I S S U E 9 · E N G L I S H E D I T I O N
L O
B O O K · 2 0 1 7
C U T T I N G - E D G E
P H O T O G R A P H Y
B Y
Enrique Badulescu · Joachim Baldauf · Rui Faria · Esther Haase · Benjamin Kaufmann Arved Colvin-Smith · Elizaveta Porodina · James Meakin · Takahito Sasaki · René & Radka Monica Menez · Christian Geisselmann · Marie Hochhaus · Christian Rinke Aglaja Brix & Florian Maas · Bil Brown · Anna Daki · Hector Perez · Tristan Rösler S P E C I A L
G U E S T
E LLE N VON UNWERTH
09
K
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T a b l e
o f
C o n t e n t s
Arved Colvin-Smith 4 Anna Daki 18 Enrique Badulescu 26 Rui Faria 40 Takahito Sasaki 54 Bil Brown 64 Christian Rinke 76 Esther Haase 84 Elizaveta Porodina 98 René & Radka 112 Joachim Baldauf 124 Tristan Rösler 138 Marie Hochhaus 144 Christian Geisselmann 156 Benjamin Kaufmann 164 Hector Perez 178 James Meakin 184 Monica Menez 194 Aglaja Brix & Florian Maas 204 s p e c i a l
G u e s t
Ellen von Unwerth 214
Every two weeks we publish a new and exclusive digital feature on the S Magazine website and app, complete with gorgeous layouts, extended interviews with the photographers, and often videos as well. This annual Lookbook Edition of the S Magazine showcases a special selection of these digital features and takes readers around a world where everything goes. All contributing photographers are encouraged to work without any creative boundaries or constraints so that the resulting pictures and videos are powerful, extravagant, and full of surprising new perspectives – all of them created with a Leica S or Leica SL System. Lastly, in addition to our roundup of digital features, we also have an exceptional series of unseen images by Ellen von Unwerth from the 8th edition of the S Magazine.
w w w . s - m a g a z i n e . p h o t o g r a p h y
Colour Exp losi o n
A r v ed c o l v i n - S m i th
Photography Makeup Hair
Arved
Linda
Keiichiro
Nails
Amy
Colvin-Smith
Ă–hrstrom Hirano
Atkins
St y l i n g
Cynthia
Lawrence-John
Digital
ImaginG
Suzanne
Models Monet Mika
Ellen
( IM G ) ,
(Models ( IM G )
Cosmetics
1),
and All
Photographed
Rasika
Ella by
with
4
180mm
( T EES ) ,
(Established),
( T ESS )
MA C Leica
APO - M a c r o - S u m m a r i t - S APO - E l m a r - S
Tak
Sienna
S
120mm
f/3.5
(Typ
007),
f/2.5
(CS)
(CS)
and
5
6
7
8
9
10
11
13
14
15
16
Arved
C o lv in-S m i t h’s
cas t s
this
series
of
artistic
s e as o n ’ s
f l a w l e ss
experiments
with
story f ac e s
colour
Colour as
and
E x p l o sio n,
ca n v as e s
for
a
form
“I wanted to create a casting series where we could have the freedom to experiment whilst keeping the images together as a single body of work,” says Arved ColvinSmith from his home in London. So, after a lot of castings with the most interesting models passing through the city, he settled on a dream cast of Mila, Sienna, Ella, Rasika, Ellen, and Monet and started thinking about what he could do with them with Swedish make-up artist Linda Öhrström, who is known for her work with the pop star Robyn. “We work together a lot and have a great creative relationship,” explains ColvinSmith. “She is an ideas factory and most on this shoot originated from her, although hopefully I added something along the way.” Sculptural make-up techniques, painterly cosmetics that bring to mind an artist’s studio, and adventurous colour combinations are what Öhrström is known for, and this shoot was no different. “As you can see from the images,” Colvin-Smith continues, “there were a fair amount of unconventional products used. I am not sure I want to give away any trade secrets, but, there was lots of honey!” His resulting close-up portraits are, unsurprisingly, sweet and enticing and the shoot is literally overflowing with ideas. One of the model’s faces is used as a palette, with caramel and rose and turquoise pigments mixed together on her cheekbone and smeared across her face like paint: a very deconstructed approach to make-up. Another has strawberry and lemon shades of piping piled up on her face like spaghetti icecream. Others still – and surely this is where all of that runny honey comes in – have streams of brightness pouring down their cheeks as though they are crying gorgeous colours of joy. One girl even has rainbows for eyelashes. But then, the whole shoot is like looking at the world through rainbows for eyelashes. “Usually with beauty I would experiment and explore one or two concepts and create a set of images that sit with the ideas,” says Colvin-Smith. “This time the goal was simply to make each image as good as it could be without it being restricted to a theme. Simply to create a set of beautiful and challenging images. A lot of ideas that maybe wouldn’t have enough scope to become a full story were shot, and it was an incredibly liberating and enjoyable experience.”
