AMERICAN SHORT STORIES Photographs by
Francesco Carrozzini Ilona Szwarc Enrique Badulescu René & Radka
05
5 01 · 2014 ENGLISH
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American short stories
Editorial
Imprint
Welcome to the land – sorry, to the issue – of limitless possibilities! The
S-Magazine
star-spangled banner is the symbol of the American dream. But life in
A special edition of Leica Fotografie International
America is much more colorful than simple red, white, and blue. This is
4th year
why this issue of S-Magazine features a number of prominent photogra-
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phers who can tell us more about America – something beyond the stars
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and stripes. The series were photographed using the Leica S, a system that has proven itself equally brilliant in the desert sand and on stage.
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The end product is a kaleidoscope of views on what American culture ac-
The Leica S is unique
Editors in Chief
tually is, as seen through the eyes of outsiders. The five photographers in
in its class. It reveals
Inas Fayed, Frank P. Lohstöter
this issue of S-Magazine may currently live and work in the United States,
its exceptional qualities
Creative Direction
but were not brought up there. In their photo series, produced exclusively
not only in the studio,
for S-Magazine over the last few weeks in the States, they toy with aspects
but also on location out
of the American way of life and clichés from the culture and pop culture of
in the wilds.
the nation.
LFI Photographie and Tom Leifer Design Editorial Office Carla Susanne Erdmann Picture Editor Edyta Pokrywka (S professional loan pool program coordinator, pokrywka@leica-foto.com),
Francesco Carrozzini is equally at home in photography and moving
Kelsey Fain (USA), Leo Scott (UK)
pictures. His short films and videos have been shown at La Biennale in
Art Director
Venice and the Cannes Lions, and garnered him an Emmy. The powerful,
Alessandro Argentato / Tom Leifer Design
cinematographic impact of his portraits and fashion work is exceptionally
Contributors
well-received in the world of glossy magazines. For Carrozzini, the Wild
Sarah Hall, Bernd Luxa, David Rosenberg
West is the distilled essence of freedom and diversity in the USA. He shot
Photography
a photographic narrative for us in the vast expanses of California with
Francesco Carrozzini, Ilona Szwarc,
model Suzanne Diaz. Discover the adventures of his strong female pro-
The S Magazine
tagonist as she shows just how the West was won.
iPad app—free
Ilona Szwarc was able to sharpen her outsider’s view of the USA during a year as an exchange student in her teens. With her picture Kayla,
Enrique Badulescu, René & Radka Translation Wieners + Wieners, Ahrensburg, Germany
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Kirstin Ahrndt-Buchholz, Samira Holtorf Phone
Boston, MA, taken from her American Girls series, Ilona Szwarc scooped
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third place in the Observed Portraits Single category of the 56th World
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Press Photo Award. But Ilona Szwarc doesn’t limit her investigation of
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identity and identification to American Girls. In the visual novella she
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heroines to the big-city labyrinth of New York City.
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Enrique Badulescu, a man of many talents, not least of them an amaz-
Printer Beisner Druck GmbH & Co. KG, Buchholz
ing sense of humor, feels particularly at home in international contexts.
in der Nordheide, Germany
The nomadic worker, who speaks several languages fluently, moved to
Leica is celebrating
New York in 1992. Alongside digital photography, the single parent of a
its 100th birthday in
six-year-old daughter loves to work with scissors and paper and give his
2014 – and a whole
creativity free rein. For S-Magazin, he whipped up a cocktail of typical
century of photography.
American style with a tongue-in-cheek approach. Badulescu created a fast
The first special
and furious mosaic-like collage that could very well have elicited an enthu-
edition to appear in
siastic WOW! from the likes of Roy Lichtenstein.
commemoration of
All articles and illustrations contained in the
the centennial is the
magazine are subject to the laws of copyright.
Since photographers Réne Hallen and Radka L eitmeritz moved to Los Angeles eight months ago, they have never ceased to rave about the multifarious opportunities offered by the capital of entertainment. For 18 years now, they have been realizing their ideas as the acclaimed duo by the name of René & Radka. In our case, the outcome was a series of portraits enriched with backdrops and props from the film noir era that cost the duo not only the enormous effort they had in casting the roles, but also astronomic insurance premiums. The duo positioned Gavin Rossdale, M ichelle Monaghan, Gillian Jacobs, and Lauran Cohan – all four of them rising stars on the US TV serial and movie landscape – at original locations in downtown Los Angeles. Curtain up!
