Pro Wedding Photographer for a Day?

L: Jenny & her 54 ford f-1, M: Trailer Park, R: Married Couple

Q: Jenny, what’s the story behind these pictures?

JS: I drove to palm springs (in my 54 ford f-1) to go visit my gf’s parents who lived in that trailer park. we brought old cameras to take pictures way out in the joshua tree national park. we ended up spending all our money and didn’t have enough to buy gas to get us home. her dad, who was kind of an old, goodhearted, spaz (me in my later years) suggested we take pictures of his friend’s wedding that day, we could make 50 dollars and that would afford us to get home, with a little spare money for food. we ended going to goodwill purchasing some used white button up shirts, so we’d look professional and then for a day we became wedding photographers. we ended up getting home and these are a few of the pictures we took as professionals.

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New York Portraits by Ari Marcopoulos and styled by Heathermary Jackson: Jenny Shimizu

Purple Fashion magazine #13 Spring Summer 2010
#4 purple FASHION WOMEN

70 Portraits, shot by 9 Photographers, in 5 cities.

L: Lindsay Lohan by Terry Richardon, R: Jenny Shimizu by Ari Marcopoulos

Jenny Shimizu – New York, New York.

“Clearly, Purple Style is always personal. We don’t photograph people to celebrate (and to sell) fashion. On the contrary we shoot creative fashion to celebrate creative people to show them at their best. Beyond that, we’re convinced that fashion isn’t interesting if interesting people don’t wear it, glamorize it, and enjoy it — season after season.
— Olivier Zahm, Editor-in-Chief/Creative Director, Purple Fashion magazine

“Being and Having” by Catherine Opie where “Chicken” = Jenny Shimizu

The complete series of "Being and Having" by Catherine Opie.

"Bo" and "Chicken"

“Shown as Opie’s first one-person gallery exhibition in November 1991 at New York’s 494 Gallery, Being and Having marked the first incidence of the strict seriality and formal classicism that would govern much of the artist’s work to come. The thirteen color photographs that make up the series are variations on a theme: decked out in exaggerated masculine facial hair and other macho props, Opie’s lesbian friends are shot against a brilliant yellow background while they stare directly into the lens of the camera. Each closely cropped image is presented in a wooden frame bearing a nameplate that lists the sitter’s party name in etched cursive script: Chicken, Con, Ingin, Papa Bear, and so on. Deliberately toying with the outward signs of gender displayed by their subjects, Opie’s photographs lambast the notion of gender identifications as stable, unified, or in any way natural.”

— Nat Trotman

Source: Catherine Opie: American Photographer, Solomon R. Guggenheim Museum, Exhibition Catalogue, Pg. 42, 2008.

To read more on Catherine Opie, and the Being and Having series, purchase the American Photographer exhibition catalog here.