See
more
on
www.s-magazine.photography
and
www.arvedcolvin-smith.com
17
Kรถ r p e r bau
A n n a D ak i
Photography Models Anna-Maria
(Core
Anna Bara
Daki (M4
HAIR
&
MAKEUP
Models),
Management),
Kirra
Photographed
with
Summarit-S
Michael
Hilal (Core Leica
70mm
Mayer
Models),
Management) S
(Typ
f/2.5
APO - M a c r o - S u m m a r i t - S
18
(M4
006),
ASPH .
120mm
and
f/2.5
19
20
21
22
23
Anna
Da k i ’ s
between skies
of
story,
p h y s i ca l
Körperbau
forms
and
(Body
modern
Build),
ca p t u r e s
architecture
under
harmonies the
wide
Ha m b u r g
“I’ve always been driven by the beauty of the human body, by shapes and forms,” says Anna Daki. “During my studies of architecture I looked at the human body a lot, trying to bring bionic elements into my architectural projects.” Daki is originally from Odessa, Ukraine, moved to London when she was 18 to study architecture, and then to Berlin and Hamburg to become a photographer. For this shoot she worked on the roof of one of the latter’s most recognisable landmarks – the Astraturm office tower designed by architect Tobias Grau –, and cast a quartet of models – Bara, Hilal, Anna-Maria, and Kirra – with vibrantly healthy, toned bodies. Everything is shot in monotone, producing a coherent visual style. The elevated square crown above the Astraturm, just like the models’ bodies, is sometimes curving and sometimes angular, and unrelentingly hard. The sun creates a softer sfumato effect on the models’ rippling stomachs. The skies are clear with faint swirls of cloud. Anna Daki has always been fascinated by our bodies and the forms of our cities. “With photography I’ve now found the perfect solution: to see and photograph the architecture of the body.”
24
See
more
on
www.s-magazine.photography
and
www.annadaki.com
25
So l ar i Sati o n
E n r i q ue B adu l escu 26
Top
W X YZ
Jewelry
Pants
LeSwim
Sneakers
Loeffler
Randall
PhotographY Fashion Makeup Hair
Vicky
John
Casting Model
Fashion
on
Poole Page
location Maya
PhotographED
WI T H
45mm 70mm
(The
Lions)
Schultz Johanna
Bandana
Riviera
Inc.
Kelley
Assistant
Summarit-S
Malatesta
Ruidant
Ed i t o r
Elmarit-S
Herrera
Steckel
Julius
PRO D U C T ION
the
Badulescu
Romina
Caroline
Market
Shot
Enrique
Ed i t o r
Aquino
Productions
at
Casa
in
Tulum,
Leica
f/2.8 f/2.5
APO - M a c r o - S u m m a r i t - S
Enrique
S
(Typ
ASPH . ASPH . 120mm
on
Mexico. 007),
(CS), (CS)
and
f/2.5
27
28
Above: Left:
Top
Jacket
Moschino
Courreges
Couture!