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Content
Frontiers The photographer and filmmaker Francesco Carrozzini celebrates the feeling of the Wild West. P. 6 — An American In America World Press Photo prizewinner Ilona Szwarc tells an enigmatic story from New York in pictures balanced between kitsch and sadness. P. 36 — Selling Like Hot Cakes Fashion photographer and artist Enrique Badulescu ploughs his way through the clichés of US consumer culture with a mischievous glint in his eye. P. 68 — L. A. Noir René & Radka, the photographer duo, take us to downtown Los Angeles and let actors glitter glamorously in the style of the film noir era. P. 100 — Photographers Interviews with Francesco Carrozzini, Ilona Szwarc, Enrique Badulescu and René & Radka give rare insights into their ways of thinking and tell us what goes on at sets and locations. P. 155 — S-League International photographers present their most recent publications. An exhibition with the Leica S-System. P. 165 5
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A m e r i c a n
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Frontiers by Francesco Carrozzini
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Photography Francesco Carrozzini Model Suzanne Diaz / Next Model Management Hair Rob Talty at The Magnet Agency using René Furterer Make-up Jo Baker at The Magnet Agency using Giorgio Armani Beauty Assistant Max Montgomery Digital Tech Michele Cipriani Videographer Thomas Moore Camera Leica S with Summarit-S 35mm f/2.5 ASPH., Summarit-S 70mm f/2.5 ASPH., Apo Macro Summarit-S 120mm f/2.5
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A merican i N A merica
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by Ilona Szwarc
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Photography Ilona Szwarc Models Aan Steele, Lauren Poor Assistant Carlos Jaramillo Production Harbinger Production Camera Leica S with Elmarit-S 30mm f/2.8 ASPH., Summarit-S 35mm f/2.5 ASPH., Elmarit-S 45mm f/2.8 ASPH. (CS), Summarit-S 70mm f/2.5 ASPH. (CS)
For bookings contact us: Ulla Models Amsterdam Hamerstraat 1-G 1021 JT Amsterdam The Netherlands Phone +31 (0)20 626 36 76 Fax +31 (0)20 620 01 91 info@ullamodels.com Ulla Models Brussels 14 Rue de L’autonomie 1070 Brussels Belgium Phone +32 (0)2 528 01 50 Fax: +32 (0)2 524 28 53 info@ullamodels.be www.ullamodels.com
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Selling like hot cakes by Enrique Badulescu
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Diet Coke Costume coca-colastore.com American Flag Wayfayers St. Marks NY
String Bikini
Eres White Sequined Glove Betsey Johnson Red Glove Lacrasia
Tights Fogal Red Leopard Boots Vivienne Westwood Black Choker Betsey Johnson Balloons Village Party Supply NY
Shirt & American Flag Vintage American Flag Wayfayers St. Marks NY
Boots Tom Ford Shirt Patrica Field Baseball Hat Stylist’s Own
Jacket & Trousers Maison Martin Margiela Mickey Mouse Basket Disney Store Shoes Vintage Army Navy Store
Tights Emilio Cavallin Tank Top Nike Sandals Y-3
Sunglasses with Tide logo Customized
Tights Fogal Sunglasses Linda Farrow For Jeremy Scott
Overall Maison Martin Margiela Mickey Mouse Disney Store White Pattend Oxfords Vintage Army Navy Store
Leggings American Apparel Yellow Leather Halter Malin Vintage Chain Mail Underwear Stylist’s Own Mask Rubie’s Costumes Scarf Betsey Johnson Boots Vivienne Westwood Gloves Lacrasia
Skirt Jean-Charles de Castelbajac Leather Cuff David Menkes Leather Choker Betsey Johnson
Leggings Patricia Field Mis-Matched Heels Sophia Webster Shirt Stylist Customized Gloves Vintage Umbrella American Apparel
Red Glove
Lacrasia White Sequin Glove Bestey Johnson
Red Body Assembly NY Shoes & Socks Con Dress Hat ’Merica
Bathing Suit American Apparel Mickey Mouse Balls Disney Store
String Bikini Eres
Customized Glasses Betsey Johnson American Flag Vintage
Bathing Suit & Bandana Vintage Leggings American Apparel
Shirt Vintage
Gold Shorts Creatures Of Comfort Socks Blue Star Boots Vivienne Westwood
Bodysuit
Capezio Leather Laser Cut Boots Sophia Webster Black Underwear Agent Provacteur Printed Spandex Halter Eckhaus Latta
String Bikini Eres Gun Lighter Patricia Field
Pants & Ruffle Sides Emanuel Ungaro Boots Vivienne Westwood Silk Blouse Marc by Marc Leather Choker & Gloves Vintage
Top & Shorts Patricia Field Tights Emillio Cavallini Boots Vivienne Westwood Gloves Lacrasia Customized Sunglasess Betsey Johnson Brass Choker Aesa
T-Shirt
Vintage White Patent Leather Oxfords Vintage Army Navy Store
Floral Bodysuit
Betsey Johnson Leggings
Vintage Belt Malin Vintage Shirt on head Patricia Field Black Leather Gloves Lacrasia Costume on floor coca-colastore.com
Photography Enrique Badulescu / Art Partner Styling Sabina Schreder Hair Ward Stegerhoek for Livingproof Haircare Make-Up Vicky Steckel / Bryan Bantry using Nars Nails Ana-Maria / Abtp.Com Lighting Director Rodrigo Palma Photo Assistants Daren Thomas, Jordie Turner, Adhat Campos Digital Tech Aaron Griesdorn Fashion Assistants Natasha Devereux, Julia Ehrlich, Stacia Carrington Projections Mihai Badulescu / i + i design Models Sanna B. / One Management New York Dimphy / New York Model Management Quinta / Silent Models Megan Irminger / Supreme Model Management NY
Coke Bottle Costume coca-colastore.com I Love NY Heels Vintage
Valerie van der Graaf / Supreme Model Management NY Camera Leica S with Summarit-S 35mm f/2.5 ASPH. (CS), Summarit-S 70mm f/2.5 ASPH. (CS), Apo Macro Summarit-S 120mm f/2.5 (CS)
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S H O R T
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by René & Radka Los Angeles is a city of light. During the day, the dependable California sun shines down on the city and, at night, downtown L.A. sparkles in the bright lights of the opulent movie palaces, famous premiere movie theaters, and glittering vaudeville stages. René & Radka, the photographer duo, has revisited the 1940s and pays homage to the heyday of film noir by placing four star performers, who are currently very prominent, on the familiar stages of vintage movie theaters in downtown L. A. The city as an urban showplace is a symbol for the labyrinth in which the femme fatale is trapped, along with her shady heroes. From the stylistic elements of film noir, René & Radka created a magical world of mysterious glamor with a contemporary look. In this world, the photographers depict the actors not only as characters, but also strip the facades in modern portraits to reveal their true faces, far removed from their roles. Scenes from a theatrical drama in which both past and present celebrate their premiere. Come in and take a front-row seat.
