FADDY Magazine - Issue 28 January 2021

ISSUE 28 JAN 2021

Helmut Newton & 100 B

homage

th

irthday celebration

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FOLLOW, CONTACTS Instagram: faddymagazine Instagram Showcase: faddyshowcase Facebook Page: faddymag Email: faddymagazine@gmail.com FADDY Magazine submissions: candicevalentinesolomon@gmail.com Web Page: http://faddymag.com MANAGING EDITOR Biagio De Giovanni FADDY MAGAZINE EDITOR-IN-CHIEF & ARTISTIC DIRECTOR Candice Valentine Solomon FADDY SHOWCASE EDITOR-IN-CHIEF Biagio De Giovanni SVP SALES AND ADVERTISING Candice Valentine Solomon candicevalentinesolomon@gmail.com FADDY SHOWCASE REVIEW CHIEF Alessandra Galati JOURNALIST/WRITER Linda Arroz Gabrielle Smith Jamie Valentino Anneysa Gaille Rhett Butler EDITOR-IN-CHIEF ASSISTANT Helen Wilkey GRAPHIC DESIGN CONSULTING Massimo Storari GRAPHIC Giulio Cesare Silvestri & Biagio De Giovanni FADDY MAGAZINE HEADQUARTERS FERRARA - 44124 - Via Giglioli 28/A 5

Editor’s note

to dream and most of all to be free to explore both sides of myself,

When my dreams becomes a reality…

the femme and the androgynous.

I would like to venture into 2021 with deep gratitude for all the cre-

I would like to thanks Matthias Harder, the curator and director of

atives and people who I collaborate with to make Faddy Magazine

the Helmut Newton Foundation and the Helmut Newton Estate for

great.

this beautiful honor and priviledge to feature Helmut Newton´s

When I first thought about how I wanted to enter into 2021, I

photography and share his legacy with our readers.

thought to myself “Candice it needs to be special and meaningful.“

I would also like to thank Matthias and Nadine (Dinter, press officer

Then I said to myself “It must be the master and most legendary

of the HNF) for collaborating with me and trusting my vision for

photographer in the world, Helmut Newton.” Helmut Newton has

this beautiful homage and 100th birthday celebration of Helmut

been an integral part of my life’s journey since the budding age of

Newton.

12.

I hope everyone enjoys this beautiful salute to the incredible and

I remember vividly the day I purchased “Sleepless Nights” and

iconic Helmut Newton.

“White Women.” These books had a profound influence on my life

Happy 2021!

changing it for good, as if the “light switch was turned on.” I found

Wishing everyone a blessed year ahead.

“myself as a person” in his glorious images and most of all a place where I had the freedom to dream and fantasize.

Candice Solomon

I want to thank Helmut Newton for allowing the little girl inside me

Editor in Chief Faddy Magazine

C

andice Solomon a native

segment of the fashion industry. She also operates a highly suc-

New Yorker, resides in Man-

cessful e-commerce showroom servicing blue ribbon customers

hattan with her fiancé and

globally. She is Editor-in-Chief and Artistic Director for FADDY

artist Robert Santore.

Magazine and the Sr. Vice President of Sales & Advertising.

Candice is a world traveler and the

Candice Solomon has an accomplished and impeccable reputa-

quintessential Native New Yorker.

tion in the world of fashion and fashion design as;

She is a highly successful female en-

•

Creative director

trepreneur running the operations,

•

Design director

“day-to-day” and strategic business

•

Editorial strategist & executive produce

offerings in the highly competitive

•

Stylist

and ever-changing landscape of the fashion industry. She is an

•

Content creator

award winning bridal and evening wear designer noted for her in-

•

Fashion merchandizing strategist

ternational and celebrity red carpet patrons.

•

Fashion and style trendsetter and Mentor

She has been featured in People Magazine’s “Best Dressed” for

•

Branding specialist

dressing her distinguished clientele, most notably, Donna Ha-

•

Instagram & social media influencer & strategist

novers wedding dress in People Magazine and “Town And Coun-

•

LikeToKnowIt influencer

try” magazine.

In addition, she was featured in multiple concurrent years in the

Candice is renown throughout the fashion industry as the “go

highly prestigious “Best Of” in New York Magazine. Candice was

to girl” for “anything and everything” from sourcing incredible

regularly featured in the New York Times, “Style and Fashion”

location for editorial photo shoots, engaging with and securing

sections, and in many global publications, both print and digital

the worlds best and acclaimed photographers, stylists, award

editions.

winning hair and makeup professionals to securing multi-million

She was the executive producer and an on-screen commenta-

dollar apparel pulls for promotions and presentation, as well

tor for the award winning documentary “7 Years Underground”

as working with an inclusive, multidimensional pool of talent as

which focused on the early years of Rock & Roll, Jazz and Blues at

models.

the famous “Café A Go Go” located in Greenwich Village in New

She is passionate and a life-long supporter of the LGBT Commu-

York City. “7 Years Underground” winning awards in film festivals

nity, Trans Lives and mentor to many talented young people who

around the world.

have become incredible successful under her guidance.

Candice is the owner of a boutique consultancy/agency in New York City focusing on optimizing strategic placement, strategy and trend management for a broad cross section and inclusive

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LINDA ARROZ - Writer Linda Arroz is a writer based in California. The first plus sized spokesmodel to get a contract with a major brand, Spiegel Catalog, Arroz’ career spans the evolution of her skill sets.

During her three years with Spiegel, she learned how to tell stories, discovered the story behind the story, the art and craft of the pitch, and how to produce and style a TV segment.

Co-author of “Affordable Couture,” published in 2012, Arroz’ experience includes working as an apparel firm marketing director, magazine editor, fashion stylist, and TV personality, producing hundreds of morning television makeovers. Her portfolio of work has always been a voice of inclusivity. Her consulting firm, Makeover Media, continues to advise clients on a range of issues and opportunities. Arroz is currently working a memoir of her years working on the assembly line at General Motors.

GABRIELLE SMITH - Writer Gabrielle Smith is a freelance journalist and creative copywriter. The London College of Fashion alumna has written widely about fashion and culture, with her work published in numerous magazines such as; Harper’s Bazaar UK, House of Solo Magazine, French Fries Magazine, Overdue Magazine etc.

ANNEYSA GAILLE - Writer Anneysa Gaille is a poet, educator, and journalist based in New York City. In 2018 her chapbook, No Such Thing As, was published by the Center for the Study of Gender and Sexuality at the University of Chicago.

She is currently an adjunct lecturer in the English Department of Brooklyn College. Gaille also serves as the poetry and visual arts editor for the Brooklyn Review.

JAMIE VALENTINO - Writer Colombian-born writer, Jamie Valentino is the Editor-at-large of POP Style TV, and his column Sexpert is published biweekly in PROVOKR. You can read his essays and interviews in Google Arts & Culture, W42ST Magazine, LUXE Magazine, The Queer Review, Vulkan Magazine, and more.

RHETT BUTLER - Writer Rhett Butler is a print and broadcast journalist from New York City. His work has appeared in TIME Magazine, Money Magazine, UFC Magazine, JET Magazine, Heavy.com, The Shadow League, and more. He is also a Boxing Writer’s Association of America Member, Play-By-Play Commentator, and Combat Sports Insider.

HELEN WILKEY - Assistant to Senior Fashion Editor Helen Wilkey spent her first two years out of The University of Chicago working in talent, most recently at Paradigm Talent Agency. Ready to explore realms beyond her desk, Helen looked to fashion for hands-on production experience. She is now assisting on shoots in and around New York City.

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table of contents 266

242

Mark Seidenfeld

Personal Feature

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Personal Feature

Mark Williamson Film in Noir

190

Yves Kortum

326

Miss Aniela

160

Steven Lyon

124

Mark Arbeit

Personal Feature

Jacky Wruck

Exclusive Interview

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Antoine Verglas

Exclusive Interview

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Helmut Newton Homage & 100th Birthday celebration

152

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George Holz

Exclusive Interview

Gero Von Boehm

Exclusive Interview

304

Gianluca Fontana

Personal Feature

286

Freddy Koh

Personal Feature 9

Helmut Newton homage & 100th Birthday celebration

This page and on Front Cover: Alice Springs, Helmut Newton, Monte Carlo 1987, Š Alice Springs courtesy Helmut Newton Foundation and Center of Contemporary Art, Torun

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Helmut Newton, Tied Up Torso, Ramatuelle 1980, © Helmut Newton Estate courtesy Helmut Newton Foundation and Center of Contemporary Art, Torun

Those images are part of the exhibition “I Like Strong Women”, at the Center of Contemporary Art, Torum/Poland. On view through 28 March 2021

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Helmut Newton, Elle, Paris, 1969, © Helmut Newton Estate The following images (page 15 - 29) have been part of the outdoor exhibition “HELMUT NEWTON. ONE HUNDRED” which took place between October 30th - November 16th, 2020, celebrating the 100th birthday of Helmut Newton.

Location: Köpenicker Straße 70, Berlin-Kreuzberg

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Jerry Hall, American Vogue, Paris, 1974, © Helmut Newton Estate <- on left page: Helmut Newton, Human and Dummy III, Paris 1976 - © Helmut Newton Estate

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This page and on Back Cover: Helmut Newton, Rue Aubriot, French Vogue, Paris 1975, © Helmut Newton Estate courtesy Helmut Newton Foundation and Center of Contemporary Art, Torun

Helmut Newton, Woman examining Man, Calvin Klein, American Vogue, St. Tropez 1975, Š Helmut Newton Estate courtesy Helmut Newton Foundation

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Helmut Newton, German Vogue, Berlin, 1979, Š Helmut Newton EstateÂ

Helmut Newton, Reichstag, Berlin 1987, Š Helmut Newton Estate

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Helmut Newton, Amica, Milan, 1982, Š Helmut Newton Estate

Helmut Newton, Untitled (Chicken), French Vogue, Paris 1994, Š Helmut Newton Estate

Helmut Newton, Claudia Schiffer, Vanity Fair, Menton 1992, Š Helmut Newton Estate

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Helmut Newton, Madonna, Vanity Fair, 1990, Š Helmut Newton Estate

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Helmut Newton, Monica Bellucci, Monte Carlo 2001, Š Helmut Newton Estate

Helmut Newton, Mario Valentino, Monte Carlo 1998, Š Helmut Newton Estate

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Helmut Newton, Bergstrom over Paris, 1976, Š Helmut Newton Estate courtesy Helmut Newton Foundation and Center of Contemporary Art, Torun

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Helmut Newton, Elsa Peretti, New York 1975, Š Helmut Newton Estate courtesy Helmut Newton Foundation and Center of Contemporary Art, Torun

Helmut Newton, Catherine Deneuve, Esquire, Paris 1975, Š Helmut Newton Estate

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Between 9 October 2020 and 10 October 2021, the exhibition "America 1970s/80s", featuring works by Helmut Newton, Sheila Metzner, Evelyn Hofer and Joel Meyerowitz is on view at the Helmut Newton Foundation

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Helmut Newton, Stern, Los Angeles 1980, Š Helmut Newton Estate

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Taken from the current exhibition “America 1970s/80s”

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Helmut Newton, Elizabeth Taylor, Los Angeles 1985, Š Helmut Newton Estate

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Taken from the current exhibition “America 1970s/80s”

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Helmut Newton, Oui Magazine, Las Vegas 1975, Š Helmut Newton Estate

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Poster from the “America 1970s/80s” exhibition, on view between October 9, 2020 and October 10th, 2021 at the Helmut Newton Foundation -> on the right page: Helmut Newton, Sigourney Weaver, Los Angeles 1983, © Helmut Newton Estate

Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski

Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski

Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski

Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski

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Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski

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Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski

Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski

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Installation view of the exhibition “HELMUT NEWTON. ONE HUNDRED”, Berlin 2020, photo by Dinter/Koczorowski

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MATTHIAS HARDER

M

atthias Harder has been the curator of the Helmut Newton Foundation in Berlin since 2004 and also the Foundation’s director since 2019. The Newton exhibitions Us and Them; Sex and Landscapes; Helmut Newton’s Private Property; A Gun for Hire; Yellow Press; Playboy Projections; Men, War and Peace; WANTED; Fired; Sumo; Polaroids; White Women / Sleepless Nights / Big Nudes; World without Men / Archives de Nuit; Paris Berlin; Unseen; Pages from the Glossies, and Permanent Loan Collection as well as Alice Springs; Veruschka’s Self-Portraits; Pigozzi and the Paparazzi; Three Boys from Pasadena; Greg Gorman; Frank Horvat; Guy Bourdin; Saul Leiter; David Lynch; Inez & Vinoodh; Vanessa Beecroft; Cindy Sherman, and Mario Testino have been presented over the course of his engagement.

He also has been teaching photography and photo history at the Free University of Berlin since 2002. Prior to his current position at the Helmut Newton Foundation, he was the director of the Kunstverein (non-for-profit art organization) in Glueckstadt, near Hamburg, for two years and a guest curator at the Photomuseum Munich for three years, where he curated the retrospective shows of German pho-

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tographers Herbert List and Stefan Moses, among other projects.

As a freelance curator, he has organized numerous exhibitions of contemporary art and photography around the world since 1995, among others in museums and other institutions in New York, Montreal, Tokyo, Hong Kong, Tel Aviv, Kiev, Triest, Omaha, Paris, Helsinki, Stockholm, Budapest, Venice, Genova, and Rome.

He also has served as an advisor and a jury member for numerous competitions. Dr Harder is a member of the German Society of Photography and a board member of the Berlin Photography Festival and the European Month of Photography in Berlin. He publishes regularly in respected international magazines, such as Art in America, Eikon, Aperture, Foam, and Photonews. He has written numerous articles for books and exhibition catalogues as well as he has edited or co-edited monographic books on Herbert List, Stefan Moses, Nelly, Max Scheler, Willy Ronis, Dirk Reinartz, Luzia Simons, Moritz Partenheimer, Vera Mercer, Stephan Erfurt, and Viktoria Binschtok in collaboration with publishers like Distanz, Taschen, Hatje Cantz, Schirmer/Mosel, Prestel, Dumont, Kehrer, Kerber, Reimer, Hirmer, Sieveking, Monacelli, and Seuil.

Matthias Harder at the Helmut Newton Foundation in the group show „Body Performance“ in front of a Vanessa Beecroft photograph, photo David von Becker

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Matthias Harder M AT T H I A S H A R D E R EXCLUSIVE I N T E RV I E W B Y L I N D A A R RO Z

Helmut Newton…his wife,

Helmut Newton Foun-

who became president of the

June, a.k.a. Alice Springs.

dation along with your

foundation after Helmut’s

Never has there been a more

role and responsibilities.

sudden death in Los Angeles

dynamic duo, a true marriage

In addition to the many

– but for the last few years, I

and a meeting of the minds.

requests for use of the

have been responsible for it

For 16 years, their body of

Newton’s images, what is

alone.

work has been archived in the

one of the most surprising

Helmut Newton Foundation

things you’ve encountered

In 2019, I was appointed di-

in Berlin. Newton, the original

during your tenure?

cultural provocateur, carefully crafted every image. Springs was a powerhouse in her own right. Sheer skill, combined with clever concepts, created careers that have yet to be surpassed in the world of photography. FADDY speaks with Dr. Matthias Harder, Director and Curator of the Helmut Newton Foundation, to provide some perspective on these iconic images and the work of the foundation.

The Helmut Newton Foundation preserves the photographic legacy of Newton and his wife June, who created an independent work under the name Alice Springs; it is a fantastic institution, unique in the world, housed in a historic building with fairly large exhibition rooms. I joined the Foundation after meeting with Helmut Newton in Berlin.