(courtesy
(courtesy
of
of
Albright
Albright
Necklace
Joanna
Fashion
Fashion Laura
Library)
Library)
Constantine
Earrings
B o tt o m
Dion
Laura Lee
Lombardi
Choker
Redwolf
PDX
29
30
Above:
Visor
I
Right:
Still
Love
Sunglasses
You
NY C
Mercura
Swimsuit Top
Kore
Monreal
Swim
31
32
Swimsuit
Lisa
Marie
Fernandez
(courtesy
of
Albright
Fashion
Library)
33
Above:
34
Cape
M
Missoni
Sunglasses Bikini
Mercura
b o tt o m Sneakers
Lisa
Top Marie
Loeffler
Mi
Ola
Right:
Fernandez Randall
Visor
(courtesy
Rings
Laura
I
Still of
Love
Albright
Lombardi
You
NY C
Fashion
Library)
35
Above:
36
Jacket
Right:
Courreges
Sunglasses
(courtesy
Mercura
Top
(courtesy
of V PL
of
Albright Next
Fashion
Spread:
Albright
Cape
Fashion
Library) M
B o tt o m
Missoni
Library)
Ring
Dion
Bikini Laura
Lee
b o tt o m
Earrings Lisa
Lombardi
Laura
Marie
Lombardi
Fernandez
37
38
Ta k e
a
trip
destination, series
to
the
f as h i o n
Tulum,
where
world’s
favourite
E n r i q u e Badulescu
h o l i d a y s h o t h i s
S o l a r i sa t i o n
“The colours are always already really amazing with this camera,” Enrique Badulescu starts by saying; however for this story he wanted to make those colours even more amazing, and psychedelic and unreal in places, using a process of solarisation by which an image can be partially reversed in tone and pushed beyond the limits of nature. After all, even paradise can be improved on: now the clouds glow pink and green, the foaming sea appears digital, and the shadow of the palm fronds becomes a rainbow. Badulescu grew up in one of the world’s most colourful capitals, Mexico City, but studied at the Bayerische Staatslehranstalt für Photographie (Bavaria) in the eighties, when students were mostly encouraged to develop and print their films by hand in black and white. Afterwards he moved to London and it was in that gloomy, overcast city that Badulescu became famous for shooting in vibrant Latin colours. Today he lives between New York and Tulum, Mexico, where he has a house by the beach where this story is set. “One of the things I love about Tulum is that the sand is so white, it’s almost like a daylight studio,” he says. “Even if it’s cloudy, you have so much light bouncing off the sand. The light there is so beautiful that it gives you a lot of contrast already. When the sun is up, it’s beautiful. And if you walk at night under a full moon, it’s almost like daylight: the shadows are so strong you could even shoot at night. A full moon in Tulum is amazing.” And when he’s shooting there, Badulescu likes to spend a lot of time hanging out in his sitting room with his team, eating together and just having fun. He wants to make all our lives more colourful and more fun. “If you see magazines right now,” he says, “everything looks so lacklustre, there’s very little colour: the colour looks like it’s no colour. It’s like everybody’s sick. I find it amazing that in this world, with all the problems that we have – which are terrible at the moment – we forget that we still have so many beautiful things to enjoy. One of the things to enjoy is nature. Another is colours. I’m fanatical about colours! This is a story that you should open up and say, ‘Wow!’ This story is really about the girl, how beautiful she is, and about skin and sun and colour, colour, colour.”
Enrique Serlin
Badulescu
Associates. and
See
is more
represented on
worldwide
by
www.s-magazine.photography
www.enriquebadulescu.com
39
Elsa
(left):
Coat
Pinko Benthe
40
Hoodie
Marcelo
(right):
Coat
B u r l o n – C o u n t y Pinko
Necklaces
of
Milan
Pyrrha
Necklaces
Pyrrha
Charlotte using and
Nails Set
Tilbury
TIGI
Elsa
assistant
assistant
Casting
D i r e ct o r
Retouching
The
Photographed f/2.5
ASPH .
