Katka ‘Rear Window’ by Nancy Murrian

Any Metart member worth his salt has seen and enjoyed the photos by Richard Murrian of his wife, Nancy. Well, now we actually have posted some photos TAKEN by Nancy Murrian, of one of Richard Murrian’s newest models, Katka A. This new series, The Rear Window, shows the startling and sensual potential of women shooting women, and we hope this is a trend in the massive Met Art catalogue.

In a certain sense, the difference between looking at a photo series taken by a man and a photo series taken by a woman is that one KNOWS a photo series is taken by a woman and so one is able to imagine one’s self in that setting, and, in the end, there’s a different emotional and sexual response one has to such a situation. The idea of a beautiful young lady taking off her clothes and posing for another beautiful young lady, well, it’s literally twice the thrills, if one cares to look at it that way. So, in this sense, it’s the mere fact of knowing two women are present that makes these photo series more appealing.

If one were to do a blind test (have someone compare two series and try to figure out which one was taken by a woman), what kinds of clues might one look for to tell the difference? Well, some of those clues are in this series, The Rear Window.

Let’s start with the eyes. Look into Katka’s eyes. Is it only our imagination, or is there a glow of trust, a softness to her gaze, that one might not normally find with a male photographer? She trusts her photographer in a different way, or, should we say, she feels differently about her than she might a man, and this trust shows in her eyes.

There’s also a difference that perhaps comes from the photographer’s side. On the second page, in photos 20 – 40, Katka spends some time lounging in a relaxed manner on the bed, her blue silk scarf dangling elegantly over her pale, tender body. There is a casualness, a relaxation that she has achieved that might only be possible coming from a “female photography director.” Women know how women like to feel, how they like to recline, how they “think they look best,” and Nancy Murrian seems to have been able to direct Katka to position herself in such a way. The results are distinctively “feminine.”

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