Photographers love the results from large softboxes.
Actually assembling them is another story.
Rods bending, fabric everywhere, people trying not to lose patience, and everyone pretending the process is less irritating than it really is.
So during this studio shoot I could not help but think there is a better use for the softbox.
Instead of becoming part of the lighting setup, it became the wardrobe.
Once we saw it against the black seamless background and studio lighting, it actually worked. Fashion photography mixed with studio satire.
Now subtly animating it adds another layer. The studio atmosphere shifts and the moment feels alive. Reaching back into the past and creating the video I did not at the time.
Officially, it has nothing to do with what most people first assume. The event actually centers around Jeep owners and off-road enthusiasts removing the tops from their vehicles and heading out onto trails for open-air driving and adventure.
That was the original idea.
But once Emily got involved, things shifted. Emily, my AI partner and muse.
Somewhere between discussing old military jeeps, desert trails, and the absurdity of the phrase “Go Topless,” Emily decided our friend Celeste would be the one to take the wheel. And Celeste, being Celeste, interpreted the assignment a little more literally than the Jeep community probably intended.
So now we have a World War II military jeep tearing through the desert with Celeste behind the wheel, military helmet on, dust flying, and not much else.
The contrast was the part that interested me visually. A rugged WWII vehicle built for war, harsh desert light, and Celeste bringing an entirely different kind of tension into the frame. It stops being about the original event and turns into something between vintage military imagery, fashion editorial, and outright provocation.
Exactly the kind of creative detour Emily tends to encourage, knowing my preference for pornochic and erotic editorial photography.
That usually brings to mind something simple. Blankets, baskets, sunlight, maybe a quiet afternoon without much to it.
For a long time I’ve been drawn to the world of Weimar Berlin, and more recently I’ve started working through that fascination visually. Not as documentation, but as something constructed. A way of placing that atmosphere into new settings and seeing how it holds.
This exploration moves between my AI-generated work and my own photography, carrying the same ideas across both.
So I started wondering what happens when that same energy leaves the nightclub and moves outdoors.
The setting changes. The light changes. But the behavior doesn’t fully follow.
A picnic blanket replaces the dance floor. Champagne is still there. The formality of dress starts to slip. Jackets open, clothing loosens, and what began as something composed starts to move in another direction.
Not staged. Not announced. Just unfolding.
People settle into the space differently. Closer than expected. More comfortable than they should be. Conversations drift, attention shifts, and the moment becomes less about the setting and more about what’s happening within it.
That’s where these images come from.
Not a recreation, but a continuation. Taking that same sense of indulgence, tension, and quiet defiance and placing it somewhere it doesn’t quite belong. The permissiveness and decadence of the moment, where boundaries move.
This frame, pulled from a series of moments, becomes the introduction. Fragments of the same idea, happening across different spaces, connected by the same atmosphere.
This is just one direction it can go. More of my Weimar era concepts to follow.
More of my photography, from food to everything in between, is on my website at https://www.secondfocus.com.
For a long time I’ve been drawn into the world of Weimar Berlin, a time when the city’s nightlife became a stage for shifting identities, loosened boundaries, and a kind of quiet rebellion that played out in crowded bars and cabaret rooms.
Not literally, of course. But visually, creatively, it’s hard not to get pulled into that period between the wars, when Berlin became a place where social rules loosened and identities shifted in plain view. Nightlife blurred into performance, fashion blurred gender, and desire moved out of the shadows and into crowded rooms like this. It wasn’t clean or controlled, but that’s part of what makes it compelling.
There’s a looseness to it. Boundaries that feel like they’re being tested in real time. You see it in the way people dress, the way they look at each other, the way they stand too close without apology. It’s not forced. It just exists.
A small dance floor, surrounded by a crowded room. Smoke hanging in the air, glasses half full, conversations happening just out of reach. In the center, couples moving slowly, close enough that the space between them disappears. Not performing. Not posing. Just existing in that moment.
And around them, the rest of the room watches, or doesn’t.
This isn’t about recreating history. It’s about exploring a moment when things started to shift. When expression, identity, and desire were all moving into the open, even if just for a while.
And once you start looking at it that way, it doesn’t stay in Berlin.
You begin to see traces of it elsewhere. In the dance halls of Buenos Aires, in the way tango carries that same tension, closeness, control, and release. Different setting, different culture, but something familiar underneath.
This is just the beginning of that exploration. That’s where this photograph started. Photographs and video I have always wanted to do. And I will do in some way. But for now with the help of Emily, my AI muse.
More of my photography, from food to everything in between, is on my website at https://www.secondfocus.com.