Lauren Born January 7, 1982 in Philadelphia, Pennsylvania. Lauren Cohan currently stars as Maggie Greene on AMC’s smash zombie-fest The Walking Dead, which is currently in its second half of season 4. In 2013, Cohan guest starred on an episode of Law & Order: SVU and is a recurring character on Archer. Her additional television credits include a series regular role on Supernatural, pivotal guest arcs on Chuck and The Vampire Diaries, as well as guest appearances on Modern Family, CSI: New York and Cold Case. Cohan’s film credits include Casanova with Heath Ledger and Sienna Miller and Van Wilder 2: The Rise of Taj.
Top Charlotte Ronson
Top Agent Provocateur Skirt Phoebe English Earrings Erikson Beamon Rocks
Olivier wears Suit & Tie Giorgio Armani Trench Burberry London Hat Hollywood Hatters She wears Trench Burberry London Earrings The Way We Wore Hosiery Wolford
Top Max Mara Skirt Olima Atelier Belt Burberry Prorsum Shoes Christian Louboutin
Dress Max Mara Shoes Jerome Rousseau
Earrings Erikson Beamon Rocks Top Agent Provocateur Skirt Phoebe English Shoes Jerome Rousseau
Top & Bra Adeam Pants Dolce & Gabbana Shoes Christian Louboutin
michelle Michelle Lynn Monaghan was born March 23, 1976 in Winthrop, Iowa. With a slate of roles that reflect her strength, charm and beauty, Michelle Monaghan lights up every film with performances rooted in depth and humanity. For her breakout role in Kiss Kiss Bang Bang, Monaghan starred opposite Robert Downey Jr. and won rave reviews for her performance in the action adventure. Her other screen credits include the box-office hit, Eagle Eye co-starring Shia LaBeouf; Sofia Coppola’s Somewhere; Niki Caro’s North Country opposite Charlize Theron and Frances McDormand; Gone Baby Gone opposite Casey Affleck and Morgan Freeman; and J.J. Abrams’ Mission Impossible III opposite Tom Cruise. She has also starred in the hit comedies Made of Honor opposite Patrick Dempsey, The Heartbreak Kid opposite Ben Stiller, and Due Date, which had her reteaming with Robert Downey Jr. Monaghan was most recently seen starring in HBO’s drama, True Detective, opposite Matthew McConaughey and Woody Harrelson. Monaghan recently wrapped production on Ryan Murphy’s highly anticipated HBO series Open, a modern, provocative exploration of human sexuality and relationships. Monaghan is currently in production on the Michael Hoffman drama The Best of Me, based on the bestselling novel by acclaimed author Nicholas Sparks.
Top Charlotte Ronson
White Shirt Saint Laurent men Tuxedo Dolce & Gabbana
Shirt The Way We Wore Pants Paul Smith Brooch on tie Erickson Beamon Rocks
Blouse The Way We Wore Necklace Erikson Beamon
Slip The Way We Wore
Gavin Few artists have introduced themselves quite like British-born musician and actor Gavin Rossdale, who arrived in 1994 as the lead singer of Bush, a band whose debut album, Sixteen Stone, detonated on impact by selling more than six million copies. 20 years and 20 Top 40 hits later, Rossdale and his multi-platinum band are still making beautiful music together and recently wrapped a sold-out international tour. As an actor, Rossdale first ventured into film with starring roles alongside Gerard Butler in 2005’s The Game of Their Lives and opposite Keanu Reeves and Rachel Weisz in Constantine. He recently earned kudos for supporting roles in The Bling Ring, the acclaimed black comedy from Oscar award-winning writer and director Sofia Coppola, and Burn Notice, USA Network’s hit television series. The latter marked Rossdale’s return to television following a 2009 guest-starring spot on the acclaimed CBS drama, Criminal Minds. Next up for him is a new Bush album, due out later this year.
Shirt Ralph Lauren
Suit & Shirt Dolce & Gabbana
Gillian Born October 20, 1982 in Pittsburgh, Pennsylvania, Gillian Jacobs received her Bachelor of Fine Arts at The Julliard School. A natural talent, with a striking presence and undeniable energy, Gillian Jacobs is one of Hollywood’s most vibrant young actresses. Jacobs can be seen in the fifth season of NBC’s critically acclaimed comedy Community opposite Joel McHale. Next up is the comedy Life Partners opposite Leighton Meester and Adam Brody premiering at the 2014 Tribeca Film Festival. Following, she will be seen in the comedy Walk of Shame opposite Elizabeth Banks out in theater May 2nd. This Christmas, she stars as the female lead in Hot Tub Time Machine 2. Jacobs recently wrapped production on the drama Black and White opposite Kevin Costner as well as Visions for Blumhouse films. Her other film credits include Bad Milo!, Richard Kelly’s The Box, Choke, Gardens of the Night. Her theater credits include Phillip Seymour Hoffman’s The Little Flower of East Orange opposite Ellen Burstyn and Michael Shannon at the Public Theater.
