no problem having fun and
really kind of accessing that that side of us that
I consider myself to be very masculine. Man, I really do.
I agree, But you also have to be able to
access that part of you that is more flamboyant and
(26:17):
fun and playful in other words, you're not putting on
this acc like windows.
Speaker 4 (26:22):
The gays are less intimidating. Huh, I said, the gays
are less intimidating.
Speaker 3 (26:28):
We love them. They're not gonna, you know, murders on
the street like regular straight men.
Speaker 2 (26:34):
Yes, Crystal, okay, we're not getting in the murder and
gay and straight people.
Speaker 4 (26:40):
But the ladies, lady photographers lawlessly flirt with me. I mean,
the ladies can use the word sexy. The ladies can
use oh.
Speaker 2 (26:49):
No, there's no doubt, you're right.
Speaker 3 (26:50):
Yeah, it's there behind the camera.
Speaker 4 (26:51):
Like my girl Jail the other day, she's like, oh
my god, so hot you're own, like on the beach,
like I know, Oh my gosh. Okay, girls, fine, love it,
girls girls all day. Men don't do it.
Speaker 3 (27:06):
If I'm a speech flipping my hair, do not call
me sexy.
Speaker 2 (27:10):
Especially, And I'll say this clearly, you and I, You
and I have worked together a lot, and we could
we have a lot of fun together. But clearly it
also helps to develop a friendship rapport with somebody. When
you have that initial shoot, you have to just feel
(27:30):
that person out. And for me, when I'm working with
a model for the first time, you know. No, I
don't care who I'm working with you. You always have
to try and read that other person and figure out,
you know, where are they comfortable, where are their boundaries?
And one thing that Chrystal will tell you wholeheartedly is
(27:50):
that as much as I'll push her in, like I'm
not push her physically, but push her to like do
some crazy shoots in the Mercier water merci water you
and immerse the water. I also am very big about
asking you, are you okay doing this?
Speaker 3 (28:06):
Yeah?
Speaker 4 (28:06):
No, uh, every single time I'll give you that, Like
if I meet hell, you're there with the hand, always
respectfully helping me into the danger.
Speaker 3 (28:19):
No, if I'm we would see.
Speaker 2 (28:22):
But I also don't ask you to do something if
I really think it is dangerous. Number one and number two,
I'm always in there with you. So if you're in
the mud, if you're in the water, if you're in
the whatever, I'm in there with you. And I think
that goes a long way to help. You Know, people
ask me how do I get the shots that I get.
It's because I'm willing to go to Yeah, I'm willing
(28:42):
to go with those and lacks. What is what? What
are some of your favorite moments from us shooting at
the park shoots.
Speaker 3 (28:51):
Favorite shot definitely the first one is just iconic, and
then like.
Speaker 2 (28:56):
And and to finish that off, just real quick. For
those listening on the audio, they're not watching the video
of this. She wore bottoms. But then what we did
is we got wrapped caution tape and wrapped her chest
and honestly around the rest of her torso and then
tied back. Huh address Yeah, it was. It was a
(29:17):
very very It was of the dress if you will,
but no, it wasn't a dress.
Speaker 4 (29:23):
I had to feel tape in the car, thank god,
so I was able to tape it to myself.
Speaker 2 (29:28):
Yes, I came right the tape, but no getting that.
But when you see the shots, they're just so gorgeous
and and that's what I loved about what we did. Explain.
What's another one I already cut you off about the
the initial shoot.
Speaker 3 (29:46):
Definitely the one where I was in like that zip
up skirt and the stomp.
Speaker 4 (29:50):
And boots and I have the crowbar pull thing whatever.
Speaker 3 (29:55):
The trash we found on the ground was.
Speaker 4 (29:57):
The Mandi rod doors, Like, yeah, that was wild, the
fun house whatever it used to be. I can't remember.
Speaker 2 (30:03):
Yeah, that.
Speaker 3 (30:04):
Is the theme.
Speaker 4 (30:05):
So yeah, in there and like shooting on that water,
that little shed in the background, you know, the roller
goes behind it and no longer there. Yeah, ain't there
no more?
Speaker 3 (30:14):
You're lily like.
Speaker 4 (30:15):
I just roll up with whatever clothes and I come out.
It's like tub and I'm all right, here we go.
I've got a couple of furs.
Speaker 2 (30:22):
Throw one on, I know, like the bays and crazy stuff.
I said, a flash behind her. I brought my camera
exposure up for ambient lightning. There were swinging doors where
this is inside the Mardi Gras that she's talking about.
Then I put the actually my go docs eighty six
hundred behind the doors and stream light through the doors,
(30:43):
the crack of the door. It's it's a gorgeous shot. Well,
you know, one of my favorite shoots the fireworks. That
was fun because I love setting stuff on fire. But
I think one of my one of my favorite shoots
that we did that is when you put the poncho
(31:04):
on the mercal water.
Speaker 3 (31:07):
Huh. The mosquitos and death Okay.
Speaker 2 (31:10):
Okay, come on, I mean I can't deny either of
those mosquitos if they carry MRSA or covid or artware, cartworms, rabies, malaria,
I don't.
Speaker 4 (31:21):
Know, but nope, out there in the poncho, no clothes,
splashing mercal water.
Speaker 3 (31:30):
Yeah, but don't worry. Like you said right there with me.
Speaker 2 (31:33):
I was. I was trying to. I was trying to
help model the pose for you. But no, yeah, Crystal
does like to do that.
Speaker 3 (31:41):
She likes to, just it's involuntary. Okay. Put in my
feet in that water is disgusting.
Speaker 2 (31:49):
Yeah, yeah, Yeah, you gotta work with some of you
gotta work with some of the quirks of the models
that you're dealing with because you never know what they're
trying to do. You have to learn them. So I
had to learn that when I was shooting Crystal, if
I put her somewhere that was not Christine, which were
pretty much all my shoots that you know, I had
(32:10):
to make sure that she uh. I gave it about
a ten second delay because she WoT always it'll make
some noise like that, yeah.
Speaker 4 (32:20):
Because it's gross, and then we like immediately get the
shot right after that. Like the quickness between and is incredible.
Speaker 3 (32:29):
Okay.
Speaker 2 (32:30):
You know I took that, just that clip and posted it.
That could be a problem. Don't make me a meme
that could be a meme right there. What advice would
you give to models that haven't shot with me before?
Speaker 4 (32:43):
Oh, I mean bake on this question home on.
Speaker 3 (32:48):
Point your toes, better sample for tippy toes, wear red lipstick,
and uh, prepared to get dirty, Prepare to take off
your shoes and possibly become part of the environment. Yeah.
Speaker 4 (33:07):
So, if you're not ready for all that and more,
do not apply. But if you are ready for all
that and good compliments that are not creepy, apply.
Speaker 2 (33:19):
I like it. I like it. How would you compare
the work that we did with other stuff? Am I
your favorite?
Speaker 3 (33:25):
You're my favorite? Okay, I'm You're sweet.
Speaker 4 (33:28):
Just recently became my favorite this past year before you
my friend.
Speaker 2 (33:34):
I like as in August of twenty twenty four.
Speaker 4 (33:38):
I feel like we just get to do more, you know,
on site stuff. We're out there adventuring in the world.
A lot of the other stuff I've done is like
in you know, in studios or inside in general. I mean,
I've gotten out there a little bit, but you know,
not to the point of you know, we're.
Speaker 3 (33:54):
Going six flags Like wow, okay, cool.
Speaker 2 (33:57):
They're out there. Franted my shoes are definitely more of
a of an adventure. It's a it's a mine do
us up with me? As an experience, It's not just
a photo shoot. It's an experience, that's true.
Speaker 3 (34:11):
It's it's a whole workshop. You know.
Speaker 4 (34:13):
You did almost set me on fire once with the fireworks. Yeah,
that was the whole thing.
Speaker 2 (34:18):
Oh, I forgot about that.
Speaker 3 (34:19):
How could you Steven's answer on it?
Speaker 2 (34:22):
This we're doing a one on one session.
Speaker 3 (34:26):
I was Steven's workshop, you know, Steven.
Speaker 2 (34:29):
Yeah, it's a one on one session.
Speaker 3 (34:31):
No one than one. I don't you know, like tell me,
not you.
Speaker 2 (34:36):
I'm sorry. That was one on one where I was
teaching Steven how to do stuff. And I set you
up right in front of the games building that is
sadly no longer there, dressed in peace, and I was
setting off Chinese dynamite by hand. I was throwing off.
Speaker 3 (34:54):
On the side of the building.
Speaker 4 (34:55):
Okay, Stephen and Marlene are out in front of me,
and then you are huddled off on the side.
Speaker 2 (35:03):
Just that's the top of my life. Aren't this houcking dynamite?
These explosions are going off, and Crystal's body is going
like this, like a shock wave hits as soon as
the thing goes off. It was amazing.
Speaker 4 (35:19):
Yeah, I know, we got some good shots. I jumped
a lot. So out of the what how many? How
many did you bring? Like fifteen twenty of them? We
had a good bit and then you all.
Speaker 2 (35:29):
Took we're going crazy.
Speaker 3 (35:31):
I trooped it. I was scared.
Speaker 4 (35:33):
Okay, I'll looking back, I'm like, I should have been
in the leather trench coat, not a backwards dress.
Speaker 2 (35:41):
This is true. But the shots, the shot for the
shot shots look amazing. Yeah, that was an incredible shoot.
That was you and.
Speaker 4 (35:51):
Stephen really got some good ones out there, I mean
all the Yeah, that one, if I had to pick
a workshop, thought was fun.
Speaker 3 (35:58):
That was my favorite one.
Speaker 2 (35:59):
So what advice would you give to newer models?
Speaker 3 (36:02):
Do your research?
Speaker 4 (36:03):
So, like I said, make sure we're getting their profile,
we are checking their background, we are sending our location
to someone we know. Okay, or bring a friend, immedia
red flag. If the photographer says you cannot bring a friend,
do not go.
Speaker 2 (36:20):
Do not go.
Speaker 3 (36:21):
If they said.
Speaker 4 (36:22):
Show up alone, don't go, that's a huge red flag.
So you know, for new models, don't be afraid to
ask a lot of questions. Again, the vision. You need
to bring something to this table other than a pretty face.
But sometimes that's enough, but usually not. And yeah, just yeah,
(36:44):
I guess bring your weapons.
Speaker 2 (36:46):
So you know, are you from are you originally from
New Orleans? Yeah?
Speaker 3 (36:52):
Also, these are already knew it.
Speaker 2 (36:57):
I would agree with I alould agree with everything that
you just said. When models want to bring a friend
an escort or whatever, it didn't bother me as long
as cannot be in the way.
Speaker 3 (37:10):
Though.
Speaker 2 (37:11):
I was just gonna say, friend.
Speaker 4 (37:13):
That is not going to be like, bring a jen
who is going to help you wrap yourself in caution
tape and not complain the whole time. Okay, you agen, because.
