In the world of “scene” photography, Charles Gatewood is the godfather to all other photographers. During the seventies and eighties, he introduced America to a growing counter-culture. Tattooed men and women, vampires, slaves, ponies, dominants, bears, cubs, goths and still more in the varied universe are subject to Gatewood’s delighted eye. If the body wore leather, latex, rubber, or nothing but ink and peircings, Gatewood wants to recard it. With an unflinching and non-judgemental gaze, Gatewood records these subjects for books, magazines, and exhibition.
Disdainfully, he casts aside pastoral figure studies. Gatewood’s photography spans many styles, but his subject remains the same. His journalism and anthropology roots inform his style and content. In his case though, he broke the cardinal anthropologists rule. Gatewood stopped observing and started participating. In a culture based on trust, participating is one of the few ways to be welcomed. The clean graphic lighting of Gatewood’s images comes from WeeGee and Winogrand. His care for the subject comes from understanding delivered by the end of a cat o’ nine-tails.
After decades in the shadows, an elusive culture is coming to the mainstream. BDSM culture and all its emblems are appearing in advertising, television, and film. More now than ever, Gatewood’s experience is called to advise new generations of outsider photographers. In response, Gatewood wrote “Photography for Perverts” (Greenery Press, 2003). This short book avoids camera and studio technique. Gatewood leaves this in the hands of the reader. Instead, Gatewood concentrates on advice. He answers questions about how to enter the “scene”, enlist models, arrange sittings, and fight the censor button mad conservatives in any community.”
Photography for Perverts” provides a human face to an often misunderstood group of people. This group doesn’t seek our approval and rarely seeks to defend themselves against moral judgement. This quiet demeanor should not be misunderstood as fear of the light. Gatewood provides useful, if not insightful, advice on how to ingratiate oneself with the proud participants. He reminds us that scene members are as varied as the vanilla masses that disparage them.
Most photography how-to books deliver formulas for capturing perfect images, but they speak very little about how to deal with the humans involved. “Perverts” flips this around. Nearly every line is about how to deal with humans. He begins with the human behind the lense. Offering advice about developing courage and vision. Then Gatewood provides useful tips about approaching would-be models. Next, we are taught about publishing and exhibiting. Finally, “Perverts” discusses handling censorship.
This book does something rarely seen in how-to manuals. It offers actual practical advice. It refrains from technical expostions on shooting the perfect image. That’s up to the reader to decide how to best do. I sensed Gatewood’s joy in subject, his respect for fellows in the field, and his historic perspective. “Photography for Perverts” is about how to be an inspired and smart artist within the scene. Focused and applicable.