Joe Carabeo: A Man Gone Astray

After a few months of knowing Joe and following his Twitter, Facebook and blog, I’ve noticed this guy is a rock star. The funny thing about Joe is that he knows it. He’s proud of his work; he’s driven to do more, all the time. Carabeo is the director of astray Productions, a film, photography and comic book production company and the head writer at Curls Studio, home of the Legettes and other quirky comics as drawn by one of the nation’s premier lady comic book artists - Carolyn Belefski. Then there is the podcast and the panel discussions…and Comic Con and the list goes on. 

I thought I had a lot of energy, and then I met Joe. 

TCF: As a filmmaker you draw heavily from the film noir era for inspiration and it seems that it also carries over into your photography. How do you feel your passion for film has inspired your still work? 

JC: A main motif that I take from producing movies that I use in my photography is the creation of characters. To me character is king. Character is life. Whenever I create a film or write a new script, I always want to know what or who the character is. Knowing this, it helps me create a world around this character and invent situations, and this is something that I do use when creating photography. I make a story, a moment that we’re capturing. The model becomes an actress and I become the director as well as the director of photography. 

When it comes from visual cues that I like to bring into my photography from film, I’m very inspired by several directors of photography. Rodger Deakins and his use of emulating practical lighting sources and color correction, Robert Richardson’s film stock experimentation, Jack Green’s wild west color palette and Janusz Kaminski, because he’s sorta crazy and not afraid to make things get real dirty. There is a lot of experimentation that happens in cinematography. I use to study out of the American Cinematography magazines because they had lighting layouts for movies and would breakdown the creation of the image of major motion pictures.I learned more about photography in those pages than in a text book in photo class, but I was also surprised to find out that the elements and principals were very similar, if not the same, for photography and film.

TCF: How relevant is the training you received as a filmmaker in your still photography? 

JC: I would say that my film production training is EXTREMELY relevant. If I didn’t have any experience on a film set, I would not have a full understanding of how to really control my light source.  At the end of the day, part of the fun of creating an image is being able to know how to paint with your light source, and knowing the right tools to make it happen. I do love that in photography I don’t have to use a huge heavy HMI light, but instead I use an adjustable strobe.

TCF: A lot of your photography seems to emphasize “vixens.” Beautiful women with attitude, alluring eyes and a tough persona - how do you bring this out of your models, and do you find working with actresses or actors different than working with models? . 

JC: Since a huge part of me is a film director I can only really attack a project from that perspective and that type of progress. What that usually means for the talent that I’m working with, is that before the shoot, I’m already going to be in conversation with them about who and what type of personae and world we’re gonna be creating together. I send a bunch of inspiration; talk the world, whatever I can do to get the talent in the right mind set. I even go as far as to tell a model that she’s gonna be portraying a model type character sometimes (if that makes any sense). My goal is just to have everyone on the same wavelength before going into the shoot. I think preproduction is really important because it gives room to play around but also have a goal in mind. Usually while taking the actual photos I find myself doing a lot of small talk while throwing directions at the same time.I then lose track of what I’m shooting because I’m just enjoying being a “photographer”, then when i look at the images I’m surprised a what I captured because I was more in the moment and probably saying funny things. I don’t know if this process is standard or correct at all, but I find it fun.

I guess with working with both actresses and models, the main difference really isn’t in them being an actress or a model, but really the difference in how comfortable they are and I really hold a lot of that responsibility on me. But I do love working with actors because they can bring out beautiful expressions and tell stories with just their faces. But that also doesn’t mean models can’t. I bet they can go toe to toe.

TCF: Outside of film and photography you also write comics, can you tell me a bit about your involvement with Curl Studios and how you fell into writing comic books?