Vries
(David’s (A
Artists)
Models
Forge
Manduca)
Digital
Amsterdam)
using
operator
MA C
Guillaume
M e r c i e r
Gonsard
Mariam Dean
with and
Savery
(Terri
Miller
Thomas
Fashion
de
Cynthia using
(NEXT Models)
Yamamoto Dora
editor
Öhrström
Cher
Benthe
Brisinger
Chisato
Fashion Linda
Hair
Models
designer
Photo
Faria
MakeUp
Gómez
Goodman
Bonnemaison Location
Studio
9
London
UK
Leica
S
(Typ
007),
APO - M a c r o - S u m m a r i t - S
Summarit-S 120mm
70mm
f/2.5
Vö lur
Rui
Lawrence-John
R u i F ar i a
PhotographY
41
42 Dress
Kenzo
43
44 Shoes
Archive
Iris
Van
Herpen
Coat
Di
Liborio
Rings
Pyrrha
45
46
47
Dress
Rhys
Ellis
48 Knitwear Swimsuit
left: Right:
Trousers
of
Necklaces
of
own Pyrrha
Stylist’s Necklaces
Sc a r f Milan
Pyrrha B u r l o n – C o u n t y
Milan Marcelo
B u r l o n – C o u n t y Isham
Marcelo Ashley
49
50
51
Left: Mark
Rhys
Pyrrha
Bracelet
Necklaces
Pyrrha
Fast
Necklaces
Dress
Lamania
Right:
Cape
Ellis
52 Vest
Marcelo
B u r l o n – C o u n t y
of
Milan
Rui i n t o
Fa r i a h i s
channels p h o to
the
s h o o t ,
old
magic
of
Norse
mythology
V ö l u r
“As we’re telling the story of a female Viking shaman,” Rui Faria begins, “the clothes had to convey the rawness that embodies her role. We wanted to create the atmosphere of a battlefield, or warlike place, and convey as much realism as possible within the confines of a photographic studio.” So, with his team, Faria actually brought the woodlands into the studio and had models Benthe de Vries and Elsa Brisinger posing with genuine tree trunks. Then afterwards he composited pine forests into the backgrounds of the images, creating a vast and atmospheric sense of space. All of these pictures have a misty, frosty Scandinavian palette and are very cinematic. This is perhaps unsurprising, as Faria originally studied film making, and the inspiration for Völur came from the television show The Vikings. The völur is a female shaman from Norse mythology, a mystical figure who has been depicted many times in the history of art – but never before as the subject of a fashion shoot. She is incredibly powerful, which is what attracted Faria in the first place. “The protagonist embodies my ideal woman. I love women who are strong and resolute, yet soft and feminine. It may be a contradiction, but I’ve always admired strong women with a soft side to them: my mother was a very strong woman.” Rui Faria is originally from Portugal and now lives in London, where he founded the fashion magazine Volt. For this project he worked closely with two of his collaborators from the magazine, fashion director Cynthia Lawrence-John and beauty director Linda Öhrström, gathering all the elements for this story. With their help, the warrior girls have dirt on their faces, wind blowing through their tussled hair, and are dressed in chain mail, rope, and sacred pagan pendants. Of course it takes a lot of effort to put together such a magical scene – but once it is ready Faria likes to shoot very quickly. “When I was at university,” he says, “I was lucky enough to attend a seminar with the great Helmut Newton. During the Q&A, someone asked him how many rolls of film he shot per outfit. His answer was, ‘There aren’t that many ways to shoot a dress. If you don’t get it in one roll, you’ll never get it.’ I don’t like to shoot too many frames because I lose enthusiasm for what I’m doing; besides you can always tell when you’ve got it. Very often the best shots are the first frames.”
See
more
on and
www.s-magazine.photography www.ruifaria.com
53
54 Corset
Sian
Hoffman
Trousers
Issey
Miyake
Top
Kitty
F i ct i o n
Joseph
Shoes
Chie
Mihara
T akah i t o S asak i
PHO T O G RAPHY S T YLIS T AR T HAIR
Takahito
Marina
D IRE C T ION Jonathan
Jennifer De
Jennifer
MO D ELS
Evangeline
Mika
Vitkauskas
Photographed
Avins
Francesco
MAKEUP Clarice
Sasaki
German
with
Endres
(Wilhelmina),
(Next) Leica
S
(Typ
Summarit-S
35mm
f/2.5
ASPH . ,
Summarit-S
70mm
f/2.5
ASPH .
APO - M a c r o - S u m m a r i t - S
120mm
f/2.5
Outfit
James
Kelly
and
006),
55
56
Trousers
Renli
Su
Coat
James
Kelly
Boots
Karina
Ik
Socks
Item
M6
57
Faux
58
fur
coat
Emma
Brewin
59
60 Coat
Marc
Cain
Hat
Dilara
Findikoglu
61
Coat
Issey
Miyake
Shoes
Chie
Mihara
62
Apparel American Tights Miyake Issey Coat Marni Body
I n
h i s
th e wo r k
F i c t i o n
s u s p e n s e o f
a
s e r i e s ,
b u i l t
f as h i o n
u p
i n
Ta k a h i t o m o v i e s
S asa k i w i t h in
r e c r e a t e s the
frame-
p h o t o g r a p h
Takahito Sasaki is interested in how a camera can be used to communicate gently. “Photography is very personal for me,” he says, “but at the same time I prefer not to use my photography to impose an idea directly, but rather give the viewer space to imagine.” In this shoot there is a feeling that nothing is happening but something important is about to happen, and that is what we are left to imagine; it is a fictional story we have to write for ourselves. Originally from Hiroshima in Japan, Sasaki now lives in London. Some of these pictures have a dull, blue-grey background that resembles the overcast skies of London, while others have a vivid shade of red to suggest drama, warning, danger, passion! There is a cinematic feel to the fashion chosen by stylist Marina German – the looming silhouettes, the large furs, giant coats, and brimmed hats – and, indeed, the whole story takes its inspiration from the way tension rises and rises in a suspense film. “In the same way that a cloudless blue sky could bring on a sense of unease,” Sasaki concludes, “no object has any original meaning but it’s the viewers thoughts that give it a new meaning.”