Top Charlotte Ronson
Dress The Way We Wore
He wears Suit & Shirt Burberry London She wears Dress Maria Lucia Hohan
Hat & Brooches The Way We Wore
Above Hat, Brooches & Suit The Way We Wore Shoes Jerome Rousseau Opposite Dress Maria Lucia Hohan Bracelet Jenny Packham Earrings The Way We Wore
She wears Corset The Way We Wore Earrings Bijoux Heart He wears Suit & Shirt Anthony Franco
Photography René & Radka Stylist Gaelle Paul / Walter Schupfer Management Hair Makiko Nara / Walter Schupfer Management Make-up Michelle Monaghan Kate Lee / Starworksartists Manicurist Cheryl Scruggs / Artmix Beauty Photographers assistant Adam Rondou Digital operator Daniel Kim Production Tony Jay / Artmixcreative Casting director Yvonne Armstrong Actor with Lauren Olivier Debray Actor with Gillian Gary Franco Camera Leica S with Summarit-S 35mm f/2.5 ASPH., Summarit-S 70mm f/2.5 ASPH., Apo Macro Summarit-S 120mm f/2.5, Apo Elmar-S 180mm f/3.5 Special thanks to Rhea Rachevsky / Artmixcreative, Gabriel / Mister Vintage Machine, Larissa White / Tanner White Properties, Tarina Tarantino / Sparcle Factory, Edward Kelsey / Million Dollar Theater / Ace Hotel Down Town
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Photographers
»Typically American« means different things to different people. Just how different, is revealed in the approaches taken by our featured photographers. American Short Stories flicks through this diversity and and tells a story in pictures of a unique nature, grotesque big-city scenes, pop-culture icons, and glamorous star allure. Here is where the painters with light have their say. They tell us about their background, their experiences, and their thoughts in the run up to a production.
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P h o t o g r a p h e r s
Francesco Carrozzini
Italian photographer Francesco Carrozzini is known for his portrait and narrative fashion work in photography. When asked to take the photo essay he wanted, Francesco ventured west and staged a female lead in the California Desert. The result: a meditation on secrets, solitude and escape.
Many people have »gone West« out of a desire
of familiarity in being somewhere so vast like
to be free from certain social, cultural or eco-
the West, so utterly foreign and a place where
nomic constraints. Was there an element of
you have to surrender control. You can’t see what
that in this for you?
comes next, but at the same time you know it’s
It was definitely about freedom, both sub-
an endless repetition. I like that – simultane-
jectively and literally. As a commercial photog-
ously knowing and not knowing, the surrender.
rapher so much of what we do can be dictated.
The feeling of being lost in something without
This is hard, because of course as an artist, you
losing yourself.
wish to be your own master but then come to re-
alize this is often not possible. That can be both
When we talk about escape, it’s often in the
a challenge but also an opportunity because you
context of getting away from something but it
have to find your voice and your creativity with-
can also be about moving towards something.
in constraints when you work commercially. In
What do you want to escape to?
a way this makes you more flexible and innova-
Love. I think this may seem like the type of
tive so I appreciate that. But to be able to define
answer a man like me would give – the tortured
my own path, pick my own subject and execute it
artist looking for love. But I wouldn’t be particu-
was very much a dream trip.
larly good at connecting images to emotions for
people if I hadn’t had that terribly common, but
We are defined as much by our internal land-
utterly relatable experience of chasing love. So
scapes as our external ones. It seems like both
much of what I make, particularly when it’s suc-
were the inspiration for this shoot. Can you
cessful, is about finding that commonality. The
explain?
perfect image that will somehow assist in the
Yes, I suppose I am heavily inf luenced by
»making sense« of what we do and experience.
the desire to escape constraints, but at the same
But for me, it often resolves to this question I
time letting go can be something I struggle
have about love. How do I live it? Like really live
with. I grew up in a place in Italy that was easy
it – in an unselfish, uncontrolling way?
to know … visually at least. You could stand in
one town and easily see the next town. The dis-
Have you ever had that relationship with the
tances were so small – it made it difficult to get
women you shoot?
lost. In America, particularly in the West, it’s
Yes and no. In order to shoot a woman, I have
so different. There is this sense of endlessness
to love her a little bit. I have to imagine that she
and in a landscape like that it can be difficult
is something essential for me. Sometimes they
to orient yourself. For me there is a strange sort
know I am doing this and other times it’s just
Interview Sarah Hall Portrait Francesco Carrozzini
a private exercise. Either way, when I see them through the camera, I can fall completely into them. Immerse myself inside of their bodies, expressions, dreams, ideas … love them in a way that is unfettered and untainted by reality. Of course this is a safe way to love because the camera is there. We are often inspired by the works of others, consciously or not. Was there anything in particular that influenced the shoot?
When I was young I read Frederick Jackson Turner’s Frontier thesis and it really had an impact on me. I was fascinated by this idea that American culture was evolved by the physicality of the Western landscape and the behavioral and ideological traits it created. I love this idea that we are shaped at the edges of things – that the spaces between where we have come from and possibility are where we create new ways to be. I feel that way about my career. I came from a very distinct point of view, being both Italian and having been exposed to fashion to early on. But then I came here, and I learned how to be somewhat American as well. My photography evolved through all this. Now I am known for the pictures that I take, but I know this is just the first stop.
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P H O T O G R A P H E R S
Ilona Szwarc
Ilona Szwarc’s work is a photographic exploration of American culture that celebrates the individual through an eye that is both investigative and creative. Often expressed through girls and women, Szwarc’s work tackles universal questions about who we are and at which points do we choose to connect and separate from one another. For this project, she is acting as the director, a guide for her characters to navigate the American landscape theatrically. The work is sometimes dreamy, and other times emotional but always created within Szwarc’s vision.
