Old Hollywood Glamour

He welcomes romance and wit; mediocrity be damned. My friend Timothy J. Steiner is a man not be be reckoned with, be it head, heart or gut.

He's an interesting fellow, one who reminds you of the great historians of our past. Lofty, you say? Not really. Commonalities shared are scholarly pursuits, community leadership, multiple passions in the arts and the thirst for knowledge and life experiences. A financier by trade, Tim is also a professional writer, photographer, experienced world traveler and adventurer, and much more.

I first came to know Tim through our mutual love of vintage culture. With this as my introduction, I knew I had gained a friend with substance and an appreciation of the finer things in life. You are drawn to his clothing aesthetic, with it's classic and often vintage tailored lines and European influences. To put it bluntly, the guy's got mad style! But there is more to him than that. Give him the time, and he'll give you the world in return.

His writing and photography are testament to his place in this world. Headstrong yet humble, intelligent yet sometimes irreverent, he challenges you to step up to his level~ sink or swim, hoping for the best in you to come out so that he may swim along side you.

Engaging and charming, Tim will regale you with tales of the highest highs and of the lowest lows, all for the sake of connecting with and learning from other people. Fearless and open, he will take risks by revealing what others may simply be too afraid to do. He will leave his mark this way, the same way as those great historians did. He has definitely left an impression on me (something I remind him of quite often) and if you allow it, he'll leave an impression on you too.

Settle in, open your mind and get inspired! This is a conversation with my dear friend, Tim.

Style.

You're often singled out for your impeccable sense of style. Some would call it classic or vintage inspired, but I notice you always throw in a modern element somewhere. How would you describe your look?

Wow, Good question, my look evolves, so that is the first thing I would say about it. There are some core values, a core aesthetic that guide what I buy, and what I think is right for me; much of what I wear are things I’ve collected in my travels and serve as reminders of where I’ve been: shoes from Venice, a beret from Paris, a leather jacket from Monte Carlo. I am a walking souvenir from my life’s experiences.

So, how would I describe it? I suppose I would say it has an urbane eclecticism. I want my clothes to project a certain dignity, a strong sense of self, and an undiluted individualism.

I don’t consciously put things from different eras or different places together; I put things that look good together, or at least look good to me. For instance, I have a fondness for belted-back jackets, so there is often a vintage look to what I am wearing, inspired by explorers from the 30s. These jackets look great with dress pants for work, jeans when I am shooting, or chinos for casual weekends. Everything fits with everything else and all molds together.

You've written a number of articles about men's fashion published in magazines such as Classic Style and The Cad, which are both geared toward the vintage community. Do you see yourself as an expert and where does this passion come from? I think learning about the history and the evolution of an article of clothing is fascinating and often romantic. Does the reader really need to know this, or is he or she a sell out if they want to wear something just because?

I don’t consider myself an expert; I consider myself a serious student of fashion, trends, construction, materials. I am curious about everything, so I bring this same curiosity to my clothes and the clothing I admire.

When I write an article about something, I delve into its history from first hand sources. I bring an historian’s discipline to what is a journalistic activity: writing about an article of clothing. Too often, due to lazy writing and research, the same apocryphal stories are passed around because the extent of many people’s research is to go to the latest articles on something or Wikipedia. Going to the first hand source: newspapers of the time, company archives, trades magazines, reveal some level of truth and something fascinating, though it takes a whole lot research, which is an art in itself.

I am fascinated by the whys behind things: why do we wear ties, why paisleys, why tassels on brogues? There is a history behind each of these, a tradition that has carried them up to the present day, and usually these stories are fascinating and often, unrevealed.

The reader needs to know whatever they are willing to read! I try to make the history in my article go down smoothly, and not to bore them with tedious details. As you say, there is a romance behind these items, and in wearing them, some of that cache is passed along. When people know these things, the item transcends what it is and blossoms into something bigger and more romantic. I think this brings people more joy in the item and if you’re spending big money for a pair of dress shoes, you need all of the rationalization you can get!

As for whether someone is a sell out for just wearing something, sort of the unexamined dresser, I would never make that call. A wingtip is just a shoe after all.

Is there such a thing as a vintage purist? Some have branded you 'not vintage enough' or not true to the vintage lifestyle because you *gasp* wear jeans.

Yes! I was shocked by this the first time I encountered it. I posted a photo of myself somewhere wearing a dark T-shirt and jeans and I received an angry message about how I had lost my “Vintage Cred,” which ironically is a rather modern verbal construct. I have also heard disparaging comments from some people who dress vintage constantly. I suppose in any group, you find is militant adherents.

People need to be aware of their own ironies. When you dress a certain way, like pure vintage, and say it’s because you want to be different and wholly original; well, we all know that there are thousands, maybe tens of thousands of people who do the same. Where is the originality in that?

The problem is, people find something they enjoy, then start to draw lines around themselves, lines of demarcation of who is acceptable and who is not. I’m not sure where the joy is in that. I think that an activity, like dressing, like expressing yourself to the world, should bring you more joy, more friends, help you to make more connections –isn’t this the point in life?- Too often, I see it used as a wall, a shield, a way to keep the world and interactions at bay to shelter a retarded sense of self.

It’s no different than the popular kids in my high school who only wore Ralph Lauren ties and tried to ostracize anyone else with the wrong tie. It was so stupid and arbitrary.

The funny thing is, I never was and never purported to be a purist. Purists wear nothing but articles from the Golden Era, and I never do. I have an aversion toward wearing used items. I am too much of a germaphobe! I couldn’t walk around with moth-bitten clothes that smell like my grandmothers’ closet. It grosses me out. I have exactly one vintage suit that I have for events with The Fedora Lounge, a vintage website where I serve as a moderator.

The best vintage looks I have seen are those who are willing to hunt for the very best vintage stuff that is out there, the dead-stock, pristine, and put them together with an impeccable eye toward detail. I live in constant awe of them, though I see it as rather restricting for me.

It’s a great big world, full of lots of possibilities; I would hate to limit myself to one little piece of it. Civilization has 5,000 years of clothing, and if we just look at the last two hundred years, there is plenty to draw from; why limit yourself to a thirty year period? It seems so… arbitrary.

Still, on a wholly positive note, there is a lot of inspiration to be found in the looks of the 20s, 30s, 40s, and 50s. By the way, all of my vintage clothes are repros, except for accessories: fedoras, ties, and, well, fedoras and ties.

I think we should enjoy what we wear, be proud of how we look, draw inspiration from others where we can, and leave everyone else well enough alone.

I love how most every man wore a suit in the Golden Era, even the gangsters. Can a suit really transform a man from thug to gentleman? Does this make it more difficult to judge a book by it's cover?

No. Gentlemen are made over time as a consequence of their actions and choices. A thug in a suit is just that.

It may make it more difficult to judge a first impression, but we should suspend judgments until we get to know someone, don’t you think?

Do you take styling cues from a specific era? What draws you to that time, aesthetically? For me, I like the glamour of a 30's man mixed with the no nonsense 40's look. Maybe it's the suit!

I take styling cues from everywhere and I mean everywhere! Books, magazines, movies, people in other countries, old advertisements, friends, wherever.

That being said, there are some constants. I love tailored clothes, which leads me to the tailored looks of the mid-twentieth century. A jacket should embrace the body, mimic the skin, and streamline the body, rather than adding bulk to it.

