Lillian Bassman | Anneliese Seubert, 1996

Posted: July 1st, 2013 | Author: | Filed under: Film, New York City, Photography

Anneliese Seubert, 1996 © Lillian Bassman

Anneliese Seubert, 1996 © Lillian Bassman


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Jerry Schatzberg | Wall Street, 1958

Posted: June 25th, 2013 | Author: | Filed under: Film, New York City, Photography

Wall Street, 1958 © Jerry Schatzberg

Wall Street, 1958 © Jerry Schatzberg


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Helmut Newton | Tomb of Talma, 1977

Posted: February 4th, 2013 | Author: | Filed under: Film, Photography, Quotes

Tomb of Talma, 1977 © Helmut Newton

Tomb of Talma, 1977 © Helmut Newton

I had found out that I did not function well in the studio, that my imagination needed the reality of the outdoors. I also realized that only as a fashion photographer could I create my kind of universe and take up my camera in the chic place and in what the locals called la zone, which were working-class districts, constrution sites, and so on. To work for French Vogue at that time was wonderful: Who else would have published these nudes or the crazy and sexually charged fashion photographs which I would submit to the editor in chief?

- Helmut Newton


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Tim Barber | Bambi Northwood-Blyth

Posted: September 5th, 2012 | Author: | Filed under: Photography

Bambi Northwood-Blyth for Muse © Tim Barber

Bambi Northwood-Blyth for Muse © Tim Barber


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Lina Scheynius | Diary & Others

Posted: July 3rd, 2012 | Author: | Filed under: Film, Photography, Quotes

I started out by posting pictures of myself and my ex boyfirend and friends on flickr and on this website. I was really just doing it because I loved doing it. Some people started to post my work on their blogs, and it started to spread over the internet. One day (in 2008) a photographer’s agent found my work through one of the blogs and contacted me. She was wondering if I would be interested in doing it professionaly. Absolutely terrified, and not at all sure if it was a good idea, I said yes. Two weeks later I had my first job from her – a portrait of Charlotte Rampling for Dazed and Confused. And since then it has been a lot of more work , and here I am. It is pretty much all thanks to the internet though.

- Lina Scheynius

Double © Lina Scheynius

Double © Lina Scheynius

Diary Summer © Lina Scheynius

Diary Summer © Lina Scheynius

I get ideas while walking in big cities or forests listening to good music.

- Lina Scheynius

© Lina Scheynius

© Lina Scheynius

© Lina Scheynius

© Lina Scheynius

I tend not to think too much about what I am doing, if I see something that interests me I shoot it. I like bringing my camera into situations people wouldn’t normally bring a camera. And I like showing people in moments and moods they wouldn’t show out in public.

- Lina Scheynius

Diary Summer © Lina Scheynius

Diary Summer © Lina Scheynius

I usually shoot people that I know pretty well and therefore already have developed a trusting relationship with. It’s important for me that they can feel relaxed, but also that I can!

- Lina Scheynius

© Lina Scheynius

© Lina Scheynius

I only ever work with light sources that exists in our everyday life and never use my flash. I am very interested in light of every form, and how it can change a place, a situation, a mood or even an object.

- Lina Scheynius

© Lina Scheynius

© Lina Scheynius

I love using this type of photography! I love anything where the result can surprise you. I just wish it wasn’t so bloody expensive and hard to hunt down the Polaroids.

- Lina Scheynius

Behati Prinsloo for Anthropologie ©  Lina Scheynius

Behati Prinsloo for Anthropologie © Lina Scheynius

My dad was taking a lot of pictures of us as kids and I used to always want to borrow his camera. There are a few pictures in our family albums of my family’s heads and a great space of nothing above them. When I turned 10 I got my own camera and finished two rolls of film that same day. Since then I have just kept doing it. It comes very natural to me. Probably more so than brushing my hair!