You were born and raised in Poland; as a
I performed as a researcher, collecting strata by
teenager, you moved to Texas for a year
photographing numerous subjects, in different
where you lived with an American family and
parts of the country, then subjecting my mate-
attended the local high school. You then trav-
rial to detailed scrutiny.
eled around the United States before moving
Furthermore, my decision to use a large for-
to New York in 2008 and graduated with a
mat camera for these projects was driven by the
BFA in photography from the School of Visual
fact that I wanted to describe as much detail in
Arts. Currently you are pursuing an MFA in
the pictures as possible. I was photographing
photography at Yale University.
many different subjects – mostly in similar en-
I have used this duality of cultural perspec-
vironments – that were changing from picture to
tive as a springboard for my work that is rooted
picture only by small details. I had also conduct-
in a familiarity with my subjects but also pre-
ed written surveys with all of my models, trying
sented with a fresh perspective. Although I have
to gain greater understanding of the phenomena
a clear objective with my previous work that was
I found compelling.
anthropological in nature, I always approached
It wasn’t simply a snapshot of America, it
with a collaborative mindset, drawing from what
was more an in-depth visual study of facets of
was out there to inform the viewer of my subjects
American culture. My initial attraction was to
while still maintaining my aesthetic.
the surface, how people looked and what they were involved with, but I mainly concentrated on
A lot of your work has dealt with very Ameri-
the sociological, political and psychological lay-
can issues including this project. And yet, you
ers of meaning. Whereas this new body of work
were raised in Poland. Talk about how that
developed from personal observations of living in
has been for you and if you have faced chal-
the United States and arriving on the surface of
lenges trying to go deeper within American
the American experience.
culture and not just rest on the surface. And,
Being an outsider definitely directs me to-
do you see your work as something other than
wards aspects of American culture, which I
simply a snapshot of America?
might have overlooked had I been raised here.
I produced two bodies of work examining
Meanwhile, I have periodically lived in the Unit-
American girl culture: American Girls, a series
ed States throughout my life and reside here
of portraits of girls across the United States
now, so I feel as if my awareness of my surround-
who own customizable mini-me dolls, and Ro-
ings has grown more acute. My curiosity delves
deo Girls, a series of portraits of cowgirls from
deeper into my environment, regardless of where
Texas. These projects were anthropological.
I live or where I grew up.
Interview David Rosenberg Portrait Matthew Leifheit
How do you begin to work on a project like
are fictitious, and the theatricality is evident, I
My inspirations mostly come from painting
this? Do new concepts form while you are
am not allowing them to escape the uncomfort-
and cinema. Recently I have been looking at Ed-
working? Does the final project come together
able reality of their existence. They feel most
ouard Vuillard, very closely at Henri Matisse,
as you had imagined? Or, is it a more intuitive,
animated and alive through their fantasies but
and filmmakers Catherine Breillat, Michelan-
spontaneous way of working that unfolds
they come back to feelings of introspection and
gelo Antonioni and Robert Altman.
throughout the process?
alienation in the real world. One of the most im-
Notions of aspiration, projection and the
portant threads is the idea of aspirations both
concept of the ideal self have been present in my
imagined and realized throughout one’s life.
work. I have always been fascinated with twins
This new series is a result of some of the ideas that were percolating in the back on my mind for a while. Two aspects from previous
The work looks different because I made an
and doppelgangers, in theory of the other and
projects are evident in this work: An interest in
important decision to retire my 4×5 view cam-
the uncanny. Moreover, I am interested in sym-
characters and in the constructed world.
era and move on to use Leica S. The change of
bols, allegories of life and a challenge of portray-
American Girls dealt with the construction
format, frame and optics felt refreshing and ex-
ing a collapsed lifetime in a single picture.
of childhood, when Rodeo Girls honored the
citing to me. Leica’s large sensor and the lenses
myth of the American West. My subjects always
allowed me to keep, if not improve the detailed
dressed in costumes; they were composing their
description of my photographs allowing the
personas through attire and props. However my
viewer to scrutinize the scenes.
focus gradually shifted from the typology to the individual. Usually I allow a lot of spontaneity and intuition in my work, although here it was limited to
You mention how you don’t like to linger or overwork one setting. Can you elaborate on that?
the scenarios that I already committed to work
I put great emphasis in producing a single,
in. These new photographs were scripted and
outstanding, rigorous photograph. I find it sat-
carefully produced rather than found.
isfying when every image represents a different pictorial idea rather than seeing numerous
Your work has been rooted in a more docu-
angles from the same scenario. My preference,
mentary style. This work is far dreamier. Talk
and what truly energizes me is the discovery of
about maintaining your style when exploring
various images of the same person in distinct
new concepts?
moments of their life.
Yes, that’s true, my work has been rooted in a more documentary style, yet elements of fantasy
Tell me about some of your inspirations that
were inherent to my subjects and I often arrived
influenced your voice both in this series and
at the old adage that »reality is stranger than
your work as a whole? Not just specific people
fiction«. When in the new project the characters
but also abstract ideas.
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P h o t o g r a p h e r s
Enrique Badulescu
The 52-year-old top photographer, who speaks several languages fluently and is always in a good mood, has already had the Rolling Stones in his viewfinder, produced underwater shoots for Hermès, sat on the jury of the TV casting show Germany’s Next Top Model, and is a frequent guest in numerous international fashion magazines. In S-Magazine, he has really pulled out all the stops on the subject of pop art and has taken a humorous poke at some typical aspects of the American way of life. Here, he tells us why humor and music play such a decisive role in his work, what keeps him firmly with both feet on the ground, and when he really takes off.
