Transfigure Photography ethos is to find the converging line between the world of film, fine art and commercial photography and bound all those agents together to cook up a dream and add it to a reality. I work with an idea, visualise it and create it. Transfigure Photography says as much about me than the name denotes. I have metamorphosed myself from a snapshot photographer to a professional photographer, photographing many different subjects, from seascapes, portraiture, to monster dump trucks.

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Salome and Judith

Salomé and Judith

I was looking through paintings depicting Salomé, I wracked my brains thinking I’ve seen these paintings before, then I thought of my research into Judith and Holopherne, and yes, Lucas Cranach the Elder depicted the two beauties, of the same age and possibly the same model.

Salomé and Judith

As seen in the paintings above by the same painter Lucas Cranach the Elder Salomé and Judith could be considered twins of similar age and appearance or possibly the painter used the same model and the same props. Yet in appearance, both were as different as can be a model of good versus another of evil; One that is a paragon of virtue and heroism, and the other, that is a compendium of vice and cruelty. And I point out that in appearance because, let’s see: Has anyone entered into the heart of these two women and read there what prompted them to do what they did? 

Typical of the decadentism and of the end-of-century period, the representations of Judith will then mingle with those of Salome. She becomes a sensual predator, threatening to men. If we often distinguish between the two characters thanks to the objects attributed to them (the sword of Judith / the plateau of Salome), it sometimes happens that painters blur the border between the two women: see how in Henner Judith is Close to Herodiade and as she seems to hold under her arm the plateau usually reserved for Salome in painting.

In this case the counterpoint included the difference of age: Salome, fresh out of adolescence and arrived at a splendorous, joyful and carefree youth; Judith, a woman already made and seasoned, judicious and responsible, retained all the solid beauty of the solid beauty that has reached its zenith and which only awaits the slow and progressive slope. Only because of this (because each one saw in the other what he longed for) would be sufficient to justify the reciprocal sympathy that would spring between them as soon as they were seen.

They had embarked, alone, with no more luggage than the various garments with which the same dress was again and again depicted in the iconography dedicated to them: Salomé wore brightly colored silks, like gauzy suits of tulle, or directly, showed the shameless and voluptuous rotundity of its curves hardly hidden under seven veils; Judith, instead, used to dress more discreetly and a dignified manner if the mood had not led him to imagine the mind of a noventayochista suppressed or released the twentieth century avant – garde, or simply to recall that fateful moment. In any case, they wore their chameleon change of dress with the naturalness with which the imagination contemplates and interprets the same.

It was Salomé who took the first step, which is logical if one considers that youth, still endowed with the audacity of unconsciousness and without the hindrance of the prudence that experience imposes, burns in the desire to satisfy the curiosity when it, like An irrepressible tingling, sprouts and becomes unsettling pruritus. Holopherne approached Judith directly, without ambiguity, asking whether, as he had done, she had enrolled in that cruise with the vain purpose of forgetting herself. Judith, after looking at her askance –ambas rested on the chaise-longue allowed to warm by the sun morning– replied affirmatively, as had to her inquisitive sister, who asked the obvious, answering, we think:

“My dear, two women like us when they travel alone do not usually do it but to flee from themselves.
–Do you think? They could also be embarking on a journey of introspection, “replied the younger, making a familiar circular gesture with her finger pointing at her temple, which is usually used to indicate the action of the cavill.


“For that, my dear, a less pleasant place is chosen.” To get into inner labyrinths one chooses places less … as you would say, less comfortable. For these purposes one has to submerge himself in a kind of asceticism, he must act as anchorite; To seek the distant heights or the abysmal depths, where it can not receive the influence of the outside as a distraction. No, my dear, one only submits to the voluptuousness of the environment when he wants and needs to lick his wounds, to forget himself, to apply a cure of triviality.


“That sounds very judicious and frank to me.” It is noted that no longer need to guard against anything … or anyone –repuso Salome, turning, curious, her face toward his companion solariego far niente.
“My dear, considering that we are – and never better – in the same boat, that is something that equally happens to you. Indeed we must not fear anything, so Why walk with subterfuge and lukewarmness? Fear is a thing of the living that fear death and, above all, pain. But us? What shall we fear now? We are what we were and will be, nothing can change our becoming.

If you put no remedy then, now it would be useless. We do not compete, we can do nothing to change what we are supposed to be. Nothing except … this, this speculative exercise about an inner world hidden from appearances, oblivious to convention; Someone would say false, but would have no arguments to support it. What prevents us from interacting in the free imagination of the people? What prevents us from revealing a reality underlying the established image? That’s where we are. I did not expect it but it seems fine. It seems interesting, suggestive, morbid. And as a woman, my dear, the morbid attracts me and seduces me. “A sketch of an ironic smile appeared on his face. Then he was silent without losing his grin.

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