Six increasingly fast runs in snow, ice, and then mud at the first KWRC rallycross of the year yesterday. I thought my car got through without a scratch until I took it out on the main road and it started shaking like a feverish dog at speeds over 80 kph. So it was slower country roads all the way home – and obviously a visit to the shop this week.
One of the purest joys in fashion photography comes when an utterly unposed, natural, in-between-shots moment occurs, and somehow your finger is quick enough to hit the shutter button and capture it despite not being really “ready” for the shot. Sometime the resulting picture is an out-of-focus muddle. Sometimes – as with this glorious image of model Shannon Thaler and her megawatt smile – it’s perfect.
MUA: Ruth Akele
Stylist: Victoria Rodriguez
Just got a new review assignment from The Spectator: Catherine Fletcher’s The Beauty and the Terror. Looking forward to starting on the book tonight, and I’ll be interested to see what her version of an “alternative” history of the Renaissance adds up to.
A few quadrants-worth of pointe shoes displayed at The Shoe Room, the boutique outfitting store for Canada’s National Ballet School. I wasn’t sure at first how to approach this shot. I tried taking an oblique angle, hoping to show a dramatic close-to-far vista of shoes – but that didn’t work well when I tried it (I think the wooden cubbies interfered with the purity of the effect). Then I stepped back and took a carefully symmetrical view of the majority of the display, thinking that the volume of shoes should be conveyed – but that didn’t work well either, because it seemed it would be impossible for viewers to figure out that the myriad objects in the cubbies were actually pointe shoes. So I ended up cropping in much more tightly to make clear the identity of the items, while still hinting at how many shoes there must be by composing a “borderless” image. I think the window light streams in more dramatically, too.
I took a morning stroll through London last month to visit my editor at The Spectator, but upon reaching The Mall was greeted by the sight of numerous heavily-armed police cordoning off the area. Winding my way along the sole approved path to St. James’s Park, I asked an officer what was going on. “State opening of Parliament”, he shrugged, a little wearily. It took me just as long to exit Westminster after my meeting. Asking another officer how to get through a crowd and cordon to a particular Tube station, she shook her head. “You can’t get there from here.”
A passing moment (with scooter and traffic cone) on a street near Parc de Belleville in Paris. I snapped this in between locations on a shoot for Mouton Blanc’s FW19 collection.
My expressionist take on a sculpture set at one end of an overpass just north of Blackfriars, London, during last year’s visit to the city.
Before the shoot: stylist Nataly Bocharova steams a shirt for our test with Q Management’s Ana Buljevic in New York City (with MUAH Willie Huang).
This gorgeous photo is by Condé Nast photographer the late John Rawlings (model: Suzy Parker). Published in 1953, it’s a powerful reminder to me that fashion photography is not subject to laws of “progress” or historical development – apart from the dress and hairstyle depicted, this image could have been made in the 21st century by Paolo Roversi or Javier Vallhonrat. Rather, I suspect that photographers explore their own stylistic regions in a space defined as the set of all possible photographs – a space that neither expands nor contracts, and is always with us from generation to generation.
I’m only recently starting to occasionally shoot in “studio” style, and this shot of model and actress Paeyton Lilly was actually taken in a studio-esque sunroom in one of her agencies’ buildings. I’m mad for this image: Paeyton’s beautiful personality positively emanates from her face.