See
more and
on
www.s-magazine.photography
www.takahitosasaki.com
63
Concept
and
S T YLIN G
Shaina
MAKEUP HAIR
Models Ema
Mynxii
Elaina
S T YLIN G
Photography White
ASSIS T AN T
J.
Alexander
DeFelice,
( V ISION
Photographed
with
V a r i o - E l m a r i t - SL
Los
Leica
Summicron-M
35mm
f/2
Nares,
SL ,
24–90mm
16–18–21mm
Vario-Elmar-R
Zarina
Angeles)
Tri-Elmar-M and
Brown
Karras
Stevie
McKie
Bil
Feldman
f/2.8–4
f/4
ASPH . ,
ASPH .
75–200mm
f/4.5
ASPH . ,
W E I M AR L o s A n g e l e s
B i l Brown
66
67
68
69
70
71
72
73
74
Weimar and
Los
light
which
Bil
Angeles –
and
Brown
is
wild, takes
a
story crazy
us
of
d a r k n e ss
nights –
b ac k
in
in
time
Zarina, a blues singer, Ema, a painter, and Stevie, a photographer, are the bohemian stars of Weimar Los
Angeles, a story that sees echoes of a particularly culturally vibrant and decadent time in Berlin, in present-day Los Angeles.“The women in this story are going out, going somewhere, and just going along with their lives in the pretty permissive social sphere of Downtown LA, a parallel to Berlin in the late 1920s, which was experiencing a wild time that was very fertile for arts and culture, sexual exploration, and social change,” explains photographer Bil Brown. “I feel like Los Angeles today is very close to that time period where it seems that there is a particular freedom, but also a sense of decadence and doom associated with what is next on the American landscape.” However, despite the dark clothing and the deep wells of black in these monochrome pictures, it is not all doom and gloom for these girls. “They are currently able to do what they want, be with who they want, and, in the cover of night, be who they want,” says Brown. “But I wanted the feeling to be that this could all change on a dime.”
See more on www.s-magazine.photography and www.bilbrownphotography.com
75
Af t e r
C hr i st i a n R i n ke
PHO T O G RAPHY AR T
Christian
HAIR
Shukeel
MAKEUP MO D EL
with
ASPH .
Fernando
(Frank
Borovik
(Elite
SL
24–90mm
Torres
Agency)
using
London)
Leica
V a r i o - E l m a r i t - SL
f/2.8–4
76
Murtaza
Anastasia Harriet
Photographed and
Rinke
D IRE C T ION / S T YLIN G
MA C
77
This
Page: Mawi
Back
Burberry
Top
Jacket
Snazzy
Knorr
T-shirt
Paula
Haal
Dress
Rollneck
Earrings
Left Page:
Brit
78 Of
Back
Top
Golan
Snazzy Fyodor
T-shirt Holland
dress House
Rollneck earring
Mawi as
Earrings Keychain
Light: Light:
Red Green
79
80
81
Page: Page:
Left This
Rollneck
Keychain
as
House
Sweatshirt
earring
Haal
Of as
Fyodor
earring
Sweatshirt
Keychain
Holland
Champion
Golan House
top Mawi
Unique
Earring
Topshop
Holland
Net Of
K See
more
on
www.s-magazine.photography www.chrisrinke.com
82
and
Filippa
Brit
Rinke was born in Berlin, grew up in Peru and now lives in New York. For this story he worked very closely with Fernando Torres who was born in Chile, grew up in Stockholm and now lives in London. Having styled and art directed the shoot, Torres explains the concept thus: “The inspiration was to find beauty in the decadent morning hours. That time of day when nothing but the beat and the vibe matters. ‘Before’ was just a warm up for the ‘After’.”