- Lina Scheynius

Mariacarla in Paris 2008 © Lina Scheynius

Mariacarla in Paris 2008 © Lina Scheynius

When I work on my personal pictures the viewer doesn’t enter my mind until I start the selection process for my website. And even then I try to not think about him or her. If I did, I think a larger section of my work would remain unseen, as a lot of it is extremely personal to me and not initially captured to be viewed by others, but more as you mentioned, to document. Or experiment. I guess that it is my almost forced disregard of the viewer that gives you the impression that I am fearless.

- Lina Scheynius

© Lina Scheynius

© Lina Scheynius

We had a photobook at home that used to fascinate me. It’s by photographer Åke Hedström and called ‘Emma’. It’s a father’s photographs of his very allergic daughter. She dies after eating a brazilnut. Extremely sad but amazing photography.

- Lina Scheynius

Me in London © Lina Scheynius

Me in London © Lina Scheynius

But I am definitely not someone who has a camera around at all times. Fact is that I take very few photographs, and I am very selective when I take them. I don’t hunt for images. I let them come to me through moments in my life, and occasionally I create them.

- Lina Scheynius

Diary © Lina Scheynius

Diary © Lina Scheynius

I don’t actually have a favourite photographer. I like quite a few but I get more inspiration from painters like Egon Schiele. I love his work for leaving me feeling slightly uncomfortable. And also because it feels very real and intimate.

- Lina Scheynius

Red13 © Lina Scheynius

Red13 © Lina Scheynius

There is a tiny section on my website called “red” with photographs against a pink sky. I was in my room on the phone to one of my best friends and noticed how amazing the sky looked so I told my friend to hold on for a sec, and then I climbed out on the roof with my Polaroid camera and very quickly shot some self-portraits against the sky. That is exactly how I love working.

- Lina Scheynius

© Lina Scheynius

© Lina Scheynius

For my magazine work I try to always work in an as similar process as possible to my personal work. I like to keep it intimate by working in really small teams of people that I enjoy having around. I also try to be spontaneous and not plan anything more than where I will be and who I will be there with. Furthermore I want it to be fun and I never take 100 similar versions of the same picture. I was a model before I became a photographer and I think the process of most fashion shoots I have been on is very draining and gives a pretty stale result. Usually there are too many people around all trying to do an amazing job and too much time is spent on things in general.

- Lina Scheynius

Diary Summer © Lina Scheynius

Diary Summer © Lina Scheynius

In my opinion the instant itself can never be changed. Yes, bringing out a camera has already made the moment different from if one hadn’t brought it out. But the fact that there is a photograph of it doesn’t change what happened. Only perhaps the memory of it. My memory of it. The importance of it in relation to other instances that might be similar but not remembered.

Bringing in a viewer gives the instant even more importance in relation to others. It doesn’t really make the single picture more important to me. I am not sure, but it could even be the contrary as it is no longer a secret personal thing but some kind of official object.

But the image itself gets a new and perhaps more important life with all these eyes viewing it and hopefully relating to it in whatever way.

On another note I have noticed that bringing out these instances in public has an effect on the future ones. For better or worse.

- Lina Scheynius

Calender © Lina Scheynius

Calender © Lina Scheynius

Diary Autumn © Lina Scheynius

Diary Autumn © Lina Scheynius

© Lina Scheynius

© Lina Scheynius

I have never experienced any problems due to my lack of education. Things have happened very quickly for me and there has never been anyone asking for a paper where I can prove my skills or merits. I personally don’t have much faith in creative education and I am very happy I have never chosen to do one.

- Lina Scheynius

Calendar © Lina Scheynius

Calendar © Lina Scheynius

Krysty Hume © Lina Scheynius

Krysty Hume © Lina Scheynius

Me in Shanghai © Lina Scheynius

Me in Shanghai © Lina Scheynius


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Richard Avedon | Judy Garland Proof Sheet

Posted: May 30th, 2012 | Author: | Filed under: Film, Photography, Quotes

Proof Sheet of Judy Garland © Richard Avedon

Proof Sheet of Judy Garland © Richard Avedon

If a day goes by without my doing something related to photography, it’s as though I’ve neglected something essential to my existence, as though I had forgotten to wake up.