The 30s and 40s silhouette is very sleek and fitting with an amazing drape. I prefer this over the padded shoulders of the 80s and the oversized suits of the 90s. I also like beefy and dramatic lapels; they match my rather strong personality.

I also love fedoras. I love the ritual of donning a hat, of tilting it to express mood, pushing it back on your head to express exasperation. I love the formality of it, of making a bold statement.

Lately, I’ve discovered this mid-60s streamlined racing look, this sort of Steve McQueen at LeMans racing jacket look. It’s colorful and fresh and something a little different for me. I am always on to new things and new inspirations.

What does a fedora say about the man wearing it? How do you feel when you wear yours? I bet people react differently when you wear one than when you do not.

The fedora is a bold statement. When worn correctly, with unabashed self-confidence and rakish bravado, it says, I am a man who is sure of myself. I am bold enough to do this, and bold enough to do whatever else I set my mind to.

I tend to wear mine more in the wintertime, especially with overcoats and trench coats. Fedoras balance out a heavy coat. Also, I live in Boston and the weather here is tough; the fedora is great protection from the elements.

When I am dressed in a flowing black Armani trench in a suit with a wide-brimmed fedora on my head, and I am walking purposely through a room, people get out of my way. It’s a good and powerful feeling.

Also, fedoras are something else to obsess over; to get the styling just right, to perch it on the head with something approaching cocksure panache.

During the 30's, 40's and 50's for both men and women, an outfit was not complete unless you had certain articles such as gloves, hats, pocket squares, coats~ I could go on. Where are these things now? Do you ever implement them in your wardrobe?

Well, I think that things have evolved. Think about the 30s, OK? Art Deco, ornate architecture. Think of the Chrysler Building and all of that ornamentation, now carry the analogy over to a wardrobe: pointed pocket squares like architectural embellishments, peplums on jackets, spectators like a marble entranceway.

In the mid-50s, everything became streamlined, modern. We are still down that path. It’s all about less and less. You cannot get a man to carry an umbrella, hats and gloves are considered symbols of weakness.

For women, it’s a little different. It seems that paired accessories are coming back. Brands such as the Gap and Anthropolgie and Banana Republic, which is the really just the upscale Gap, are bringing back some fine accessories for women, though now, instead of integrating into an outfit, they seem designed to scream of their own boldness and seemingly match only each other. Still, it’s a step.

I love pocket squares, and usually wear them straight across the pocket, a narrow strip showing, streamlines, inspired by Sean Connery’s Bond. I’m all about hats and I am brave enough and sensible enough to carry an umbrella, but not just any umbrella. I carry a Brigg. It’s like a pup tent. I like bags for my stuff. I have a collection of watches, though most days, I wear the same one. I love belts and braces. Belts have to match the shoes; that’s important for me. I have a bunch of ties and ascots.

Tell me about your ascot. To me, I think it's very European. Am I correct?

Yes, well that’s where I acquired an appreciation for it. It was back in the early 90s and I was on the Amalfi Coast and everyone was wearing them. I just thought it was the coolest look, so insouciant, so elegant. Plus, it was a burst of color to a man’s wardrobe and it seemed to hint at a certain urbane confidence.

Before then, I had seen Cary Grant wearing them in his later films and pulling off that elegant, almost regal, look without compromising his masculinity.

I suppose I like articles of clothing that push the boundaries slightly, but not too much. I never want to be a spectacle. You should always dress as if you’re on your way to someplace amazing, and you should always be so.

Along the lines of neckwear, I know you are no stranger to the bowtie! You've even written an article on the very subject, published in Classic Style Magazine. I'll be honest, I'm a sucker for a man in a bowtie. Maybe because that man isn't afraid to stand out, or maybe because he appreciates the affectation, which I find charming. That's a man attentive to details, which should translate to every aspect of his life. Who knew one little piece of silk could speak volumes?!

Well, I think you just said more about it than I could!

Yes, well, the bowtie is an interesting thing; get it correct and you look a bit academic, kind, bookish, and charming. If you get it wrong, you look like super-nerd. There is also the element of arcane knowledge, that not everyone knows how to tie one. Wearing it says, I’m comfortable with this.

I do wear them often, from the black tie events I attend for my various careers, to the regent striped bowties that I prefer with my tweed jackets. Though I wear them often, I don’t wear them all of the time. I never wanted to be known as ‘the bowtie guy.’ You should wear an article of clothing, but you should never allow it to wear you.

Let's talk leather! Bogart, Brando, Dean, McQueen. A guy's guy cloaked in the ubiquitous leather jacket, yet each one pulls it off differently. They are an interesting breed with dual personalities~ sensual and rugged. Why has the leather jacket never gone out of style? Is it because each man makes it his own? What makes you put on your leather? It can't be all about temperature.

Leather jackets are interesting articles of clothing. As you’ve stated, there are so many different versions, seemingly one to fit every mood; from leather blazers to bomber jackets to motorcycle jackets. Leather is a second skin, a layer of tanned armor. They can be dressy and fine, made of buttery exquisite leather or thick and worn and distressed for dress down, and so many things in between.

The leather jacket evolves and though some versions have gone out of vogue, such as the leather trench, the leather jacket stays with us for several reasons. First off, they smell really good. There is something about the scent of tanned leather that makes you want to keep it around. They also get better over time. They have a magical quality to shrink or expand to fit their wearer. They also age well; lines and scratches seem to add to their appeal.

I think the leather jacket says, I am a man of action, I am prepared for anything, and I am willing to take some hits. How can that ever go out of fashion?

I have several leather jackets. I have two that were made for me by Peter Botwright, who is the man who invented the Indiana Jones jacket and made the jackets for the first three films. I have a modern streamlined -there’s that word again- leather jacket I bought in Monte Carlo. It’s the sort of jacket that the French and Italians wear on their scooters. I also have an insulated bomber for winter and I just bought an Italian motorcycle jacket in Venice that I haven’t had a chance to wear yet.

I wear the Monte Carlo jacket often while riding around Boston on my Vespa. It’s good protection. Summer nights here are cool, so the light jackets come out.

They say you can tell a lot about a man by his shoes. Can a wingtip say more than 'stuffed shirt'? Can an oxford say more than 'preppy collegiate'?

Yes, actually. I like that you view clothing as saying anything. I like to think that clothes speak, that they tell of their histories and associations. It’s how we think. It’s why people hum the Indiana Jones theme whenever they see a fedora, even if it’s black.

So, yes, wingtips do not say ‘stuffed shirt’ if those wingtips are Spectators, or if they’re worn with jeans, or if they’re so beautiful and stylish and compliment your suit perfectly. I’ve seen wingtips worn ironically by hipsters in mod suits, forgoing shine for a layered veneer of different colored varnishes of shoe polish. I wear wingtips with almost everything and I have them in so many different versions, multiple suede, dark brown, light brown, cordovan, black…

Is this disposable era we live in making haberdashers and tailors a dying breed? What are the benefits of patronizing such services?