Dress
Burberry
We’ve all woken up the morning after the night before and found ourselves in a pool of despair – or just a terrible hangover –, but Christian Rinke found instead a beautiful blonde model called Harriet Longhurst and a fluorescent dream of a fashion shoot. “It’s inspired,” he says, “by the day after a big party. We tried to capture the mood and beauty of the remains of a great night out.” He achieved this through a technically challenging combination of shimmering fabrics, coloured lighting and translucent sheets that bounce light everywhere, and explains, “the secret to shooting like that is to have a great team that is watchful of what is happening behind the surfaces.”
Ashish
Jacket
p e r f e c t
Jacket
Knorr
t h e
Denim
Paula
i s
p a r t y i n g
Golan
Dress
A f t e r
Fyodor
Mawi
w i l d
Coat
s t o r y o f
Earrings
n i g h t
Page:
R i n k e ’ s a
Page:
t o
This
e n d i n g
Right
C h r i s t i a n
83
J e t ’ a i me
E sther H aase
Photography S T YLIN G Hair
&
MO D ELS
Esther
Mimi MakeUp
Claudia
Vario-Elmar-S Summarit-S
and
with
Leica
f/2.5
APO - M a c r o - S u m m a r i t - S
84
Harald
Stazol
Rumler
30–90mm
70mm
(Bigoudi)
(Place
Binke
Annalena
Photographed
Rabe)
Brandt
Surmont
Model Management) Retouching
(Uschi
Dennis
Isabelle
Producer
Haase
Hocke
S
(Typ
007),
f/3.5-5.6 ASPH . 120mm
(CS) f/2.5
ASPH . , and (CS)
85
86
87
88
89
90
91
92
93
94
95
96
J e
t ’ a i m e
i s
a
the
up
photographer
o n e
by o f
spell
l o v e
under
h e r
of
a
s t o r y
Es t h e r
f a v o u r i t e
a b o u t
nubile
young
Haas e
a n
o l d e r
m u s i c i a n
chanteuse, after
dreamt
listening
to
s o n g s
“This is a story about love and passion. About an older, intellectual, successful man, a musician addicted to a young singer who is impressed by him and the way he has lived and loved. He is a fantastic performer, lives in a wonderful house, is sexy, strange, interesting, powerful. She is young, spontaneous, talented, beautiful. Because of her youth she is in power and controls the situation,” says Esther Haase. “I made up a story: she was invited to his house for a casting where they rehearsed a song together. He needed a new voice for his new album. That is how they met and how they fell in love.” Esther Haase is originally from Bremen and lives between London and Hamburg, where she shot this story. Under her direction, author Harald Stazol and model Isabelle Surmont acted our their fantasies in the famous setting of Villa Jako, a grand, colonnaded neoclassical villa set in 12,000 square metres of meticulously landscaped parkland in Hamburg. In the nineties, Karl Lagerfeld used to reside there; he even named one of his perfumes after the villa and published a book about it. Now it is the setting for a photographic love story. Harald and Isabelle wander through the gardens under an umbrella, they smoke, they frolic on the bed, and she ends up naked in his arms. The couple are shot mostly in a vintage monochrome, occasionally interrupted by sensual bursts of warm flesh tones. “I was inspired by the story of Serge Gainsbourg and Jane Birkin, their music, the feel of the sixties and seventies and the sexual freedom and innocence of those years, just the whole spirit of that time,” says Haase. The shoot takes its title from Gainsbourg and Birkin’s famously smutty love song Je t’aime… moi non plus that they recorded together in 1969, when they were lovers, filling its melody with orgasmic gasps and yelps and sighs of satisfaction. Likewise this shoot is a glorious ode to pleasure, dripping in continental sophistication and free love, and elevating erotica into an art form. As for the secret of making such a sexy series of images, Haase says, “You have to create a sexy, trustful, and easy atmosphere with fun. You also have to communicate your idea – or the whole team has to listen to the song over and over again!”
Esther
Haase
is
represented
by
www.s-magazine.photography
Schierke and
Artists.