- Richard Avedon


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Txema Yeste | Pull & Bear Spring 2011 Campaign

Posted: February 6th, 2012 | Author: | Filed under: Photography

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste

Mackenzie Weinmann, Amalie Hartman, Elinor Jade, Max Motta and Arthur Sales in Pull & Bear’s spring 2011 campaign by Txema Yeste


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Peter Lindbergh | Milla Jovovitch

Posted: January 15th, 2012 | Author: | Filed under: Photography

Milla Jovovitch, New York, Italian Vogue, 1996 © Peter Lindbergh

Milla Jovovitch, New York, Italian Vogue, 1996 © Peter Lindbergh

Milla Jovovich, 1998 © Peter Lindbergh

Milla Jovovich, 1998 © Peter Lindbergh

Milla Jovovich © Peter Lindbergh

Milla Jovovich © Peter Lindbergh

Milla Jovovich © Peter Lindbergh

Milla Jovovich © Peter Lindbergh

Milla Jovovich © Peter Lindbergh

Milla Jovovich © Peter Lindbergh

Milla Jovovich, Italian Vogue, Paris, 1998  © Peter Lindbergh

Milla Jovovich, Italian Vogue, Paris, 1998 © Peter Lindbergh

Milla Jovovich, Italian Vogue, Paris, 1998  © Peter Lindbergh

Milla Jovovich, Italian Vogue, Paris, 1998 © Peter Lindbergh

Karen Elson and Milla Jovovich in "L.A. Report" for Vogue Italia, October 2000 © Peter Lindbergh

Karen Elson and Milla Jovovich in "L.A. Report" for Vogue Italia, October 2000 © Peter Lindbergh

Karen Elson and Milla Jovovich in "L.A. Report" for Vogue Italia, October 2000 © Peter Lindbergh

Karen Elson and Milla Jovovich in "L.A. Report" for Vogue Italia, October 2000 © Peter Lindbergh

Milla Jovovich, Vogue Paris, 1990 © Peter Lindbergh

Milla Jovovich, Vogue Paris, 1990 © Peter Lindbergh

Milla Jovovich © Peter Lindbergh

Milla Jovovich © Peter Lindbergh

Milla Jovovich, Italian Vogue, 2000 © Peter Lindbergh

Milla Jovovich, Italian Vogue, 2000 © Peter Lindbergh

Milla Jovovich, Italian Vogue, 2000 © Peter Lindbergh

Milla Jovovich, Italian Vogue, 2000 © Peter Lindbergh


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Philippe Halsman | Fall Fashion Revue, 1947

Posted: December 19th, 2011 | Author: | Filed under: Film, Photography

Fall Fashion Revue, 1947.  © Philippe Halsman / Magnum Photos

Fall Fashion Revue, 1947. © Philippe Halsman / Magnum Photos


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Mario Testino | Kate Moss by Mario Testino

Posted: December 1st, 2011 | Author: | Filed under: Books, Photography, Quotes

Mario Testino’s monograph / testimonial to Kate Moss was released in September 2010 in a limited run of 1,500 signed copies, each going for $2,000.

 

I met Kate very early on. Shortly after her first Galliano show I went backstage to congratulate her, only to find her crying: she was disappointed that she had only been given one outfit to model in the show. My answer to her was this: ‘In life there are perfumes and colognes. You need to use lots of cologne as the scent fades away; with a perfume you just use a drop and it lasts all night. You are a perfume, you will go on and on.’ Little did I know just how true that would become! And that I had made a friend for life.

- Mario Testino

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

I thought it was on a shoot for French Glamour [that Mario and I first met], but he always says it was when I did a John Galliano show and I was crying on the steps or something.

- Kate Moss

 

Kate Moss by Mario Testino for Vogue Brazil May 2011

Kate Moss by Mario Testino for Vogue Brazil May 2011

Mario took me to a new level of glamour. I don’t think anybody had seen me as any kind of sexy model before he did. He was the one that transformed me. Before him I was just a grungy girl, but he saw me differently. He was the first to say ‘Oh, she’s quite sexy. I’ve seen her out! I know she’s not just that grungy girl.’ He’d seen me in a pair of heels, getting glamorous – and he was the first to start taking pictures of me in that way. He changed the way people thought about me as a model, for sure. Later other people started working with me in that way, but he was the first.