I think it is becoming somewhat of a niche market. A few years ago, if I wanted to copy a jacket from a film I’ve seen, which is the sort of thing I do. For instance, I liked the Hollywood jacket from “The Aviator,” the one Leo wears at the end of the film. I was able to send photos and measurements to various on-line tailors until I found a company who would make it for me for a good price. A few years ago, I would have been limited to the tailor shop at the corner and would have paid a small fortune. These niche market on-line tailors fill a much needed gap.

I don’t think they will ever go away entirely; there are too many people who have specific tastes that are not satisfied by the off the rack stuff.

Italy is one of your favorite places, and always seem to come home with something new! Why do you like buying clothes and accessories there? Is there anything comparable in America?

Italy is an inspiration to me. I respect the Italian manner of dressing because they have embraced the dressed down aesthetic that is America’s sartorial legacy to the world, but they have done it in that uniquely stylish and Italian way. Also, Italians do not like cheap and poorly constructed clothes, so everything there is very fine and very stylish.

I especially like their shoes. I have bought several pairs, most notably, this tan leather pair of ankle high wingtips, the coolest shoes I own. I also have a killer pair of Ferragamo’s I bought at their corporate headquarters in Florence.

I like to bring back items from my travels as sort of useful souvenirs, and the Italians get quite a few things right. It’s no accident that 90% of the world’s luxury sunglass frames are made by one Italian company, Luxottica, no accident at all.

I suppose the American equivalent of Italy would be New York City. There are so many interesting little shops with great stuff, though you don’t often see them worn on the street.

You recently acquired a Luis Vuitton attache case. What was the motivation for this decadent yet necessary purchase? LV has such a lofty and respectable history dating back to the 19th century. Are you brand specific to certain items?

Yes, decadent, hugh? Well, first off, it’s a messenger and not an attaché, though attachés are very cool. My motivations were simple, I needed a bag for work and I wanted it. It’s good to reward yourself now and again for the hard work you do, and this bag was right for me. You see, it goes back again to what an object says about you and about itself. I needed something for work and I wanted something that was timeless, elegant, and indestructible. Louis Vuitton fits the bill. Also, it is so well organized, so everything I need is at my fingertips.

I have a saying, don’t buy anything, but if you do need something, buy the best. By ‘the best,’ I mean, the most appropriate to the task. I hate buying something over and over. I carried my last bag for over 10 years. I imagine I could carry this one to the grave.

So, I do get brand specific on many things. This acts as a certain shortcut toward getting the right things because you know you can rely on the quality. For bags and whatnot, I have been leaning toward Louis Vuitton, ever since I picked up a billfold at their flagship store on the Champs d’Eysees last November. For outerwear, I love Barbour, because it’s tough, has that casual British country elegance, and waxed cotton is perfectly suited to the Boston climate. I also like Burberry for similar reasons, though the sight of the novacheck makes me cringe, so anything with that pattern is out for me. My trench and duffle coat are from them. I love Ralph Lauren because he does a wonderful job of updating vintage items with the same materials.

So, yes, I get comfortable with certain brands. It may be my OCD tendencies. Some stuff, I just do not like and some brands fall out of favor if their styles and quality fall off over time.

You have a very adventurous and varied lifestyle between your work, photography, writing and traveling. Do you have different styles for different activities? How conscientious are you about the logistics of putting together a wardrobe?

Excellent question!

Yes, I do have different wardrobes for different activities. In the world of banking, I need to express my confidence, reliability, and unimpeachable integrity. I tend to wear bold regent stripe ties, strongly tailored suits, and dress shoes polished to a mirrored gloss.

It’s actually the photography that has put me in jeans. Photography is incredibly physical, or at least it is the way I do it. I am constantly setting up things, crawling on the ground, lifting things, whatever. Wearing a suit wasn’t really conducive to this. The jeans came out, and I sort of built a wardrobe around it, from the European influences I’ve seen over the last few years.

When I write, I find it is helpful to be in writing persona, so I go into academic mode: tweed jacket, bowtie, brown dress pants, suede wingtips. For travel, you’ll see me in safari jackets and leathers, depending on where I am going. Once I get there, I usually go native.

In your opinion, what key pieces do you think a man should own? A woman? What should they avoid?

All men should have the following:

A blue blazer- it goes with everything from jeans to dress pants, from the cookout to the boardroom.

White dress shirts – the most versatile item in a man’s wardrobe.

Fine tailored khakis – leave the Dockers to the discount crowd, go upscale for your khakis and it will make all the difference.

Brown and black wingtips – you don’t need any other shoes. Other shoes are nice to have, but you don’t need them.

A navy suit.

A tuxedo – unless you a groomsman and you need to match everyone else, never rent a tuxedo, ever. A man should have his own that fits him like Daniel Craig’s fit him in “Casino Royale.

Polo shirts- every man needs casual wear.

Regent stripe ties – conservative, smart, and strong.

A good watch. My favorite is a TAG Heuer I received as a graduation gift from college, almost 20 years ago, still ticking.

A nice fitting pair of jeans. Wear it with the white shirt, wingtips, and blazer and you cannot go wrong.

Men should avoid clothes that make them look like overgrown children, like shorts. Shorts are tricky. I don’t wear them, ever. When I was in the rainforest of Belize, I wore long pants. Print T-shirts are for kids and drunken fraternity boys. Baseball caps are great, if you’re sitting in Fenway or playing catch with your children. Unless you’re a catcher, they should never be worn backwards. Flip-flops are not for men. You cannot run in them and you cannot fight in them, so they are absolutely useless. Most tie bars, bracelets, necklaces, and heavy jewelry all together are just too much. Sweat suits worn anywhere but the gym and your own bedroom are awful. How did this become the official uniform of air travel?

Women should have:

A nice pair of heels, they accentuate the legs.

Pretty lingerie, there is nothing more feminine.

A black dress, from elegant to seductive, nothing covers more territory, see Audrey Hepburn.

Printed scarves, this is a splash of color and elegance that can be worn so many different ways. Styling cues come from Grace Kelly on this one.

Nicely fitting jeans, we guys love them!

The right sunglasses, nothing ads more intrigue than hiding your eyes.

A gown for nights out, a woman should always have one ready for romantic nights on the town.

A stylish pair of high boots.

Women should avoid overalls of any type, sweat outfits, their baggy college sweatshirts, outdoorsy clothes, unless they are in the woods.

I think it's important to have style icons. What are yours, if any? It seems as if current trendsetters just recycle from the generations before them.

I have many style icons. Cary Grant. I’ve learned so much from him, mostly that ability to wear your clothes casually and comfortably, to put on an amazing suit, then forget entirely that you’re wearing it. Connery’s Bond was dressed perfectly, ready for action, cool and sophisticated. Marcello Mastroianni had this rakish disheveled elegance. The Duke of Windsor, for impeccable British tailoring and creating trends rather than following them.

What's your definition of glamour?

Glamour is a woman's ability to make being beautiful seem effortless.

What about the men being glamorous? I think that it's the subtle nuances that set them apart. Not so much artifice, but essence. A gentlemanly charm, that alpha dog confidence, the "I mean business" stare, be it a warning or seduction. Okay, a beautiful suit doesn't hurt!

I never thought of men being glamourous. Perhaps you have to be a woman to see it.

Pinup.

It's apparent you are quickly becoming the 'go to' guy for pinups in the New England area. How did you make the transition from travel and architecture photography into this genre? Obviously you are well versed in vintage culture and photography, they were bound to have crossed paths at some point!

