STEVE DIET GOEDDE: COVER STORY

I had been using the same Mamiya 645 for 18 years at that point and was welcoming a change. I suddenly had a new tool to translate my vision, and that was extremely exciting and rewarding.

Earlier in 2002-2005, I had already been playing around with extremely low-fi cell phone photography from the very first flip-phones with cameras, but not in an erotic form. That original work remains online at my original www.phone-art.com site.

TM: In your postscript, you refer to being more particular with whom and what you photograph. Personally I think this is something that comes to most of us in our respective fields as we get older. But do you ever wonder if you’ve grown a bit tired of fetish photography?

SDG: I do feel a bit more jaded after having done this for over 25 years now. The same problems remain — flaky models, lack of locations, etc, and as a result, I prefer to work with time-tested friends and models.

There’s less to worry about and the process is very easy and relaxed. I’m less tolerant of a shoot that seems like work — it has to be pleasant and organic in its inception and execution.

‘Being in front of Steve Diet Goedde’s camera is to be con- stantly aware of my fingers and mindful of the placement of my feet. Because he is meticulous. I am too’ – Stoya, model

TM: Has anyone suggested (or have you ever thought) you might have reached the point when you’re basically seeking a way to ‘live off your back catalogue’?

SDG: I wouldn’t want to rely on my back catalogue exclusively. As an artist, I always feel the need to create. Even though I don’t shoot as much any more, my work is still my passion and identity, and I’ll be devoted to it until the day I die.

And speaking of back catalogue, I’m constantly finding hidden treasures from much older shoots — shots that I overlooked because I had my eye on the first favourite shots from a photo session.

Back then, it was before digital so I had to print my favorite shots in the darkroom. I was very selective as to what I released because I didn’t have the time or patience to print the remaining good shots.

But now it’s all scanned, and the overlooked photos can now be considered as ‘new’. Many of these images will make up a large portion of Arrangements Volumes I and II.

TM: A while ago I mentioned to you a model friend of mine who’s a big Steve Diet Goedde fan was soon to visit the States and was wondering if there was any chance she could shoot with you. You replied that you didn’t shoot that much these days, but you might well take up the opportunity that this presented.

So what does it take, these days, to fire you up about doing a shoot? Do you keep an eye on emerging talents on the model scene, or do the shoots you do these days arise mainly out of this kind of serendipity?

SDG: In the case of your friend, the recommendation from you is what made me react positively. I didn’t have to find or vet the model — she already had a stamp of approval from someone I trusted. So, a big part of the work was done — now we’ll just have to schedule and shoot.

I like it when opportunities come to me rather than me pursuing them. I let life happen to me and then I record it.

But besides the occasional recommendation, I do prefer to work with models with whom I’ve worked before and have developed an artistic relationship. They’re thrilled to work with me, and I’m thrilled to work with them.

I’ve been consistently shooting Ulorin Vex now for nearly ten years and each time is a different adventure — it never gets stale. I shot Masuimi Max again last year, and the first time I shot her was in 1999.

We had taken an unintended break for about eight years so it was great to have a reunion of sorts. All the shots of Masuimi in the new book are from our recent collaborations.

One of my favourite go-to models is Phoebe L’amour. She’s always thrilled to work with me no matter the challenge. Plus, she lives very close to me so it’s easy to call her on a weekend to see if she’s available.

If so, she drives over, and we shoot for an hour and we’re done! That’s how I wish all my shoots were.

TM: You describe your girlfriend Yee as your muse, and the new book features quite a few shots of her. A lot of your girlfriends have also been your models, but you’ve never fitted into that category of just shooting with that one person you’re going out with.