Speaker 2 (37:25):
It's a lot of effort to go through, and then
you have a friend who's either way too nosy or
just or just a stick in the mud. Like the
only time I've had an issue with people showing up
with the model is if they're like, okay, I'm boor
I want to go, and then the model doesn't want
to go, but the friend wants to go, and you're like, yeah,
a lot of time and effort into that.
Speaker 3 (37:45):
I'm gonna circle back again. We're circling all the way
back because my sister, like I said, is the reason
I got into it. So tell that for him to
come model ready just to get show up.
Speaker 2 (37:56):
That's a really good idea. Oh yeah, because I've had
girls do that, and I'm hey, if you let your.
Speaker 3 (38:02):
Go be a Massis to look like tweeze.
Speaker 2 (38:06):
Wait, what are you the younger or the older sister?
Speaker 4 (38:09):
I am the younger sister, but I am the larger
of the two, so she's like minature me. So she's
the little Mario and.
Speaker 3 (38:17):
Then I ate the mushroom and then you get me,
so you're super Mario. Yeah, so I'm Super Mario and
she's the little Mario. But she's still very cute and iconic.
Speaker 2 (38:28):
So you know you're gonna have to bring her to
a shoot.
Speaker 3 (38:31):
I tried. You weren't in town.
Speaker 2 (38:34):
What don't blame that on me. I was there for
like eight months straight.
Speaker 3 (38:37):
Pick a flight.
Speaker 2 (38:38):
Okay, Well, your favorite shot that we did together.
Speaker 4 (38:43):
Most iconic shot is definitely the firework. I mean that
was just the whole experience.
Speaker 3 (38:48):
And then yeah, that.
Speaker 4 (38:50):
First one with the caution tape. My profile picture is
the leather jacket still where I'm like fucking dead eye.
You know, I'm like come abbios. Yeah, so forever my
profile picture, thanks Jason.
Speaker 2 (39:05):
Scariest moment in the park.
Speaker 4 (39:07):
When I fell through the damn dock with the bubble bath,
Like when we had the phone and I got that
horrible hideous cruise.
Speaker 2 (39:16):
Yeah, that was pretty nasty.
Speaker 3 (39:17):
Well, I mean I think I was in there for
ten minutes. We still got like five six good shots.
I was like, okay, and then I.
Speaker 2 (39:25):
Felt it in the water for ten minutes.
Speaker 3 (39:27):
No, like I was in the little bucket and we
were getting some shots, and then when I stood up
to move, I felt great.
Speaker 4 (39:32):
So like, even though we didn't spend a whole much
of time on that shot because I was injured and
mortally wounded, we still got shots.
Speaker 2 (39:42):
She's such an over exaggerator. It's his acent used okass, Yes, yes,
What was the most fun you had with me at
the park?
Speaker 4 (39:51):
Oh?
Speaker 3 (39:52):
Oh, definitely when we piled up with Coco and I
think her name was Hannah the phone.
Speaker 2 (39:58):
Yeah, old was wild.
Speaker 3 (40:00):
More than marror for me, for sure. I like to
have fun. I like to collab of models.
Speaker 2 (40:05):
You came and started painting up Courtney.
Speaker 3 (40:08):
You dang.
Speaker 2 (40:09):
When we were doing the black.
Speaker 3 (40:10):
Light that would bring the props okay, done without me?
Speaker 2 (40:16):
Yeah, now that that was really cool. That was really
really good stuff.
Speaker 3 (40:20):
I'm that on deck. Okay, I just posted this today
rave girl.
Speaker 4 (40:24):
Okay, but yeah, I got to paint a cocoa cowgirl,
so fun, most hilarious moment.
Speaker 3 (40:34):
Uh where cocoa. She looked like she was tired, y'all
had been out there all day?
Speaker 4 (40:38):
She she was. And I got there obviously a little
bit later, and I just I bring the fire out
of you, I guess. But she says, what, you know,
what is all this ferocity going on right now? And
I was like, Oh, it's just me. It's me girl.
Speaker 3 (40:55):
Uh yeah, and it breaks out because we wore the
same size shoes.
Speaker 2 (40:59):
So yeah, you know, it's interesting that you say that.
One thing I'll note is as a photographer, when you
do have multiple models on set, you have to be
you have to manage that situation carefully. You have to
manage egos, you have to manage time, You have to
(41:20):
make sure that you're shooting the models, and you know,
you know, I don't you know. And if you're a server,
they call it touching the tables. Like you go around
and you make sure that you touch each one of
your tables, to make sure that you're you know that
you're paying customers or know that they're being taken care of,
or watering your plants. You have to water your plants.
When it comes to models, when you have multiple models
(41:42):
of a shoot, I love having multiple models because when
you're shooting in an adverse environment, it's good to give
them breaks because you know, I may be sweaty and nasty,
and most.
Speaker 3 (41:56):
Of your environments are imversivetiesent.
Speaker 2 (42:00):
This is true, so I'm almost always sweaty and nasty.
The difference is my face isn't on camera yours is.
Speaker 3 (42:09):
So to be able to gild the now still looks
like a glowing queen all day.
Speaker 2 (42:13):
The what so humble, so humble. So but if you
give the models a break and let them, you know,
recuperate a little bit, it can it can help your shots.
But at the same time, you have to manage that
if you're shooting one model more than the others, if
your egos feelings can get in the way. Because we're
all human beings. So just as a photographer, what I'm
(42:34):
trying to say is manage that. You know, all of
us can tend to have favorites. You know, maybe the
vibe works better with Juana than it does on the
other but you have to manage that situation and be
very respectful and realize and I mean this with all sincerity.
I'm a photographer there, models all this stuff. They're human
(42:56):
beings with feelings and you have to be very mindful
of that and be very considerate when you're dealing with
other human beings. Just be just be good with that.
Speaker 4 (43:05):
What's been like band And get the little advice to
the models though on the multi model thing, be prepared
to work with others.
Speaker 3 (43:13):
Be friendly, you know, don't be a bitch.
Speaker 2 (43:16):
You know. I love this advice that definitely goes both ways,
So keep going.
Speaker 4 (43:20):
So like, you know what if there's an opportunity where
you can get both models in the shot and you
just wouldn't have had that opportunity otherwise, or if like
the two models don't get along, like you're not gonna
get that shot. I recently did a shoot with another
model and the girl have this vision. She's like, hey,
could y'all like hold hands and you know, run off
(43:40):
into the water, giving a whole like best friend scene.
Speaker 3 (43:43):
I don't even know this girl.
Speaker 4 (43:44):
I'm like, girl, take my hand, take mine, let's go.
I'm gonna lead you into this ocean like you are
my goddess. And I did, and the shots are amazing,
So like, be ready to emotionally jump in like I
didn't know that girl, but for that minute, you was my.
Speaker 3 (44:00):
Love, the love of my life, Like come into the ocean.
Speaker 4 (44:03):
Okay, you had to be able to jump into that,
you know, to bring it to the picture you do.
Speaker 2 (44:10):
And it takes a lot when there's multiple creators on set,
because you know, the photographer should be in charge of
the shoot, because somebody has to be in charge, and
they photographer, especially in my in my shoots and my sets,
I'm the director of what goes on with the other models.
Realize that, you know, if everybody kind of puts their
(44:31):
egos to the side, which for Crystal could be hard,
But if everybody puts their egos to the side, I'm
a girls girl a little bit, it really helps everybody
to be able to create. And and all my teasing
her about her ego and stuff, she did do a
good job to try to include other people and and
and just realize that just like any team effort, if
(44:53):
we're all trying to work towards something. All of our
work's going to be better because if the models start
fighting on a shoot, which can happen, It's.
Speaker 3 (45:04):
Never happened to me, Thank god, I'm so.
Speaker 2 (45:06):
That you can't definitely happen now Now. If I have
a model that I love and then she's pissed off
the other models, it's messed me up. So you know,
that's something that I would be very open with telling
people to be to work with people on and try
to really be respectful and helpful.
Speaker 3 (45:24):
Agreed.
Speaker 2 (45:25):
The last and I wanted to ask you is what's
it like? Because I get this question a lot. I
get this question about me. What's it like being a
photographer and having a personal life? And if you don't
want to talk about this, Crystal, let me know. I don't.
We don't need any specifics at all, but just in
general advice for for creatives, for models. I always tell photographers,
(45:47):
and I just tell creatives in general to be who
you are and attract those who accept that and accept
who you want to be. Because I've I haven't met
a true creative that is that can be contained, I
guess is a better way to put it.
Speaker 3 (46:08):
Huh, untamable.
Speaker 2 (46:12):
And and so I say that because if anybody listening
to this, I know a lot of creatives struggle with this.
You struggle to have that creative portion of you, because,
to be honest, the vast majority of people that are
creating out there are doing so in a part time capacity.
They're not doing it full time, and so they have
to balance a personal life, a job, and then their
(46:35):
creative aspect. So any advice that you'd like to share.
Speaker 4 (46:39):
On that, definitely, I'm glad you asked. Let's just start
off by saying, you do not be capped.
Speaker 3 (46:50):
You have one life.
Speaker 4 (46:52):
Okay, the whole point for me anyway, my funeral real
is going to be so lit like the end of Days.
Speaker 3 (47:00):
When they play it back, I'm like, you see this, Okay.
Speaker 2 (47:05):
She did tell me that. She said, Jason, your pictures
are gonna be all over my funeral, and I'm like, yeah,
it's a compliment, but this is the first time I've
heard that one.
Speaker 4 (47:12):
You're gonna roll it back. Funeral meal is gonna be lit.
You know, when they look back on my life, they
don't see it.
Speaker 3 (47:17):
Okay. You know, I've had relationships where either they're just
not confident enough to have the caliber of woman.
Speaker 2 (47:30):
Or whatever the case.
Speaker 4 (47:31):
But you know, having a partner who's not uncomfortable with it,
it can be tough managing it. You know, there's you
can find a balance. But at the end of the day, like.
Speaker 3 (47:43):
You are who you are and denying yourself the creative
you know, expression.
Speaker 4 (47:48):
I feel the most alive in my life when I'm
doing photo shoots, like when I'm out vere what I
love the most, I'm living it, I guess, like other
than that dog training, but my fashion.
Speaker 2 (48:01):
Oh but but what you're saying is true, and it's hard.
I can understand why everybody likes to say everyone is
a creative, and that's fine. I have no problem with that.
But there's different levels of creating. Everyone is using their
body directly to do so, right. But but when it
(48:22):
comes down, I mean, there's there's people who develop software. Okay,
they're creating. Okay, well let's just call it this a
visual arts creator. We'll leave it at that. If you
were a visual arts creator, photographer, filmmaker, model, somebody in
that in that realm, it can be difficult for other
people to understand you. But when you have a person
(48:45):
in your life that doesn't get their fulfillment from that
that kind of an activity. It's difficult for them to
understand why you can go to a photo shoot and
you can come back like here on Cloud nine, and
they they have a hard time understanding why they're not
able to give you that feeling of Cloud nine. And
(49:06):
it's really hard to communicate that. When you love someone
and it's not like you don't love that other person
that you're with, but that feeling that you get when
you create something, it is so edifying, it's so gratifying.
