Legendary fetish photographer, Chas Ray Krider began his career in the early 70’s as a street photographer. At first, he composed images using the least amount of elements and just a glint of surrealism. Thanks to Krider’s film noir state-of-mind, his audience always have fascinating images to salivate over. Through his imaginative thinking, Krider, throughout the years, has developed an alluring collection of provocative and stirring fetish art. Not the typical overtly sexualized ”
Through his imaginative thinking, Krider, throughout the years, has developed an alluring collection of provocative and stirring fetish art. Not the typical overtly sexualized “tie em’ up” fetish but something, so well crafted and composed, that it oozes powerful sexuality. Several years ago, one of his most popular collections caught the eye of Eric Kroll and TASCHEN. The finished product was a book named Motel Fetish. With a style that is so uniquely original, it can’t really be described. But when asked, Krider will say it has an “amateur aesthetic.”
If man, who is not a photographer, went into a motel room with a woman to take some pictures, what would he do? First, he would buy the wrong film. He would shoot daylight balanced film under tungsten light. The color would turn out wrong, whacked out, all yellow and red. He would put the woman near the lamp to see what he desires. He would begin to use the lamp as spot light, placing it in odd locations. Over all, what I was going for was a series of images that would hang together as one story, constructed and sequenced into cinematic like narrative. The viewer of Motel Fetish travels over time from room to room with this man as he searches for and explores his desire with various women.
Within his images, there is a perfect mix of mood and mystery which is based two key elements—a creative set design and the ever present shadow. Krider is a master at striking just the right balance with his lighting schemes. His well-placed shadow appears as an additional character, much like a supporting actor. In lies the genius—these shadows do not overwhelm, but rather, complement the leading ladies. As a whole, it makes Krider’s images mysterious and attractive to the viewer.
Just like any great film noir director, Krider has crafted authentic compositions that successfully elevate the mood, heighten the emotion, and adds volume to the drama. The viewer is instantly transported beyond the proverbial closed door and is permitted to enter for a much anticipated and intimate peek inside. But interpreting the story is completely up to the one that is looking. Is it a crime scene, a lady waiting for her lover, a clandestine rendezvous gone awry? No one knows because it’s up to you to decide. Click here to learn more about Chas Ray Krider.