How did you find your way into photogra-
take time out for a tequila, but today, you have to
like to make things with my hands. Sometimes,
phy? I read somewhere that your dad was a
power up the computer right away. It’s like work-
I take pictures from the plane, just for the fun of
photographer.
ing on a production line.
it. I made a collage for an exhibition which was part of Art Basel in Miami Beach. I sit on the
That’s right, he was a photographer. But I actually wanted to be an architect. Then fate took
You work frequently in the fashion segment,
f loor a lot and make things together with Fer-
a hand in my life. I took my university entrance
for magazines like ELLE, Vogue, or Harper’s
nanda, my six-year-old daughter. Two drawers
exams at the German school in Mexico. There
Bazaar. Is there anything about the fashion
of the cupboard in my office are full of trash, and
are lots of Germans in Mexico, and my dad, who
business that particularly annoys you? You
we make things out of it. I always tell her »the
also spoke f luent German, had a friend who
mentioned that everyone takes everything
sky’s the limit«, that you can do or make any-
had studied photography in Munich in the six-
much too seriously. Could you go into a little
thing if you try. I learned that from my father.
ties. So I applied for a place at the »Bayerische
more detail?
Staatslehranstalt für Photographie« – and was accepted. The rest is history.
You have to like your job and you have to
You are also highly creative in other things …
take it seriously. But some people get really ob-
Yes, I even once tried my hand as a designer.
sessive about it and end up just two-dimension-
I’ve been wearing bandanas for an eternity. It all
Do you have any photographic role models?
al and tedious. But our art form has so many
started because I was sick of my hair getting in
Did anyone in particular influence your way of
aspects and we call it a job. Back in the eight-
front of the lens at shoots on the beach. So I got
seeing things?
ies, when I began, things were a lot more fun.
together with Codello to design a bandana col-
I always used to flick through Vogue, and the
There were fewer photographers, we did crazy
lection. In really bright and happy colors.
spreads by Guy Bourdin in it paved my way to
things, and the job was, in a way, an expres-
fashion. He shot some amazing campaigns – like
sion of our attitude to life. Today, everything is
How do you position yourself as a photogra-
the one for Charles Jourdan shoes. That really
perfect – probably something to do with compe-
pher – what is »typical Enrique«?
impressed me. Helmut Newton was a big influ-
tition – it’s all a matter of sink or swim. A few
My work has a lot to do with color, and I like
ence, too. Both of them were full of fantastic
years ago, photographers had their own sig-
to follow a conceptual approach. I do a lot in wa-
ideas. The stories they told always had weird
natures. You knew immediately who had shot
ter, and there’s always a lot of action in my shots.
and funny undercurrents.
what. The clients today have also become very
But, at the same time, the pictures have a cer-
cautious. That’s why it is so good to be working
tain softness.
You’ve been in the business now for almost 25
for S-Magazine.
years. What changes have you noticed?
Today, everything has to be done so fast. It’s
How do you loosen up the atmosphere at a What do you do to feed your creative side?
shoot?
probably also something to do with the phenome-
I travel a lot and watch people. I’m not the
Music, music, music – and more music. I play
non of digital photography. The people just don’t
kind of photographer who has to work nonstop.
almost anything, from reggae to pop, all jumbled
have the time any more to sit down and take a
Three days in the studio is usually more than
together. It’s great to work with talented people
longer look at the pictures. You used to be able to
enough for me. I’m very interested in art, and I
who know how to have fun. I love to laugh.
Interview Carla Susanne Erdmann Portrait Rodrigo Palma
Are there any shoots that stick in your
far as to wear that ridiculous Coke-bottle suit
memory?
myself. And then, we also wanted to see if we
The Hermès campaign, around ten years
could work with those projections. On things
ago: ten days in Tahiti, all of it underwater, we
like this, I always like to work with my brother,
swam with rays. It was anything but easy: the
M ihai. He studied industrial design at Saint
models were fully dressed, didn’t have masks
Martins, in London. In the end, we tried out four
and had to look cool. We spread out the acces-
or five different ideas. Try, try, and try again has
sories on the seabed and had to make sure they
always been my way of working.
stayed there. I lost three of the three cameras I had. They got leaky from sand getting into them.
Where did you get the props?
We did it all by holding our breath and without
Sabina Schreder, my wonderful stylist, did a
any oxygen tanks – it was legendary! The people
marathon search on the internet and organized
at Hermès are still using the shots of the per-
everything we needed. Sabina then combined all
fume bottles today.
these things with fantastic designer clothes from Maison Martin Margiela, Y-3, Tom Ford, and
In your spread for S-Magazine, you play
Vivienne Westwood. Then we gave it a go.
around with elements of pop art. What do you like about pop art?
I love pop art. Always did! Andy Warhol was
Your hopes and visions for the world of photography?
fantastic. His Polaroids and experimental mov-
It must get more spontaneous, it must loosen
ies were pretty impressive. He mixed everything
up, and it must have a bigger element of fun. The
together and invented new forms of art; he broke
world is serious enough – all you have to do is
down the walls between painting and photogra-
watch the news. Everyone needs to get more fun
phy. There was a point when he was overly pres-
into their lives. When you are a photographer,
ent, but he really liberated art.
you have the chance to do it.
How did you develop the spread for S-Magazine?
Well, because it was going to be the A merican Short Stories issue, we tried to approach it in comic style and poke some fun at American c lichés. We wanted to show what’s typically American with a dose of humor. I even went so
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P h o t o g r a p h e rs
René & Radka
For fifteen years now, Czech and German photographers, Radka Leitmeritz and René
Text and Portrait
Hallen, respectively, have been working together as the extremely successful
René & Radka
photographic duo René & Radka. For S-Magazine, they took four prominent actors and a modern look and delved deep into the great era of Hollywood motion pictures by revisiting the Los Angeles of the 1940s. In the interview, they discuss the glamor of film noir, famous locations in L. A., the lasting influence of the 1980s movie Blade Runner, and their work with picture-perfect clichés.