He offered me the opportu-

As guardian of the ar-

foundation, which was in the

chives of such a public

process of being established

figure, could you describe

at the end of 2003. Initially,

how you came to the

I worked directly with June,

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I’ll continue to be the foundation’s curator.

nity to become curator of his

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rector of the foundation, but

Since 2004, we have been organizing a wide variety of photography exhibitions, sometimes solo shows by Helmut Newton or Alice Springs, where a certain aspect of Newton’s work is the thematic starting point.

In “Body Performance,” for example, it was his series of photographs from the Ballet de Monte Carlo, which have never before been shown in an exhibition. Currently, we’re showing “America 1970s/80s,” a show with four photographers who stand next to each

Harder Matthias other in a quasi-monographic

look sad.” And June said,

during his long career in a

manner. Those years the US

“‘When you look at your

now forgotten magazine - and

became a land of longing not

pictures, you cannot deny

which are now to be rediscov-

only for Helmut Newton.

your past.’ “

ered. Recent exhibitions at

The pictures by Evelyn Hofer,

Helmut Newton’s oeuvre is

the Foundation have traveled

Sheila Metzner, Joel Meyerow-

vast and well known. How

itz, and Helmut Newton from

does the HNF consider the

the 1970s and 80s give us a

work in terms of future

glimpse into a cool, progres-

exhibitions, in order to

sive, and liberal America.

showcase how his work evolved?

In 2001, Helmut Newton’s

to New York, Houston, Seoul, London, Stockholm, Venice, Milan, Rome, Paris, Amsterdam, and Budapest. Such exhibitions of his still inspiring oeuvre attract a large audience everywhere, of all generations.

wife, June, a.k.a. Alice

It’s true that Newton’s work

Springs, curated an exhi-

is vast and complex, with

bition, Helmut Newton:

numerous icons that appear

Work, at the Barbican in

again and again in various

London. Newton was ad-

exhibitions and publications.

amant that the show was

Yet Newton’s pictorial world

not a retrospective. Ac-

still seems challenging and

cording to The Guardian,

timeless today, even 17 years

he said, “That’s something

after his death. Curating a

you do when you’re dead.

relatively well-known work like

I think that’s depressing.

Newton’s always involves a

I can’t think of anything

kind of re-contextualization,

more boring than walking

a new approach and per-

into an exhibition and

spective on the work, as well

seeing the same old shit!

as tracking down motifs that

Without evolution, things

the photographer published

His body of work shows a sense of humor as well as a desire to provoke. Is there any one particular image that you feel could tell us everything we need to know about Helmut?

I think “Self Portrait with Wife and Models” shows quite well how humorously and subtly Newton worked - and how surprising it is when you know

Matthias Harder 58

the story behind it, because

and from the front – meaning

he remains in the background

most of his photographs are

the photographer must have

– and yet is the reason for

very cleverly constructed, with

been behind her. What is

this shot. The raincoat is the

complex content references.

special about this extraordi-

actual main subject of the

The picture was taken in Par-

nary and ambivalent image

picture, but it is marginalized

is, after he had published his

is the integrated portrait of

in the visual composition. The

third book, “White Women,”

June Newton, who is sitting

composition also unites the

which was as legendary as it

on a director’s chair next to

three main genres in New-

was provocative - and was at

the mirror and observing the

ton’s work: fashion, nudes,

a first high point in his career.

situation like a fashion editor,

and portraits. The model in

This iconic image is a fashion

with an air of professionalism

the image is Sylvia Gobbel,

shot produced for the Italian

and curiosity. The exit of the

who around the same time

men’s Vogue.

ground-floor studio of Paris

also posed nude for New-

In 1981, Newton was asked

Vogue is visible behind her.

ton’s famous diptych They’re

to photograph raincoats for

In fact, June had stopped

Coming, as well as several

an editorial – and promptly

by to pick up her husband

recruited himself as a mod-

for lunch and was unaware

el. There he is, standing in a

that she was in the picture.

room with his twin-lens reflex

The photograph staggers

summer house.

camera, wearing a Burberry

the figures in a way that is

In 1981, Helmut Newton

trench coat – next to a nude

interesting both formally

started working on his leg-

female model, photographing

and in terms of content: the

endary Naked and Dressed

both himself and the mod-

photographer is the smallest

series for the Italian and

el through a large mirror.

figure in the picture, almost

French Vogue. For this series,

We see the naked woman

dwarfed next to the permis-

models took a pose or made

doubled, so to speak, in the

sively posing naked woman

a movement twice: both

left half of the picture – si-

beside him. Looking down

dressed and undressed. The

multaneously from behind

into his camera’s viewfinder,

resulting images were pub-

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times when he worked in Ramatuelle near Saint Tropez, where the Newton’s owned a

Harder Matthias lished as diptychs in the fash-

images show the intimate life

of diptychs: one portrait is by

ion magazine. Self-Portrait

and love story of Helmut and

Helmut, the other by June.

with Wife and Models stems

June Newton. We see them

In the immediate juxtaposi-

from the same basic visual

in Paris and in Ramatuelle in

tion, the completely different

concept but was realized as a

the south of France, in New

staging idea becomes appar-

single work.

York and Los Angeles, we see

ent; it is as if we are looking at

them naked in the shower or

two different people in front

in the garden of their sum-

of us when we look at the

mer house, in a hotel room

pairs of pictures of Charlotte

just before a dinner party, in

Rampling or David Hockney,

the lobby of an airport or in

of Hannah Schygulla or Rudi

hospitals before or after an

Gernreich. The joint project

operation. More navel-gazing,

“Us and Them” by Helmut and

more visual participation in a

June is in this respect instruc-

private life is hardly possible.

tive and eye-opening, daring

This approach amounts to an

and convincing. It still touches

anticipation of the Instagram

us and our visitors today. And

revelations of today’s stars.

that is why I plan to present

In addition to these interest-

some of these pictures in the

“Us and Them” was published in 1999. The photos turn the reader into the voyeur, offering up glimpses of their private moments. The success and longevity of their relationship and collaboration is evident in the trust these images reveal. Looking at this collection of photographs 20 years later, what do you want us to understand about them and of the couple themselves?

ing, revealing self-portraits and mutual portraits of Helmut and June Newton in the “Us” section, within the

2022 redesigned permanent exhibition “Helmut Newton’s Private Property” on the ground floor of the museum.

project we also look into the faces of numerous celebri-

This book, and the accom-

ties, i.e. “Them”, which are

panying exhibition, opened

presented in the book and

our museum in 2004. The

in the exhibition in the form

In our current world of Photoshop and filters that instantly alter an image, 59

Matthias Harder Newton is known to have

technician.

and tear the other one up.

never adjusted his images.

Newton usually came to the

We can see that control over

The resulting photos are what he saw in the lens and as such, in spite of

the pervasive themes of

suggestiveness, there’s a

candor to them. What can

you tell us about Newton’s approach?

set well prepared, with a concrete and precise image idea, which he only had to realize

there with the model. Some-

times Polaroids, as preparatory sketches so to speak, were

helpful at the beginning of the shoot to check composition and constellation of figures. In

Helmut Newton’s work is exclusively analogue. We have all contact sheets and the corresponding negative strips, slides and Polaroids in our Foundation archives, only

60

addition, there are of course also some spontaneously created images in his work, not unlike street photography, some of which can also

the print quality, whether it

is a photographic print or a

reproduction in a publication,

was rather important to New-

ton. But this refers to the end of the production process; in the beginning there was very often a note of an observation of his immediate envi-

ronment, written down in one of his countless small notebooks, and the subsequent or much later implementation in a commissioned photograph.

be counted among his iconic

a fraction has been lost over

images.

Newton’s landscapes

the years - or in the case of

In a documentary video film,

fascinate us, particularly

Polaroids, given away or sold.

we watch the Newton couple

since they aren’t as large

During his lifetime there were

sitting in front of two almost

a part of his work and as

no relevant image processing

identical large-format nudes

such, not as widely known.

tools that Newton would have

in a Parisian photo lab and

There’s a broodiness to the

used. In fact, we see what he

discussing at length the

series of images featured

saw in front of his camera

depiction of the leg muscles

in “Sex and Landscapes,”

lens printed, and he relied on

of the model. Finally, they

lending a feeling of loneli-

the skill of a few selected lab

decide on one of the prints

ness to the series. In par-

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Harder Matthias ticular, “Leaving Las Ve-

free works and, taken togeth-

Of course, numerous iconic

gas,” and “Helmut Newton

er, are another piece in the

Newton images from his oth-

Landing France,” come to

mosaic for understanding his

er two main genres, portrait

mind. With his keen eye he

incomparable visual language

and nude, will not be missing.

was able to capture fleet-

and world view.

These will be supplemented

ing scenes that many of us miss as we go about our

daily lives. What do these types of photographs tell us about Helmut?

by Polaroids and contact

The Helmut Newton Foundation was established 18 years ago, just before he died. What are some upcoming projects in the

Here another side of Newton

works? Is there work we

is revealed, his interest in the

haven’t seen?

offside, mysterious and dark.

Street scenes from Prague, Vienna and Moscow under melancholic dark clouds (as part of “Helmut Newton for Press Freedom”, a catalog for “Reporters Without Borders”) or deserted nature pictures in Vienna or interiors from run-down factories in Milan (in: “Helmut Newton. Archives de Nuit”). These photographs from the 1980s and 1990s had no commission, they are

sheets, providing insight into

Newton’s final image choices for magazine editorials, couturiers and advertisers, thus expanding his well-known body of work. This will be a very special exhibition. I’ve developed a full calendar of interesting exhibitions and

Yes, there are a lot of pictures

programs for the coming

that most people have not

years. A visit to the Helmut

seen. I’m currently looking

Newton Foundation is always

through this material in our

worthwhile.

archives. For example, the early publications and thousands of contact sheets and slides. In our next retrospective, opening in the fall 2021, I’ll focus on Newton’s fashion photography since the 1960s, using many previously unknown or forgotten images.

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NADINE DINTER

S

ince 2009, Nadine Dinter has been working as the press officer of the Helmut Newton Foundation. Based on her profound admiration for Helmut Newton and his work, she considers this role one of the greatest honors there is. “As long as I can remember, I have been a huge admirer of Newton’s work. His distinctive visual language, his innovative and sometimes outrageous ideas, and the ability to always be ahead of the zeitgeist made him an icon of classic

Frank Horvat, Thomas Kretschmann, Christopher Makos, Sheila Metzner, Erwin Olaf, Vincent Peters, Jean Pigozzi, Platon, Sebastião Salgado, Lawrence Schiller, Alice Springs, Mario Testino, Albert Watson, and Ellen von Unwerth.

photography. Even today, many photographers are inspired by Newton’s work and imitate his style. But nothing beats Newton.”

this path at the German Academy for Public Relations (DAPR), then moved to the US in 2001, where she studied arts administration at New York University.

Parallel to this she laid the foundation for her German-American arts and culture network, working at the renowned gallery White Columns and managing public relations and procurement for the camera club PPA – Pictorial Photographers of America.

With her own Berlin-based agency for media relations, PR consulting, and art administration, Nadine works across a variety of sectors in the fields of contemporary art, lifestyle, and art & commerce, with a primary focus on photography. Over the last 15 years, Nadine Dinter PR has supported many cultural institutions in Germany and abroad, including museums, galleries, foundations, festivals, and private collections.

The agency nurtures a national and international network thanks to longstanding work with high-profile clients such as the Helmut Newton Foundation, Galerie Bene Taschen, St. Moritz Art Masters, the Mark Shaw Archives, the Richard Avedon Foundation and artists working in photography and beyond, such as Roger Ballen, Till Brönner, David Drebin, Larry Fink, Katja Flint, Greg Gorman, René Groebli, F.C. Gundlach, Olaf Heine, Marc Hom,

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Nadine Dinter’s career had a classic start: after training as a certified foreign language correspondent, she worked for several years in marketing for the pharmaceutical company Schering in Berlin. She continued along

Back in Berlin in 2003, she found her footing in the city’s dynamic, booming art gallery scene. One of her first stations was a PR project initiated by C/O Berlin for the company Canon; she then served as director of Galerie Asperger and later as art manager for Alexander Ochs Galleries Berlin|Beijing. In 2006, Nadine drew on these multifaceted experiences to go into business for herself. Since then, her agency Nadine Dinter PR upholds her mission to “consult, communicate, connect” with a commitment to: ENGAGEMENT, INDIVIDUALITY, FLEXIBILITY, EFFICIENCY, REALITY PRODUCTION.

photo by Steven Kohlstock

In addition to supporting a distinguished client base, Nadine Dinter also channels her passion and expertise in independent projects.

In fall 2018, she curated the exhibition “Corpus Delicti” at The Ballery, an independent art space in Berlin.

With works by Sonia Szóstak, Steven Kohlstock, and Simon Lohmeyer it sparked wide interest and

media coverage as a photographic discourse on the ambivalence of body representations in social media and its wider impacts today.

Since September 2019, Nadine Dinter has also engaged photography fans and practitioners alike as a guest columnist at the prominent photography website, L’Oeil de la Photographie. Her interviews

with figures from the international photography scene are published monthly under the title “What’s new?” In October 2020, the pr consultant was nominated as a new member of the German Photographic Society (DGPH – Deutsche Gesellschaft für Photographie).

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Lobby view inside the Helmut Newton Foundation, Berlin - photo by Stefan MĂźller

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Installation shot, exhibition, Helmut Newton. Sumoâ&#x20AC;&#x153;, Helmut Newton Foundation Berlin, 2019, photo Gerhard Kassner

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Installation shot, exhibition, America 1970/80sâ&#x20AC;&#x153;, Helmut Newton Foundation Berlin, 2020, photo Gerhard Kassner

Installation shot, exhibition, Helmut Newton. Sumoâ&#x20AC;&#x153;, Helmut Newton Foundation Berlin, 2019, photo Gerhard Kassner

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Installation shot, permanent display, Helmut Newton’s Private Property“, Helmut Newton Foundation Berlin, photo Stefan Müller

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Installation shot, permanent display, Helmut Newton’s Private Property“, Helmut Newton Foundation Berlin, photo Stefan Müller

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Installation shot, exhibition, America 1970/80s“, Helmut Newton Foundation Berlin, 2020, photo Gerhard Kassner

Don’t miss the upcoming retrospective “HELMUT NEWTON. LEGACY”, which will open on October 31st, 2021 and run through May 15th, 2022

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George Holz

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George Holz ”Souvenir from Berlin” Photo by June Newton ©2009

Rebecca Romjin Pink Motel Burbank ©1999 George Holz

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GEORGE HOLZ GEORGE HOLZ EXCLUSIVE I N T E RV I E W

BY ANNEYSA GAILLE

In a 1996 interview,

shot in Los Angeles or Berlin

intimately—you don’t have to

Helmut Newton says, “My

or Paris or anywhere around

go to the four corners of the

camera is a way of show-

the world—were really a re-

world, to “exotic” locations to

ing the world my kind of

flection of his upbringing and

make great pictures. Often,

universe, the world how I

point of view. Helmut would

the best things are right

would like it to be or how

often shoot very close to his

under your nose, in your own

I think it is. But it isn’t like

home. He went back to Berlin

home or backyard. I think that

that at all, of course.” Do

and did many pictures there

his pictures showed that.

you agree with this sen-

that were a reflection of his

timent? Is following this

childhood and upbringing in

ethos in photography an

pre-Nazi Germany. Of course,

act of capturing or ma-

he left, but I think he always

nipulation? Do you think

had a soft spot for the Ger-

those categories are even

many he remembered; and

apt ways of describing it?