Thanks, I must say that I never expected to be this successful, this busy and to see my photos going as far as they have. It’s very humbling and I am very thankful. One of my photos just made a calendar; that’s very exciting.

So, anyway, I started photography as a means of documenting my life, my travels, and the things that I am passionate about. I was doing it for myself and was much more comfortable photographing a building than a person. Being active in the vintage scene, a lot of my friends asked for photos of them with vintage themes and as pin-ups. Eventually, more and more people saw them and wanted to shoot, so I got busier and busier. It’s been amazing and I am very thankful.

How do you find your vintage inspirations? Is it a matter of emulating a style or finding your own concept?

Well, I think that once you develop a certain aesthetic then whatever you do is going to look like you; a style emerges from your work as you direct the particulars and process your images after. My work has a certain look, certain color processes, certain poses, that all add up to equal a Steiner image, if you will. I would like to think that you could identify one of them even without my watermark.

The only stuff I emulate are the pin ups taken from Elvgren and other sources, like Old Hollywood glamour stills; those wonderful promo shots. Sometimes, I like to get as close as I can to the original source material, sort of deconstruct and reconstruct it as a learning experience, but in the end, it still looks like me. Style transcends form and content.

I’m getting to the point now that everything looks like my work, even when I force myself to work out of my comfort zone. I think that makes sense, if you are true to your creative vision.

You recently did an amazing 'Roman Holiday' styled shoot. How did that come about? Are classic movies a big inspiration for you? I hope there are more film themed shoots in the future!

Thanks! I had a lot of fun with that. The inspiration came out of a lot of practicalities. First of all, there was Sash Lyrika, the model, who is just adorable and you get this Audrey Hepburn vibe from her. She has this natural beauty and innocence, so I wanted to find something suitable. I had also just purchased a shiny red Vespa that I had been aching to shoot with. By the way, you know you’re too immersed in photography when whatever you buy, you are working into your shoots! -So, I had this great model and this new Vespa and we went for it. She was amazing and really brought out that look and then we did a few creative things for backgrounds. I may do more with that concept.

Classic movies are a big inspiration. Stay tuned for some more recognizable shoots inspired by classic film. I don’t want to tip my hand, but there are some high concept stuff coming up, as soon as I work out the logistics.

There are a 100 years of film to draw from, everything from Fellini, who is a constant influence, to Hitchcock, to Capra. I love the pre-code films from the 30s and I am giving Netflix quite a workout with these. Expect some images inspired by those to come soon.

I've noticed a lot your work references the 20's-60's eras. Is there one that appeals to you the most?

I love that entire time period. I love the twenties with the pageboy cuts and the flapper dresses. I love Ziegfeld Girls; those dark eyes and willowy forms. Louise Brooks is amazing, with that impish smile. There was nothing like her until Isabella Rossellini in “Blue Velvet.” Sometimes, when she smiles I see Louis Brooks. Bridgette Helm may be the perfect girl. I love her! That dance scene in “Metropolis” is sexier than almost anything that came after. So, yes, I love the twenties.

The thirties were amazing too with that high contrast lighting and the spotlights on the eyes, all of those rich glossy black and white images. Myrna Loy is a favorite with her exotic look and unparalleled eyes. Jean Harlow is lost on me though; I think she has a bit of a blockhead and was an awkward screen presence, compared to someone like Barbara Stanwyck. I just don’t see what the attention was. Tragic story though.

Things were a bit buttoned up in the 40s. I prefer the images coming out of post-war Paris, the golden years of Vogue. Though Lauren Bacall is a favorite with her slinky sexuality and tough exterior. There is so much resonance in her eyes.

I really like the Bond girl aesthetic of the 60s, the A-line dresses in those primary colors. And I love the Givenchy look of Jackie-O and Audrey Hepburn. Diana Rigg as Emma Peel is a constant inspiration.

I guess I am all over the place. I also see that time period, artistically, through these classic media-inspired images.

What makes a good pinup model? Can any gal just walk off the street and be transformed?

Pin-up is such a great medium because anyone can do it. The poses and the concepts accommodate all sorts of body types that could never do high fashion modeling because of their sizing requirements. So yes, in that regard, anyone can do it and anyone can pose for a fantastic image.

What makes a good pin-up or a great pin-up is a quality that I call “emotional resonance.” It’s this emotional expressiveness that comes through in the eyes and the smile. It’s a sweet genuineness, a wholesome self-acceptance, it’s that irrepressible girl-next-door quality. Heidi Van Horne has it, so does Bernie Dexter, Shells Bells radiates it.

Many people that you see that do pin-up have these dead eyes, this shallow expression, this vacuous self-absorbed gaze that reflects back on themselves rather than radiating out into the world. There should be a joy to this, a concept of sharing oneself with the world.

Some people are just shy, and you need to work through that to get them into their comfort zone and sharing a bit more of themselves. That’s when you get a great shot.

You can learn a lot about a person by taking their photograph, but that is a discussion for another day.

There are a few iconic pinups of the past like Bettie Page, that gals often fashion themselves after. Can being associated with a certain 'look' help or hinder a model?

I think it’s a bit of a neutral. If you have bangs, you’re going to get Bettie Page, even if your hair is blonde or red, or whatever. I’ve shot girls that I was thinking, “Oh, she is a total Bettie Page,” and when the subject came up, they didn’t even know who she was! You got to love twenty-year-olds!

I think, for personal and artistic integrity, you should always be striving to be more of yourself. Pin-up itself is a bit of collective look that people get drawn into and held to.

What advice do you offer for models, especially the first timers?

Well, first off, I ask them to look at the illustrations of Elvgren and to model their expressions and poses after them. A bit of time in front of the mirror takes care of that, and will make them more comfortable in front of the camera. Then, I just ask them to relax, project some joy, and have fun.

What's more fun~ studio or location work?

More fun? That would be on-location. The studio is great because you can control everything, but location shoots are fun, creative, dynamic, especially since I shoot everything guerilla style; without permit or permission. So, if I find a great interior, I am shooting before anyone notices!

Here in Boston, it’s back to the studio for December through April or so, with our weather.

Do locations and props matter when shooting pinups? Does it need to be cohesive or can it be all about creating a delightful fantasy?

It should all be about fantasy, a bit of playful flirting, and a glimpse into another world where sexuality is a bit less overt and a hint of stocking means everything.

Locations and props help quite a bit with this. I’m always on the lookout for vintage tubs, kitchens, garages, cars, ships, planes. I wish I had more time to utilize the resources I have found. Too often, you just never get to the really big projects with everything else that is going on.

I have so many things drawn up in a little Moleskine I keep on my desk. I have so many concepts, but not enough time to execute them all. Well, we do the best we can.

I like pinups, but I love vintage glamour portraits~ old Hollywood! From a photography standpoint, is one style more difficult to shoot than the other? Do you have a preference?

Absolutely, for me, old Hollywood is tough to shoot. Simply converting a color image to black and white doesn’t do it. Those simple conversions, like those done through iPhoto or the Photoshop de-saturation feature, are flat and lifeless. Old Hollywood shots need to have high contrast without losing the detail, they need to range from absolute black to nearly absolute white in the tonal range.