And if you have somebody in your life who can't
accept that, chances are you're not going to stay with
that person, and or if you do, you're going to
be very unhappy.
Speaker 3 (49:28):
You need a hype man in your life.
Speaker 4 (49:30):
You know, like if you think of if you were
back in kindergarten, you brought home your color, well, you
know you colored this in kindergarten.
Speaker 3 (49:39):
You show it to your parents and they go, traction, Okay,
your little heart is going to die right there.
Speaker 4 (49:45):
I want someone who's going to put it on the fridge,
frame it, give it out in wallet sized car, to
provide name on the back, sign it for my people. Yeah,
it just depends like do you want to partner who
is trying to hide you from the world, keep you
in the snow globe, you know, in their house, or
do you want someone who's like, that's my bay, Like, look,
(50:09):
I'm doing this okay.
Speaker 2 (50:12):
Yeah, and I have I have a lot of I mean,
you know, I've met thousands of models in my career
and countless times, not all of them by any means,
but there's a lot of them that are having a
struggle in this regard, and so I only share this
advice of you know, and if a photographer struggling with
this as well, I would I would tell you the
(50:32):
same thing.
Speaker 4 (50:34):
Deffer can get both ways because shooting nudes, you know,
if you want to shoot sexiers inks and your girlfriend
or your partner is like, why are you looking at naked?
Speaker 2 (50:44):
Hey? What's old Tom? Why do you you know?
Speaker 3 (50:46):
What's going on with this? It can definitely be a
two way street for that, you know.
Speaker 2 (50:50):
One hundred I think what I would give advice to
anybody would be be who you want to be when
you first meet someone. Don't the version of yourself that
you are only for them for that little honeymoon period
and then then you just start to you start, because
eventually you're always going to go back to who you're
(51:11):
revert to you. I don revert to you. And that's
the problem. When you revert to you and they're like, well,
who the hell is this person, it's it's going to
cause you problems. And and understandably so if you're like
if you're a model and you are modeling and then
all of a sudden you meet somebody and you stop
modeling for a while, and then you know, three months,
(51:32):
four months, six months after the fact, you start modeling
more like, they're going to be like, what is going
on here?
Speaker 4 (51:39):
So I will tell you that that is one thing
you know, I do do from the beginning anytime again
in relationship, there are certain standards. One of them is
I'm not gonna quit modeling, Like I don't care, I'm
not gonna quit doing it. I may put some restrictions
on it, like okay, I'm not gonna post my tents, okay,
but I'm not gonna stop doing it.
Speaker 3 (52:00):
And that is something you do want to tell models
off front. Be upfront.
Speaker 4 (52:04):
Do not lie to that man and say you're going
to stop modeling when it is your soul's work. You know,
like you're going to stop, because at the end of
the day, it's all, you know, it's for the feeling.
We're doing it for the rush, for the feeling of satisfaction,
for this moment that we're never going to get back.
Speaker 3 (52:24):
So live it right there.
Speaker 4 (52:26):
If you're doing photography, you get an awesome picture of it,
you know, and so then you get the time machine
and look back. But again, I guess and the words
of will Wayne, they asked me why I did it,
It was all for the feeling, Okay, yeah, And that's true.
Speaker 2 (52:40):
It really is true. And it is hard for some folks,
not all, some folks to understand the gratification that you
get when you put so much time and effort, from
a photographer and from a model perspective, when you put
so much time and effort into a shoot and then
you get that shot that you who've been dying create
(53:02):
and you get it and you're like, hell, yeah, I
got it. That's amazing. It's so gratifying. And then when
you come home and show your significant other and they're like, oh,
that's nice, you're like, not that, that's nice, that's cute.
Then you're like, Okay, I don't really want to share
it with you anymore.
Speaker 4 (53:22):
No, I need those, like I said, those homeless gas
man gas station man level compliments.
Speaker 3 (53:28):
Babe.
Speaker 2 (53:30):
You know you must know a lot of homeless at
the gas station who we're not from the South.
Speaker 4 (53:35):
I guess you don't know. But the Southern men that
are homeless at the gas station slay the compliments. They
will compare you to the moon and stars and all
of the universe. You're looking at your deadbeat boyfriend, like
you said, I looked fine, So excuse me, sir. We
want pop my gas, clean my foot and shield.
Speaker 2 (53:59):
Crystals. So she's this is exactly what the shoots are
like to. While we're shooting, the conversations are happening like this,
and then all of a sudden, I'll pull the camera,
but she does. I get the camera here, she goes
ready to shoot, and it's just this constant conversation. And
I that's one thing that's fun is if I always
(54:20):
tell people, if you're doing a great photo shoot, the
conversation should be free, should be free flowing. And if
you know you're having a great shoot, when it's not like, wow, damn,
how long have we been shooting? You look down and
it's only been a half hour and you're like going on.
Speaker 3 (54:32):
Oh, we're looking down like shit, we're three hours over.
Speaker 2 (54:35):
That's that's when you know you're doing a great photo shoot.
When it's not your phone and your watch is telling
you the time, it's that the sun's going down on here.
I'm literally we're out of time.
Speaker 3 (54:45):
So now we're not at time Dayson's bringing the lighting
a lot of it, so we're just this is true.
Speaker 4 (54:52):
I do bring the lights the electrical box. It is
so fun to work with you it. You know, every
single time, I know, I'm gonna come out there, have
a good time, get the best shots ever. You know,
iconic moments that you know are gonna be on the
Feederal reel. And then yeah, getting excited about the next
(55:12):
one too, Like every time I leave a shoot with
you and like I'm ready for more wednesdayson coming back,
let's get this shot, like it's gonna be a good time.
And then you know, anytime we get the crew together,
you gotta get Adam, our first man out there, you know,
whoever's doing a work shot that week.
Speaker 3 (55:30):
You know, it's always really fun. No out of the crew.
Speaker 4 (55:32):
And again, models be adaptable, like you can be egotistic.
You can be hot, be adaptable, be pull like to
your best ability.
Speaker 2 (55:44):
Yeah, I would tell people, especially on a shoot, especially
with the kind of crazy stuff that I do, as
as cliche as it sounds, be positive. Stuff's kind of break,
stuff's kinda stuff, Stuff's kind of you're gonna fall through stuff,
people are gonna get scratches and yeah, all that stuff.
(56:06):
But if you stay positive. As the director of the shoot,
you have a direct You have an immediate and direct
impact on everybody else. If you get down about stuff,
that's gonna it's gonna wipe over the entire crew. Because
the energy that you output to your subjects is what
you're gonna get back. So just be mindful of that
(56:27):
when you're out there creating and do whatever you can
to make air fun environment and the people like Crystal.
No matter how many shoots have we done, ten fifteen.
Speaker 3 (56:36):
Oh it's over nine thousand. No, I think we're somewhere
between like eight and ten.
Speaker 2 (56:40):
Yeah, so you're gonna have people that want to work
with your time and time and time again, and I
think that that's that's really what it's all about.
Speaker 3 (56:48):
So is repeat offenders?
Speaker 2 (56:49):
Okay, yes, ma'am.
Speaker 3 (56:51):
Uh, yeah, definitely have favorites.
Speaker 4 (56:53):
I'd have to say, like if you're a good photographer
and the vibes are there and like the company is there,
we're coming back.
Speaker 3 (57:00):
Uh you're a person who can you know, hit me
up and be like I have a vision. I'm like,
I'm in where are we going? What should I wear?
And bring?
Speaker 2 (57:09):
So absolutely, absolutely so, I can't wait to see you again.
Say when it'll be soon. It'll be soon. And I'm
very grateful to you, Crystal Ford, doing such a great
job and for being such a great friend and for
helping me create my work. And there's this bond that
(57:31):
you feel with people when you've created a lot of
great work together. It's hard to explain, per se, but
when you've created something beautiful with someone else, it's I
don't know, it's just it's a it's a special feeling
to know that, hey, we got together and we did
this and look at the result. It's a beautiful first art.
Speaker 3 (57:50):
What do you mean we've literally created this?
Speaker 4 (57:53):
Like I don't know, it's special to me. I guess
I'm kind of laying but I'm like, look what I
fucking made.
Speaker 2 (58:00):
Exactly exactly it is. It's your creation. So thank you, Crystal,
thank you for everything. I remember the first time I
sent you shots from the first set, Oh.
Speaker 3 (58:08):
My gosh, tears in my eyes.
Speaker 2 (58:10):
I was like, she texted me and she's like, how
is it that every single shot is so good?
Speaker 3 (58:16):
Because I'm in it? Duh and you were behind the
camera magic.
Speaker 2 (58:21):
That might be a little bit of it, But Miss Crystal,
you know I love you.
Speaker 1 (58:26):
Dude.
Speaker 2 (58:26):
An amazing job and I'm very grateful to you, and
I can't wait to shoot with you again.
Speaker 3 (58:30):
Yeah, for sure, and thanks for having me. Always a
fun time linking up with you.
Speaker 4 (58:36):
And uh actually off to a photo shoot right now
with our lovely friend Adam, so let me get before
I'm late.
Speaker 2 (58:44):
You got it. I'll wrap this up. So thank you
guys for joining me on Jason Lennar and Filter. Thank
you to our guest, Miss Crystal, who did an amazing job.
She's she's quite a talent and if you guys haven't
worked with her before, you're in for a hand honestly,
even for a handful. But she's worth it too handsful,
(59:07):
I guess, and you're going to have an amazing time
and create some amazing work. I am kicking up the workshops,
kicking up the videos, kicking up everything again. After this
hiatus that I'd taken to do the Border documentary, a
Six Flags documentary, Demolition, a TV show that I'm developing.
I've been doing these projects, but now I'm getting this
(59:29):
whole engine up and running again, and I can't wait
to see you at a workshop. So if you know
somebody that you'd like for me to have on the podcast,
let me know. I'm going to be doing a lot
of guest spots on here, which is going to be
a lot of fun. Let me know to think about
this format if you like it, if it's something that's
relatable to you, and I hope it helps. So until
next time, do you remember when I say at the
(59:50):
end of my videos, Miss Crystal, what you say at
the end of your videos the next time, keep shooting,
never give up on your dreams. Final give that works
for you to.
Speaker 3 (59:57):
Remember you remember, tell me tell it loud for the people. Really,
you've been off of YouTube for six months plus.
Speaker 2 (01:00:07):
You only have one chance to get it right. All right, guys,
I love you, I talk to you later. Please bye.
By the way, you guys can find this podcast anywhere,
share it, let's make things go crazy and we'll be
able to have even more fun. I'll talk to you
guys later. Bye.
This is the Jason Lanier Unfiltered Podcast where we'll talk
meets raw creativity. No scripts, just unfiltered conversations about photography,
life and the wild journey in between. Let's die man.
Speaker 2 (00:22):
This is Jason Lennair Produce Lennar. I'm filtered, I am
this is the podcast. What we're gonna do is I'm
gonna start inviting a lot of the people that I
work with because I think it's it's gonna be fun
and and it's gonna be enlightening, I think for for
me to learn what their experiences were like with me.
