On one of Erik’s recent shoots in New York, his assistant captured this behind the scenes photo. The production was taking place at the Museum of The Moving Image in Astoria, Queens.
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Martin recently sat down with PetaPixel to talk about his photography career, his “Close-Up” portraits and offered some advice to young artists. We have included an excerpt below but head to PetaPixel to read the whole conversation.
PP: Do you think these close-ups are something you’ll continue doing for the rest of your career? Will they stick with you?
MS: Yeah, you know, I made a mistake and stopped doing them for a while. A friend of mine said ‘Oh, you got to reinvent yourself, you’ve done a lot of those.’ Then I started doing them a little bit differently. I even started shooting with an eight-by-ten-inch camera. But I will keep on doing them now. I think It’s important to have one style. There’s no reason to stop doing it, really, because Richard Avedon took all of his pictures in front of a white background. With an eight-by-ten or something and a medium-format camera. I mean he never changed his style, ever.
He barely showed a color picture. So why would I [stop taking them] now? After I’ve been doing them for fifteen years, why would I think ‘now I’m going to start doing some self-portraits’?
Magazines like them, people like them. That’s telling. Why would Diane Albus now all of a sudden start shooting color or change up her lighting? She did the same thing all of her life. Weegee did the same thing all of his life.
It doesn’t mean I can’t do other bodies of work that I can light differently, or that are very differently conceptually. I’m still in the same position I was fifteen years ago. You get an assignment, and you have very little time with somebody. You’re in a location that you haven’t chosen, they’re wearing something that you might not like. But [with] the close-up you’re in this fortunate position of always walking away with something where nothing else but the person matters.
It doesn’t matter where they are or what they’re wearing. So it feels like an honest portrait that sometimes is impossible to take given the circumstances that you’re handed.
This month Gilles & Cecilie Studio has been shortlisted in the AOI awards with their illustrations for Lund Brød, event design and illustrations for Moleskine Impressed, and the wallpainting Bird Nest for SO Prosjekt. They have also been nominated for the Visuelt Awards for their work with Moleskine.
Peter Lippmann was commissioned to shoot a campaign for the Hasselblad Lunar, their new digital offering. Each model of the camera is designed using a different material for the grip. For these ads Peter shot the cameras constructed from Mahogany, Tuscan Leather, & Carbon Fiber, crafting environments of similar materials around them.
Braschler/Fischer are currently waiting out a storm in Samoa while shooting portraits for a Swiss Re job. Tomorrow night they will begin their 41 hour journey back to Zurich. Here is a behind the scenes image of them photographing a speer fisherman in a lagoon.
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Floto + Warner have shot a wealth of images for their editorial clients recently. This month’s Dwell Magazine featured a cover story which takes us to the home of Glee star, Jayma Mays, and actor, Adam Campbell. The Southern California Spanish Colonial house had been renovated numerous times since its construction in the 20′s, but was ultimately re-envisioned by architect, Mike Jacobs. For GQ Germany, the couple photographed the stark, minimal Manhattan apartment of of MoMA PS1 Director, Klaus Biesenbach. Bloomberg Pursuits commissioned them to shoot art conservators, Contemporary Conservation Ltd, who deal in the ever growing need to maintain the constantly shifting landscape of mediums used in modern art.
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Julia was selected to judge this month’s Life Framer competition, A Human Touch. She recently sat down with them to answer some questions regarding her style, technique, and new projects.
Your blog has some fascinating insight, and it seems that your shoots are often quite grand affairs with a team of hair and make-up artists, prop stylists etc (and all the better for it). Now that you feel accustomed to having a team around you, do you still enjoy being alone with a camera?
I always carry a camera with me; the shoots themselves are only a minor part of the use of a camera. Not only do I use my camera for personal shoots, but also to find new ideas and to flesh out the bare bones of them once I decide to go ahead with one. I had a solo show in Tokyo a few weeks back and decided to stay on and take photos. I had a translator and an assistant with me. We had minimal lighting that we kept in a suitcase and just walked the streets. Once I found something interesting, we would set up the lights, and I would wait for someone interesting to walk by. This is an approach I used to take, and it felt very refreshing. No hair and make up, no styling, no casting, no brief. Just enjoying photography…
TIME Magazine recently commissioned Alessandra Petlin to shoot a story about the alimony reform that appears in their latest issue. Alessandra photographed “the surprising people who are helping to effect that change: women.”
Martin Schoeller portraits ran on 3 magazine covers this month. For two weeks in a row, New York Magazine’s cover featured one of Schoeller’s images. First, the weekly magazine highlighted New York artist, Jeff Koons, shot at the David Zwirner Gallery. Next, they used an image of Michael Douglas as Liberace, shot at the actor’s Central Park West Apartment. The recently revamped Christie’s Magazine ran a closeup portrait of painter, Walton Ford, who was photographed at his New York studio with Leonardo DiCaprio.
Click Here to see more work by Martin.