I have only recently reached where I want to be with this and it was through a lot of study of Hurrell, Karsh and Penn. I think you’ll be seeing some more of this from me in the near future as I explore the full range.

How do you decide to shoot in black and white or color? Isn't black and white associated with old fashioned photos?

Well, color film goes further back than people realize. It was widely available in the 30s and by the late 40s, it was everywhere. So, in digital, you can emulate a wide range of color processing and give it that dated or even faded vintage look. That’s the beauty of digital.

But back to black and white, I shoot in RAW, everything, so I have a lot of options afterward. RAW is the digital equivalent of a negative, I suppose. Since everything I shoot is in color, they all start out that way. It’s rare for me to set the camera on B&W, with one big exception, indoors at night. I use a ton of layer masks to achieve some semblance of what the B&W silver prints of the past were. Much has to do where the photos will be seen and the computer screen ads a luminance all its own.

When I am looking at the photos I’ve taken, some beg for Black & White. It’s usually those with an intense lighting and a wide tonal range. It’s a purely artistic decision.

George Hurrell was very hands on; adjusting the hair, giving makeup instructions, soothing the subject. How much do you get involved?

As you must have surmised by now, I have an opinion on everything, so I like to guide the process without being overbearing. I think of myself as a director. There are times when I am shooting four or more people a day and I have two make up people and my assistant, Cheryl, who does make up, logistics, and everything else; and I am directing this grand swirling circus.

I think you need to have a vision for something, be passionate about it, and convert people into that vision, so that everyone is working together. Bullying people or having that photographer aura of self-importance, as I often see, is counter-productive toward producing the best images, which is what this game is all about.

I am also crawling around, hauling things, adjusting lights, scoping locations and helping with wardrobe. I love that stuff. I find myself saying funny things like, “Alright, move your hand five degrees to the right, no, the other right, OK, stop, back a bit, yes, I know it’s the exact same spot, but it’s different now…” Maybe you should ask someone I’ve shot about this!

The old timers could only use film. There have got to be pros and cons to that, versus digital. Not to mention they also had very simple cameras to work with. Do you feel you are in a better position with modern equipment? Wouldn't that compromise the integrity of a vintage
themed shoot?

I don’t think that the digital media compromises the integrity of a vintage themed shoot, because I am not a purist and it is 2008 after all. The year alone compromises the integrity of a vintage shoot!

I used to shoot in film and have archives of my early travels that I would love to convert to digital. Without digital, I wouldn’t be doing this. I love the immediacy of it. I am now able to take a photo with my phone and post it instantly to the web. I love that. Soon, I’ll be able to do that from my SLR. It’s a matter of time; the technology is already there.

So, yes, I am in a better position with modern equipment and I would not have taken the step toward becoming a professional without it. Film is great, traditional, and even romantic, but it’s no longer for me.

Some of your vintage glamour portraits and pinups have incredible graphics! I think adding that extra touch can make it even more authentic looking. A lot of photographers wouldn't go that extra mile. What's been your favorite touch you have added?

Thank you! In the digital format you can do quite a lot. Sometimes, you can go overboard and I am as guilty of this as anyone is, but I’d like to think that most of the time I hit the mark.

It’s fun to age a photo, or put it into a framework, like hanging on a wall. As to a favorite, I just did an angel shot, an angel pin-up, which is a bit of a cliché, but I put her in the clouds, in a photo of clouds that I took from my roof deck, put a halo over her head made from a photo of a gold record, and put this elongated shadow, effect by the cloud. It’s cute, it’s realistic within that context, and it works.

For my Fourth of July pin-up, I asked a photographer friend of mine, Tim Hunter out of California, for some of these great photos of vintage planes that he had taken. He generously gave them to me and I used them as backdrops. I enlarged them to fit the models and dropped the models into the image. The touch of artistry comes from making a reverse image to use as a reflection in the tile floor and blending it all seamlessly. That was a lot of fun and some of the best photos from the shoots.

Now, I find myself wandering around, taking background photos to use for similar applications. I am developing an entire database of digital backdrops.

I think that photography has entered a bit of a sampling phase, equivalent to what went on in the music business in the 90s. I see people incorporating Maxfield Parrish, Botticelli, and even famous photos from Life into their images, and sometimes all at once. I think, at some point, the discussion may arise where the line is, or maybe that discussion ended with Warhol back at The Factory.

Why do you think pinup photography is still so popular today? It seems silly to think that at one time they were considered scandalous. To me, a pinup is flirty and a bit risqué; subtle sexuality. Maybe A lot of gals wouldn't feel comfortable being so overtly sexual like a lot of the men's magazines of today present.

I think there is a certain return to innocence that is expressed in those photos that people identify with. Also, they are graphically striking, which is why I think they made such superb illustrations to begin with; the colors are vivid, the message is clear, strong, and simple, and they are sexy, which are all elements that people relate to.

I think what we’re beginning to see is that they are being used more and more in advertising, sort of returning to their original purposes. Also, you can not underestimate the viral effect of social networking websites and the photos that are posted there. On-line, people can pretend to be celebrities by paying a photographer, posting, and promoting the images. It’s a lot of fun and provides some escapism-diversion for the people doing it. A lot of photographers are getting a lot of work that way. I love seeing my stuff on-line. It’s how I know people really like them.

Rockabilly culture seems to be hitting the mainstream, which is inspiring quite a bit of interest of the genre. There are the rockabilly interpretations and variations; a bit of counter-cultural edge to photos that update the cheekiness of the original illustrations. Pin-up evolves as everything else; evolve or stagnate and die.

It has also become very much involved with tattoo culture and you see this in “LA Ink” and other places. I think some of it may have to do with the fact that a lot of original pin-up art is used as tattoo art and easily identifiable by those who are into tattoos. Also, I think the poses that are conducive to showing off your ink are very close, if not identical to, the poses that were used in the pin-up illustration. So, they were two disciplines, if you will, that came together.

I think the bottom line is, it’s just cute; beautiful girls being flirty in a way that they never need feel ashamed about. It still has that innocence. From what I see, it just keeps getting more and more popular and better and better work is being produced.

Bunny Yeager was known for her beach shots, Bernard of Hollywood for his Hollywood Starlets and the legendary Hurrell could do old Hollywood glamour like no other. What do you feel is your trademark?

My travel and architectural photos.

Adventure.

You live in Boston, which you have described at times a 'European city' of sorts, can you expand on that?

Well sure, Boston is very cosmopolitan, open, and accepting as many European cities are. We have incredible cultural institutions; the Boston Symphony, Boston Ballet, the Pops, the Museum of Fine Arts, The Red Sox! We have colonial era houses, winding streets, amazing parks, beaches, and The Charles River. We have a very educated and diverse population and a large percentage of consequential colleges and universities.

When the world sends their children to be educated in the US, it is often in Boston. Boston is also something more than the capitol of Massachusetts; it’s also the capitol of New England; the cultural and economic hub. This gives Boston a bit of that faded empire feeling you get in Rome or London.

Boston also has this quality to it, this Boston swagger, this pride that we have created this "Athens of America," as it has been called. You’ll find Bostonians everywhere in the world, like a unique cultural force. I think it has something to do with our commercial and seafaring roots. We go out and conquer, we make a difference.

When was the first major trip you took and where did you go?