I think his very statuesque, very powerful women were a

I do think that the camera was a kind of mirror into his life. He definitely had a point of view—a very strong point of view. To me, all his pictures—whether they were 78

F A D DY Mag

lot like those early very heroic pictures. He always would go back to familiar themes like that. He often would say that your most interesting pictures are going to be in your backyard because you know it

Helmut showed with his camera almost like a writer would with words. In a way they were like documentary pictures, but they were fantasy documentary pictures—more so than some of his contemporaries, though not necessarily those working in the same vein. For example, Guy Bourdin and Chris von Wangenheim also made amazing pictures, but

Madonna Hollywood Š1983 George Holz

79

GEORGE HOLZ Helmut’s pictures were deep-

this as being a part of his

all loved Helmut—there was

er because they were a bit

autobiographical impulses

never a bad word said about

autobiographical—when you

towards fantasy documen-

him by a model.

look at their pictures you can’t

tary pictures?

tell as much about the person as when you look at Helmut’s

I often think that Helmut

rector who would get what

would say things for a little

he wanted. So—in his own

bit of shock value. But I’m

words—that was how he

Speaking of the person-

not saying he didn’t manipu-

manipulated the models to

al… In the documentary

late—he did describe him-

perhaps be in these fantasy

Helmut by June, Helmut

self as being a manipulator.

worlds. But everything was

Newton rather controver-

However, being on his shoots

done with respect and maybe

sially described female

and knowing the models and

a little bit of humor. Every-

models as commodities,

how he treated models and

body he shot—from models

whom he directed to make

editors, I never really saw

to actresses—all knew they

his compositions without

that. Of course, there may

were working with a master.

really caring who they

be people who would say

There are obviously people

were on a more personal

what I’m saying is not correct.

who could not pull that off,

level—just like how some-

But the models and muses

but there was just something

one would manipulate

that I saw and know were

about Helmut’s aura and

copper or wood to make

only treated with the utmost

presence that made people

a product. Do you see

respect by Helmut and they

feel like they were living with

work.

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I think he was a strong di-

F A D DY Mag

Linea Italiana Madonna Inn St Luis Obispo California ©George Holz 1981

81

GEORGE HOLZ greatness and they went

do you approach the act of

portrait of a celebrity, you

along with it.

externalizing your internal

obviously have the subject

gaze to create an image

themselves, usually coming in

that is distinctly your own

with a large entourage—un-

while simultaneously tap-

less they’re quite young and

ping into that which may

in the infancy of their careers.

be unseen or has yet to be

This entourage consists of

amplified in your subject

people like their publicist

to make the image one

and manager and all sorts of

that also captures some-

other people. So, it can be

thing that is distinctly

very hard to get intimate with

them? Because this bal-

a subject in short period of

ance is something that I do

time and really get your thing

see in your work.

across. Though, obviously, the

Interesting. I also think

that the word “manipu-

late” can trigger a lot of negative connotations

very quickly without people really thinking about the different valences of the word.

It’s a word that needs to be

person usually knows your

put in the context of the times, though it is certainly a word that has taken on a bit of a harsher context in the last number of years.

Obviously, words have a lot of strength. And I don’t think that I manipulate the subject myself as much as I manipulate my camera and techniques and lighting. But by any sense of the word, when you are directing someone, you are manipulating them to

I think it’s always a little bit of a compromise. You also have to break that down into whether it’s a consigned assignment like when you’re working for a magazine or a movie studio or record company, versus if it’s something that you’re just doing for yourself. Are you speaking generally?

Sure, but also your nudes

F A D DY Mag

conduct research by looking at magazines or maybe some Xeroxes that were sent over.

But, if you have their trust and confidence, they know that you’re going to try to make them look good.

You also obviously always assignment required if they were paying you, but I always had in the back of my mind what I wanted to do. That

When you are taking a

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internet when you’d have to

have to do the things that the

and other bodies of work.

portrait of someone, how

than in the days before the

about celebrity portraiture,

do what you want to do; so, in some ways we all do that.

work—which is easier now

Okay, well, first of all for a

was always kind of driving the

Amy Hood in Apple Tree Camp Holz Woodland Valley ©2017 George Holz

83

george holz train anyways. So, once I felt

wouldn’t get bored. I tried to

the hell! Where did they go??

like I had what they wanted, I

make it an exciting adventure

But it was great to do all that

would try to dig a lot deeper

for them as well.

because we could both be

and bring something out of

that person that was uniquely them and uniquely my vision of them. I also would usually not do a lot of research on

people because I purposefully didn’t want to see too many

a bit freer. I wasn’t trying to

What’s an example of a

technique you would use to facilitate this oscilla-

tion, to keep things exciting in a shoot?

pictures of how they looked.

84

trick them or trip them up—I was just wanting to keep it interesting, not just, Okay, well, you’re here to do this, so we’re going to do that, and then you can go. I wanted to push it to the second they

There was a certain naivety

Just moving very quickly from

were walking out the door

of working with somebody

one set to the next. You

and getting in their car, like

and just thinking, Ah! This

know, not stopping to show

Oh, just one more shot! or

would be cool, that would

them polaroids or show them

Let’s try this, let’s try that. You

be cool. I mean, I did have

the screen—just trying to do

know, keeping that positive

ideas and concepts, but a lot

everything in camera. For

energy up so that they felt like

of times I would put those

example, if it was more of a

you weren’t just there doing

by the wayside when I saw

structured portrait in a studio,

your job—you were really

something else that excited

I’d do that; but then also do

trying to create something

me. And I don’t shoot a lot.

things more like a fly on the

that was cool. And then just

I would often have to shoot

wall, building a repertoire of

talking to them like a person.

quickly, which is something

everything going on behind

You don’t always have a lot

that I sort of learned from

the scenes. I’d often do this

of time to do that, but some-

Helmut. But it’s not the kind

just by going to a little corner

times you do. I’ve had any-

of thing where I would just

and lighting it or walking out

where from three to five min-

shoot, shoot, shoot! I would

to the parking lot or down an

utes all the way to two days

try to think more about what

alley and getting the subject

to photograph someone. So,

I’m doing and move quickly

away from their entourage so

it really stretches the gamut.

so that my subjects wouldn’t

that I could get a little bit of

Also, photographing people

get bored. I’d always try to

personal freedom with them

more than once helps: a year

oscillate, to keep them off

to do things. Sometimes, we’d

later they might request you

balance so that there was not

take a ride somewhere. And

for something else, and when

too much comfort and they

everyone would be like, What

you go back four or five times,

F A D DY Mag

Angelina Jolie on Sink New York 1998

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GEORGE HOLZ there’s a certain familiarity

Helmut was definitely inter-

Andie MacDowell, whom I’ve

with each other that is quite

ested in a certain class of

photographed ever since she

nice.

people that he was photo-

was a model, to Jerry Hall.

graphing. But that changed

For sure. Over the years,

you’ve become known for photographing famous— or almost famous—subjects, like Joan Jett and

Angelina Jolie. This brings to mind another Newton

quote. While describing his fashion photography later on in the aforementioned interview, he says that “it is a social statement” because “it shows the kind of world a certain class of

he did photograph fantasies from his boyhood as well

as very wealthy, decadent

people. Decadent is the word

I would use because it doesn’t necessarily have to mean a

certain class. You could photograph a housekeeper and have it be a very decadent

picture as well as a famous movie star. But jumping ahead to my work, I think it

So, I just think that it was so diverse that it would be hard to pigeonhole and say, Yes, it was a document of a certain class of people. Obviously, some of them were very well known and well off, whereas some just had one hit wonders. So, that kind of ran the gamut as well. Maybe a commonality is the consistent presence of differences?

definitely runs the gamut over the thirty years of people I’ve

I just tried to create what

photographed. Just looking

was in my eyes a portrait of

back, I think that the people

them, though sometimes that

What drew you to pho-

are very diverse. I mean, you

would be dictated by a client

tographing the class of

look at a rock and roller like

as well. I don’t know. That’s a

subjects featured in your

Joan Jett, versus someone like

really tough question because

book, Holz Hollywood:

Angelina Jolie who might also

it was just such a wide gamut

Thirty Years of Portraits?

be kind of rock and roll, espe-

of people over that thirty-year

Do your see the portraits

cially during that period when

period of time. Like very early

compiled in that book as

I photographed her. Then you

in the eighties with some of

being a social statement?

can look from Jack Nicholson

those pictures of Madonna,

What has—or has not—

to Anthony Quinn, who was in

that was just someone who

changed in regard to your

his nineties. And then some

we were walking down the

perception of Hollywood

people who were just won-

street with after picking out

over the course of that

derful and very simple in their

her clothes—no one knew

timespan?

beauty and down to earth like

whom she was. But if I pho-

women live in.”

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from time to time because

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Anna on Balcony Hotel Bogota Berlin Š2009 George Holz

87

george holz tographed her five years ago,

that, your point of view

times in the studio at 400

then obviously she would be

definitely makes sense.

Lafayette and the people who

a very different person than

So, would you say that

came through there, which

she was in 1983.The same

this change is at least

was just a wonderful time in

can be said about the early

somewhat a product of

New York that is totally gone.

pictures of Brad Pitt. It was

mass media and culture?

It’s all gentrified. Right now,

just us fishing with his dog

Of other’s people’s images

it’s obviously very different

and his parents hanging out.

projected onto them?

because of the times we’re

Photographing him after

Once Upon a Time in Holly-

wood would be a very different experience because we

would both be very different

people. My eye has changed.

While looking back at sessions that were taken thirty

years ago, I selected different images than I did back then because my eye became refined, it changed. Also, my perception of some of the people had changed over the years—maybe some of them went on to be huge stars, maybe some of them didn’t, and some people like Brittany Murphy are no longer with us. It’s hard to put them into any category. Maybe you see it differently as an outside viewer, but for me it was very diverse.

living in due to the pandemic,

Yeah, I think that you can’t

say that you’re not affected like that. From a historical

perspective, some of Angelina Jolie’s pictures were taken

when she was a bit of a wild child, but now she’s a mother

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F A D DY Mag

3,500 square feet and pay $1,500 a month and be in the middle of everything—that was great, and you thought it would last forever. That was it.

and involved with all of these charitable causes. So, that

So, though that part of me

was a portrait of her in that

is still there, and it is nice to

period, and that was a por-

look back, I look at things

trait of me in that period, too:

very differently now that I

like her, I’ve changed. I was a

live in the country and am a

product of all the sex, drugs,

father. I’m also always look-

and rock and roll back in the

ing forward because I’m still

seventies and eighties. It was

shooting, still working. That

a wonderful time to be in New

same energy is still there,

York and to be in Italy, though

even with the surroundings

you didn’t realize when you

we are forced in right now

were in the middle of it—you

with the pandemic, which has

never do. You’re like, Ugh!

of course shaped things in a

Will anyone ever remember

very weird way from day to

the fashion of the eighties?

day.

It’s terrible! when you’re in it.

When you explain it like

but still. You know, to have

But then I think back to those

Bode in Airstream Camp Holz Woodland Valley ©2016 George Holz

89

GEORGE HOLZ Another thing that makes me

It’s very interesting. When

it was a monthly like Vanity

look at things differently is

was the last time you

Fair, you would shoot months

when a picture becomes his-

took a portrait of an actor

in advance. But now Jay-Z can

torical. For example, the pic-

or musician who could

shoot Beyoncé on their yacht,

tures I took of Trump and Me-

actually be considered as

and that becomes a series. It’s

lania. They’re just sitting there

being at the start of their

much more about shooting

in Trump Tower; she’s just

career? Have you found

things with the iPhone and

sitting in his lap. They’re some

that your own success

Instagram. The pictures are

really bizarre photos taken

has perhaps hindered

out instantaneously—there’s

the first time he thought

your ability to access such

not that waiting period. There

about running for president.

moments if only due to

was a certain element of trust

At the time I never thought he

the high demand for your

before because you would

was going to be president. So,

work and the well-estab-

shoot things with film, and

those pictures have become

lished clients you attract

that film was in your posses-

very historical and are looked

nowadays?

sion. It wasn’t something that

at very differently now than when I took them. When I go back and look at them again, I just think, These are crazy pictures from a crazy time, you know? But who’s to say the next person I photograph twenty years from now won’t be like that? I think the wonderful thing about having done this for a while is that though you never think that in your lifetime your pictures will be historical, once you start getting twenty, thirty years away, those pictures are historical. Some become more iconic or whatever, but that’s just nature. It’s interesting.

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F A D DY Mag

could be leaked out and disTo sidetrack this on a little bit of a tangent, I think that social media and definitely the internet as well as the instant gratification aspects of

seminated around the world very quickly, which affected not only you, but also your subjects and fanbase—your fanbase, their fanbase.

the business that accompanies those developments has

But to get back to your origi-

really affected how people

nal question, I photographed

interact with each other in

Jessie J for a record company

the arts. It used to be that

job. We did really interesting

you’d shoot somebody, and it

photographs, and she had

would be shot on film. Then,

that huge hit album and was

you’d wait three days and get

followed around by the pa-

that back; then you’d edit,

parazzi. So, that’s one person

send that back, and have it

who really sticks in my mind

come back in maybe a week

and wasn’t photographed

if it was a weekly publication

too long ago. But I can’t really

like Entertainment Weekly. If

think of anyone else. Maybe

Brad Pitt, A River runs through it Montana Š1991 George Holz

george holz by the end of the interview

been continuing to work

ferent levels, and sometimes

something will come to mind!

together. It’s so cool to see

through a backdoor as well.

something you’ve done like

Actually, someone else I’ve worked with is Melissa Auf der Maur, the bass player

from Smashing Pumpkins.

She was in a lot of great

bands, and I’ve worked with

her recently. She’s somebody who I thought was of that

level of Courtney. But people change. They have kids or buy a huge place Upstate

for the arts. And for me, it’s as interesting as being in a different band. So, it’s not

“Glitter” become a cult thing again. So, a lot of that stuff has a second life. Just this

past year, “Glitter” was even bigger than when it came

out. And you read about how it was released on 9/11 and was doomed, but her fans

pushed this; and when she

comes into the limelight, your pictures do, too. So, a lot of

times these things have a second life that’s bigger than the first life, which is kind of cool.

your initial encounter with Helmut Newton and his first ride in your 1969 Dodge Dart when you had to open the trunk using a fork and prop up his seat with a milk crate has arguably become the stuff of legend. To borrow a phrase from Audre Lorde, if you were asked to write what she called an mythobiography, what moments would you include? When

always about that “stardom.”

I mean, Beyoncé is someone

Then of course there’s people

would it start? Have you

I photographed not that long

I’ve shot in my personal work.

ever thought about the

ago who was big, obviously,

For example, I was in Berlin

process of self-mythologi-

but not as big as she is now,

photographing this won-

zation or even the mythol-

which I knew would happen.

derful model named Maria,

ogies surrounding super-

She was very humble—it

and I just thought, She’s just

stars you may have helped

was just her mom and glam

too amazing. Then a couple

shape with your iconic

squad. So, that’s somebody

months later, I saw her with

portraits?

more recent.

Willem Dafoe at the Berlin Film Festival. I knew she

There are also people I’ve worked with over the course of many years as they grow into their stardom. I’ve worked with Mariah Carey for years, and we have 92

Speaking of amazing,

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was way too cool to just be someone I was introduced to through Instagram. So, sometimes I see these things, and I’m just like, Wow, they’re so amazing. It happens on all dif-

Mythobiography? What’s the definition? Sorry I’ve never heard that before, but it’s a great term!