JC: Working in the comic book field was probably one of the first jobs I’ve ever wanted to have. I wanted to be a comic book artist. But of course in elementary school every teacher will steer you away from any artist dream. But I kept drawing and dreaming until high school where I fell into photography, which lead into wanting to be a filmmaker. Flash forward to VCU school of the arts, I’ve made a bunch of short films, co-produced and MC’d  a monthly film festival called Project Resolution, where people watch and critique your films, and one main critique for me was to improve my writing. Carolyn Belefski at the time was taking a course in sequential art (making comic books) and she needed to work with a writer. I wanted to become a better writer and the only way to do that was to write. Thus we teamed up and created the first ever issue of Black Magic Tales. 

After graduation we continued to created new books under the banner of Curls Studio, Curls being the lead character in Carolyn’s comic strip series. We continued with the characters that we created in “Black Magic Tales”: two characters named Roxy Monroe, Dean Casanova and their cat called Black magic and their journey to become the most famous criminals on the face of the planet. Even though we both had busy schedules, we hustled to find time to create the books. One of the main motivations was to take new books to comic book conventions like Small Pres Expo and the big comic cons. So we put deadlines on ourselves, and we’re still making books to this day. 

TCF: You’re a DC based artist, or, as we’ve decided here…an Illusionist….Anyway, based on your mad skills, what are your thoughts about the “scene” here in DC regarding where your work fits in, if you feel it does..or can, at all? 

JC: I’ve never really focused on a scene or focused on if my work fits in really. Sometimes in the past I’ve been pulled into certain circles and coincidentally have been grouped with other creators but a scene has never been my main focus. I do love working with friends that I have a natural chemistry with, and I cherish that a great deal. Those are once in a lifetime moments that I don’t think people should miss out on and it should at least be captured and recorded for memory sake.  I’ve always been a “Keep it rolling, lets see what happens” type person. Memories create great work I think.  I do hope that my work fits in everywhere, DC, Venice, Philippines, anywhere really. I believe it can. It all really depends on the people. So here’s hoping.

TCF: Do you believe you’ve had good reception locally and beyond?

JC: I think the reception has been positive so far, I’m interested in seeing if people will enjoy my future projects. I hope they do. But I tend to change up a lot and explore different inspirations, but in a fun way.

TCF: You’re super aware of other creative endeavors taking place in the area, anyone you think we should keep an eye out for?

JC: You should always look out for Curls Studio, they are not what they seem. Carolyn Belefski is a mad scientist. There’s also an amazing comic book scene that’s rising too. Truthfully, keep an eye out for people that are inspired by things that are outside their medium and are not afraid to fail. They’ll have an idea one day that will blindside you.

TCF: You are always keeping busy - what are some of your upcoming projects and plans for The Culture Feed readers to look out for?

JC: Right now I’m working on several short films that will be under the banner of  “one-shots” for astray productions. Each film will examine a mysterious happenstance that happens to it’s characters. Also we’re in the middle of finding financing for our second feature film called ‘The Incident In Tesla” it’s a supernatural, mystery, suspense noir, that takes place in a small forgotten Virginia town called Tesla. I’m really excited about the feature film. I feel in this day and age a lot of mystery is lacking. I want to bring it back, and with a vengeance. Tesla is just the weapon to make it happen.

Of course I’m always creating exciting tales with Carolyn Belefski in our comic books. Something for everyone! Black Magic Tales, Kid Roxy (“A small town mystery of what happens when a normal girl befriends a loose cannon troublemaker in junior high.”) and The Legettes (“Sci fi and action adventure like never before about a futuristic burlesque group and their journey to save the universe through they own brand of espionage.”). I’m hoping to continue telling those stories. I love em. I’ve had the most joy creating those books so far than anything else in my life.

Carolyn and I are also working on a new anthology book. The last one’s theme was Carnival and it featured artists from main stream to indie comics and also artist who works with Disney and Warner Brothers. It got really good reviews and moved quickly. So we’re gonna hopefully make another one this year.

We’ve also been invited to take part in a lot of other anthologies, there’s one in DC called Magic Bullet and created by Rafer Robert. Its the only one of it’s kind in the DC and we’re ecstatic to be part of it. Everyone should definitely check it out. It’s a gem for anyone that wants to find out how deep the comic book talent pool really is in the greater District.