Well, right after the First Gulf War, I spent much of the month of May in a very small town in the South of Italy, called Matera. I lived there with some dear friends, who were expatriated Italians living in the US, as an Italian for that month soaking up as much of the culture and experience as I could.

Matera is a magical hill town, so ancient, it was used as a double for Jerusalem when they filmed "The Passion of the Christ." The entire city was built from the rock of the hill and is this singular monochromatic beige. It’s extraordinary. There is an ancient ravine with Roman era Christian churches carved into the caves. It’s a treasure and almost no one knows about it outside of Italy, and they deride the south.

An earthquake in the 50s forced them to abandon much of the old city, so a new city was constructed on the other side of the hill. Still, there are the old widows in black that refused to leave and believe me, the Italian government is no match for an old Italian widow.

So, I lived there in a little apartment overlooking the old part of the city, walked to the bar for breakfast of Cappuccino and biscotti. I had lunch with the family who owned the apartment, and even worked at their carwash and bar sometimes.

There was this lovely Italian girl with a mane of curling hair and the deepest and most affecting eyes I have ever seen. She was tall and lovely with this regal poise gained from a few years modeling in Milan, though modeling was not for her. We became dear friends for many years. She married my friend, had a beautiful baby boy, and contracted a rare form of cancer. Not all stories reach their Hollywood endings.

You see, you can wander around a country and take your photo in front of its monuments and tick them from your list, or you can get to know the people, become part of their stories, make a connection, add to their lives, make friends and open your heart to love. This leaves you more open to the pain of loss, but it also affirms something in your soul, something in that shared connection, that human sameness.

This is why I travel.

Are you one to research where you are going or do you like some spontaneity?

I believe in on-the-ground spontaneity. I never have a set in stone plan and I cannot abide tour groups and their schedules of dashing across European cities in two-hour increments.

I do as much research and planning as I can, then make changes once I’m there. I try to become as much of an expert on a place as I can before I go. Places, their people and histories, fascinate me.

How should one prepare for a journey abroad?

I think the best was to prepare for a trip is to acquire some basic language skills. If you go to France, or Italy, or wherever and expect that people will speak English, you will be disappointed. Learn how to ask for things, learn basic directions, and carry a phrasebook. This is very important.

Also, buy some interesting guidebooks; read up on the place as much as you can. Rent some films that we made there and find the spots once you go. That’s always fun.

Sometimes is helpful to find an certain angle in your travels. I do this as a travel writer. If you are interested in a place’s food, then research it as much as possible, seek it out when you go, and take copious notes. If it’s culture, then do the same. A certain perspective can give you an insight into a place.

Carry a notebook and jot down whatever comes to mind. You will be amazed how these thoughts will bring back more memories than photographs.

Pack light and leave some room in your luggage for the things you’ll bring back.

Ever thought of just spinning a globe and pointing at random?

Yes, often, though every time I do, I end up someplace ridiculous, like the middle of the Pacific Ocean, or the middle of the Siberia.

What places do you like the most?

Obviously, I am absolutely enamored with Italy. Italy is my soul and my passion. It is everything I dream about in life.

I also love London. Much of my personal style is English, so the shopping there is amazing for me; all the tweeds, the Brigg umbrellas, the Barbour coats, the heavy sweaters, I love it all.

Paris is so lush with culture, so creatively stimulating; its people, museums, and food.

Have there been spots that you had high expectations for, but they didn't live up to what you had hoped?

The only times I have ever been disappointed with places were in the United States. Puerto Rico comes to mind. I loved Old San Juan and Arecibo, but much the resorts were too out of touch with the locals and the culture of the place. In Europe, you stay in a hotel that is located on a street and you become part of the fabric of the place; in the PR, the hotels were like compounds with no local interaction whatsoever. That is not for me.

Also, so many people love Los Angeles, and that city is not for me. It’s too spread out, too decentralized. I am an East Coast boy, through and through. Though I could live in San Francisco; SF is one of the greatest cities of the world.

Do you find it beneficial to join a tour group or to make do on your own~ just a map and a good attitude kind of thing?

There are two things you could not force me to do. One is to get on a cruise ship. I wouldn’t be caught dead on one of those floating malls! I did it once and will never do it again. The other is to join a tour group. For a specific site, it’s great, even beneficial; tour some ruins with a bunch of people and an experienced guide, but for an entire trip, with each hour mapped out? Never!

Other than walking around town and seeing museums, what amazing things have you done? Any off the beaten path experiences either physical, spiritual...?

That is a wonderful question, and I could go on and on with this one. I have been very fortunate to see and do some amazing things, none of which would have occurred had I not reached out and did something, left the safety of my normal life and routine.

Once, while in the jungles of Mexico near the Mayan ruins of Chacchoben, a black jaguar crossed our path, striding magnificently. It was terrifying and beautiful. I had another run in with a mountain lion in Boulder when I was bouldering and this big cat made its way across the rock about twenty feet above me, so graceful and agile. I was alone and I felt very alone, very primal; totally exposed and at the mercy of the savage power of nature. Had that cat been hungry…

In Rocky Mountain National Park, a big horned sheep walked right up to me, so close I could smell him. I found out later how dangerous they can be, but at the time there was this odd cross-species connection. It was a powerful feeling.

While ice climbing, I have seen ice that glowed with the most amazing blue light, as if it was powered. I have seen air crystallized with golden ice crystals, so as you move your hand, the gold speckles swirled.

While rock climbing, I’ve had conversations with friends about the most mundane things while hanging in our harnesses, three thousand feet above sea level. There is something very spiritual about rock climbing. You are measuring yourself, your courage, your intelligence, balance and skill; essentially, you are measuring your character against the absoluteness of rock, and when you do, you had better not come up empty.

You have to have picked up some sort of new languages while traveling!

What Italian I know I learned from my trips to Italy. I try to learn as much as I can and hope to be fluent one day.

How well are you at chatting up the locals? Any mishaps involving miscommunication?

I do my best with speaking to whoever will speak to me. I do very well with older people since they speak slower! I have made some ridiculous communication mistakes! Just outlandishly comical. I’ll try to put this as sensitively as possible… When ordering Melon and Figs in Italy, you must be very careful how you pronounce the Italian work for "fig" since it is only a slight inflection away from the Italian vulgar term for a woman’s… well, let’s just say, be very careful how you say it.

I don’t know what was funnier, my saying it, or watching the waiter carefully explaining it to me through fits of laughter.

Due to your globe trotting and love of exploring new things, you seem to have found yourself as an adventurer! That, with your vintage roots, you are almost a modern day Indiana Jones, would you agree? I know you have been compared to him in the past, I think that's great!

Gee, it’s awfully nice to be compared to such an incredible character as Indiana Jones. He was an early influence; that film came out when I was in my freshman year of high school and it left quite an impression during a formative time. I certainly like the idea of the adventurer-scholar, of how when Indiana Jones wasn’t out in the jungle, he was in a tweed suit with glasses, sort of this gentleman-academic. I think that is a standard anyone would aspire to.

The US is a fairly new country compared to the rest of the world, and it's a shame that as a society there isn't more of a demand for historical preservation here. It's not like that in other countries, no?