Joaquin Phoenix New York ©1996 George Holz

GEORGE HOLZ No worries! It is a really

moments that could have

very hard to get where he

great term from Audre

happened around birth all

was. My mother was a public

Lorde’s book, Zami: A New

the way to the present that

health nurse. I had three sis-

Spelling of My Name. My

shape who you are in a kind

ters; so, I was always around

explanation is going to

of roundabout way?

women, and I always felt very

give neither the term nor the book justice, but to

really boil it down, I’d say

that in Zami: A New Spell-

comfortable around my older

Yes, that’s definitely one way of putting it!

ing of My Name, Lorde

shaped me photographing women. I had a camera from a very young age and was

is concerned with both

Wow! That’s intense. Well, I

always fascinated by pho-

horizontal and vertical

think that you never choose

tography. I think at a certain

relations. This leads her to

who your parents are. I grew

point—maybe when I was

construct an idiosyncratic

up in Oak Ridge, Tennessee—

nine or ten—I started disap-

mythos anchored in the

that’s where I was born. Its

pearing from family pictures

influences of the women

fame was that it’s where the

because I was always taking

she feels in her blood and

Manhattan Project devel-

the family pictures, even just

meets throughout her

oped the atomic bomb. So,

with a Brownie or Instamatic.

life; then she uses this as

my father was a scientist in

Then I got into photography

a frame through which to

Oak Ridge who had escaped

clubs and took classes about

better understand ways of

Nazi Germany to come to

it in high school. My sister

living a legible life. So, ba-

the United States when he

bought me my first serious

sically, I’m just really curi-

was around the same age

camera when she was in the

ous about the mythologies

as Helmut. They are almost

Navy over in Guam. Eventu-

people use to understand

exactly the same age, actually,

ally, I started photographing

their lives, the trajectories

separated only by a year; they

my girlfriends and thought,

of their lives. You know,

were basically born around

This is really cool. Around

when does it start? What

the same time. So, they had a

the same time, I discovered

forces shaped you as a

very similar life pattern.

Helmut Newton, Guy Bourdin,

person? How would you describe those forces?

and David Bailey and realized My father came when he was thirteen, so he had to take life

Okay, so you’re talking about life-shaping or defining 94

sisters. Maybe that somehow

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by the bootstraps and work

people could make a living with photography—even though I didn’t think I would at the time.

Brittany, Homeland Security, Woodland Valley 2016 George Holz Š2020

george holz I also did a lot of travelling

when I was younger: I spent a year in Israel and backpacked through Europe. Then, I

realized I loved the work of people like Micha-Bar-Am,

who was an Israeli documentary photographer. So, I was

really into that, but I was also into photographing portraits and women. Eventually, I

came back to Tennessee

and went to the University of Tennessee for a few years.

I was also into the sports, but realized that I wanted to really study photography. I had a cousin who had gone

because I wanted to emulate

money was flowing; there

him and loved his direction. I

were huge daily rates; pho-

mean, we learned how to do

tography was king; magazines

everything in school—pho-

were king; and you thought

tographing buildings, archi-

that would never end. Then

tecture, food, and products.

I segued into celebrities with

It was like bootcamp for

people like Madonna and

photography; it was very

Brad Pitt; so, my fashion pho-

technical. But then seeing

tography gave way to doing

Helmut and what he did

more portraits and enter-

and being able to follow him

tainment-related work. At the

around was very seminal.

same time in the mid-eighties,

Him recommending me going

I started pursuing more of the

to Europe, that was another

fine art work with nudes, hav-

moment that really shaped

ing gallery shows and group

my career—it let me get into

shows and one-man shows

Condé Nast. But I still stayed

in great galleries all over the

in contact with home all the

world—Vienna, Budapest, Los

time.

Angeles, New York.

After coming back to New

Around then, I met my won-

York and having that studio

derful wife, Jennifer. We’ve

from the early eighties to the

been married since ’94. We

nineties, I started off doing a

had a son in ’96 and bought

lot of fashion and advertising.

a house Upstate. Originally,

I got an agent in New York

the house was just a place to

and worked with a lot of great

escape on the weekends. But

art directors like John C. Jay,

eventually, after 9/11, it be-

—just a lot of really wonder-

came more of a fulltime place

ful, influential people who

though I still traveled quite a

were really at the top of their

lot for work to New York City,

careers even though maybe

Los Angeles, and Europe. I

they didn’t know. It was a time

also continued doing that fine

of opulence and decadence:

art work. That was a quick

to the Art Center College of Design out in California, and I thought, Well, I could either go there or the Rochester Institute of Technology. Then I looked at the weather and lifestyles in those places and decided that I was going to go to California!

Eventually, through chance and some friends I met Helmut. This was obviously a very life shaping moment 96

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Dora with Rifle Nashville ©2013 George Holz

GEORGE HOLZ Cliff Notes version, and it’s all

much more uptight. When I

like Helmut but worked in a

mythos! But there’s always

think about my son’s life and

very different direction in the

more when you think back.

how much he’s up against…

fine art part of photography.

I mean, I suppose we were

In exploring things like that in

always up against things, they

friendships, they all become

were just different.

important.

accident with a bicycle spoke.

You always hear about people

To continue exploring this

So, I was right-handed but

saying, Well, this was the day

thematic concern with

then became left-handed

that changed my life. But

friendships, would you say

because of that. And then I

of course, there’s probably

that Helmut Newton’s in-

was kind of left-eyed, and it

many of those days and

fatuation with Americana

became very easy to wind

there’s a path; in those bullet

is a part of what helped

my camera because I didn’t

points, there are always other

you get along? Do you love

have a thumb right there!

things that shaped you, like

Americana? How does the

That’s mythos, and I think it all

perhaps a teacher you had. I

history of your hometown,

shapes you from a very early

remember my photography

Oak Ridge, in Tennessee

age. You also need to think

teacher in high school, James

being established as a

about how it all shapes your

Watson. Seeing that first print

production site for the

kid, everything, every day.

come up in the developing

Manhattan Project shape

tray was lifechanging for me;

or complicate your view

seeing that print develop and

of Americana? How would

just thinking, Wow, that’s so

you even begin to define

cool! A life shaping moment

the concept of Americana?

For example, I lost my thumb when I was very young—like two and a half—in a freak

There are a lot of outside moments that influence what becomes a part of the mythos as well. The eighties were very carefree. You know, there were things like AIDs around, but we didn’t have pandemics or national security concerns.

It was a very different time.

I think things are definitely 98

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could even just be when you meet a friend. I met Kim Weston, the grandson of Edward Weston, and we became very good friends. Just seeing that whole legacy of another Great was really amazing—his grandfather was someone

Well, I grew up in Tennessee and was born in the mid-tolate fifties. So, of course in the fifties and sixties I saw: some of my older sisters who were hippies and their

Heather Graham Alexandria Hotel Los Angeles Š1999 George Holz

george holz hippy friends; all the crazy

maybe when he saw my car,

ily discussed your work

parties; Elvis; and all the great

he thought, this is kind of

photographing famous or

rock and roll bands of that

cool, you know. I definite-

almost-famous subjects,

time. But my town, I think, is

ly liked country music and

I am also very interested

the largest per capita place

Western movies. I thought it

in your newer work pri-

anywhere in the world for

was fun to show him great

marily consisting of nudes

the highest concentration

a great place to get burg-

taken at your farm, which

of PhDs—right in the heart

ers or play rock and roll or

will soon culminate in

of Appalachia! So, it was

country music driving down

a book, The Camp Holz:

not maybe the most typical

Sunset Boulevard. So, maybe

Guestbook. What caused

town. But I remember when

he saw us as being typical

you to shift your gaze from

integration started and have

American dudes whom he

Hollywood to your farm?

lots of memories of that time

wanted to hang out with, but

How do you decide whom

growing up in the South. And

I don’t really know. I never

to photograph for these

I was definitely surrounded by

asked about it. We were all

photoshoots? Do you see

things that were Americana. I

very funny and personable

this change in subject

remember my father buying a

and goofy in our own way, so

matter as being related to

Pontiac Grand Prix, this huge,

maybe he saw a bit of himself

the previously discussed

powerful car that was like a

in that or just liked that none

impulse to use your cam-

houseboat. Sometimes I felt

of us were pretentious in any

era as a means by which

a little embarrassed driving

way or came from that kind

to capture and share your

it, you know, because some

of background. Maybe he

personal world?

of my friends’ parents had a

liked that we weren’t some

Volvo or something, whereas

suave European assistants, or

this was a huge muscle car

whatever.

before muscle cars were cool.

But I definitely did think it was

cial work though production has obviously slowed down.

The three boys from

The pandemic has made it

Pasadena! That being

harder to travel and just pick

said, I would like to shift

up and go to L.A. for a day. It’s

I don’t know if when Helmut

our focus more so to the

a nightmare—the pandemic

first met me that he knew

present, because though

and quarantine. I can still go

that much about me. I think

thus far we have primar-

to the City and do things and

kind of cool.

100

Yeah! I’m still doing commer-

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Jada Pinkett Smith Los Angeles ©1997 George Holz

GEORGE HOLZ have been able to do some

there was so much natural

So, I don’t always have a pre-

shoots that are in a bubble

beauty. It was easy but famil-

conceived direction of what

up here because I can work

iar for me to photograph, and

I’m doing. If I find someone

with local people. But getting

I love shooting. So, it wasn’t

who is interesting, I want to

back to your question, I’ve

like I just wanted to wait

photograph them. Sometimes

been shooting these pictures

until I was back in the City or

it’s easier; sometimes it’s

since I first moved up here;

Los Angeles or Paris to do a

harder. I go through phases

it’s been a long time. I guess it

shoot. I wanted to be shoot-

when I don’t do a lot; I go

was just that in the beginning,

ing here. So, I just thought

through phases when I do

this was more of a weekend

that this would be my canvas.

a lot and I’m really inspired.

place. So, since I was spending more time in the City, I

would be importing subjects up here or people would come by and visit. But then it really started picking up, and I started working not only with people who would come up and visit or subjects whom I was interested in, but also people from the local area— local artists, dancers, models, just subjects. The subjects really have run the gamut.

A lot of them are friends or friends of them.

I think these days it’s really

It’s always changing as well, but not just because of my subjects—it changes every

day because of the light. Year after year, I just grow with it.

After a while, I was like Hmm… there is a really large body of work involved in this! So, it kind of segued into a series even though it didn’t start off as being one. It’s like Holz Hollywood: Thirty Years of Portraits—I just kept shooting and shooting, and at some point, I just had to tell myself to stop and finish it! You

To return to the idea that

know, because you’re always

things are really amazing just

like, I want to do this person!

in your backyard, it started

And this person!

off as something I liked to do when I was here because 102

F A D DY Mag

important that you work on your own work and aren’t shooting for Instagram. I know it seems possibly trite to say that, but so many people shoot just because they want to get stuff out there on social media. And that stuff is obviously super censored. It’s just become too bizarre for me. I don’t want to put down the medium, because for me it is an interesting way to communicate with that world, but it’s difficult because there is that censorship which has become even worse recently. In other words, it has its merits, but it’s important that you do also have a book or shows—though that has got-

Kadijah In Shwowe Chelsea Hotel New York ©2002 George Holz

george holz ten harder now since every-

that have since became super

that when I get young interns

thing is on hold with galleries

valuable, limited edition

or assistants and, well, obvi-

and publishing companies. It’s

collector’s items. It took on a

ously most of them know who

tough, wading through all of

whole new life.

Helmut Newton is, but they

those waters. I think you just have to stay true to yourself,

your vision and your gaze and sort it out later.

usually don’t know who Guy

So, a book to me is a kind

of forever. Holz Hollywood:

Thirty Years of Portraits is in the Library of Congress and

Have you found that see-

the printing quality is archi-

ing your photographs in

val. It will be something that

a book dedicated entirely

someone’s kids, grandkids,

to them is a significantly

or great-grandkids is going

different experience than

to find on a dusty shelf a

seeing them in a magazine

hundred or two-hundred

or framed on a wall? If so,

years from now. Additionally,

how and why?

a book is something that is

Definitely. It’s interesting for me because even when I did the book, it seemed like it was never finished—even up to the last second. But a book is around forever. Even though that particular publisher went bankrupt and all of the Holz Hollywood: Thirty Years of Portraits books in storage were destroyed because he didn’t pay his bills, I still had a number of copies myself 104

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Bourdin or Chris von Wangenheim are—they just know who the Instagram stars are.

And I go, You got to do your homework! If you’re interested in fashion and photography, there are so many great people out there beyond the Instagram stars who were shooting back in the eighties or seventies.

a real anchor point in some-

In other words, I think a book

one’s life and career for a

is a milestone and anchor

certain kind of work. And

point in someone’s career

though there may be re-

that helps define how they

vised editions, it’s something

are going to be remembered.

people are going to look back

I mean, obviously there’s gal-

on and it will influence how

leries and stuff. But that’s not

someone is remembered.

as tangible. You can’t have a

You know, Irving Penn or even

gallery show on your book-

Helmut Newton, most young-

shelf. And books are beauti-

er people who aren’t yet

ful: the writing, the design, the

familiar with them may see

shapes, it’s everything in them

their books in bookstores and

that makes them beautiful.

then become familiar with their work. I’m always amazed

Aly Dunn Palm Beach ©1990 George Holz

GEORGE HOLZ Yes! I am so happy to hear

work solely with digital except

I have certain catalogs of,

you talk about books like

for rare cases when there’s

say, my most iconic images

that because I’m a huge

an assignment that someone

for galleries and. PDFs for

book and book arts lover.

wants you to shoot with film

presentations and for books,

or polaroids. It has been that

of course. So, I do have stuff

way for many years. I can’t

in folders in case someone

remember the last time I did

needs something because

an assignment on film. But

it’s easier to find. But there’s

I do my personal work on

many, many shoots where the

both digital and film. I have

entire shoot is on there but

all my film cameras still—I

maybe we’ve only selected

didn’t get rid of anything! And,

a few things, especially with

sure, digital media is easier

digital shoots. So, it really is a

to store, just because stuff is

big task going through those

on a hard drive. I mean, I still

and just keeping everything

have a lot of stuff on CDs, but

backed up and organized

that’s all being transferred

because hard drives go bad.

to hard drives. You can also

You could also lose hard

store stuff in the Cloud. But

drives in a fire. You can lose

it’s just all a little precarious

magazines, negatives, contact

when you think about it—ev-

sheets in a fire, too. So, you

erything is in this little box

really need to have like one of

that can break or go corrupt.

those Hollywood, Fort Knox

So, you need to just have

vaults. But even those have

multiple and multiple backups

fires. Or things get stolen. I

of things.

also just really don’t trust a lot

Yeah, I used to love going to Strand and looking around.

I have so many books now

that I’ve run out of room! But I am going through a huge

organizing stage. A part of the storage issue is that so much

stuff is analog, which takes up a lot more room than a hard drive. So, the biggest problem for me is archival storage because you have to worry about temperature and mice and everything—especially out in the country—to really secure things carefully. But it’s also really nice having it all under one roof and hopefully being able to find things!

of cyber security with images

Do you find yourself working more with digital media now because it’s easier to store?

Have you worked on creating a digital catalogue of

out there on the Cloud—high res, especially.

your analog photos?

Yes, archival work is very

Well, commercially I have to 106

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difficult—regardless of

Inge jumping Antwerp

107

george holz whether it’s paper or

zine is probably really valu-

and June. Those are all very

digital. I’ve spoken with

able right now. It pays to be

dear to me. Otherwise, I have

librarians doing archival

a packrat and hoarder when

just kept pretty good records

work at the Regenstein

it comes to photos, writing,

from shoots: there’s pola-

Library in Chicago, and

memorabilia, ephemera, and

roids from location shoots or

they’ve said that a lot of

anything relating to what you

just personal polaroids with

the archival problems

do. I’ve saved everything, and

people on shoots. I have a

they are facing now are

when we’ve had shows at the

signed polaroid from when I

related to the degradation

Helmut Newton Foundation,

shot Steven Spielberg around

of digital media files that

having pieces of notes from

the time of Schindler’s List.

are more vulnerable than

the Beverly Hills Hotel that I

My mother always loved his

paper files. So, they have

just wadded up in my pock-

movies, and she has that

to work with digital me-

ets and then didn’t throw

polaroid on her mantel piece.

dia files much faster than

away have come in handy.