So introduce yourself. Crystal.
Speaker 3 (00:44):
Hi, I'm Crystal Katapper and friends with Jason.
Speaker 4 (00:49):
We're pretty cool. I live in New Orleans. So you know,
we linked up on the six Flags project and here
we are almost a year later, podcasting and doing other
well amazing things.
Speaker 2 (01:03):
So yes, so but yeah, how long have you been modeling? Crystal?
Speaker 4 (01:09):
Okay, So my sister got into it first, and then
she maybe piggyback along because she didn't want to go
by herself, which thank god she did, shout.
Speaker 3 (01:17):
Up, Carolyn. Okay, but yeah, pretty much she just didn't
want to go of ourselves.
Speaker 4 (01:21):
So I went, and then it just kind of snowballed
into this whole thing. And then probably since I was eighteen,
so I'm thirty three now, Oh my gosh, so a
long time.
Speaker 2 (01:36):
So you've been modeling a long time and I hadn't
met you. A mutual friend of ours introduced us. I
just asked my buddy, Richard, if you knew anybody that
wanted to come in a model at the park. Because
for those who have not been in my universe, and
again I haven't published a ton on it because of
the desires of the powers that be to they asked
(01:58):
me to not I'm under no legal obligation to not post.
I'm allowed to post wherever I want, but they asked
me to not post. And I wanted to a bye
by that while I was there, and so I wasn't
posting a lot about what I was doing, and so
on and so forth. But now that the demolition on
the park has pretty much halted as of right now,
(02:21):
I'm able to to start to work on some of
this stuff. So I reached out to Richard, who's a
great photographer, older gentleman who lives in New Orleans, and
he said that I said, you have you have, remember
who wants to model at the park and he brought
me Miss Crystal. So my my first memory of meeting
you was at the Bumber.
Speaker 3 (02:41):
Cars Magical Times, Yeah.
Speaker 2 (02:44):
Times, and and I remember you You're coming up and
pulling up and getting out and you're you're had a
friend with you. Shout out jin Jan as well as Richarie,
and you got out and it was so funny because
something that I do with a lot of the models,
yourself included, is you start a dialogue ahead of the
shoot and you try to figure out what you're going
(03:05):
to do. You're trying to figure out what the vision,
the vision of the shoot. The mood board. I've never
made a mood board, but I guess I have mood
boards in my own weird way. But my mind, right,
I have a mood board in my mind. But but
we're going to get into some of the shoots that
we did, a lot of the crazy stuff. But the
(03:29):
bottom line is Miss Crystal ended up shooting with me
at the park, I think more than any other single
model over a duration of time. I had other models
that came in a shot and they're all amazing. I
love them all, but Miss Crystal was you know, from
August of last year, twenty twenty four up until now days.
(03:53):
You know, I think you were the last model I
shot at the.
Speaker 3 (03:55):
Park first and last. I'll take it.
Speaker 2 (04:01):
You weren't the first.
Speaker 3 (04:03):
Oh dang, just one most just repeat defender.
Speaker 2 (04:09):
But no, we shot a lot together. We had some
amazing times. We're going to share some of that going
on and what it was like, because the other thing
that was really cool is that you were able to
you know what was really cool, Chrystal, just realizing it
now is based on when we met in August. You're
the only model that I worked with and maybe except
(04:32):
for the demolition team and Adam who was assistant me.
Shout out to Adam.
Speaker 4 (04:35):
We love Adam well.
Speaker 2 (04:37):
Good old Gators. But outside of Adam and the demolition
crew and Elvin and his team, you're the only one
other person that I'm aware of that really saw the
park go from completely untouched from a demolition standpoint to
all the way demolished. Yeah.
Speaker 3 (04:59):
No, I saw the whole thing.
Speaker 4 (05:00):
And it's kind of cool because you can literally see
the timeline over our shoots of you know, that's not
there anymore, That's not there anymore, Like that moment in
history is gone forever and we got to catch it.
Speaker 3 (05:11):
So cool.
Speaker 2 (05:12):
It's really it was really remarkable experience, and I'm so
grateful that you were able to join me. Join me,
so let me get some of my questions, and of
course your your your free and ask me any questions
as well. What were your thoughts like when you first
heard about shooting at six Flags.
Speaker 4 (05:31):
I was very excited, so I went as a child
because local right, so to see it from literally the park,
like last memory there, eating popcorn and you know, experiencing
the rides, to showing up and possibly getting in one
of the very bumper cars I.
Speaker 3 (05:50):
Was in as a child, just the shell of it.
Speaker 4 (05:55):
So it was really cool to kind of see how
it had transformed into this like post apocalyp post like
realm essentially.
Speaker 3 (06:05):
But yeah, it was really cool.
Speaker 4 (06:06):
I was trying not to run over anything in my car, nails, tires, glass, whatever.
Speaker 2 (06:11):
But yeah, I went. I throughout my time at the park,
I went through at least I'm not exaggerating when I
tell you I went through at least ten tires.
Speaker 3 (06:22):
I was blessed by the gods and did not pop
a single stock. I'm tire. I need some wood to
knock on. But let's keep those blessings going.
Speaker 2 (06:31):
But you were excited to come to the park. What
did you expect it to be like the shoot itself?
What did you how was shooting with me from an
expectations standpoint versus a reality standpoint.
Speaker 4 (06:44):
So again, mister Richard kind of hooked it up and
I was like, all right, send me his stuff. I
need to check it out, try to get a feel
for you, know, your style. I like to do that
ahead of time. Anytime I work with someone, I'm like,
who is this person?
Speaker 3 (07:00):
I'm not to do?
Speaker 2 (07:01):
It's interesting and I'm gonna sidebar that, okay, Because I'm
always looking for opportunities for photographers to learn. I always
tell them that, you know, when you reach out to
people and you want to work with them, sometimes they
never hear back from models, and sometimes models will change
their minds and not shoot with them. Whatever it may be.
(07:22):
What's that like for you? When you when you look
at a photographers profiled, you look at their website and
I just want to brutally honest answers. Do you look
at their webs because no, they need to hear this.
Speaker 3 (07:34):
They do.
Speaker 2 (07:34):
Yes, photographers need to hear this and and it's the
same way for me, and I'll share my thoughts. Want
to look at a model's profile too on why I
would you know, pass over somebody to do a shoot with.
But when you looked at my work and when you
look at other people's work, what makes you say yes
versus saying no? What? What are some of your thoughts there?
Speaker 3 (07:58):
First and foremost, it is the quality of the communication.
Speaker 4 (08:02):
So if I hit you up and we're making plans
and then you're ghosting or anything like that, already sketchy.
If I'm looking at your work and I just don't
like it, like pop it up, lighting's just poor, or
you know, you're really not hitting the angles, or if
it doesn't look like you tried, you're just out there
taking pictures like I can do that on my phone,
(08:27):
and then I guess, you know, as a gorgeous female,
the creeper level.
Speaker 2 (08:31):
So so that's what makes you hit What hits the
red flags free you from a creeper level?
Speaker 3 (08:38):
Why are they hitting on me immediately?
Speaker 2 (08:40):
Okay that beginning?
Speaker 4 (08:44):
You know, yeah, if they're again, if they're it's kind
of a vibe too. The responses are they just like
flat and dry, like what do you want me to wear?
Speaker 3 (08:58):
And why?
Speaker 4 (08:59):
Like if you don't have a vision, but you want
me to, you know, wear this particular app and I'm like, Okay,
what are we building with that? If you just want
to see half naked hout girl, well watch porn or whatever.
Speaker 3 (09:10):
But yeah, so, like the creeper level is definitely there.
Speaker 4 (09:16):
I've also been in like very creative, you know, fooudoir shoots,
like very sexy shoots, but you know, the photographer is respectful.
Shout out to like Sydney. Actually he's in New Orleans,
but he's really fun, cool and he's always just respectful.
Speaker 2 (09:34):
And that's the no. You bring up a really good point,
and that's why I love to talk about some of
these things. I know we're going to talk about about
six flags, but I love some of the things that
we can talk about. That's just why I'm trying to
do a lot of more guest interactions on my podcast,
because I want people to be able to hear these things.
Because when I have a lot of meetings with photographers,
they have one on one consultations, workshops, they see me,
(09:57):
they ask me questions. These are some of the things
that they ask, and I always tell photographers it's not creepy.
If you want to shoot nudes, it's not creepy. If
you want to shoot boudoir, you can be creepy and
want to do you know, a fully closed Parker shoot.
You know what I mean. But it's not really the
nature of the content, That's what I meant to say.
(10:18):
It's more of how you approach it. You have a
vision for it, and is it something that you can
try to communicate. I can speak from a guide level.
Sometimes it's hard, especially when you're a newer photographer and
your guy. It's a harder thing to talk with women
about what you want because you assume that if you
ask them to do something, is that is more revealing
(10:42):
or more risque that's going to set off You almost
feel like I should I be asking this person this.
Speaker 4 (10:52):
I guess I'm gonna like jump in right there. Jumping
is when I'm hearing the vision. Is it coming from
like a place of like beauty?
Speaker 3 (11:02):
Is it?
Speaker 4 (11:04):
Are you trying to make the woman like this central
being that she is, or are you taking this picture
for the.
Speaker 3 (11:11):
Dogs and the men?
Speaker 2 (11:13):
It's a really good point.
Speaker 4 (11:14):
Yeah, So again that getting that vision and That is
one thing I asked every photographer up front. I'm like, hey,
do you have a vision for this? Like, what is
the story we're trying to tell? Because again I want
to bring my best work, and without the story, I
can't really bring that emotional, you know, state to it.
But yeah, if the photographer's just like yeah, just like leather, like,
(11:37):
well that's nice, get a cow on.
Speaker 2 (11:43):
But do you do you remember our initial do you
remember anything about our initial conversations coming into the shoot?
Do you remember any of the okay, so what what?
Speaker 4 (11:53):
So?
Speaker 2 (11:53):
Share? What were they like?
Speaker 4 (11:54):
So again that iconic question I asked for your vision,
you kind of telling me about like the bumper cars
and what you had going on, and then of course
I rolled up with a full car of outfits and props.
Speaker 2 (12:08):
Here's the struggle that I've had is that you want
to create something that is beautiful, and especially somebody who
shot a lot like me and I shoot a lot lot,
you don't want your work to be derivative. And as
much as people try to convince you that this Fashion
Nova outfit, this Amazon outfit is everything and it's just
(12:30):
gonna blow away the world, guess what two hundred thousand
other people have the same shots. I mean, maybe my
work is better, maybe my lighting is better, and maybe
my location is better, which honestly usually they are, but
it's still the same outfit, and that to me gets
really boring. So you pull up next to the bumper cars.
(12:54):
You get out. Now, I did ask you, as I
was very clear with you, because I told you one
thing that I like to do is I like to
put the models into the environment. Yeah, I want to
make that. I want to make it look like you are,
you belong there.
Speaker 3 (13:09):
I think after what you told me, if you the
little story, you're.