- Kate Moss

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

She lives more fully than anyone else I know.

- Mario Testino

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

This is just a couple of months ago. We were doing photos and we were hungry, so she made an omelette. She’s quick at making an omelette! It was a moment. Kate’s very loose with her body – not in a negative way, but in a comfortable way. I come from Peru and had a Catholic upbringing. I wasn’t raised to be comfortable with nudity. British people are a funny mix. They pretend to be prudish but they can be pretty decadent – as long as you close enough doors. I guess Kate doesn’t need the closed doors. She’s just free. It’s her nature.

- Mario Testino

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

This is not the picture I was meant to do, it’s an in-between picture. We were doing shoot and I said: ‘All right I’ve got it’, and shy threw herself back on the bed, my paparazzi side came out – and this is the picture. It’s a relaxing shot between striking the pose. It’s where you get to see our relationship, where it’s not the magazine, or the editorial. It’s about us. Kate’s confidence is magical because it’s full of insecurities – she’s very frail. Even when she’s trying to be most sexy grown –up, the childishness in her always come out. I feel very protective towards her.

- Mario Testino

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

I have never laughed so much in my whole life as with Mario on shoots. Sometimes we know we have to stop but we just can’t, we can’t even look at each other.

- Kate Moss

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

I guess back when we met I did not realize she would become an icon of the ‘now’ for so many people. All I could see or feel was an attraction to someone a lot younger than me.

- Mario Testino

 

Lila Grace and Kate Moss by Mario Testino © Mario Testino

Lila Grace and Kate Moss by Mario Testino © Mario Testino

… and I like the pictures [in this book] of me and Lila too. At the time they were taken, she was really young, and I didn’t want the press intruding on her, they were too private… but now the pictures are nostalgic for me.

- Kate Moss

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

We have been trying to work out exactly where this party is [the image below]. I think it is in New York, but it could be London or Cannes. It’s a long time ago, but I know this face so well – you know, with the mouth wide open when you scream hello. I’ve know Kate for over 20 years (our first job was for France Glamour when she was only 15) and the friendship I share with her is very intense. It’s different sort of friendship. It’s not like I see her every weekend, or we go out every night, but when we see each other. It’s always the same. This image encapsulates how I see Kate. It’s totally her. She’s so at ease. That’s the side I like. I like her sexy, and I her different, but many of those sides are a front. This is the reality.

- Mario Testino

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

In the press people say “oh, there she is… she’s out again”, and they don’t see me getting up and going to work every day. They just print pictures of me coming out of a party or whatever… I’ve worked hard for 20 years and I’m still working now! The book has a really good balance of work and play and shows that the fashion industry is not the completely vicious place it is so often made out to be. I don’t think it is at all.

- Kate Moss

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

This was taken in my office while doing a story for Italian vogue. I wanted to bring Kate into my world and photograph her in a way that redressed her, so we decided to do the shoot using the portrait on my book. I carried on taking pictures after we had finished and this is one of those. The picture she is holding was the poster for my exhibition at the National Portrait Gallery. It’s become quite an iconic picture for us, because the exhibition has travelled all over the word and she has always been the face of the show. I thought it was cute to do her quite real, in this way, but with this face.

- Mario Testino

 

Kate Moss by Mario Testino © Mario Testino

Kate Moss by Mario Testino © Mario Testino

This was shot at the Royal Opera House for American vogue. It didn’t appear in the magazine, we just did it for a laugh. Kate was asking: ‘How would I have been if I was a dancer? With the tutu and a crown on? She’s so sweet like that ,no? She is you all- time English girl, I love her because she doesn’t come from money. She comes from a very normal background. I’ve always found that’s made her quite balanced. And as much as I can appreciate her style and her beauty, the thing that has made our relationship is her sense of humor. We laugh a lot. All the time. That is our relationship, I guess.

- Mario Testino


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