She’s one hundred now!

paper files to try and stay

It’s important. But I have lost

ahead of the bit rot. This

stuff that I really have no idea

often means they have to

where it went.

That’s so wonderful!

make hard decisions about what to keep and what to let deteriorate in some cases.

Are there any pieces of memorabilia you’ve collected over the years that are particularly dear to

Interesting. Yeah, I just never

you?

throw away anything. I have a huge file of old tear sheets and whole magazines and newspapers I’ve saved. I’m glad I did even though they may take up a lot of room. It’s really cool to have the FHM with Melania on the outside.

You know, the whole maga108

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Yes, so just little things like that are really dear. There’s a lot of them. Every time I go through a film session, I’ll find some polaroids that I forgot I had. I think that polaroids are wonderful memorabilia be-

Well, some of the stuff from

cause they’re originals. I also

working with Helmut: like I

have coasters from bars at lo-

said, notes from the Beverly

cations I shot at and bumper

Hills Hotel and books that he

stickers on my camera cases.

would sign when we’d bring in

I have this one old camera

one of his books. Also, post-

case that I just can’t throw

cards and letters from him

away because it’s covered

Kimbra jumping, Camp Holz 2016 George Holz Š2020

109

GEORGE HOLZ with stickers from that period

amazing portraits. In recent

needed to do that for their

in my life. They become kind

years people have started to

art because it freed their

of like collectible things.

become more familiar with

minds. Similarly, I think there

her work. She was a force

are people who believe they

of nature—she still is! I saw

have to put their work first

her not too long ago; she’s a

to be successful. But there

wonderful woman. So, I just

are definitely many artists

have to preface that though

who have had very successful

photography was really, very

careers and still had relation-

important to Helmut and his

ships in their life that were

pictures were very important

very important—if not more

to him, June was really a very

important— than their work.

So, to follow this thread of what you value and

hold dear, I have another

question based off of June Newton’s documentary,

Helmut by June, in which she divulges that while

proposing Helmut told her, “photography will always be my first love, and you will be my second.” Do you think it is necessary for artists to love their craft more than anything? How

integral part of his life and his work—she really was and continues to be a huge force in his life and his legacy. It would be interesting to hear what she would say, as well.

do you feel about it?

Wow, that’s a very interesting comment. I mean, I could definitely see that, but I know that she was his confidant and art director and critic.

you know? Maybe they fed off that in some kind of weird symbiotic relationship

Yes, I’d love to hear that!

relationship and the artist’s

But what about what you

work—like people who like to

think about this question?

have a fight and then make

Do you think that artists

up and make love. Or maybe

need to love their work

you need to be really distract-

more than anything else?

ed by or angry at that person to bring out certain things in

concepts; she came up with

Back in the seventies and

a lot of concepts. They were

eighties, there were definitely

a real team, those two, even

artists and people who would

though she did have her own

get involved with substance

career and took a lot of really

abuse and thought that they

F A D DY Mag

tionships were tumultuous,

between the conflicts in the

He came to her with his

110

Maybe some of those rela-

your work. I mean, you look at people like Patti Smith and Robert Mapplethorpe and you can see how people go through different periods and have relationships that shape

Woman Garden of Agave Tequila Mexico ©1996 George Holz

george holz their art. The period when I

their work who’s not going to

people I’ve always wanted to

was doing the animal bone

be jealous and isn’t going to

photograph but haven’t been

series was shortly after my

hold them back. My wife has

able to, like Barack Obama

father had died. So, I saw that

always been very supportive

and Meryl Streep. But I don’t

as a way of dealing with death

of me and whatever I wanted

know if those are the people

and mortality: bones and

to shoot. She’s never been

whom I would want to use

skeletons juxtaposed with the

the jealous type or anything

that one roll on. Selfishly, I’d

human form was my way of

like that. And I think that’s re-

say maybe a great self-por-

dealing with that.

ally important, that you have

trait. I don’t think I’ve ever

that kind of relationship both

taken a self-portrait that’s a

ways. But there definitely are

defining portrait. So, perhaps

artists that thrive on conflict

that would be what it would

and can’t work unless they

take. I don’t know. But I do

have that. Sorry, I don’t really

think a scenario like that

know if that answered your

would force you to do some-

question!

thing really self-introspective.

to each other, and that was a

It was a lovely answer—

For sure—why not turn

very strong common denom-

thank you for your per-

the camera inward for

inator through his work. I

spective on that!

once?

But Helmut and June’s re-

lationship was such a long relationship. I’m sure it wasn’t always a bed of roses; I’m sure they had their twists and turns like anybody would.

But they always came back

think that they were loyal to each other in that way. Like I said, there’s twists and turns.

I think some artists need conflict to thrive; others need the nesting effects of a relationship to thrive. But I think the most important thing for an artist is that—whether it’s the

My final question is admittedly a bit absurd, but if there was one roll of film left in the world and it was yours, what and/or whom would you want to photograph?

husband, wife, boyfriend, girl-

112

friend, or partner—they have

Wow! Let’s see. That’s a really

someone who lets them do

tough question. There are

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Rebelkah Underhill in Sugar Maple Š2020 George Holz

Rhona with deer Antelrs New York ©1986 George Holz

Simone with Turkey Hunting Mask, Camp Holz 1992 George Holz Š2020

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Shelbie Dimond Cabin 11 Woodland Valley ©2018 George Holz

Tenley opening Day Camp Holz ©2010 George Holz

Zoe thrown under the Trailer Camp Holz Woodland Valley ©George Holz 2019

119

Tenley with Peaches Woodland Valley ©2010 George Holz

June Newton, Cafe Einstein Berlin ŠGeorge Holz 2009

Mark Arbeit

126

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1982 Mark,Helmut & Just Photobooth Milan

127

MARK ARBEIT MARK ARBEIT EXCLUSIVE I N T E RV I E W B Y J A M I E VA L E N T I N O

American photographer Mark

Cosmopolitan, Figaro Ma-

of Fashion, portraits, beauty,

Arbeit started his career work-

dame, Vanity Fair, InStyle, Peo-

and nudes.

ing at a boutique in Beverly

ple, Forbes, Harper’s Bazaar.

Hills, simultaneously studying photography at the Arts Center College of Design. When fashion and portrait icon, Helmut Newton, visited his

workplace, Arbeit pursued this as an opportunity to direct himself for greatness.

You actually worked as

As Faddy Magazine’s cele-

Helmut Newton’s assis-

brates Newton’s 100th anni-

tant. How did this happen?

versary, Arbeit takes us back to his first encounters with Newton, and the prolific visual journey that followed.

I was working for a boutique in Beverly Hills on Rodeo drive called Lina Lee. Lina mentioned Helmut New-

As far as influences and mentors go, Helmut Newton will remain one of the most remembered and controversial photographers of this century.

Working as his assistant first

Can you give us an idea of

ton would be stopping by

Faddy Magazine’s upcom-

the next day. With a friend

ing special January issue

George Holz, we arrived at

dedicated to photographer

the boutique early and waited

Helmut Newton? What can

almost to the end of the day

we expect to see?

when Helmut finally walked in. We told him we were

for an editorial published in Stern Magazine, this would

A story of one of the most

only be the first of several

influential and prolific photog-

impressive collaborations. It’s

raphers of the 20th century.

no wonder why today Arbeit’s

The magazine will curate a

portfolio reads like a list of

selection of Helmut Newton’s

the powerhouses in fashion,

greatest images in the fields

including Vogue, Marie Claire, 128

F A D DY Mag

photo students at Art Center College of Design and showed him our work. He invited us to come over to the Beverly Hills Hotel. After looking at our work, he asked if we’d like to go location hunting

ARBEIT MARK with him for an upcoming

creative photographers, some

revealing from the subject.

editorial photoshoot with

called him the ‘King of Kink.’ I

Attempt to be original. I once

Stern magazine. We spent a

was once told (by June New-

photographed Carol Bouquet

week driving up and down the

ton) that Irving Penn called

and had never seen her smile

California coast, looking for

Helmut a ‘magician’ because

in a picture, so it was my goal

locations. We were invited to

he could convince his subject

to see her differently.

help out on the shoot, and in

to do anything.

As a fashion photographer,

the weeks, months to come, we began assisting him on shoots in LA for Vogue, GQ. Later in Milan, Rome, Venice for advertising and editorial

I love working on location What three words do you feel encapsulate his photography style?

and exhibitions. Whenever

and telling a story, a still in a movie. I love when the clothes work together with the location; Once shooting in Thailand, the clothes that season

in the same city we always

Graphic, storytelling, strong

met for lunch, dinner or an

had an Asian influence, so it

woman.

looked natural in the envi-

exhibition.

ronment. I like to make my Helmut Newton said: “My

For someone unfamiliar

job as a portrait photogra-

with Helmut Newton, how

pher is to seduce, amuse

would you describe him?

and entertain.” What do you consider your role as a

One of the kindest, coolest

photographer?

people I’ve ever known. When

pictures timeless and classic.

Once shooting an editorial with fashion designer Christian Lacroix, I was asked to do both a portrait of Christian and a fashion story of his designs. I worked in a Parisian artist atelier, asking Christian

it came to work, one of the

As a portrait photographer to

to play the part of Tou-

most serious, perfectionist,

capture something real and

louse-Lautrec, painting the 129

MARK ARBEIT models wearing his designs.

Do you have a favorite celebrity portrait from your portfolio?

It was exciting flying to China

it’s a different story. You’re

beers we drank). Out of it, I

looking for something more

started a series, ‘In and Out-

specific in a model to show

of-Focus,’ A flower in the fore-

colors of make-up: Space

ground sharp in Focus, with a

above the eyes, lip shape,

nude in the background out

nose. Beauty is more sculp-

of focus playing against the

tural.”

shape of the bloom. George

to photograph actress Gong Li for French Marie Claire.

I photographed her in and around Beijing and the Forbidden City. I was able to combine a historic location with Portrait, beauty, and fashion.

From living in Hawaii to Milan, how has traveled influenced your photography?

“Growing up in Hawaii influenced the type of woman I choose for my fashion photography; exotic, multicultural, dark hair (mostly). For beauty, 130

F A D DY Mag

Holz was working on a series In Paris, you and a few ambitious photographer friends from the Art Center formed a group called ‘The Cauldron.’ Can you tell us more about this and the purpose?

of bones with nudes. The still-life boys, James Wojcik, Peter Bosch, Bob Butler, were creating incredible original work. We fed off each other, pushed each other. I missed many meetings in Paris, but when I was in New York, they always made time to meet.”

“It was actually on my trips to New York that it happened.

Our idea was to create something original that wasn’t related to anything we were shooting for magazines or advertisements. We all grew from our meetings and positive criticism (and all the

From Vogue to Vanity Fair, you’ve worked for almost every dream publication of any fashion photographer.

How would you describe your approach to storytelling for an editorial?

ARBEIT MARK “I think magazines like how I

they help him live out his

accomplish and like what I’m

use a location and incorpo-

fantasy as a storyteller in his

doing as an artist.”

rate the model/fashion into

photographs.

that setting. Helmut taught

me that one lesson was ‘never forget why you’re there,

to show the clothes.’ I think magazines also appreciate my lighting and quality. I also learned from Helmut how to sculpt a model, working from toe to head, sculpting the model to exactly what you want. If you work with an experienced model, it makes everything so much easier.”

Besides portraits, what

In the exhibition at the

is your favorite subject

Helmut Newton Foundation

matter?

in 2019, I showed for the first time a series of Torsos, where the arms, legs, and head are covered with black velvet, only exposing the Torso. I was worried (with comments by friends) that these might be considered politically incorrect. But as I was printing the pictures for the show at a lab in LA, working with a young

Newton didn’t believe in

woman, I put that question

being politically correct.

to her. “Do you think I am dis-

Do you agree/do you think

respecting the woman in my

photography can ever be

photographs,” she said that

politically incorrect?

she felt it was a celebration

“My work (You can view a part of these on my website under the heading ‘Art Projects’) pictures exhibited in galleries in the US and Europe. These are personal pictures shot for me; Artist atelier series, In and Out-of-Focus series, Polaroid Construction, Photograms, Torso, and Hawaiian; Portraits and landscapes of Hawaii.”

of the female nude. Yes, I use “I think Newton is misunderstood. He loves woman, and

the artist model as an object, but I explain what I want to 131

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June,Helmut & Mark - Venice

Gero von Boehm

Gero VON BOEHM

GERO VON BOEHM EXCLUSIVE I N T E RV I E W B Y J A M I E VA L E N T I N O

It’s unlikely to think about

way many can argue Playboy

Helmut Newton’s most capti-

Helmut Newton without it

did, albeit with considerably

vating work. He doesn’t deny

being linked to photography,

more style and engaging

the photographer’s critics but

Vogue, or industry scandal,

storytelling. He empowered

confirms Newton’s genius and

at least, the appearance of

the women in his portraits

reveals the person.

it. The German-Australian

and that passion translates

photographer immortalized

into the many female voices

himself through his iconic,

featured in Boehm’s film look-

provocative black and white

ing back on the artist, even

imagery, mostly portraits of

that of Susan Sontag accusing

powerful, often nude, women.

Newton of being a misogynist, or model Sylvia Auermann

Marking what would have been Newton’s hundredth

birthday, filmmaker Gero von

speaking on the strength and liberation she felt modeling

with Helmut Newton, what do you hope would be the biggest takeaway from your documentary Helmut Newton – The Bad and the Beautiful?

during his shoots.

Boehm released the critically acclaimed documentary

Boehm accessed Newton

Helmut Newton – The Bad

through the eyes of his wife

and the Beautiful. It’s a timely

actress June Browne and her

coincidence for a film about

personal footage, and those

a man who rarely thought

within his inner circle, while

about death. Newton lived

simultaneously featuring

vigorously and unabashedly

selected work chosen from

and took that same approach

hundreds of thousands of

to accomplish an unforgetta-

photographs provided by the

ble career in fashion photog-

Helmut Newton Foundation.

raphy.

154

For a viewer unfamiliar

“We can learn from him how important courage or even provocation are in the arts. And he showed us how strong women are, strong and open-minded - much more so than men. But I think the story of his life is extremely touching and interesting. A Jewish boy from Berlin who suffered under the Nazis then fled Germany went on an odyssey to Asia

For Faddy Magazine’s special

and Australia, and finally re-

Helmut Newton celebrated

January issue dedicated to the

turned to Europe, starting an

the female body in the same

icon, Boehm shares some of

incredible career in fashion

F A D DY Mag

gero VON BOEHM photography. And he loved to

ion photography. One has to

“Again: His courage to pro-

come back to his hometown,

see the photographs, espe-

voke, his view on women

Berlin. Considering what he

cially the nudes in the times,

(totally new at the time), his

lived through when he was

Of the late 60s and early 70s.

celebration of female beauty.”

young, this is a very generous

The sexual revolution had

gesture.”

just happened, but the naked body was no longer taboo,

Where did the catalyst

to create a documentary about Helmut Newton

originate from? Why now?

and also everybody was wait-

ing for a revolution in fashion photography. There were

in creating a film about someone who spent his whole life behind the lens?

marvelous pictures by Rich-

ard Avedon and Irving Penn,

“First of all, Helmut would

“Photographers don’t like to

real icons, but they were

have been 100 years old last

be photographed or filmed;

beauty and loveliness icons.