I also plan to continue diving into photography. I just love creating characters and telling stories and photography is no different. I have a few calenders and character portraits that I’m excited about. But the schedule is sorta uncontrollable, anything can happen at anytime with photography.

There’s also the The Carolyn and Joe Show weekly podcast. I heard rumors that we might be teaming up with another entity in the next few months to produce the show in front of an live audience. That could be VERY interesting. 

TCF: Thanks Joe for letting us pick your brain at length. 

Interested in finding out about upcoming appearances, showings and releases by Joe and his projects? Check out astray Productions and Curls Studio!

Best Valentine’s Gift Ever from Cadaverous Muse Studio

I like to focus primarily on DC artists, however, you can’t take the Hoosier out of a, well, Hoosier. Valentine’s Day is right around the corner and I know how much ALL OF YOU LOVE VALENTINE’S DAY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! So I’m bringing you an awesome item from one of my favorite designers from the Motherland: 

A limited edition hand screened gore filled Valentine’s Day t-shirt for yourself or the person you buy presents for as an attempt to show them just how much you really do care. 

This portrait of Bub from Day of the Dead is here to greet you a Happy Hallmark Holiday by eating a bloody red heart. It comes in sizes for men and ladies, and is only $10!!!

Created by Cadaverous Muse Studio, an Indianapolis based horror punk artisan couple featuring Dru Cadaver, vocalist of the legendary Midwestern black metal/punk bands Order of the Black Hand and his stunning wife, Maria Cadaver.

Pick up your V-Day Bub on their Etsy Shop today!!! 

Pray For Rothko by Patrick Onofre (2010)

PRAY FOR ROTHKO by PATRICK ONOFRE (2010) (click to view)

Arlington based photographer and blogger Patrick Onofre has been experimenting with new and innovative ways to manipulate his captures. He often uses his fancy DSLR to catch his subjects, but, like many photographers, has been experimenting with the iPhoneography movement to much success. 

This recent piece caught my eye with one of those “yes!” moments. A moment that many art snobs rarely have. I love innovation, however, at times I find myself stuck in the past and willing to give in to only selective aspects of modern technology. 

Sometimes post-processing just disappoints me - over-processing can at times lose the realism and authenticity of an image, and generally this is the goal of so many photographers - to keep those things, but often they end up losing them at the same time (so, over extreme HDR). 

But, I’ve been getting really blown away by what can be done with our phones. This is one of those examples. Perhaps it’s the psychedelic future visible in a technological Rorschach test, a test that Onofre is embracing in his photographic experiments.

A chaotic tribute to a dead legend (Mr. Rothko) and smart design that would look fabulous over my bed. Enjoy. 

Learn more about Patrick Onofre via his online portfolio and the great photography blog that he writes. 

UrbanArias - Contemporary Opera in Arlington

UrbanArias director Robert Wood put together a series of seven operas based around contemporary thought, emerging composers and a comfortable “non-stuffy” opera environment. A follow up to their successful show in October, the performance took place yet again at the Artisphere’s Black Box Theater, which is just that: a black walled box of an open theater space with three surrounding sets of seating, first come first serve. We picked front row center left seats. To our left was a simple set - four music & mic stands and a piano. 

The audience was informed that the lead baritone would be played by James Rogers, replacing Ethan Watermeier, who had thrown his back out and was unable to perform. Phone calls were made and the night before the performance Rogers stepped in. Throughout the performance Rogers would keep his sheet music close to his side, reviewing it when needed. This added a casual atmosphere to the show, and even if Wood would have preferred it otherwise, I believe the audience appreciated this raw feeling (again a non-stuffy experience) and the last minute performance by Rogers.