Speaker 2 (13:12):
Like, yeah, ahead, go ahead.
Speaker 4 (13:14):
You are like the caution tape is so that you
cannot be moved, like anything in the caution tape is
to remain at the park, And that was what you
kind of told me.
Speaker 2 (13:23):
So I was like, eh, and that's cool, but allow'd remember.
Speaker 3 (13:25):
That revel I shall remain. Yeah.
Speaker 4 (13:29):
So again the importance of having the vision. I wouldn't
have been able to bring that. You know, I wouldn't
have brought the five minute fixed book or this arrival
book if I wouldn't have known the vision up front.
And you know, honestly, the props are always coming in hot.
Speaker 2 (13:44):
So no, and and to your credit, you did such
a great job bringing the props. I think this is
such an enlightening conversation. Crystal doesn't struggle with her ego,
by the way, or the fossing at home, but she's
worth it. She's amazing. We love her. I love her.
The you have to really you hit something that is
(14:05):
really key for me. And it's another key factor that
will pretty much make me write models off to be candid,
it's the communication. When models don't communicate, I don't care
how gorgeous you are, just like if a photographer doesn't communicate,
and how great a photographer he or she is. And
this would apply to men just the same as it
(14:27):
with the women models. If you don't communicate, we're done, Like,
I have better things to do. I've been with I've
been on set on shoots with countless models. I've looked
at their phones. You know. Red flag for me is
when you know, when you're standing extra model and she
gets a text and you look at her look her
phone and she's got like, you know, two hundred thousand
(14:49):
read alerts, like telling her she's got messages, and I'm like,
how do you read through. All those people respond to
people that they care the most about. So to me,
if you're not respond into my tax, if you're not
responding to this or that, it pretty much means that
either A You're gonna come to the shoe unprepared or
B you might not. You might not even show up.
Speaker 4 (15:10):
I'm coming early, chatting up the security guard at the
front gate.
Speaker 2 (15:16):
You are, you are, which is why you're such a
great model. You you. It's why we shot so many
different times at the park because you always did. You
always came with something that was brand new and creative
and we wanted I think that the best part about
(15:37):
the synergy between a model and a photographer, and it
can go it doesn't matter male to male, female female
female and male male female that matter. It's that synergy
of creation. How how much do you two want to
get together to create something beautiful?
Speaker 4 (15:52):
And because I find especially models first getting into it,
they really are are like, oh, I just want to
take a pretty picture. I'm like, no, you're it's not
just modeling, like you really are the muse, Like this
photographer has a vision. You are there to create this vision.
(16:12):
If you don't have if you're not bringing anything to
the table. You're just bringing a pretty face and not
you know, adaptability, you know, a vision of your own,
because what do you do, You're you know, for the
bumper cars, your vision. We shot it and then I
was kind of like, hey, can I climb on this car?
Can I do some different stuff? We got some amazing
shots climbing on that car and like, get it different
(16:34):
poses that you know, not saying you wouldn't have thought of,
but maybe on that first time wouldn't have suggested to
a model that was brand new to you. But I'm like, ah,
you know, I'm gonna kill in this car and toushed
it backwards and all that stuff. So for models just
starting out, be creative, like, don't be shy, like you're
(16:54):
a model, you're getting in front of the camera.
Speaker 3 (16:56):
Don't be shy now you know, yeah.
Speaker 2 (16:58):
Yeah no, And you bring up I'm gonna hop in
now you bring up some really great points because to
kind of set the stages to what we did on
our first shoot, there was the fiberglass shell of a
bumper car and uh, it was in the middle of
the road on what we call steel Alley, which is
(17:19):
the back alley of of of six flags, and I
you know, of course I love anybody knows me loves
to play. I love playing with fire, smoke bombs, all
that stuff. So the whole idead is we shi, we
put I put crystal inside of the shell of this,
and that the shots are Nope, they're they're a wild
(17:44):
You'll have to like insert one. Oh no, I'm gonna
put it. I'm gonna put some some of the shots
that we get so people can see. But the the
car sitting there and she got inside, I lit smoke
bombs on fire. I lit some smoke bombs and then
she she had her book and the what are the books?
The survival it is. Guys are diffude, like yeah, yeah,
(18:06):
it was. It was a really cool book. And and
then she did these poses where she's like, h you know,
and she's reading the book. But but but but one
thing I try to tell photographers is that I've had
to learn it's what. It's wonderful for a photographer to
have a vision, but the photographer also has to let
the other creative in this endeavor, which would be the model,
(18:29):
the muse. They have to let them and all of
their characteristics and their creativity out to the They have
to allow for that space. If you're so rigid that
you say do this and do nothing else, you're you're
you're cheating yourself as a photographer. You're cheating yourself of
honestly some amazing shots. One thing that I love to
(18:50):
do is when I first work with somebody, Like the
first shoot with with you was I like to let
I like to just kind of watch what you do,
kind of wrong. I'll give you direction if I think
you're going too far, of course, but and you know me,
I don't lack for direction. I'll get But at the
same time, you have to learn how somebody moves and
(19:13):
how they pose and where they feel confident, and that's
where you're gonna get your best shots.
Speaker 3 (19:19):
I agree. Yeah.
Speaker 4 (19:22):
And then just the adaptability again, like don't be afraid
to climb on stuff, you know, check your footing, ask
for a hand, but you know, get get out there
and get in it. You know, wait till we get
to the chapter on Merci the water. We're not even
there yet.
Speaker 2 (19:39):
Yeah, it commsal water. I forgot about the mercal waters.
Speaker 3 (19:43):
I could do.
Speaker 4 (19:44):
I must have said eight hundred times every time you
make me get in that nasty water.
Speaker 3 (19:48):
The too fear, I can't no clothes are fired and start.
Speaker 2 (19:53):
You're gonna start rumors because you're saying mercial water. But
there there's no evidence that there was mur.
Speaker 4 (20:01):
Just alligators, alligators, lugs whatever, brows.
Speaker 2 (20:07):
So we did that first shoot and then later that
night we went back into the back area of the park.
We shot in the Mercy Water.
Speaker 3 (20:16):
The Rusty Mercy the Water, Rusty.
Speaker 2 (20:18):
Mercy the Water. You did an amazing job. Miss Crystal
has a rule that she's down for anything until the
mosquitos come out. Yes, and once some mosquitos come out,
she's out. So what was it like working with me
compared to some other photographers that you've you've worked with
(20:38):
from a crazy standpoint, experience standpoint, And I'm certainly not
asking you. I don't want you to actually to like
name any name, drop anybody in a negative way.
Speaker 3 (20:47):
I'll keep up a secret.
Speaker 2 (20:49):
Well you can keep the names out, and I don't
even I just want people to understand from a uh
is it unique shooting with me? Or is it normal?
I'm what is it like?
Speaker 3 (21:01):
Definitely definitely unique?
Speaker 4 (21:02):
Uh, the most direction I've ever received in my life. No,
I love that because a lot of times photographers are
just like and I guess that's how I've come to be,
this way of just kind of doing my own thing too.
So it worked down long term. But yeah, they just
turned you loose and then they're just like.
Speaker 3 (21:22):
Like, did you get it? They did? I knew you
fail your eyes at the flat No.
Speaker 2 (21:29):
Photographers, guys, and i'd get if your brand new photographers,
it's okay, but you have to try. When I met
one of my workshops and I watched the photographers, I'll
tell the man you got talk more. You got to
talk more, you got talk more. Hey, he's your words,
u'se your words. You have to be.
Speaker 3 (21:47):
Uh good tellers. She's pretty?
Speaker 2 (21:50):
Yeah, yeah, tell her she looks Great'll have the shots
are great a lot of the times these poor women,
And yes, I shoot man by primarily shoot women, just
more triple especially with me and some of the crazy
stuff I do. There are some pretty uncomfortable scenarios mosquitos
and mers of war and alligators. So that being the case,
(22:14):
if you're not giving them encouragement, I think it goes
a long way. Now, one thing I want you to
talk on is when you said tell her she's pretty
or whatever. Again, when people hear that because I know
that photographers asking me this, male photographers asking me this
is when you come to the workshops? Is well, how
do you communicate that stuff? And I know what my
answer is, but how do you communicate that without the
creep factor? Right? And there's a to me, it's very simple,
(22:38):
the differentiation between the two. But how how as a woman,
how do you take it differently when a man is
complimenting you and being appropriate versus being inappropriate?
Speaker 4 (22:50):
Again, I think it's going to be like that vibe,
like how respectable is it? Like? Is it in the
tone even? Like is it coming off creepy as hell?
Or is it more like fun and light hearted? And
we're just you know, playing on that praise kink I have.
But you seem motivated. Uh, but yeah, I guess to
(23:12):
tell a story about a photographer who I will not name,
linked up on a Facebook page. You know, gotta love
a good modeling photographer, link up facebook page and we
went out to the Fountain Blue.
Speaker 3 (23:26):
It was cool, communication.
Speaker 4 (23:28):
Was okay, but I was already there and I'm like,
already better shall okay?
Speaker 3 (23:32):
Shows up? We got good shots because I'm amazing, But like.
Speaker 2 (23:39):
I told you, guys, she's incredibly humble.
Speaker 5 (23:41):
Yeah, the creep factor was there, Like he was a
newer photographer, So I got I understood that, Like he
just wasn't confident in, you know, directing me, especially as
a more experienced model.
Speaker 4 (23:54):
And I guess I can kind of be a little
bit much where I'm like, I know what to do. Oh,
you can definitely be a lot so intimidation factor. Hi,
but I don't think he can hang and it. You know,
it didn't show the photos as I said, they were gorgeous,
but uh, we are not going to shoot again.
Speaker 3 (24:13):
I'll tell you that he just didn't have the energy.
Speaker 4 (24:17):
I wasn't like motivated or having fun out there, Like, yeah,
we got good shots because I'm gorgeous, but like, was
I having a good time?
Speaker 3 (24:26):
Was I out there?
Speaker 4 (24:26):
Like?
Speaker 3 (24:28):
No?
Speaker 2 (24:29):
So well, and I think i'll answer the questions since
you you didn't. Oh, but you're good. Okay, So I'm
shooting shooting, shooting, and I'll say, wow, that's beautiful, that's
a beautiful shot. You look amazing. Yeah that's how you
appropriately call you know, uh.
Speaker 3 (24:48):
Comment, I don't use the common slang. Do not use
the word sexy, do not.
Speaker 2 (24:54):
Maybe that's sexy. No, don't.
Speaker 4 (24:58):
It needs to be very respectful. I want you complimenting
like a hobo at the gas station.
Speaker 3 (25:04):
You are the sun and stars back there. Okay, I would.
Speaker 2 (25:08):
Define And you send that to me. And what did
I say to you?
Speaker 3 (25:12):
Uh?
Speaker 4 (25:12):
You said to you have changed a little bit. And
I said, no, I cannot support your local basketball team.
Speaker 3 (25:19):
Move along.
Speaker 2 (25:21):
I don't know. I had a better one, I said,
I said, would you like to buy a candy bar
and support of my.