October, certainly an op-

they want total control over

And what was needed was

portunity to look back at the

the picture. And June wasn’t

not only loveliness but what

life and work of one of the

amused in the first place

Anna Wintour calls stoppers

greatest photographers of

because Helmut was her

in the magazine, something

the 20th century. And then

Helmut, she had been filming

about the world at large to

I think it is the right time

him during shootings, but in

the culture, and something

because the period we live in

the end, I got his approval

provocative. And there was

is becoming more and more

and her full confidence. June

Helmut who was a provoca-

politically correct and prudish.

let me use all the material she

teur anyway, sometimes an

There is a tendency towards

had shot with Helmut. A real

anarchist, and he revolution-

control and censorship of

difficulty was the vastness

ized fashion photography by

taste and the freedom of ex-

of his work. I had to choose

his way to show women.”

from hundreds of thousands

pression; the freedom of art is in danger. I think it’s good to look back when Helmut Newton had total freedom and could revolutionize fash156

Were there difficulties

F A D DY Mag

of photographs in his esWhat do you consider the three most exciting facts about Helmut Newton?

tate at the Helmut Newton Foundation in Berlin. In the very beginning, I established close and exclusive coopera-

VON BOEHM gero tion with the Foundation and

that.”

June provided access to

its curator, and that helped a

Beyond his work, the

her private photographs

lot. I had total freedom in my selection and could include

the most meaningful pictures from each film period. And I

had access to notebooks, to contact sheets, to objects.”

If Newton was a working photographer now, do

you think he would create differently?

documentary dives vividly into his relationship with

actress June Browne. What made you decide this route?

prudish and often politically

overly correct times than the

Seventies and Eighties. Many

of Newton’s pictures wouldn’t appear in magazines today.

And some feminists would

rather like to lock them away, just like other works of art.

But it is a dangerous tendency. Freedom of Art, Freedom of expression is something very precious. Censorship is a characteristic of dictatorship.

In this case, it’s about dictating taste. We should oppose

the scenes, most probably never before publicly seen.

A documentary is intrusive, sometimes emotionally difficult, by nature.

Was this a blind trust

“Helmut met June in Australia.

because of your past with

Later she became a photog-

Newton, or did she have

rapher in her right, working

any special requests to

under the name Alice Springs.

showcase or off limits?

In his 2003 autobiography,

he wrote that “It was a totally

“Today, we live in rather

with Newton and behind

different affair from any I’d had with any other girl. All the other girls were only

about fucking. With her, there was another dimension.”

“No, there were no restrictions at all. Helmut and I had become friends, and June was really an important part of that friendship.”

Their marriage lasted until

his death, and June played a

significant role for Helmut. As

Anna Wintour says in the film, she was a girlfriend, wife, and a mother for him. She gave

You’ve said Helmut Newton’s photos often inspired your fantasies. Can you describe examples?

him the structure he needed, and she curated his books

“I’m not going to talk about

and exhibitions. But most

my fantasies. But what I

of all, there was deep, deep

meant when I said that was:

love between them.”

Look at his pictures. They are 157

THE BAD AND THE BEAUTIFUL - GERO VON BOEHM TESTIMONIAL Movie Clips

MONTE CARLO

HANNA SCHYGULLA (ACtress)

NADJA AUERMANN (MODEL)

GRACE JONES (SINGER)

marianne faithfull (SINGER)

CHARLOTTE RAMPLING (ACTRESS)

ISABELLA ROSSELLINI (ACTRESS)

CLAUDIA SCHIFFER (MODEL) 158

F A D DY Mag

VON BOEHM gero very cinematic. They often

photographers and other

Helmut Newton’s career

look like scenes from a movie.

artists. They should have the

and personal life, but

He tells us the beginning of

courage to provoke. I miss

you’ve released it during a

the end of a story, and it is

that in our times. It is a ques-

pandemic. I’m sure there

up to us to imagine what

tion of freedom. And without

are not enough words to

happened or what is going

freedom, no interesting art.”

describe the experience,

to happen. That’s great. No other photographer does that, especially in fashion

photography. By the way,

this was one reason to make the documentary for the big screen. Most of his pictures

are actually made for the big screen - that’s where they have an amazing effect.”

By your own words, he

was a “provocateur, even

sometimes an anarchist,” how would you envision

the evolution of his work

and subject matter today

now that creating shock is difficult in such a sexually liberalized culture?

“As I said before, it would be difficult for him to do what he did. But my documentary is also meant to speak to young

After spending so much

but what were the most challenging obstacles?

time in his shoes and

learning about the icon,

“We would have celebrated

has your perception of

our world premiere at the

the human side of him

Tribeca Film Festival in New

changed? Was there any

York in April. Of course, the

discovery that absolutely

festival was canceled. In

surprised you?

the summer, the film was in

“I found out that he had kept his boyish, sometimes child-

ish attitude. He was so playful and so positive and open to

the world. He followed Henri Matisse’s advice, who once

said: „Never lose the ability to see the world through a child’s eyes. We all should

cinemas worldwide only for a short time - because of the pandemic. Then it was shown on streaming platforms, very successful. But as I said, the film was made for the big screen. When the situation is better, there will be special screenings, and that consoles me a little bit.”

keep that side in us.”

This film is not only groundbreaking because of the insight it shed’s into 159

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Yves Kortum featuring Jacky Wruck

Photographer Yves Kortum @yveskortum Model Jacky Wruck (winner GNTM 2020 by Heidi Klum @jackywruck Make-Up/hair Nina Grässer @ninag_makeup Styling Diana Gasteier Modelagency Oneeins Fab @oneeins.fab Historical Cars Alain Schneider @alainschneider5

Jacky Wruck JACKY WRUCK

As Winner Of Germany’s Next Top Model

EXCLUSIVE I N T E RV I E W

BY RHET T BUTLER

When Jacky Wruck entered

Talk about the amazing in-

Before modeling, you

season 15 of Germany’s Next

ternational travel you did

worked as a veterinary

Top Model as a replacement,

to Costa Rica, Los Angeles,

assistant at your parents’

her chances at victory seemed

and New York. Had you

veterinary practice. Was

slim.

already traveled interna-

that the backup plan of

After all, her opposition had a

tionally for gigs or was

modeling didn’t pan out

this your first experience?

this way?

head start to develop allianc-

es, snuggle in and get focused.

Still, the 22-year old model

Also, what was it like for you?

shone through, never losing a

challenge and skating past the

backup plan with animals.

It was the first time that i trav-

Maybe to become a vet or

eled internationally to Costa

to become a physiotherapist

Not bad for your average gor-

Rica, LA and New York and it

and osteopath for animals.

geous veterinary assistant.

was such an amazing part of

This is still my backup plan,

this time. Seeing all this plac-

but now I will work in front of

es is something very special.

the camera and and I will see

competition to victory.

What was it like being a

what happens in the future.

contestant on Germany’s Next Topmodel? You came

You were able to be SAFE

in as a replacement, was

for all 17 episodes, ulti-

What was it like learning

it harder to win coming in

mately winning the 2020

from Heidi Klum up close

relatively late in the show?

competition. What was the

and personally? As a Ger-

secret to your landslide

man-American, was she an

success and was it devoid

inspiration for you grow-

of internal drama between

ing up?

It was one of my dreams to become a part of this show and this dream came true!

the other models?

The replacement was a part

Heidi is a big role model. She

of my way and I do not know

My secret was: always being

is a businesswoman and a

the direct way. Sure, the girls

myself and doing everything

mom - a familiy lover - at the

they hated me, but I was

with passion and fun! Sure

same time. She has achieved

the other girls were a part of

a lot!

okay with this, cause I was on this journey for me and MY DREAM. Maybe it was harder to win, but this was no obstacle.

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Yes, I had and I sill have a

F A D DY Mag

this journey, but they were not my focus.

Blouse: Zara - Latex Pencil skirt: Bright&ShinyStore - Leather holster: Una Burke Design

Jacky Wruck How has Helmut Newton

sions. Everything is connected

inspired you?

with love.

KEEP ON BEING YOURSELF!

What can we expect from Well, I think Helmut Newton

What are your thoughts on

was a stunning photographer

relationships and are you

with a lot of inspiring pictures.

single, dating, or other?

Every picture tells a story and every story inspires me.

Letâ&#x20AC;&#x2122;s talk LOVE! What are your thoughts on love?

Love is such an important

many kinds of LOVE. Love exists everywhere. I love my family, my animals, my friends, my job and my pas-

We will see. I will walk the coming way of my life with

Lol. What would you say?

fun and with all of my pas-

Maybe I am a single or maybe

sions and I will take all my

I am dating or maybe I am

chances! Sure, not everything

in a relationship. Itâ&#x20AC;&#x2122;s a secret

will be funny and there will

cause I try to protect my

come hard times again and

loved ones - my family and

again and again, but this is

friends - and my private life.

the game of life. AND I am

part of life and LOVE is such a big word and there are so

Jacky Wruck in the future?

still ready for this and I am Tips for aspiring models who now look up to you after this great accomplishment?

looking forward to a lot of adventures.

Blouse: Zara - Latex Pencil skirt: Bright&ShinyStore - Leather holster: Una Burke Design

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Leather leggings: Cuir Royal - Corset: Alexandra Fuks

Blouse; Zara - Corset: Alexandra Fuks - Latex High waist: Bright&ShinyStore - Boots: Mineli Boutique

Body: Maison Close - Posture collar: Una Burke Design Fuks

Body: Maison Close - Posture collar: Una Burke Design - Boots: Mineli Boutique

Body & Stockings: Maison Close - Leather Trenchcoat: Cuir Royal

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Leather Dress: Cuir Royal - Overlap Body Brace: Una Burke Design

Leather Dress: Cuir Royal - Overlap Body Brace: Una Burke Design

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Leather bustier: Alexandra Fuks - Leather trousers: Cuir Royal - Collier: Simon Azoulay Paris

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Leather bustier: Alexandra Fuks - Leather trousers: Cuir Royal - Collier: Simon Azoulay Paris

Strapped Dress: Una Burke Design

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Leather leggings: Cuir Royal - Vegan Leather top: Angelic by Jolonta Pilinkaite - Body: Wolford

Leather leggings: Cuir Royal - Vegan Leather top: Angelic by Jolonta Pilinkaite - Body: Wolford

Jacket: Karl Lagerfeld - Harness: Angelic by Jolonta Pilinkaite - Latex High waist: Bright&ShinyStore

Body &Käppi: Etienne Jeanson - Boots: Mineli Boutique

Body &Käppi: Etienne Jeanson

Film in Noir

by Mark Williamson

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Creative direction and concept by Mark Williamson @markwilliamson45 @aristmanagementmiami Photography Jaun Pablo Castro @juanpablo.castro Assisted by Sebastian Toro @iamcu4tro @someoneagency Model and muse Kasey Wamsher @kasey_aw At Elite models Miami @elitemiami

Styling by Steven Lassalle @stylebylassalle at Agency Gerard @agencygerardartists2 @confessional_showroom_miami Assisted by Stacey Jackson @flawlessly_stacy Make up by Pablo Rivera @pabloriveraart for Artist Management Miami @artistmanagementmiami Hair by Mark Williamson @markwilliamson45 for Artist Management Miami @artistmanagementmiami using @amikapro

Jacket and pants by Rossi - Shoes by Prada

Dress: FDD Collection - Shoes: Tom Ford

Gloves: Yoro Jewel - Pants : Helmut Lang - Shoes: Tom Ford

Dress: Patbo - Shoes: Prada

Dress: Patbo

Hat: Lassalle - Panties: Victoria Secret

Hat: Lassalle - Panties: Victoria Secret - Shoes: Stuart Weitzman

Lingerie: Dkny - Shoes: Stuart Weitzman

Top: Alice And Olivia - Pantie: Provocateur - Shoes: Tom Ford

Jacket: Kobi Halperin - Shoes: Stuart Weitzman

Bra And Panties : Victoria Secret - Shoes: Stuart Weitzman

Dress: Miri Mari

Dress: Miri Mari - Pantie: Victoria Secret - Shoes: Tom Ford

Suit: Alexandro Fratelli - Shoes: Stuart Weitzman

Jacket: Fiodulce Dolls - Shoes: Prada

Dress: Lenshina Nchami - Shoes: Prada

Coat: Ahmad Couture

Coat: Heike Ny

Antoine Verglas

ANTOINE VERGLAS A

ntoine Verglas began his career in Paris

in several international editions of Elle maga-

on the other side of the camera, working

zine. Antoine Verglas’ photographs were candid

as a host on a popular French television

and uninhibited, with natural light. This intimate

show. He then started photographs of his swed-

style of capturing a personality has become

ish girlfriend, discovering his love and passion

known as the “Verglas Signature”.

for photography.

Antoine spends his time between St. Barth, In the late 80s Antoine moved in New York City

Paris, East Hamptons and New York City where

and introduced a new style of fashion photog-

he cofounded with Christiane Celle Clic.com a

raphy when he captured models Stephanie

concept store with contemporary and vintage

Seymour, Naomi Campbell, Claudia Schiffer and

books, photographs, home goods, fashion items

Cindy Crawford among others in a series of inti-

and accessories.

mate, documentary style photographs that ran 244

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Mark Seidenfeld

Puppy Love

Corporal Kim

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First Touch

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Dial M

Gardenn of Eden

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Light Up

Girls Room

Night Blossom

No More For Her

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Smokers

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The Storyteller

Trouble In Heels

Whoâ&#x20AC;&#x2122;s The Fairest

Freddy Koh

Gianluca Fontana

Gianluca FONTANA P

hotographer and Director Gianluca Fon-

ia, Vogue China, Vogue Russia, Vogue Turkey,

tana is based in London.

W and Allure Korea, Numero China, Numero

Originally from Italy, He graduated in

Russia, Vanity Fair, various editions of Harper’s

architecture before turning to Photography,

Bazaar, French Elle, L’Express Dix, Air France

having developed in that time a sense of com-

Madame, Wallpaper amongst others.

position and balance which remain key in his

Clients include Alessandro Dell’Acqua, Cartier,

work, today.

Chaumet, Fendi, Givenchy, La Perla, Le Bon Marche’, L’Oreal, Maxmara Group, Moschino,

His sophisticated approach produces images of

Net a Porter-Yoox Group, Prada.

intimacy and sensuality, work which is enriched with both sense of truth and immediacy.

He is Author of the book “Private Sitting”, the result of a five-year period of personal exploration,

His Photography has featured in Vogue Ital306

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published by Skira Publishing and distributed worldwide by Thames & Hudson and Artbook.

Nina Fresneau, Paris 2019

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Flowers, Polaroid, Milan 2012

Eniko Mihalik, Dubai 2018

Greta Varlese, Mauritius 2020

Georgia, Paris 2017

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Irene, Milan 2012

Greta Varlese, Milan 2020

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Rebecca, New York 2011

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I take the clouds with me, London 2018

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Greta Ferro, Milan 2020

Isabeli Fontana, Cannes 2017

Monica Bellucci, Paris 2017

Matilde Gioli, Private Sitting, Milan 2018

Katlin Aas, Mauritius 2019

Rebecca, New York 2011

Miss Aniela

White witch awakening

MISS ANIELA MISS ANIELA EXCLUSIVE I N T E RV I E W

BY ANNEYSA GAILLE

Jessica McQueen, the As-

fine art. And, so I thought, I

I think that in order to really

sociate Curator at Saatchi

don’t really know who is going

appreciate the series, you ide-

Art, has described your

to buy these pieces of art if

ally would be able to appre-

“photographs” as being

they’re to be sold. For some

ciate both sides of that coin

“both real and imagined…

time I was confused about

because sometimes a piece

elaborate scenes that blur

whether I should try to be a

of work has really warranted

the boundaries between

fashion photographer, trying

a lot of compositing and overt

fine art and fashion.” Do

to get fashion stories into

surrealism. But then some-

you feel as though this is

a magazine. I was trying to

times we’ve made something

an apt description for your

do that for a bit, but then I

in camera, and it’s nice for the

work? Why or why not?

just got kind of sick with that

viewer to be able to appreci-

because I didn’t really like the

ate rather than just expecting

fashion world so much. It was

everything to be real or every-

more about wanting to do

thing to be Photoshopped.