RENÉ
What was your inspiration to this story?
RADKA
You know I love the drama (laughs) and
RADKA
L. A. has a short but very beautiful his-
tory. Not many people are seeing L. A. this way …
now living in the middle of the movie industry …
we fell in love with L. A. the first time we came
Hollywood is everywhere (laughs). We both always
here many years ago … because of the locations,
got strongly inspired by old movies … there is the
because of the cinematic history … there is the
nostalgia we carry in our work, they were so styl-
beach, the palm trees, gorgeous sunsets on the
ish, lighting was beautiful, actors looked so per-
Sunset Boulevard (laughs), motels, vintage cars,
fect, locations and sets were amazing …
the dessert and the best light in the world … but
RENÉ
But why did you choose film noir for
inspiration?
there is something very unique and this is Downtown L. A. … this forgotten place is like a huge
I love the 40s … and especially the
film set … you can feel the atmosphere from »old
American ones … the movies and pictures from
good times« on every corner … there is the old
that time are like from another world, like a
Broadway, Spring Street, 3rd …
RADKA
dream … maybe because the 40s in Europe were
I remember the first time when we came here
so sad. In Hollywood, this time was full of pure
scouting … it was giving me goose bumps … the
glamor, cocktails, beautiful dresses, perfect hair.
whole stretch of the Broadway is lined with Art
Nobody could light a cigarette in a more glam-
Deco buildings, old movie theaters, old neons … it’s
orous way then the actors in movies from that
crazy … you feel like you were in NY in the 80s or
time … Did you know that they had a couch to
Chicago or somewhere … but not L. A. It feels like
learn how to do it?
a big American city, but there is not the same city
Yes, it’s crazy … the actors were under
live … most of the buildings are empty, closed down,
contract with the studio and when they were not
abandoned … not many people are walking on the
filming, they cultivated their skills – like they
streets …homeless people in wheel chairs are every-
learned how to hold a cigarette and look irresist-
where … Mexican wedding dresses shops … It has
ible …
this beautiful photogenic patine, like a movie set …
RENÉ
RADKA
Love that … film noir is so stylish …
and there is the suspense and always a beautiful
RENÉ
And many old silent movies and probably
film noirs had premiere here!
young girl and older gentleman, so mysterious and
RADKA Yes! This was before the industry moved
sexy (laughs) and I like the simplicity of the set-
to Hollywood. The Oscars were here, it was a chic
tings: simple but strong light, the codes … I guess
place to go out … and our favorite movie was shot
I love beautiful clichés in general.
here!
RENÉ
You should tell about, where did we shoot
this story and why …
RENÉ
I think Blade Runner (laughs) is the most
beautiful film noir from the early 80s…
RADKA
So inspired by the 40s right? Yes …
RADKA
I love it. You can create a real story.
RADKA
How did you work on the images con-
it’s full of movie history. And we had the chance
They know how to play emotions … it’s more cred-
to shoot at the Million Dollar Theater with Lau-
ible … and I love to make them look beautiful, dif-
ren and Olivier. You can see this location in Blade
ferent from how they are used to see themselves.
we see mostly black and white images. In order to
Runner … the whole Downtown is there …
And sometimes to make them play in a part, they
keep a modern touch to our story we mixed some
didn’t have the chance to play yet … all three girls
color images into it. We kept the colors not too
were so exited about being in a film noir. Period
saturated, just sometimes with an accent on the
movies are not filmed everyday and this period is
red lipstick or some detail. We also worked a bit on
so flattering for women …
the ambience, darkened the corners of the image
RENÉ
And the amazing United Artist Building,
now Ace Hotel … RADKA
What do you like so much about these
locations? RENÉ
The same as you … I love that they
are all historical Hollywood locations. The Mil-
RENÉ
So are you taking actors now for models?
RADKA
Not really … I think if we wanted to
cerning postproduction? RENÉ If
we think about the old film noir movies
to make it look more dramatic … no composing … old school photography.
lion Dollar Theater is in the historical center of
work with models, we could just cast models and
Downtown, Broadway, where at the time Holly-
pretend that they are filming … but we wanted the
were going for … it was not an easy project to
wood would screen the latest film noir, lets say
story to be about film, actors, the Hollywood past
shoot, there was a moment I thought we will never
that’s what I imagine (laughs). The Villa loca-
and present … about the transformation the ac-
put it all together (laughs). You know what was
tion for Gillian’s story belonged at the time to a
tor is going through. It was not about clothes and
so beautiful about the end of the shoot? When we
movie director and many actors used to stay at
new collections … our stylist Gaelle mixed today’s
stayed over night at the Ace and late in the night
this house. So it is also full of the spirit of old
designer peaces with real Hollywood vintage. And
when you were zapping on the TV channels …
Hollywood. It was an apartment building where
all of them are the upcoming Faces of today … and
OMG … There was Blade Runner on some channel
they lived before they got famous (laughs). There
they are beautiful … like models (laughs) and you
… it gives me goose bumps again … the best Wrap
is this 80 year old men who still lives there and
know what I love about them? How they can cry on
moment ever! Rachel and Harrison Ford on Broad-
he decorated the whole lobby over the past 40
command (laughs).
way … and the Bradbury building …
years. He was a movie set decorator and collected
RENÉ
props his whole live – it’s magic … The Ace Ho-
RADKA
Are actors easier to work with? It’s just different … for me more chal-
RADKA
I hope that people will feel what we
RENÉ YES!!!