Speaker 3 (25:28):
Not get your girls got cookies?
Speaker 4 (25:30):
Thinks?
Speaker 2 (25:31):
Uh no, there is a difference, Like you really do
need to find a way and and do the male
photographers out there, because typically, you know, female photographers are
better at communicating than male photographers. Doesn't mean it's always,
but typically they are. If you look at a lot
of the very successful male photographers, you know, myself being
(25:54):
part of that group, we are we we have no
problem communicating, and we have no problem having fun and
really kind of accessing that that side of us that
I consider myself to be very masculine. Man, I really do.
I agree, But you also have to be able to
access that part of you that is more flamboyant and
(26:17):
fun and playful in other words, you're not putting on
this acc like windows.
Speaker 4 (26:22):
The gays are less intimidating. Huh, I said, the gays
are less intimidating.
Speaker 3 (26:28):
We love them. They're not gonna, you know, murders on
the street like regular straight men.
Speaker 2 (26:34):
Yes, Crystal, okay, we're not getting in the murder and
gay and straight people.
Speaker 4 (26:40):
But the ladies, lady photographers lawlessly flirt with me. I mean,
the ladies can use the word sexy. The ladies can
use oh.
Speaker 2 (26:49):
No, there's no doubt, you're right.
Speaker 3 (26:50):
Yeah, it's there behind the camera.
Speaker 4 (26:51):
Like my girl Jail the other day, she's like, oh
my god, so hot you're own, like on the beach,
like I know, Oh my gosh. Okay, girls, fine, love it,
girls girls all day. Men don't do it.
Speaker 3 (27:06):
If I'm a speech flipping my hair, do not call
me sexy.
Speaker 2 (27:10):
Especially, And I'll say this clearly, you and I, You
and I have worked together a lot, and we could
we have a lot of fun together. But clearly it
also helps to develop a friendship rapport with somebody. When
you have that initial shoot, you have to just feel
(27:30):
that person out. And for me, when I'm working with
a model for the first time, you know. No, I
don't care who I'm working with you. You always have
to try and read that other person and figure out,
you know, where are they comfortable, where are their boundaries?
And one thing that Chrystal will tell you wholeheartedly is
(27:50):
that as much as I'll push her in, like I'm
not push her physically, but push her to like do
some crazy shoots in the Mercier water merci water you
and immerse the water. I also am very big about
asking you, are you okay doing this?
Speaker 3 (28:06):
Yeah?
Speaker 4 (28:06):
No, uh, every single time I'll give you that, Like
if I meet hell, you're there with the hand, always
respectfully helping me into the danger.
Speaker 3 (28:19):
No, if I'm we would see.
Speaker 2 (28:22):
But I also don't ask you to do something if
I really think it is dangerous. Number one and number two,
I'm always in there with you. So if you're in
the mud, if you're in the water, if you're in
the whatever, I'm in there with you. And I think
that goes a long way to help. You Know, people
ask me how do I get the shots that I get.
It's because I'm willing to go to Yeah, I'm willing
(28:42):
to go with those and lacks. What is what? What
are some of your favorite moments from us shooting at
the park shoots.
Speaker 3 (28:51):
Favorite shot definitely the first one is just iconic, and
then like.
Speaker 2 (28:56):
And and to finish that off, just real quick. For
those listening on the audio, they're not watching the video
of this. She wore bottoms. But then what we did
is we got wrapped caution tape and wrapped her chest
and honestly around the rest of her torso and then
tied back. Huh address Yeah, it was. It was a
(29:17):
very very It was of the dress if you will,
but no, it wasn't a dress.
Speaker 4 (29:23):
I had to feel tape in the car, thank god,
so I was able to tape it to myself.
Speaker 2 (29:28):
Yes, I came right the tape, but no getting that.
But when you see the shots, they're just so gorgeous
and and that's what I loved about what we did. Explain.
What's another one I already cut you off about the
the initial shoot.
Speaker 3 (29:46):
Definitely the one where I was in like that zip
up skirt and the stomp.
Speaker 4 (29:50):
And boots and I have the crowbar pull thing whatever.
Speaker 3 (29:55):
The trash we found on the ground was.
Speaker 4 (29:57):
The Mandi rod doors, Like, yeah, that was wild, the
fun house whatever it used to be. I can't remember.
Speaker 2 (30:03):
Yeah, that.
Speaker 3 (30:04):
Is the theme.
Speaker 4 (30:05):
So yeah, in there and like shooting on that water,
that little shed in the background, you know, the roller
goes behind it and no longer there. Yeah, ain't there
no more?
Speaker 3 (30:14):
You're lily like.
Speaker 4 (30:15):
I just roll up with whatever clothes and I come out.
It's like tub and I'm all right, here we go.
I've got a couple of furs.
Speaker 2 (30:22):
Throw one on, I know, like the bays and crazy stuff.
I said, a flash behind her. I brought my camera
exposure up for ambient lightning. There were swinging doors where
this is inside the Mardi Gras that she's talking about.
Then I put the actually my go docs eighty six
hundred behind the doors and stream light through the doors,
(30:43):
the crack of the door. It's it's a gorgeous shot. Well,
you know, one of my favorite shoots the fireworks. That
was fun because I love setting stuff on fire. But
I think one of my one of my favorite shoots
that we did that is when you put the poncho
(31:04):
on the mercal water.
Speaker 3 (31:07):
Huh. The mosquitos and death Okay.
Speaker 2 (31:10):
Okay, come on, I mean I can't deny either of
those mosquitos if they carry MRSA or covid or artware, cartworms, rabies, malaria,
I don't.
Speaker 4 (31:21):
Know, but nope, out there in the poncho, no clothes,
splashing mercal water.
Speaker 3 (31:30):
Yeah, but don't worry. Like you said right there with me.
Speaker 2 (31:33):
I was. I was trying to. I was trying to
help model the pose for you. But no, yeah, Crystal
does like to do that.
Speaker 3 (31:41):
She likes to, just it's involuntary. Okay. Put in my
feet in that water is disgusting.
Speaker 2 (31:49):
Yeah, yeah, Yeah, you gotta work with some of you
gotta work with some of the quirks of the models
that you're dealing with because you never know what they're
trying to do. You have to learn them. So I
had to learn that when I was shooting Crystal, if
I put her somewhere that was not Christine, which were
pretty much all my shoots that you know, I had
(32:10):
to make sure that she uh. I gave it about
a ten second delay because she WoT always it'll make
some noise like that, yeah.
Speaker 4 (32:20):
Because it's gross, and then we like immediately get the
shot right after that. Like the quickness between and is incredible.
Speaker 3 (32:29):
Okay.
Speaker 2 (32:30):
You know I took that, just that clip and posted it.
That could be a problem. Don't make me a meme
that could be a meme right there. What advice would
you give to models that haven't shot with me before?
Speaker 4 (32:43):
Oh, I mean bake on this question home on.
Speaker 3 (32:48):
Point your toes, better sample for tippy toes, wear red lipstick,
and uh, prepared to get dirty, Prepare to take off
your shoes and possibly become part of the environment. Yeah.
Speaker 4 (33:07):
So, if you're not ready for all that and more,
do not apply. But if you are ready for all
that and good compliments that are not creepy, apply.
Speaker 2 (33:19):
I like it. I like it. How would you compare
the work that we did with other stuff? Am I
your favorite?
Speaker 3 (33:25):
You're my favorite? Okay, I'm You're sweet.
Speaker 4 (33:28):
Just recently became my favorite this past year before you
my friend.
Speaker 2 (33:34):
I like as in August of twenty twenty four.
Speaker 4 (33:38):
I feel like we just get to do more, you know,
on site stuff. We're out there adventuring in the world.
A lot of the other stuff I've done is like
in you know, in studios or inside in general. I mean,
I've gotten out there a little bit, but you know,
not to the point of you know, we're.
Speaker 3 (33:54):
Going six flags Like wow, okay, cool.
Speaker 2 (33:57):
They're out there. Franted my shoes are definitely more of
a of an adventure. It's a it's a mine do
us up with me? As an experience, It's not just
a photo shoot. It's an experience, that's true.
Speaker 3 (34:11):
It's it's a whole workshop. You know.
Speaker 4 (34:13):
You did almost set me on fire once with the fireworks. Yeah,
that was the whole thing.
Speaker 2 (34:18):
Oh, I forgot about that.
Speaker 3 (34:19):
How could you Steven's answer on it?
Speaker 2 (34:22):
This we're doing a one on one session.
Speaker 3 (34:26):
I was Steven's workshop, you know, Steven.
Speaker 2 (34:29):
Yeah, it's a one on one session.
Speaker 3 (34:31):
No one than one. I don't you know, like tell me,
not you.
Speaker 2 (34:36):
I'm sorry. That was one on one where I was
teaching Steven how to do stuff. And I set you
up right in front of the games building that is
sadly no longer there, dressed in peace, and I was
setting off Chinese dynamite by hand. I was throwing off.
Speaker 3 (34:54):
On the side of the building.
Speaker 4 (34:55):
Okay, Stephen and Marlene are out in front of me,
and then you are huddled off on the side.
Speaker 2 (35:03):
Just that's the top of my life. Aren't this houcking dynamite?
These explosions are going off, and Crystal's body is going
like this, like a shock wave hits as soon as
the thing goes off. It was amazing.
Speaker 4 (35:19):
Yeah, I know, we got some good shots. I jumped
a lot. So out of the what how many? How
many did you bring? Like fifteen twenty of them? We
had a good bit and then you all.
Speaker 2 (35:29):
Took we're going crazy.
Speaker 3 (35:31):
I trooped it. I was scared.
Speaker 4 (35:33):
Okay, I'll looking back, I'm like, I should have been
in the leather trench coat, not a backwards dress.
Speaker 2 (35:41):
This is true. But the shots, the shot for the
shot shots look amazing. Yeah, that was an incredible shoot.
That was you and.
Speaker 4 (35:51):
Stephen really got some good ones out there, I mean
all the Yeah, that one, if I had to pick
a workshop, thought was fun.
Speaker 3 (35:58):
That was my favorite one.
Speaker 2 (35:59):
So what advice would you give to newer models?
Speaker 3 (36:02):
Do your research?
Speaker 4 (36:03):
So, like I said, make sure we're getting their profile,
we are checking their background, we are sending our location
to someone we know. Okay, or bring a friend, immedia
red flag. If the photographer says you cannot bring a friend,
do not go.
Speaker 2 (36:20):
Do not go.
Speaker 3 (36:21):
If they said.
Speaker 4 (36:22):
Show up alone, don't go, that's a huge red flag.
So you know, for new models, don't be afraid to
ask a lot of questions. Again, the vision. You need
to bring something to this table other than a pretty face.
But sometimes that's enough, but usually not. And yeah, just yeah,
(36:44):
I guess bring your weapons.
Speaker 2 (36:46):
So you know, are you from are you originally from
New Orleans? Yeah?
Speaker 3 (36:52):
Also, these are already knew it.
Speaker 2 (36:57):
I would agree with I alould agree with everything that
you just said. When models want to bring a friend
an escort or whatever, it didn't bother me as long
as cannot be in the way.