I love that quote because it sums up a lot of what I do in Surreal Fashion. When I first

what I wanted to do.

Yeah, I’m really interested

started making these images,

330

I was concerned that the two

What Jessica says about the

in that tension, which can

genres that were going into

real and imagined is also

be seen in the title of this

the image - the fine art and

important because in my

series, Surreal Fashion. It

the fashion - were too at odds

series there is stuff that is

brings to mind the opening

with each other. Normally you

Photoshopped and stuff that

of André Breton’s Manifes-

don’t see fashion models in

isn’t quite so processed. And

to of Surrealism:

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The Governess

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Poster & Plumage

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MISS ANIELA “So strong is the belief in life,

babe and, as for the approval

stale discontentment brought

in what is most fragile in

of his conscience, I confess

about by what Breton called

life—real life, I mean—that

that he does very nicely with-

“the realistic attitude,” which

in the end this belief is lost.

out it.”

he sees as “be[ing] hostile

Man, that inveterate dreamer, daily more discontent with his destiny, has trouble assessing the objects he has been led to use, objects that his nonchalance has brought his way, or that he has earned through his own efforts, almost always through his own efforts, for he has agreed to work, at least he

This quote comes to mind because, as you mentioned earlier, notions about “fashion” and the world that surrounds it can be rather jaded: someone may see it as a vain form of expression for empty

al advancement.” Do you believe the incorporation of surrealism in your Surreal Fashion series is crucial for the development of meaning and inspiration generated by these photographs?

people, or perhaps engage with it but have become

What I do know is that when I

disillusioned and discontent-

create these images, I have a

ed with the extent to which it

particular feeling and inten-

is perceived as a worthwhile

tion. Some of them were

endeavor.

created quite a few years ago,

affairs he has been involved

However, like Breton, I think

and now, though they’ve sold

in; he is unimpressed by his

it is possible to argue that the

wealth or his poverty, in this

incorporation of surrealism

respect he is still a newborn

in your work combats such

has not refused to try his luck (or what he calls his luck!). At this point he feels extremely modest: he knows what women he has had, what silly

334

to any intellectual or mor-

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well over the years, they’re becoming even more appreciated the longer it goes on.

A room with a view

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Away with the canaries

MISS ANIELA So, when people buy my work

How do you approach

looks like it isn’t quite real.

now, often I don’t know what

balancing the creative and

For every picture that I’ve

they’re seeing in the pictures.

the technical, of seamless-

made, there’s probably about

When it comes to how people

ly maintaining a dreamlike

a thousand images where it

appreciate it, there could be

atmosphere?

looks absolutely crap—it just

any number of things go-

ing on as to why they have

chosen it. I feel like it’s taken some time for it to be really appreciated, and I’m really

interested to know how the

appreciation of surrealism is

shifting over time with what’s

going on in the art world and the world at any one time to

perhaps make people appreciate it more.

looks like a model standing

To be honest, it is really quite hard to create these images.

I mean, I know that people

probably expect that because when people compliment

my work, they often express this idea that it must not be easy to make—otherwise

people would be making it

all the time. But sometimes just on a personal level I have to remind myself how

338

in a room being told to pose.

This is a very frustrating thing because even when she poses very well and the lighting is gorgeous and everything is great, it still doesn’t necessarily make a beautiful art piece because then it still has to transcend reality, it still could just look like a really lovely, well-photographed fashion model in a beautiful location.

I have tons of images in my

When discussing creative

hard it is to actually create

work, particularly a piece

one of these images where

related to surrealism,

there is that balance. When

some may assert that the

I look back at these images, I

entire process is uncon-

remember how hard it is to

scious or automatic. Yet,

go through that process of

when I look at your work it

all the shoots that I’ve done.

For example, I shot this really

is all clearly well-planned

This is a struggle I’ve always

beautiful image of a model

and meticulously edited.

gone through—trying not to

in a 15th century church in

To return to Breton, this in

overdo it with Photoshop. But

London a few years ago. I’ve

many ways reminds me of

even before the edit, even

looked at this image so many

his assertion that “dreams

in the actual shooting when

times; I’ve opened it up and

give every evidence of be-

I’m lighting it and directing a

wondered what to do with

ing continuous and show

model, etc., and then even

it. And it’s just not an art

signs of organization,”

before that: choosing the

piece—it’s just a photograph.

which adds a layer of nu-

location, the outfit; is this

A really beautiful photograph,

ance to one’s understand-

constant, constant struggle

but it’s not an art piece: it

ing of the unconscious.

to try and get something that

needs something, and it’s

F A D DY Mag

archive of where everything technical has been achieved, but it just doesn’t do anything, it doesn’t go any further.

Castaway

339

MISS ANIELA really frustrating when I don’t

also shot “The Governess”

shooting that picture, I strug-

know what. So, obviously all

and “Castaway” on the same

gled so much—with just a girl

the pictures that you see are

day, and “Pokerface” was the

standing in the room—to get

the ones that have made

last one I edited because I

something that was right. Just

it through that final hurdle

thought that there wasn’t

hours and hours of shoot-

to come to life, to be an art

enough to make a picture,

ing literally almost the same

piece rather than just a pho-

but it ended up becoming my

thing. All the ingredients were

tograph. And there are a lot

favorite.

there—a beautiful room, one

of pictures that don’t make it to the beautiful photograph

stage. They’re just kind of like pieces of photographs. So, the point when I feel really excited about a picture is

usually when I’m editing it

even though some pictures come out of the camera a

lot more finished than other ones. For example, in “Pokerface” where a woman is sitting on a couch with a house of cards behind her. It’s one of my favorites—actually a bestseller—and it comes to mind whenever I think about a picture that didn’t require a lot of Photoshop. But even “Pokerface” needed to be put together carefully in Photoshop because it is still a bit of a composite—stitched to get the width of the picture, and work on color temperature — but the cards are really there behind her. Funnily enough, when we did that shoot, we 340

F A D DY Mag

of the most beautiful beds

With “Swan Lake,” there was also a point when it just

clicked and became an art piece. So, not matter what picture I’m working on—

whether or not it’s highly

processed—there has to be that moment when it becomes more than just a photo and I never know when that moment is going to come. It’s always a moment of alchemy when it just feels like it’s gone beyond just being a photograph, and I never know when that moment is going to come. It’s frustrating, but it’s also rewarding when it comes and is something that

I’ve ever shot, a great model whom I’d already shot with before—but it was just so hard, and I don’t know why.

It’s kind of like the endless chase I’ve had to try and make something that looks like it’s not quite real, like it’s in a kind of dreamworld. And people have asked me this question as well, “How do you make those kinds of images?”.

But I never know what answer to give them because I don’t know myself—you just have to keep shooting and persevering. You also have to be the judge of when it reaches that point, you know?

I will never quite understand, how to get that moment—no

Yeah, it’s always hard to

matter how dutiful or or-

know when something

ganized I try to be. There’s

has reached a point where

one picture called “State of

you’re satisfied with it

Grace,” and it’s a girl standing

and it becomes a realized

in a stately home with great

version of your vision. I

big CGI wings. When I was

am not a proper photogra-

Elegant Elegy

341

Enter the golden Dragon

MISS ANIELA pher, but I am a poet and

So, would you say that

to putting the sea in there.

painter; so, I understand

you arrive at a photoshoot

So, we knew the ingredients

what you’re saying about

with an idea of what you

but not exactly how the final

finding that innate bal-

want to create but not

piece would look.

ance without necessarily

how you would like to

knowing how you are able

compose it?

to do so or if you ever will.

Yeah, most of the time—for

When you are in a photo-

those images. It’s kind of

shoot, do you have any

different from how I want to

idea of how it will turn

work now, though, because

out? For example, the im-

nowadays I shoot a different

age “State of Grace” that

body of work. So, since it kind

you composed with the

of applies to a different body

eventually winged woman,

of work, I much prefer now

did you know at the time

to know at least 90% of what

of the photoshoot that you

I’m doing. But I don’t know

It has a high impact. I think

wanted there to be large

if that would apply well to

it would impact any pho-

wings in the picture?

Surreal Fashion all the time if

tographer shooting in any

I were shooting some more

location. But I’ve realized

fashion now, because I think

that it impacts us even more,

that the great thing about the

because when I look at other

series is that there is that bit

photographers and see how

of freedom. Like when I was

they work in a space with

doing “Swan Lake,” I kind of

fashion models, they tend to

had an idea for that shoot in

put more focus on the model

which she would be wearing

and get closer to him or

a powder blue dress and in

her, letting the backdrop fall

that room. It had to be really

off more because it’s more

planned because it was shot

about the fashion and outfit,

for CreativeLive, but I still

generally speaking, whereas

didn’t know exactly what

we tend to incorporate the

aspect of surrealism would be

location a lot more. We are

used in the end. I was trying

inspired by it and invite it into

different things like setting

the composition. We show

the chandeliers on fire in

a lot more of it because we

photoshop, but then it came

generally go quite wide with

In that case, yes. That one did have a very specific plan, but only because we got to that stage years later when we were trying to make intentional fantasy images. But sometimes planning it can kill it. The one with the playing cards on the bed was all planned, but loosely. I’m not someone who can work to a rigid plan constantly. I work to a plan occasionally, but a lot of the time I’ve got to be set free just to explore something and let it lose a little bit.

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F A D DY Mag

How much would you say that the location of a photoshoot dictates the composition or influences ideas you may have had prior to arriving once you are working with physical space?

Gilt

345

MISS ANIELA the camera, just not wide

I think the one that I just men-

a different series, Birth Un-

enough to lose the model;

tioned, Aynhoe Park, where

disturbed. That time we shot

that’s one of the biggest

“White Witch Awakening” was

a recreation of the Queen

conflicts that I have—trying

shot is definitely one of my

giving birth, and that was in

to include as much of the

favorites because it’s palatial

another one of the rooms.

location as possible without

and also very quirky, with a

Not as palatial, but perfectly

losing the model and vice

great mixture of taxidermy

appropriate for that historical

versa. That’s really one of the

and funny props on them. Al-

scene. So, that location I love

main things I wrestle with. So,

though, funnily enough, on a

because you can just go back

yes, the location is a big one,

side note about that location,

to do something in all the

and it’s a good thing because

it’s kind of hard to shoot in it

rooms, try to find a narrative

it gives me something to work

at the same time as well. The

through all of the rooms.

with. For example, in “Pok-

room we shot it in was prob-

erface” we knew we wanted

ably the best room to shoot

to include the big bed and

in because of the light and we

had to stretch the composi-

managed to get loads of ani-

tion in order to ensure the

mals from around the house

bed was in it. In “White Witch

into the composition. So, if

Awakening,” the one with the

we went back there to shoot

zebra in it, we have gone to

something else, I almost don’t

great pains to get all of those

know what I’d shoot because

animals into the frame. It was

I feel as though we kind of got

shot for an ad campaign, that

it all in one frame. But gen-

particular picture, but regard-

erally speaking, I’d love to go

less it’s still exactly what we

back there because I just love

would have done—include all

these locations anyway and

those animals, show off the

could always find something

location at the same time as

to shoot there.

the model.

346

We’ve been to so many beautiful locations over the years; some of them are harder to shoot in than it seems. You know, you walk in and love the location, but as soon as you turn your camera on, it suddenly becomes quite challenging to actually make it look good in one frame. This is important because I love to get everything in one frame in order to make one art piece that will sell as a single piece.

Obviously, I can get more than one, but I need each

Belvoir Castle is the one

one to be substantial in itself,

Are there any photoshoot

where we shot “Pokerface,”

whereas if you were shooting

locations in particular that

“The Governess,” and “Cast-

a fashion story in those loca-

you have found particular-

away” with the big tall bed.

tions, it’s okay to take a piece

ly inspiring or would like

That’s a lovely, stately home

of one corner and do a shot

to return to?

castle as well. We’ve actually

here, do a shot there. But

shot in there another time for

what we’re after is one epic

F A D DY Mag

Gold Leaf

347

MISS ANIELA scene to make one piece that

just had to put a rug down for

them standing there around

stands alone, and sometimes

it and whatnot. We wanted to

a bed. But generally speaking,

that involves stitching the

do more pictures like that—of

beds are quite difficult be-

composition together without

a horse, a camel—and maybe

cause once you have a model

losing the model. So, it’s al-

we will one day, but we have

laying down, she just ends

ways challenging—even when

found ourselves struggling to

up with really big feet sticking

you’re in a beautiful location.

get permission to do this in a

into the camera, you know?

location that we deem worthy

So, it doesn’t really work—you

enough to shoot in.

kind of have to get them sit-

Do you ever have any

ting up in the main pose you

problems with being

And Belvoir Castle, the one

palatial, historical lo-

where we shot “The Gov-

cations? How does that

erness” in that big pink

A lot of locations are people’s

process work?

dress, she’s standing on

private homes—they want ex-

this 500-year-old carpet. So,

tra money, so they hire it out.

we had to be really careful

We find these things on Ver-

and have supervision. We

bo, Home and Away, and stuff

also couldn’t move all of the

like that. For example, “Away

furniture out of the shot like

With The Canaries” is one that

we wanted to. Ideally, we like

we shot in a home we hired

to move furniture out of the

for a week in New York for

way. That’s quite an import-

one of our events. It’s always

ant thing because a lot of the

interesting going into loca-

pictures really do need there

tions and meeting a home-

to be space for the model to

owner who’s relaxed but

stand in. Like in “Swan Lake,”

also—obviously since they

the one with the blue dress,

have a nice house—has high

that room is normally full

standards. So, you just have

of chairs and it just doesn’t

to be careful that you are very

work—you just have to get rid

respectful of the property and

of all those chairs. And even

try to prevent any accidents

beds can be difficult to shoot

from happening.

Usually, it’s just about money to get into most of these locations. Although, even with money there can still be limitations. There have been locations that have just been too precious, and we haven’t been able to get into them.

However, generally speaking we’ve managed to shoot in places that aren’t super precious about things, though some have been more precious than others. For example, Aynhoe Park—the one with the zebra—they’re quite laid back. You know, not many places would allow you to let a zebra in like that. They were quite relaxed about it—we 348

want them to do on the bed.

granted access to these

F A D DY Mag

with, as well. With “Pokerface,” obviously we have the model sitting on the bed. “Gilt” is another one with the three of

Of the photos included in the Faddy Magazine

Girl of prey

349

MISS ANIELA spread, is there one that

I’d also say “White Witch

done that, I think it would

was particularly difficult

Awakening” because it had

have been a complete disas-

to shoot or edit when

the added obligation of

ter. But added onto that, even

compared to the others? I

having to please the people

when you have everything in

imagine that perhaps “She

commissioning it. But even

place, you are trying to get

Shoal” was particularly

by our own standards it was

the bloody lighting right. We

challenging?

a difficult scene to shoot be-

had the flash going, but on

cause it was all on camera—

that particular picture there’s

there was no Photoshop. The

no flash because the light

fact is that was probably just

came through the windows

the best way to shoot it, to

at exactly the right time to

get it all on camera because

make it look nice and natural-

obviously the only two moving

ly lit. You can see the light on

parts are the model and the

the floor, how the sun came

zebra—which was actually

through the windows. So,

quite hard just to get those

that’s a big one for me when

exactly how they should be,

I’m shooting. You know, I can

or even just to get the outside

get everything right, but then

composition as it is. I’m just

the lighting has got to be right

thinking back to how difficult

on that shot as well. All of the

it was: having to keep every-

stars have to align. To this

one out of the way, constantly

day, that’s a big challenge.