That was crazy … I wish we could
have shot there … but it’s done now and hope that
tel just recently opened on Broadway but it’s also
lenging. You must have a story for them and gain
somebody will like it (laughs). I wish we could
an important monument of Hollywood. Inside the
they trust … but ones you have it, they give you
have more projects like this, with full creative
hotel you can still see the historical United Art-
so much more than just a beauty … it makes
freedom … it’s rare these days …
ists Theater witch they use again for screenings
me think I was a film director for a moment,
and concerts. What is exciting about the Ace Ho-
you know?
tel that with it a new era of downtown is about
RENÉ
I feel the same. Each time we work with
to begin. There are restaurants, cafés, shops
actors it’s like shooting a movie … the only differ-
and Hotels that opens every day in downtown. I
ence is that we would never have the passion to
would say that we just experience a renaissance
work years on a film (laughs). I have deep respect
of downtown.
for film directors … we just create images, witch
We used also this beautiful car, a LaSalle
looks like from a movie, but don’t have to deal with
1939, witch played in many different Hollywood
the big complexity movie making has … we are
movies, and the TV show Gangster Squad etc.
faking it (laughs).
Maybe the first owner of the car was cruising at night on Broadway at the time … RENÉ
How long did you prepare? How long did
we shoot? It seemed like ages (laughs) …
RADKA
Did you actually do a specific research
on the film noir lighting, can you tell something about the light in the story? RENÉ
The film noir light is a very specific light.
I started to work on research and
It creates the mysterious and dramatic ambi-
moods a month ago. I would go and buy all the
ence in the story. We worked with very hard and
books about film noir, George Hurrell’s glamor
direct spotlights in order to play with very high
portraits … I must always dive deeply into the sto-
contrasts. You light only the important parts and
ries and live there for a while … The preparation
keep a lot of details in the shadows. The light on
was long, to schedule actors is difficult: you can’t
the talents has to be very precise so they still look
just book them like models. They’re filming and
beautiful. It is definitely not a beauty-light so we
have many activities besides this. But in the end
had to be very careful about the direction the light
we had three shooting days …
was coming from. A good help in order to create
RADKA
RENÉ
We mostly work with models. How do like
working with actors?
suspense is to use fog, exactly as they did in the oldfashioned film noir movies …
163
Model Agency · Est. 2005 Eppendorfer Weg 213 · 20253 Hamburg +49 40 421076660 · info@md-management.com
MD-ManageMent.coM
Photographer Maximilian Stürmer
clothing Sandro, H&M, asos, Mac
Hair & Makeup Sabine Wicker · www.liganord.com
Models David Marreiros, Steven Lettnin
Stylist Bettina Schönfelder · www.kultartists.com
Design The Weavery · www.weavery.de
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S-League.net
As diverse as the 50 States of the Union: international photographers present their latest campaigns and independent projects – all shot with the Leica S. Ongoing chapters of this story of success can be found on S-League.net and our iPad app.
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s – l e a g u e . n e t
Chad & Paul
Photography Chad Pickard & Paul Mclean Client Rollacoaster Model Nate / ESTABLISHED Fashion Chris Benns Groomer Soichi / SAINT LUKE’S using Bumble and bumble. and Dr. Hauschka Fashion assistant Lucy Hamilton Camera Leica S with APO-Macro-Summarit-S 120mm f/2.5
Jonas Lindstroem
Photography Jonas Lindstroem Client Kostas Murkudis Styling Jodie Barnes Model Paulina King / SMC Models Hair/Make-up Ewa Cervena Graphic Design Haw-lin Services Camera Leica S2 with Summarit-S 70mm f/2.5 ASPH.
167
Model Agency · Est. 2005 Eppendorfer Weg 213 · 20253 Hamburg +49 40 421076660 · info@md-management.com
MD-ManageMent.CoM
Photographer Maximilian Stürmer
Clothing H&M, tibi, French Connection
Hair & Makeup Sabine Wicker · www.liganord.com
Models Johanna Scharlau, Janina Raabe
Stylist Bettina Schönfelder · www.kultartists.com
Design The Weavery · www.weavery.de
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S – L E A G U E . N E T
Morgan Miller
Photography Morgan Miller Client Creem Magazine Art Direction J. Matthew Riva / Mister Styling Katerina Simonova Hair Franco Della Grazia Make-up Paul Innis / Maxine Tall Mangement Senior Producer Severine Manuel Photography Assistant Jensen Turner Models Anna Shilling & Neelia Moore / Fusion, Kim Daunais / One.1, Sissel / Red Camera Leica S with Summarit-S 70mm f/2.5 ASPH., APO-Macro-Summarit-S 120mm f/2.5
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Coco Neuville
Photography Coco Neuville Client Petusa à Paris Hair/Make-up Daniela Eschbacher / FAME Photo assistant Justinien Schricke Model Margo Brière Bordier Camera Leica S with Summarit-S 35mm f/2.5 ASPH., Summarit-S 70mm f/2.5 ASPH., APO-Macro-Summarit-S 120mm f/2.5
F O R
M O R E
I N S P I R I N G
A N D L A T E S T P L E A S E
N E W S
V I S I T
O N
P H O T O G R A P H Y T H E
L E I C A
S – L E A G U E . N E T
S – S Y S T E M ,
Jonas Lindstroem
Chad & Paul
jlindstroem.com
cp-pm.co.uk
s-league.net
s-league.net
Coco Neuville
Morgan Miller
coconeuville.com
morganmillerphoto.com
s-league.net
s-league.net
Chad & Paul
Jonas Lindstroem
Morgan Miller
Coco Neuville
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