Speaker 3 (37:10):
Though.
Speaker 2 (37:11):
I was just gonna say, friend.
Speaker 4 (37:13):
That is not going to be like, bring a jen
who is going to help you wrap yourself in caution
tape and not complain the whole time. Okay, you agen, because.
Speaker 2 (37:25):
It's a lot of effort to go through, and then
you have a friend who's either way too nosy or
just or just a stick in the mud. Like the
only time I've had an issue with people showing up
with the model is if they're like, okay, I'm boor
I want to go, and then the model doesn't want
to go, but the friend wants to go, and you're like, yeah,
a lot of time and effort into that.
Speaker 3 (37:45):
I'm gonna circle back again. We're circling all the way
back because my sister, like I said, is the reason
I got into it. So tell that for him to
come model ready just to get show up.
Speaker 2 (37:56):
That's a really good idea. Oh yeah, because I've had
girls do that, and I'm hey, if you let your.
Speaker 3 (38:02):
Go be a Massis to look like tweeze.
Speaker 2 (38:06):
Wait, what are you the younger or the older sister?
Speaker 4 (38:09):
I am the younger sister, but I am the larger
of the two, so she's like minature me. So she's
the little Mario and.
Speaker 3 (38:17):
Then I ate the mushroom and then you get me,
so you're super Mario. Yeah, so I'm Super Mario and
she's the little Mario. But she's still very cute and iconic.
Speaker 2 (38:28):
So you know you're gonna have to bring her to
a shoot.
Speaker 3 (38:31):
I tried. You weren't in town.
Speaker 2 (38:34):
What don't blame that on me. I was there for
like eight months straight.
Speaker 3 (38:37):
Pick a flight.
Speaker 2 (38:38):
Okay, Well, your favorite shot that we did together.
Speaker 4 (38:43):
Most iconic shot is definitely the firework. I mean that
was just the whole experience.
Speaker 3 (38:48):
And then yeah, that.
Speaker 4 (38:50):
First one with the caution tape. My profile picture is
the leather jacket still where I'm like fucking dead eye.
You know, I'm like come abbios. Yeah, so forever my
profile picture, thanks Jason.
Speaker 2 (39:05):
Scariest moment in the park.
Speaker 4 (39:07):
When I fell through the damn dock with the bubble bath,
Like when we had the phone and I got that
horrible hideous cruise.
Speaker 2 (39:16):
Yeah, that was pretty nasty.
Speaker 3 (39:17):
Well, I mean I think I was in there for
ten minutes. We still got like five six good shots.
I was like, okay, and then I.
Speaker 2 (39:25):
Felt it in the water for ten minutes.
Speaker 3 (39:27):
No, like I was in the little bucket and we
were getting some shots, and then when I stood up
to move, I felt great.
Speaker 4 (39:32):
So like, even though we didn't spend a whole much
of time on that shot because I was injured and
mortally wounded, we still got shots.
Speaker 2 (39:42):
She's such an over exaggerator. It's his acent used okass, Yes, yes,
What was the most fun you had with me at
the park?
Speaker 4 (39:51):
Oh?
Speaker 3 (39:52):
Oh, definitely when we piled up with Coco and I
think her name was Hannah the phone.
Speaker 2 (39:58):
Yeah, old was wild.
Speaker 3 (40:00):
More than marror for me, for sure. I like to
have fun. I like to collab of models.
Speaker 2 (40:05):
You came and started painting up Courtney.
Speaker 3 (40:08):
You dang.
Speaker 2 (40:09):
When we were doing the black.
Speaker 3 (40:10):
Light that would bring the props okay, done without me?
Speaker 2 (40:16):
Yeah, now that that was really cool. That was really
really good stuff.
Speaker 3 (40:20):
I'm that on deck. Okay, I just posted this today
rave girl.
Speaker 4 (40:24):
Okay, but yeah, I got to paint a cocoa cowgirl,
so fun, most hilarious moment.
Speaker 3 (40:34):
Uh where cocoa. She looked like she was tired, y'all
had been out there all day?
Speaker 4 (40:38):
She she was. And I got there obviously a little
bit later, and I just I bring the fire out
of you, I guess. But she says, what, you know,
what is all this ferocity going on right now? And
I was like, Oh, it's just me. It's me girl.
Speaker 3 (40:55):
Uh yeah, and it breaks out because we wore the
same size shoes.
Speaker 2 (40:59):
So yeah, you know, it's interesting that you say that.
One thing I'll note is as a photographer, when you
do have multiple models on set, you have to be
you have to manage that situation carefully. You have to
manage egos, you have to manage time, You have to
(41:20):
make sure that you're shooting the models, and you know,
you know, I don't you know. And if you're a server,
they call it touching the tables. Like you go around
and you make sure that you touch each one of
your tables, to make sure that you're you know that
you're paying customers or know that they're being taken care of,
or watering your plants. You have to water your plants.
When it comes to models, when you have multiple models
(41:42):
of a shoot, I love having multiple models because when
you're shooting in an adverse environment, it's good to give
them breaks because you know, I may be sweaty and nasty,
and most.
Speaker 3 (41:56):
Of your environments are imversivetiesent.
Speaker 2 (42:00):
This is true, so I'm almost always sweaty and nasty.
The difference is my face isn't on camera yours is.
Speaker 3 (42:09):
So to be able to gild the now still looks
like a glowing queen all day.
Speaker 2 (42:13):
The what so humble, so humble. So but if you
give the models a break and let them, you know,
recuperate a little bit, it can it can help your shots.
But at the same time, you have to manage that
if you're shooting one model more than the others, if
your egos feelings can get in the way. Because we're
all human beings. So just as a photographer, what I'm
(42:34):
trying to say is manage that. You know, all of
us can tend to have favorites. You know, maybe the
vibe works better with Juana than it does on the
other but you have to manage that situation and be
very respectful and realize and I mean this with all sincerity.
I'm a photographer there, models all this stuff. They're human
(42:56):
beings with feelings and you have to be very mindful
of that and be very considerate when you're dealing with
other human beings. Just be just be good with that.
Speaker 4 (43:05):
What's been like band And get the little advice to
the models though on the multi model thing, be prepared
to work with others.
Speaker 3 (43:13):
Be friendly, you know, don't be a bitch.
Speaker 2 (43:16):
You know. I love this advice that definitely goes both ways,
So keep going.
Speaker 4 (43:20):
So like, you know what if there's an opportunity where
you can get both models in the shot and you
just wouldn't have had that opportunity otherwise, or if like
the two models don't get along, like you're not gonna
get that shot. I recently did a shoot with another
model and the girl have this vision. She's like, hey,
could y'all like hold hands and you know, run off
(43:40):
into the water, giving a whole like best friend scene.
Speaker 3 (43:43):
I don't even know this girl.
Speaker 4 (43:44):
I'm like, girl, take my hand, take mine, let's go.
I'm gonna lead you into this ocean like you are
my goddess. And I did, and the shots are amazing,
So like, be ready to emotionally jump in like I
didn't know that girl, but for that minute, you was my.
Speaker 3 (44:00):
Love, the love of my life, Like come into the ocean.
Speaker 4 (44:03):
Okay, you had to be able to jump into that,
you know, to bring it to the picture you do.
Speaker 2 (44:10):
And it takes a lot when there's multiple creators on set,
because you know, the photographer should be in charge of
the shoot, because somebody has to be in charge, and
they photographer, especially in my in my shoots and my sets,
I'm the director of what goes on with the other models.
Realize that, you know, if everybody kind of puts their
(44:31):
egos to the side, which for Crystal could be hard,
But if everybody puts their egos to the side, I'm
a girls girl a little bit, it really helps everybody
to be able to create. And and all my teasing
her about her ego and stuff, she did do a
good job to try to include other people and and
and just realize that just like any team effort, if
(44:53):
we're all trying to work towards something. All of our
work's going to be better because if the models start
fighting on a shoot, which can happen, It's.
Speaker 3 (45:04):
Never happened to me, Thank god, I'm so.
Speaker 2 (45:06):
That you can't definitely happen now Now. If I have
a model that I love and then she's pissed off
the other models, it's messed me up. So you know,
that's something that I would be very open with telling
people to be to work with people on and try
to really be respectful and helpful.
Speaker 3 (45:24):
Agreed.
Speaker 2 (45:25):
The last and I wanted to ask you is what's
it like? Because I get this question a lot. I
get this question about me. What's it like being a
photographer and having a personal life? And if you don't
want to talk about this, Crystal, let me know. I don't.
We don't need any specifics at all, but just in
general advice for for creatives, for models. I always tell photographers,
(45:47):
and I just tell creatives in general to be who
you are and attract those who accept that and accept
who you want to be. Because I've I haven't met
a true creative that is that can be contained, I
guess is a better way to put it.
Speaker 3 (46:08):
Huh, untamable.
Speaker 2 (46:12):
And and so I say that because if anybody listening
to this, I know a lot of creatives struggle with this.
You struggle to have that creative portion of you, because,
to be honest, the vast majority of people that are
creating out there are doing so in a part time capacity.
They're not doing it full time, and so they have
to balance a personal life, a job, and then their
(46:35):
creative aspect. So any advice that you'd like to share.
Speaker 4 (46:39):
On that, definitely, I'm glad you asked. Let's just start
off by saying, you do not be capped.
Speaker 3 (46:50):
You have one life.
Speaker 4 (46:52):
Okay, the whole point for me anyway, my funeral real
is going to be so lit like the end of Days.
Speaker 3 (47:00):
When they play it back, I'm like, you see this, Okay.
Speaker 2 (47:05):
She did tell me that. She said, Jason, your pictures
are gonna be all over my funeral, and I'm like, yeah,
it's a compliment, but this is the first time I've
heard that one.
Speaker 4 (47:12):
You're gonna roll it back. Funeral meal is gonna be lit.
You know, when they look back on my life, they
don't see it.
Speaker 3 (47:17):
Okay. You know, I've had relationships where either they're just
not confident enough to have the caliber of woman.
Speaker 2 (47:30):
Or whatever the case.
Speaker 4 (47:31):
But you know, having a partner who's not uncomfortable with it,
it can be tough managing it. You know, there's you
can find a balance. But at the end of the day, like.
Speaker 3 (47:43):
You are who you are and denying yourself the creative
you know, expression.
Speaker 4 (47:48):
I feel the most alive in my life when I'm
doing photo shoots, like when I'm out vere what I
love the most, I'm living it, I guess, like other
than that dog training, but my fashion.
Speaker 2 (48:01):
Oh but but what you're saying is true, and it's hard.
I can understand why everybody likes to say everyone is
a creative, and that's fine. I have no problem with that.
