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  • Ula, Paris 2019. I want to say that when it comes to shooting on the street during fashion week, what I love best about shooting for myself is the freedom from pressures photograph people or materials for the sake of volume content. That's to say nothing against some of the best street style photographers in the world who do this from season to season--it takes the keenest eye and real endurance to do the job they do--but I would say that for me is always been about the calmer pace, the people and the style they wear in their everyday life that speaks to me the most. So when I go to the shows to see the crowds, I'm usually looking for someone who is both exceptional and has no business being there. In the case of Ula, she wasn't on the street at all, rather tucked away in a gallery down the street from a show, only there to assist an artist friend who had merely walked over to see why her quiet street was suddenly overrun with people. I took a portrait and she invited me to see her art after the show was over, and it was upon entering that I found Ula sitting on the floor, possibly daydreaming. This series of images I shot the next day, after Ula had arrived and without me telling her in advance that I wanted to take her portrait, too. @ularru
  • Paris, 2019
  • Thom Browne, Paris 2019. @thombrowneny
  • Tori, Paris 2019. @tori.monet
  • Paris 2019.
  • Julien, Paris 2019. @bleumode
  • Sophia, Paris 2019 @sophia_roberts
  • Milan 2019.
  • Goldie, Milan 2019. @gdw__________
  • 2019.
  • Val, Berlin 2019. @cryptid_millenial @devonkaylor Pentax K1000 | HP5
  • Peter Lindbergh’s ‘A Different Vision on Fashion Photography’ is one of the greatest resources that I own; I found the book in the Taschen store in Soho several years ago when it occurred to me that researching the kind of photography that I do couldn’t be adequately accomplished via my computer. But especially while making the transition to film, it was hard to fully appreciate the format without engaging in the analog part that is film’s primary purpose. The book turned out to be a revelation to me, not because the photographs blew me away, but because of the decisions he made with his black and white film. When digital was my primary photo format, I had this rule that if I couldn’t make an image work in colour, I’d render it in black and white. While I think this is still sound philosophy, I’m always bothered by what I describe as “lazy” black and white; too many people “switch the mode” on digital and fix a little contrast and call it a day. But software bw for the most part, doesn’t understand intent and actually, neither does it with colour (but we have soooo many presets) that it doesn’t matter anymore. Back to this book… What really blew me away was Peter’s obvious intent with black and white, and his darkroom/lab’s understanding to deliver on this intent through all of the choices made to develop the image. My photo lab in California has a binder full of rules of what to do with my black and white film, how to process and scan it, because the ‘regular way’ leaves me feeling so uninspired. Peter’s work isn’t referenced in that binder — I had to go my own way — but it was Peter who showed me that it was necessary in pursuit of the art I wanted to make. When I bought this book the cashier informed me that I had missed Peter by two days, he had just been there for a signing. I did see the man just once, but he was on his way to work. He was in a good mood that day, his energy was bouncy. His assistants seemed to be happy to be there. I always pay attention to these things, at this level.

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