“She Shoal,” yes! It was one of the ones taken later in

our career, in 2018. Because it’s very deep in the sea, we

needed an expert underwater photographer and an expert deep-sea diver. So, in a way it made it harder, having to direct someone else to do it, rather than being able to get in there and do it ourselves.

Then, we had to direct a CGI artist to do the post-work, which again is really hard because you basically just go back and forth, back and forth over email for a long time trying to get the image right. You almost feel a little bit horrible because you’re constantly whipping someone else to do the work, rather than being able to do it yourself—if I can just work on something myself, then I can just torture myself with it!

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F A D DY Mag

being like, Okay, move the parrot there, the fox there, having a man behind the polar bear holding the fishing wire attached to the zebra so that the zebra doesn’t attack the woman. And the model!

God knows what we would have done if she was scared of the zebra. But thankful-

That’s fascinating. How do you find your models for these photoshoots? What are your relationships with them like? I imagine it must be quite intense due to the circumstances you have outlined thus far.

ly she wasn’t scared of it; she managed to hold her

MA: Looking through the

pose exactly like that for ten

pictures, you’ll see quite a few

minutes. If she couldn’t have

different models. Kim, who’s

Migration Season

351

352

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Legerdemain

353

MISS ANIELA in “Elegant Elegy,” “Gold Leaf,”

game, as well. There are

poses in the image. All three

“Gilt,” and a couple of others,

some models who just aren’t

of those poses are quite

I like her because she doesn’t

very passionate about it.

moody, but they’re still really

have the typical beauty model

Then, there are models who

engaging poses and really

look. She’s got this kind

really try hard, who give you

quite enigmatic poses. That

of quirkier look. Generally

something constantly—and

involves more performance

speaking, I don’t think that I

that’s just priceless, really. So,

than one might think. So,

prefer the generally luscious

once you get a model who

that’s one reason we really

more standard beauty mod-

you know is as passionate

love her as a model. She

els.

about the shot as you are,

really gives those understated

Through the years we have

then you want to shoot with

poses that are kind of moody

them again and again.

and haunting, sometimes also

found models using our own

known as “The Broken Model

means with things like Model Mayhem, because we gen-

erally like to get hold of the model directly, rather than

through agencies. Agencies demand a lot of money and don’t give complete rights to the images. It’s very important for us to have control of the image rights. So, we have sometimes got models from agencies, but it’s much rarer than getting them directly.

And sometimes I might try to hunt one down directly on Instagram, or somewhere like that. For example, the model in “White Witch” is a one-off model called Mimi who just had the right look for the campaign that we were doing.

It’s also worth noting that a

lot of our pictures do call for quite a static, somber directorial mood from the model.

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F A D DY Mag

like half hanging to one side, or whatever; she does that really well.

But even when there’s not a lot of movement in the image,

Have you found that the

that doesn’t mean that we

COVID-19 pandemic has

don’t need a lot of energy

significantly affected your

from the model—just not

artistic output and/or pro-

kinetic energy, visually. This is

cess because you are un-

often because they’re posing,

able to work with models

standing and they’re going to

in a traditional sense or

have some kind of surreal-

travel to desirable photo-

ism scaffolded around them

shoot locations?

afterwards. So, a lot of it is quite deadpan and static and almost like they are becoming a shape in the final image. But it does still require them to be in the moment, to just look like they’re engaging with the

We also like models to be

Pose,” where they are kind of

camera. For example, in “Gilt” there’s Kim and she has three

Well, to be honest, even before it all happened, we were only doing one or two shoots a year because we have kind of wound down. Not permanently—it’s just because we’ve got two kids. This one

Pokerface

355

MISS ANIELA [sitting on her lap] last year

of any kind right now unless

choosing the model, costume,

was still young, and we were

it was very local to where we

and location; the planning of

supposed to be travelling to

live with a very low-key crew.

hair and makeup; bringing it

quite a few places—includ-

I think it’s just the inability to

all together; and posing and

ing New Zealand—but didn’t

meet up with other people

lighting the model—through

because it was so far with her

that I find the most insulting,

to the editing, always trying to

so small.

really. I don’t know—you just

constantly make something

kind of think of it as a human

look less like a photograph

right, to meet with people.

and more like a painting.

I do worry about friends of

What I was saying earlier

mine who live alone and really

about trying to transcend

feel for them right now.

the reality of the photo is

A lot of the work we’re doing now is work with all the stuff

we’ve already shot—market-

ing and selling all of the stuff

essentially trying to make it

we’ve already shot through

Speaking of photoshop,

like it was quite good timing,

though I have focused

because we can just sit back

on the more surrealistic

and relax a little bit and just

aspects of your work thus

push the selling of all the

far, your photographs

stuff we’ve already gone out

also incorporate many

and spent years shooting.

elements that are inspired

We have invested quite a

by Dutch masters, Renais-

bit of money and time in

sance paintings, and the

those images over the years,

Rococo period. Naturally,

so I’m kind of glad that this

this makes me think about

didn’t happen in 2014 when

the intersections of mate-

we travelled to quite a few

riality and spirituality, of

But even a modern situation

places.

the commercial and the

can look painterly as well. I’ve

feminine. To what extent

discovered this in some of my

are these dynamics con-

images that I’ve shot in other

sciously at play as you

bodies of work that aren’t

compose a photograph?

necessarily taken with classi-

I’ve got a big backlog of images from through the years, including a lot of stuff from much edit the same way I

I think it’s always present,

always have. But it would be

right from the earliest plan-

difficult to coordinate a shoot

ning of an image—when

F A D DY Mag

I often don’t quite know how I’ve made something look like a painting necessarily because it’s a combination not only of how you’ve shot and edited it, but also of the model, location, and costume which contribute to making it look like it’s not quite taken today, not modern.

cal looking clothing or what

China in 2018. So, I can pretty

356

look more like a painting, but

the years. So, we kind of feel

have you. I think that a lot of it boils down to lighting and often—but not all the time— it comes down to having a

Portrait with pigeon & poultry

MISS ANIELA more tungsten look in an

other art forms you could

that I do wish I could paint

image, a more orangey look.

have chosen as a means of

so that I wouldn’t have to

So, I think it’s no accident that

expression, like painting?

get physical people to pose

in the other body of work

I’m doing, Birth Undisturbed, every single picture is pretty much shot using tungsten

gels. Going back to Surreal Fashion, that’s something

we’ve done as well—we’ve of-

ten shot with tungsten gels to make it look kind of orangey.

This is across all of my work.

I love to make things look a bit more orange than they

should! Not always, though.

“Pokerface” is quite blue, but it’s probably one of the only ones that go the other way.

and do it. It would definitely

I think the immediacy, first

and foremost. I could just say that I can’t paint, but I half

loathe to say that because I

think that if you really want to do something, you can do it.

But could I really train myself to paint something that has

as much detail as a photo? I

don’t know. I think my paint-

ings would not be very good!

When I first got into photography, I was taking self-por-

traits. I remember that one of

take less styling time and be cheaper! But even if I could train myself to paint, I don’t know if I would have the patience to do that training process, you know? And I also don’t know if I’d ever reach any level of competence. I think that a lot of photographers feel the same: they can’t paint, they can’t draw, so they direct physical elements to create the vision they want to create.

the very first images I created was this self-portrait of two of

That makes a lot of

Sometimes I look at other

me, and it was very painterly.

sense—sometimes I feel

photographer’s work and I

I even amplified the painterly

that way about words,

wonder how they make it look

effect for it in photoshop. I

though I’m theoretically

painterly and I want to know

think from that day is when

directing the symbols and

their secrets when half of the

I realized that something

non-physical elements

time I don’t even know what

can look really remarkably

rather than the symbol-

my secrets are. It’s one of

un-photo like. So, yeah, I just

ized and physical ele-

those kinds of mysteries.

think that I stumbled into

ments.

photography and got hooked I have been rather curi-

on the immediacy of it.

ous about your painterly

358

An element you have explored quite a bit in your

approach to photography.

But there is this endless

work is the feminine, not only

What drew you to the

frustration as well with trying

in the Surreal Fashion series,

medium of photography

to make a photo look painter-

but also in the phenomenal

when there are so many

ly, and there are some times

Birth Undisturbed series, your

F A D DY Mag

State of grace

359

MISS ANIELA innovative self-portraiture,

I turned my lens on other

series I do might even go a

and—as an Adjunct Lecturer

models, and the obvious cur-

step further and take the grip

at a predominately male insti-

rency became fashion models

completely off femininity and

tution, one of my personal fa-

because they’re mostly this

female experience, becoming

vorites—your Twelve Women

kind of feminine currency of

more about the experience of

in Academia portraits. What

the fashion world and getting

people in general—children,

draws you to further explore

men into Surreal Fashion just

in particular. It’s almost like

the multiplicity of the femi-

didn’t ever happen. So, we

a growing up: the self-por-

nine and feminine represen-

just shot with women all of

traiture is the girl; Surreal

tation, often defying sociopo-

time. It was kind of a done

Fashion is the woman; Birth

litical expectations of where a

thing, for them to be the

Undisturbed is about not only

woman should or should not

most obvious kind of com-

about attractive women, but

be, of what should or not be

modity for that. And then the

the real birthing women; and

seen? Why do you believe it is

Birth Undisturbed series is a

the next thing I’m interested

important to do so?

combination of wanting to do

in is children. So, it’s a very

something different with the

obvious trajectory, you know,

whole idea of the feminine

going from girl, to woman, to

and trying to make it about

mother, to child, and then to

the power of the female body

other topics that will include

and the birthing act.

men more. So, yeah, I defi-

I think it’s just at the root of everything as a woman myself and being into Feminism as a topic in my teens, though

nitely think that there’s been

I don’t think that I’ll always

360

a focus on the feminine and

create work that’s just about

Interestingly, I’m about to do

femininity. I already feel like

a post on Instagram about

my work is moving out. So,

how last year I created two

I feel like the feminine has

images that are more about

been a very necessary and

men and male participation

obvious path, almost like just

in the birth act. I mean it’s still

going down your garden path

obviously all about women;

from the house out into the

the birth series is always all

Is there any advice you

world. You know, it’s been the

about women, really. But

wish someone would have

root of everything I create.

I’ve become more and more

given you as you em-

When I started self-portraits,

interested in the male role

barked on this trajectory?

it was obviously because I

in those birth scenes that I

was a woman myself, creat-

create, in the male participa-

ing images of myself. Then

tion of helping the woman.

Surreal Fashion was when

So, I kind of feel like the next

F A D DY Mag

the female experience the past fourteen years, but for me it’s a gateway to all of the other topics that I might take on.

This is an interesting question because I believe there are

She Shoal

361

MISS ANIELA a lot of things that I could

energy and creativity and

attention to the individual

think of, but then you have

consequent frustration. So, I

pictures I was making and

to ask yourself if these are

feel like maybe in my early ca-

the quality of each picture. I

things that you have just

reer, I did perhaps misspend

would spend more time on

learnt through the passage

my energy by sending it in

that one picture because I

of time—an all-in-good-time

directions that were wrong

knew the value and worth

kind of thing. But I have spent

for what I wanted to do. For

that one picture could lead to,

a lot of time when I’ve felt

example, I think for a time my

and I wanted the print buyers

frustrated in my career, when

dream was to be in certain

of those works to get the very

I’ve been doing so much work

art magazines, but I wasn’t

best quality that they could

and seeming to only achieve

actually directing the ener-

get. So, I did slow down and

a fraction of the recognition

gy to get into them—I was

spend more time planning

that other photographers

going the other way by doing

the scene and, in some cases,

receive and sometimes it

workshops and tutorials and

have more elaborate ingredi-

seems like those other pho-

how-to books. So, obviously if

ents—like using CGI artists or

tographers have only done a

you’re ambition is to be in the

investing in costume artists

fraction of the work that I’ve

British Journal of Photography

and more elaborate locations,

done to achieve ten times

magazine or to win awards

etc.

the amount of acclaim or

and competitions, then

however you want to define

you have to actually march

success. Now obviously, there

towards that goal: sometimes

is a point sometimes when

it involves holding work back;

perceptions can be mis-

sometimes it involves getting

leading. But it does beg the

somebody to represent your

really important point that

work rather than always being

it’s important to direct and

the one to release your work

aim your work in a strategic

independently; and some-

way. So, it’s easy to just make

times it might be releasing it

loads of work and spend a lot

independently, but just doing

of time and energy on a lot

it in a particular way or with a

of work. But no matter how

particular series and angle.

talented you are, if you don’t put that work into the right circles and target it in the right way, then there could be a lot of wasted expended 362

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Another thing I’ve found is that one of the greatest moments of my career has been getting onboard with Saatchi because suddenly they became a name that backed my name as an artist.

So, it wasn’t just me alone flogging my stuff. It was a reputable entity representing me and people having trust in them as a provider of my art, who believed it was a legit

As my Surreal Fashion series

coalition between Miss Aniela

progressed, I started to slow

and Saatchi. I went from just

down a bit and pay more

being an artist on the internet

Monica Bellucci, Paris 2017

Storm Door

363

MISS ANIELA to being someone who was

it’s a little or a lot. So, when

would just get put off doing

backed by an esteemed and

you’re going through image

anything. I would just be like,

reputable art company. That

selection, always go with the

Oh get away, just let me get

became a point of discus-

one you really feel with your

on with it.

sion as well because people

gut—the one that transports

could then find out about me

you, the one that excites

through articles on Saatchi

you. Sometimes that defies

and also see my work on

a logical interpretation of

Saatchi and contact me for

what a good picture might be.

other projects, so it became

It’s good for it to be a really

an important milestone.

technically competent image, but it’s important to go for

On my shoot events through the years, I’ve noticed other

the one that really moves and transports you.

photographers can shoot a

364

People sometimes say, Oh, I wish someone had told me this, but as long as you haven’t been hurt or too damaged by that mistake, then the mistakes are best made so that you can learn from them. I think that the best artists—the true artists—really don’t care what anyone

lot of good stuff, but when

Generally, I think a lot of the

thinks or what someone tells

it comes down to the image

good things you should and

them to do. And this is why I

selection, they fall down.

need to learn yourself. I’m

gave up doing workshops and

Some of my most popular

getting into gardening at the

tutorials and things, because

images have been those

moment, planting vegetables,

people wanted to know

that I have had a particularly

and I feel that I need to make

what to do all the time, they

instinctive feeling towards

mistakes. I just need to make

wanted me to tell them how

when I’ve gone through the

them. For example, when

and what to do. But they just

image selection process and

I planted seeds in too rich

need to go and run after it.

sometimes it defies logic—

composting today, or when I

You can’t just wait for peo-

there might be shot that I

put seeds out in the cold con-

ple to instruct you, because

think is really impactful, but

servatory, or even just when I

you don’t want to create

there’s actually one that I’ve

started to do some digging in

something that’s the result

come across in the image

the rain the other day when

of instruction—you want to

selection process that really

it’s totally the wrong time to

create something that’s wild

transports me. I always go for

dig. All these things I prefer to

and unbridled.

the one that makes me feel

learn myself, because if I had

transported and build upon

someone over my shoulder

that image to do whatever

saying, Don’t do this! Don’t

edits I’ve got to do, whether

do that! Do this! Do that!, I

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Swanlake

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Tusk

Toucan

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