But there's different levels of creating. Everyone is using their
body directly to do so, right. But but when it
(48:22):
comes down, I mean, there's there's people who develop software. Okay,
they're creating. Okay, well let's just call it this a
visual arts creator. We'll leave it at that. If you
were a visual arts creator, photographer, filmmaker, model, somebody in
that in that realm, it can be difficult for other
people to understand you. But when you have a person
(48:45):
in your life that doesn't get their fulfillment from that
that kind of an activity. It's difficult for them to
understand why you can go to a photo shoot and
you can come back like here on Cloud nine, and
they they have a hard time understanding why they're not
able to give you that feeling of Cloud nine. And
(49:06):
it's really hard to communicate that. When you love someone
and it's not like you don't love that other person
that you're with, but that feeling that you get when
you create something, it is so edifying, it's so gratifying.
And if you have somebody in your life who can't
accept that, chances are you're not going to stay with
that person, and or if you do, you're going to
be very unhappy.
Speaker 3 (49:28):
You need a hype man in your life.
Speaker 4 (49:30):
You know, like if you think of if you were
back in kindergarten, you brought home your color, well, you
know you colored this in kindergarten.
Speaker 3 (49:39):
You show it to your parents and they go, traction, Okay,
your little heart is going to die right there.
Speaker 4 (49:45):
I want someone who's going to put it on the fridge,
frame it, give it out in wallet sized car, to
provide name on the back, sign it for my people. Yeah,
it just depends like do you want to partner who
is trying to hide you from the world, keep you
in the snow globe, you know, in their house, or
do you want someone who's like, that's my bay, Like, look,
(50:09):
I'm doing this okay.
Speaker 2 (50:12):
Yeah, and I have I have a lot of I mean,
you know, I've met thousands of models in my career
and countless times, not all of them by any means,
but there's a lot of them that are having a
struggle in this regard, and so I only share this
advice of you know, and if a photographer struggling with
this as well, I would I would tell you the
(50:32):
same thing.
Speaker 4 (50:34):
Deffer can get both ways because shooting nudes, you know,
if you want to shoot sexiers inks and your girlfriend
or your partner is like, why are you looking at naked?
Speaker 2 (50:44):
Hey? What's old Tom? Why do you you know?
Speaker 3 (50:46):
What's going on with this? It can definitely be a
two way street for that, you know.
Speaker 2 (50:50):
One hundred I think what I would give advice to
anybody would be be who you want to be when
you first meet someone. Don't the version of yourself that
you are only for them for that little honeymoon period
and then then you just start to you start, because
eventually you're always going to go back to who you're
(51:11):
revert to you. I don revert to you. And that's
the problem. When you revert to you and they're like, well,
who the hell is this person, it's it's going to
cause you problems. And and understandably so if you're like
if you're a model and you are modeling and then
all of a sudden you meet somebody and you stop
modeling for a while, and then you know, three months,
(51:32):
four months, six months after the fact, you start modeling
more like, they're going to be like, what is going
on here?
Speaker 4 (51:39):
So I will tell you that that is one thing
you know, I do do from the beginning anytime again
in relationship, there are certain standards. One of them is
I'm not gonna quit modeling, Like I don't care, I'm
not gonna quit doing it. I may put some restrictions
on it, like okay, I'm not gonna post my tents, okay,
but I'm not gonna stop doing it.
Speaker 3 (52:00):
And that is something you do want to tell models
off front. Be upfront.
Speaker 4 (52:04):
Do not lie to that man and say you're going
to stop modeling when it is your soul's work. You know,
like you're going to stop, because at the end of
the day, it's all, you know, it's for the feeling.
We're doing it for the rush, for the feeling of satisfaction,
for this moment that we're never going to get back.
Speaker 3 (52:24):
So live it right there.
Speaker 4 (52:26):
If you're doing photography, you get an awesome picture of it,
you know, and so then you get the time machine
and look back. But again, I guess and the words
of will Wayne, they asked me why I did it,
It was all for the feeling, Okay, yeah, And that's true.
Speaker 2 (52:40):
It really is true. And it is hard for some folks,
not all, some folks to understand the gratification that you
get when you put so much time and effort, from
a photographer and from a model perspective, when you put
so much time and effort into a shoot and then
you get that shot that you who've been dying create
(53:02):
and you get it and you're like, hell, yeah, I
got it. That's amazing. It's so gratifying. And then when
you come home and show your significant other and they're like, oh,
that's nice, you're like, not that, that's nice, that's cute.
Then you're like, Okay, I don't really want to share
it with you anymore.
Speaker 4 (53:22):
No, I need those, like I said, those homeless gas
man gas station man level compliments.
Speaker 3 (53:28):
Babe.
Speaker 2 (53:30):
You know you must know a lot of homeless at
the gas station who we're not from the South.
Speaker 4 (53:35):
I guess you don't know. But the Southern men that
are homeless at the gas station slay the compliments. They
will compare you to the moon and stars and all
of the universe. You're looking at your deadbeat boyfriend, like
you said, I looked fine, So excuse me, sir. We
want pop my gas, clean my foot and shield.
Speaker 2 (53:59):
Crystals. So she's this is exactly what the shoots are
like to. While we're shooting, the conversations are happening like this,
and then all of a sudden, I'll pull the camera,
but she does. I get the camera here, she goes
ready to shoot, and it's just this constant conversation. And
I that's one thing that's fun is if I always
(54:20):
tell people, if you're doing a great photo shoot, the
conversation should be free, should be free flowing. And if
you know you're having a great shoot, when it's not like, wow, damn,
how long have we been shooting? You look down and
it's only been a half hour and you're like going on.
Speaker 3 (54:32):
Oh, we're looking down like shit, we're three hours over.
Speaker 2 (54:35):
That's that's when you know you're doing a great photo shoot.
When it's not your phone and your watch is telling
you the time, it's that the sun's going down on here.
I'm literally we're out of time.
Speaker 3 (54:45):
So now we're not at time Dayson's bringing the lighting
a lot of it, so we're just this is true.
Speaker 4 (54:52):
I do bring the lights the electrical box. It is
so fun to work with you it. You know, every
single time, I know, I'm gonna come out there, have
a good time, get the best shots ever. You know,
iconic moments that you know are gonna be on the
Feederal reel. And then yeah, getting excited about the next
(55:12):
one too, Like every time I leave a shoot with
you and like I'm ready for more wednesdayson coming back,
let's get this shot, like it's gonna be a good time.
And then you know, anytime we get the crew together,
you gotta get Adam, our first man out there, you know,
whoever's doing a work shot that week.
Speaker 3 (55:30):
You know, it's always really fun. No out of the crew.
Speaker 4 (55:32):
And again, models be adaptable, like you can be egotistic.
You can be hot, be adaptable, be pull like to
your best ability.
Speaker 2 (55:44):
Yeah, I would tell people, especially on a shoot, especially
with the kind of crazy stuff that I do, as
as cliche as it sounds, be positive. Stuff's kind of break,
stuff's kinda stuff, Stuff's kind of you're gonna fall through stuff,
people are gonna get scratches and yeah, all that stuff.
(56:06):
But if you stay positive. As the director of the shoot,
you have a direct You have an immediate and direct
impact on everybody else. If you get down about stuff,
that's gonna it's gonna wipe over the entire crew. Because
the energy that you output to your subjects is what
you're gonna get back. So just be mindful of that
(56:27):
when you're out there creating and do whatever you can
to make air fun environment and the people like Crystal.
No matter how many shoots have we done, ten fifteen.
Speaker 3 (56:36):
Oh it's over nine thousand. No, I think we're somewhere
between like eight and ten.
Speaker 2 (56:40):
Yeah, so you're gonna have people that want to work
with your time and time and time again, and I
think that that's that's really what it's all about.
Speaker 3 (56:48):
So is repeat offenders?
Speaker 2 (56:49):
Okay, yes, ma'am.
Speaker 3 (56:51):
Uh, yeah, definitely have favorites.
Speaker 4 (56:53):
I'd have to say, like if you're a good photographer
and the vibes are there and like the company is there,
we're coming back.
Speaker 3 (57:00):
Uh you're a person who can you know, hit me
up and be like I have a vision. I'm like,
I'm in where are we going? What should I wear?
And bring?
Speaker 2 (57:09):
So absolutely, absolutely so, I can't wait to see you again.
Say when it'll be soon. It'll be soon. And I'm
very grateful to you, Crystal Ford, doing such a great
job and for being such a great friend and for
helping me create my work. And there's this bond that
(57:31):
you feel with people when you've created a lot of
great work together. It's hard to explain, per se, but
when you've created something beautiful with someone else, it's I
don't know, it's just it's a it's a special feeling
to know that, hey, we got together and we did
this and look at the result. It's a beautiful first art.
Speaker 3 (57:50):
What do you mean we've literally created this?
Speaker 4 (57:53):
Like I don't know, it's special to me. I guess
I'm kind of laying but I'm like, look what I
fucking made.
Speaker 2 (58:00):
Exactly exactly it is. It's your creation. So thank you, Crystal,
thank you for everything. I remember the first time I
sent you shots from the first set, Oh.
Speaker 3 (58:08):
My gosh, tears in my eyes.
Speaker 2 (58:10):
I was like, she texted me and she's like, how
is it that every single shot is so good?
Speaker 3 (58:16):
Because I'm in it? Duh and you were behind the
camera magic.
Speaker 2 (58:21):
That might be a little bit of it, But Miss Crystal,
you know I love you.
Speaker 1 (58:26):
Dude.
Speaker 2 (58:26):
An amazing job and I'm very grateful to you, and
I can't wait to shoot with you again.
Speaker 3 (58:30):
Yeah, for sure, and thanks for having me. Always a
fun time linking up with you.
Speaker 4 (58:36):
And uh actually off to a photo shoot right now
with our lovely friend Adam, so let me get before
I'm late.
Speaker 2 (58:44):
You got it. I'll wrap this up. So thank you
guys for joining me on Jason Lennar and Filter. Thank
you to our guest, Miss Crystal, who did an amazing job.
She's she's quite a talent and if you guys haven't
worked with her before, you're in for a hand honestly,
even for a handful. But she's worth it too handsful,
(59:07):
I guess, and you're going to have an amazing time
and create some amazing work. I am kicking up the workshops,
kicking up the videos, kicking up everything again. After this
hiatus that I'd taken to do the Border documentary, a
Six Flags documentary, Demolition, a TV show that I'm developing.
I've been doing these projects, but now I'm getting this
(59:29):
whole engine up and running again, and I can't wait
to see you at a workshop. So if you know
somebody that you'd like for me to have on the podcast,
let me know. I'm going to be doing a lot
of guest spots on here, which is going to be
a lot of fun. Let me know to think about
this format if you like it, if it's something that's
relatable to you, and I hope it helps. So until
next time, do you remember when I say at the
(59:50):
end of my videos, Miss Crystal, what you say at
the end of your videos the next time, keep shooting,
never give up on your dreams. Final give that works
for you to.
Speaker 3 (59:57):
Remember you remember, tell me tell it loud for the people. Really,
you've been off of YouTube for six months plus.
Speaker 2 (01:00:07):
You only have one chance to get it right. All right, guys,
I love you, I talk to you later. Please bye.
By the way, you guys can find this podcast anywhere,
share it, let's make things go crazy and we'll be
able to have even more fun. I'll talk to you
guys later. Bye.
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