I don’t know if you can compare it in like terms. I have seen these amazing photos of these Venetian Palazzos in a place called Ferrovia. It’s now a train station, Santa Lucia. The station is an art deco marvel, but it replaced medieval palazzos that were destroyed. What to preserve, what to keep? How do you balance the needs of the people with the abundance of cultural treasures?

In Rome, they’re rebuilding the Forum of Augustus. This is incredible exciting. It will be as least as intact as The Roman Forum. Who knows, at some point, they may recreate the entire ancient city.

Most of the Romans I know are totally blasé about it; they’re all just a bunch of ruins, an impediment to traffic. It’s like in Greece, it took them decades to build their subway because they kept hitting archeological sites, and all the work would stop. The scholars were happy and the people were miserable. It’s the same in Rome, plant a shovel and you hit marble. It’s very difficult to build anything. I think most Europeans would rather just build when they need to.

I think you need to achieve some balance. If something is architecturally significant, it must be saved. You don’t knock down Falling Water to build a KMart! Neither do you save a dingy thirties bungalow to prevent a hospital from being built. Balance.

Your travels around the world have presented amazing opportunities to photograph historic locations, some dating back thousands of years. It has got to be a surreal experience walking the same steps historic figures did. Do you find yourself taking hundreds of photos hoping to capture an expired moment in time?

Yes, but not all at once. I find myself more obsessing for moments on the perfect angle to capture a moment, the perfect angle, the perfect framing, because that is what photography is; framing a scene within an aesthetically pleasing way.

It’s humbling to be standing in the footprints of a Caesar, of all of the history that has passed a certain place. With the camera, you try to express that overwhelming breadth of history, the resonance of romance, and they humility you feel being there.

It’s overwhelming standing in front of a place like the Tower of London and to know that it has been standing there since the 8th C. and all of the history that had occurred there. You think of Shakespeare’s ‘Richard III’ and the two little princes. Or, if you’re in Saint Mark’s Square redecorated by Napoleon. It’s humbling. You want to do it justice, to capture the weight of so many lives.

Not only do you shoot beautiful pinups and glamorous starlets, but you still haven't lost your affection for travel and historic places. Tell me about the mid-century architecture you've photographed. What makes it such an appealing subject for you?

I love mid century architecture. I am just passionate about it. Not just the classic art deco icons like the Chrysler Building, but the kitschy fiberglass charm of the motels in Wildwood, NJ, or the over-the-top, poured concrete, 30s deco, hotels of South Beach in Miami.

I love random liquor stores and diners. I love finding something art deco in an ancient city in Europe.

I love the industrial aesthetic, the lines, the intriguing icons and decorations, the modern lines. There is a drama, a clean powerful graphic when you frame it in the lens. It’s striking and interesting. I love it.

I notice that your trademark is of a beautiful chandelier; eyecatching and intriguing. Is there a story behind it?

I am so glad that someone finally asked me this! Yes, there is a story behind it. When I started my photography company, I wanted to do everything right and the decisions about names and logos are very important because they, like most other things, really express who you are. So, the name was easy, because I wanted it to be identified with my name, but the symbol was very difficult.

I hired two graphic designers to come up with something for me. The drawings they did were just too hip, too edgy for my personality. They had asked me, "What things do you like?" and that was difficult to answer. "I don’t know? Hats." Well, that doesn’t work.

So, I stopped working with them, and decided to do it for myself. I was thinking photography, something to do with photography… light, Italy, I love Italy, Venice, light, Chandeliers. Venetian chandeliers. Hmm, I think I have something there.

I had taken a photo of a Venetian chandelier and I refined it down to the symbol I use now; black with white highlights, so it shows up against any photo.

I wanted something vintage, sophisticated and expressive of my creative side. I used an Art Nouveau font for my name and the chandelier logo.

Obviously your photography is a visual documentation of the places you've been and fantastic sights you've seen. Why is it so important for you to journal as well?

Well, for purely practical reasons, I use much of it in my writing; my travel writing. For a personal reason, I find that what I write really locks me into a moment. Reading over my thoughts snaps me back into that time and place as few other things, even photos.

I think on a deeper level, I am uniquely aware that my time on this earth is limited and I need to make the most of it. I want to leave a record for my kids or whomever else might be interested to follow.

Tell me about your passion for writing, how did this come about?

I read a lot and I have always been impressed by an author’s ability to create a world in the reader’s mind fashioned from words. So, I worked on this, obsessing over word choice, writing terrible pieces and facing turndown after turndown.

Then, I got a little older, acquired some perspective, and actually had something to say. That changed everything. Now, I write so much, it is natural for me, like walking. I am almost constantly writing. I hope to share much more of my writing in the future.

What kinds of things do you like to write about?

I love to write about the places I’ve been, but not the standard travelogue; either something self-deprecating or some different perspective on a place readers are familiar with.

I also write about men’s fashion, to try to recapture some of the romance of the objects were choose to dress ourselves in. I would like to see a return of a more individualistic style for men. I’d like to be somehow a part of this.

Do your life experiences reflect in your style?

Very much. My point of view has been honed from everything I have seen and done. I think that your life experiences broaden your perspective and allow you to empathize with others in ways that I could have never imagined as a younger man.

Do you need to 'warm up' before hand or can you dive right in and scribe away?

I can always write, which I am very thankful for. If I am given a topic and a deadline, I can always meet it. I never get writer’s block. I can always craft something.

That being said, I do warm up before a writing project with some poems. Poems are very demanding, because each word has monumental importance. As you try to avoid cliché and confusion, it pushes your mind into the top of your creative game. It’s a great way to prepare for an article, presetting your mind to avoid typical descriptions and hackneyed phrases.

Your finished product is always a delight to read. I wonder just how many times you've edited and re written it before it's suitable for the public...

Thank you, Please tell my editors that!

It really depends how much rewriting I do, on the complexity of the project. It is certainly not easy. Nothing I write is easy, even the anecdotal stuff, so I obsess and obsess over word choice and everything else…

Are you hard on yourself?

Terribly.

There is something obsessive in my nature, in everything I do, and when I express myself through the written word, I need my meaning to be as clearly expressed as possible. So, picking the correct word, the right phrase, of painting the perfect mental image is very important to me.

Can a writer really be objective with his work~ even if the work is based on his own feelings or experiences?

Yes, I think so. I know what is terrible. I read a lot of terrible, and I write a bit of terrible. I know when I have created something outstanding, and when something is not quite up to par. Sometimes, you are pushed by deadlines to make concessions, compromises, and you cannot write at the highest level.

I think I am a lot tougher on myself though. I am rarely wholly satisfied and almost never finished. I let things go, but I could keep on working on them.

As you know, motivation comes and goes. How do you stay on point? Is there a process you go through?

I always have a lot to say and an opinion on everything, so I have quite a bit to write about. Someone said, and I wish I could remember who, that the most important thing in writing is "ass in chair," and I think that is true. It’s about having the discipline to sit down, to speak through your words, and to find an audience. I am very disciplined in everything I do and very motivated to make a mark. My motivation comes through my desire to create a legacy for my family and friends; something to be proud of. I’ve never lost that determination.

Even though writing or journaling can be very freeing, isn't there a laborious aspect to it?

It’s terribly difficult. To write at the highest level and to really care about what you’re doing is personally draining, cathartic, yes, but also almost like a wound, like tearing some scar tissue wide open, probing around, and scrawling around in there.