Most of the works were of great quality – funny, dark, satirical and unique in that British Humor style. Perhaps that’s what’s so great about opera – when at its comedic best; it’s something NPR lovers appreciate more than fans of slapstick humor (elitist humor?). From the start I was laughing so hard I was crying. “Betty Box Office” is an action packed few minutes of Betty longing to step onto the stage and outside of selling tickets. “Again” is a black comedy look at the relationship of Ricky and Lucy, written by Jake Heggie (who wrote the opera of Dead Man Walking), this bizarre performance speaks a lot about abuse, television and family in a sad comical manner. Tenor Rolando Sanz plays Ricky, with a rolling tongue right for the roll, his performance throughout the show is consistent and his voice is wonderful.

The lead soprano for the show is Meghan McCall, an adorable youthful performer whose voice is angelic – just what you expect from an opera singer. She’d hit a high note and I found myself leaning forward in my seat, wishing she’d hold it till the end of the show. She’s funny – expressive, physical and relatable – women in the room had been where her many characters were – getting it “right in the kisser” as Lucielle Ball or performing as the lonely, even pathetic, single girl who has resorted to internet dating in “Camera Obscura.”

“Trust Me,” is a solo piece by soprano Edrie Means, a rock star of cross-over vocals who lends the “mature” female role to the show. She’s everyone’s mom, and in this piece, makes it quite clear – short and sweet about relationships with daughters. It’s funny, but, seems almost like a filler piece as the next performance, “Maternal Instinct” is one of the most bizarre and hysterically funny things I’ve heard and seen in ages. Means, Rogers and McCall perform a surreal employee-employer relationship that is something straight out of Melrose Place.

Three more pieces round out the hour long show – “The Act,” which was the most forgettable of the show. Despite excellent vocals by Sanz and McCall, the tale of a knife-thrower and his bride is chaotic and confusing, leaving us scratching our head a bit and anxious to move on. “Gallantry” is performed by Rogers and Means who get thrown into the same hotel room together which leads to one of the oddest relationship formations penned to paper. Rogers’s rocks his role as Martin, his irritation and cleverness is performed to the tee and you’d never know he was a stand-in hired on the night before. The final performance features the whole ensemble in “Camera Obscura,” a reflection on today’s online dating world; the curse and blessing of technology and the desperation that loneliness often causes.

UrbanArias left us satisfied. The hour length was just right and a great taste into this growing performance style of contemporary opera, gaining popularity in Toronto, San Francisco and New York. A forerunner for the upcoming festival which runs March 31-April 10 which will feature “Orpheus and Euridice” and “Green Sneakers” by Ricky Ian Gordon, a rock star in the world of composing, as well as “Glory Denied” by Tom Cipullo. UrbanArias is an excellent opportunity to break your opera virginity in a contemporary style that won’t leave you sleeping in your seats, but, sitting up straight and wanting more.

To learn more about UrbanArias and their upcoming performances visit www.urbanarias.org.

PBR + Jimmy Valentine’s = TRUE LOVE

(Photo by Valerie Hinojosa via Flickr)

So what are you doing on Friday night? Our beloved Jimmy Valentine’s Lonely Hearts Club has what is quite possibly the best worst drink deal in the Atlas District. No, wait, in the District in general.

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EVERY FRIDAY STARTING AT 8 PM
$1 PABST BLUE RIBBON TALL BOYS
The price goes up every hour until midnight, making that a whopping $4 worth of quality.

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In the Midwest PBR is a standard, and well, you can a find a Tallboy for $1.25 all night long at many bars. So, DC, drink up and if the Pabst gets too pricey, there is also Stroh’s by the can.

And you can often enjoy your Pabst with the jams of the likes of Sharkey, and if you don’t know the jams of DJ Sharkey, then you have obviously not been spending enough time at one of the finest delightful dive bars in the city. Other great DJ’s spin there too, so you’re bound to hear some great jams (I’m all about the Wasteland, old school goth night once a month!).

We’ll be there getting our PBR on next week, BRING CASH!

Learn more about Jimmy Valentine’s Lonely Hearts Club, also check out their sister bar, Little Miss Whiskey’s Golden Dollar while you’re at it.

OH! And don’t forget to post photos of your night out at either bar on our Flickr group! We’ll be there next Friday takin’ pictures so dress to depress!