I have spent hours searching for the correct word, the correct two words to put together. I have had to put myself in different frames of mind like an actor to imagine what a character would do in a given situation, and on the nonfiction side, I do a tremendous amount of research. So, yes, it’s hard.

But it’s also wonderful. It’s a revelation of the depth of your character, it’s building a bridge between minds, it’s tapping into the elemental aspects of humanity, of reaching something collective, affirming. It’s the process that riled chimpanzees go through when they are frightened; they touch each other’s faces as a means of saying, ‘It’s OK. I am going through this too.’ That is what writing is to me!

I am sure you must have an impressive collection of beautiful stationary and tools, which can only add to the joy and romance of writing. Just how many fountain pens do you have? ! Any favorites?

Yes, I should say that most of my public writing are done on my Apple iBook or my iMac, and the reason is that the Apple has this ergonomic warmth that inspires me. It feels right, the way, I imagine, some writers from the Golden Eras loved their typewriters.

My personal writing is done in leather bound journals from Florence built to last. I buy my stationary in Venice because I love their marbled papers. I do write with fountain pens and I am not sure how many I have, maybe ten?

I have a nice stainless steel Sheaffer I use at the office. It looks very much like the sort of pen an executive in the 1950s would carry. It’s streamlined and modern and writes like it is floating over the paper. In my professional life, I sign my name a hundred times a day, so it is perfect for me.

I love this fine nib Watermen Charleston that I use for taking notes and my favorite pen is a Chinese lacquer Cartier I use to write letters and to write in my journal. The thing weighs a pound, and has this amazing old world elegance that inspires me. Lifting that pen changes my entire outlook, makes it very clear to me that I have something to say.

I also have a couple of glass dip pens from Venice that I like to use with traditional Venetian Sepia ink derived from squid ink, which is where Sepia came from. I use this for personal letters.
I think nice stationary reminds us that what we are writing, that this connection we are creating with someone, is very important and should be treated with some reverence.

What do you like about the immediacy of blogging?

I love the instant feedback. I love posting something and getting a contrary opinion in seconds. I love initiating a conversation with someone, some mental sparring, solidifying connections. It’s dynamic and inspirational. Blogging is a wonderful way for creative people to connect instantly with each other, to derive some inspiration from people, to bounce ideas off of them. I love its collaborative nature.

Can it ever be impersonal?

Not with me. I more often share too much. I think blogging is very personal and very immediate. It’s what I like about it; you never know what anyone is going to say.

Who are your literary heroes?

I love Evelyn Waugh for his buttoned-up Catholicism and hand-wringing over the end of England’s Golden Age. I think that Americans in 2008 can relate to this.

I love Somerset Maugham for his spiritual sensibility. ‘The Razor’s Edge’ is a revelation.

First and foremost for me it’s Ernest Hemingway; the man who reinvented the English sentence. Everything that followed him, sounds like Hemingway.

Why does Hemingway have such an impact on you?

I think because in one man you have this embodiment of the American hero. Hemingway was above class. He was a doctor’s son who skipped college and educated himself by reading everything available. At 19, he went off to war and was gravely injured. He intimated himself into the highest literary circles in Paris in the 20s and became an icon, not just for what he wrote, but for how he lived. Traveler, adventurer, ladies man, father, father-figure, writer, scholar, critic, boxer, drinker; there’s a lot to like.

He bit down hard and chewed off a gigantic piece of life’s experiences. Through an act of will, he changed literature as we know it. He is an icon and his good points, are something to aspire to.

Some people find Shakespeare to be a bit tough to swallow. I find that if I actually take the time to process it as a whole, as opposed to breaking it down word by word, I am able to understand it. The same with poetry. Would you recommend this, or do you have another way of dissecting a heavy piece?

Shakespeare is an acquired language. It’s like another form of English, even separate from Elizabethan, because now there is this symbiotic relationship between modern English and Shakespeare’s, since it is encapsulated in his canon, and of course, it is so highly stylized. Once you get it, it’s yours and you’ll always understand it. Shakespeare is entirely accessible for anyone who wants to spend enough time to absorb it.

I was very fortunate because my professors at Rutgers were passionate about Shakespeare, so I did a disproportionate amount of study of his work. Still, it is a collection of elevated metaphors that are so mellifluous and so seductive in a way; it makes you wish that we had the ability to speak in such an amazingly beautiful and stylized manner.

I would hate for anyone to focus too much on the details and miss the overall flow of meaning, as you have described. Shakespeare apprehends so much that followed him. He had a very modern sensibility. The psychological conundrums are universal, and as timely then as now; they are part of what is elementally human. His characterization is still unparalleled. This, plus perfect word choice, makes him an unequalled genius in letters.

As for dissection his work, sure wrestle with it, say it aloud, form the words with your tongue, bellow, emote, internalize it, get words wrong, perform it, ingest it; this is how you internalize Shakespeare.

Excluding travel guides, what was the last book that you have read?

With the film coming out, I just reread "Brideshead Revisted." Wonderful. I am currently reading John Julius Norwich’s "A History of Venice." I’m heading there again in November.

Where is your passion the strongest?

Love. I am most passionate about love. Everything else flows from it.

I strive to be successful so that I have something to share. I work as hard as I do, so that I can create a safe and comfortable home. I write to share experiences and to stay expressive. I photograph to document my world. It all flows from love. As Leonard Cohen says, "Love is the engine of our survival.

All of these things we have talked about such as style, photography, travel, writing... they all kind of go hand in hand, don't you think? Is there more to you?

Yes, for me they do. My personal style effects all else.

Of course there is more to me, some things I keep personal. I keep my relationships private. I keep my community work mostly private. I also have my banking career, which is going extremely well. It has just taken off in the last year, and I am so thankful for that.

What are some of the projects you are especially proud of?

There are some upcoming things that I am very proud of. My first publication was big for me. That felt extraordinary; a deep sense of accomplishment.

What's next for you?

I am hoping to take a lot of what I do to a higher level. I have some interesting shoots planned that are a bit more high-concept and entirely different than anything I’ve done, yet totally keeping in my world and vision. They should be very interesting.

Also, I am taking my writing to a higher level and hoping that further success will come from it.

I just booked another tip to Venice in November, my second for this year. This is instrumental in much of what I am doing.

So, there are big things ahead, fun and interesting projects, that I hope you and your readers will enjoy.

You know I have compared you to some great men of the past. What would you like your legacy to be?

Well, I hope my legacy will ultimately be my family. Beyond that, I would like to be remembered as a man who was born into the worst circumstances and fought his way to the top; scrappy, determined, with unimpeachable integrity and conviction. I’ve swallowed a lot of blood to get here and I ‘have promises to keep, and miles to go before I sleep,’ I am not nearly done.

Thank you Tim! x

To see more of Tim's photography and writing, or to book him for a shoot, please visit his websites:

http://www.timothyjsteiner.com/

http://www.myspace.com/timothysteiner

http://www.modelmayhem.com/timothyjsteiner

Tim is a regular featured writer for Classic Style magazine and TheCad.net. Check out Classic Style magazine Issue 5, for his latest work~ on stands now at all major book stores, and The Cad online!

http://www.classicstylemag.com

http://www.thecad.net

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