See
more
on
www.estherhaase.com
97
Re - M o d e l
E l i z a v eta p o r o d i n a
Photography (Sonja St y l i n g Hair
&
Elizaveta
Heintschel Christina MakeUp Josef
Photo
assistant
Set
Prop
Muse
&
and
98
Andreas
Design
Photographed Summarit-S
Zon Von
Senger
Beyer
Veronika
Elmarit-S
Van
Stella
Light
Porodina
Photographers)
Rusakova With
45mm
Huber
Beatrice
Leica
f/2.8
Schuell
(M4 S
Models) (Typ
ASPH .
007),
(CS),
70mm
f/2.5
ASPH .
Summicron-S
100mm
f/2
(CS)
ASPH .
99
Body
and
Shorts
Conturelle
by
Felina
Socks
and
Fine-Mesh
Knee
Socks
Falke
100
101
Body,
Top
and
Skirt
Asos
Corset
Vintage
Shoes
Merlet
102
103
Left:
Top
Danny
Reinke
Tights
Dawid
Tomaszewski
Right:
Dress
Andrea
Schelling
104
105
Left:
Dress
Saena
Right:
Dress
Andrea
Schelling
106
107
108
Dress
Irene
Luft
Underskirt
Lever
Couture
Gloves
Tres
Bonjour
Hat
Vintage
109
110
In
Re-Model,
her of
muse a
photographer
Veronika
R u sa k o v a
Elizaveta into
a
Porodina
beautiful
turns
painting
ballerina
Elizaveta Porodina was born in Moscow and moved to Munich at the age of 13. She studied clinical psychology before deciding to pursue the life of an artist instead; her images, however, are still in keeping with her training, highly informed of the workings of the mind. In this photo shoot, she says, “the imagery focuses on the ability of the human body and mind to modify, grow and transform at all times. The stages of this metamorphosis are symbolised by the changing colours, the blurring effects of the imagery, the ‘blossoming’ styles and the versatile, dramatically strong expressions of my ravishing muse Veronika Rusakova. We connected instantly on a deeper level while working on this story and became friends very soon. She is a thoughtful person with a kind heart and a beautiful soul – which is the kind of beauty that I love most.” Re-Model is a very painterly story and was inspired by the likes of Edgar Degas, Pablo Picasso, Francis Bacon and, more surprisingly, one of the stars of the last S Magazine: Marilyn Manson. In her light tulle dresses and ballet pumps, Rusakova is certainly reminiscent of one of Degas’s ballerinas, at times striking a pose for us, at others swirling around and filling these pages with movement. There is also a softness to some of the images that brings to mind the brushwork of Degas and, furthermore, the location of the shoot itself looks like a ballet studio, with its wooden floor and, like an artwork, with its roughly painted wall. In some of the more experimental compositions, the fragmentation, distortion, and abstraction of Rusakova’s face evokes the paintings of Picasso, or Degas, or even Manson, as does the way the environment seems to somehow disassemble itself. Certain colours lift themselves free and float around the room like the petals on the model’s dress and veil – the ‘blossoming’ styles that Porodina describes. All the creative effects of blurring and smearing and separating out look as though they were added in post-production through the sort of digital painting made possible by computers; however, they were actually achieved in the original shots through combinations of set design, props, styling, and lens modifications. Everything is remodelled. This is a very magical story, one full of trickery and illusion, and Porodina hopes it will inspire many more. “I am always delighted,” she concludes, “when my imagery provokes people to grasp the hints and threads that lead them to telling their own stories.”
Elizaveta Sonja
Porodina
Heintschel.
is
represented
See
more
on
and
www.porodina.net
worldwide
by
www.s-magazine.photography
111
PHO T O G RAPHY , SE T MO D ELS
Isla,
Plum, Photographed
D ESI G N
with
Summarit-S
Leica 35mm
70mm
S
Morgan
(Typ 007),
f/2.5
f/2.5
ASPH . ,
ASPH .
120mm
and
f/2.5
Tussi e-Mussi es
R e n é & R adka
and
Radka
Railey,
Luca,
APO - M a c r o - S u m m a r i t - S
Right:
Isla Next
Next
spread
and
the
spread right:
black
left:
bird
Morgan
E l i e tt e
flower
112
&
Eliette,
Victor,
Summarit-S
S T YLIN G René
and
icecream
113
114
115
116
117
118
Left:
E l i e tt e
Above: Before:
Isla
and
Luca
II
Railey’s
Pink
Dreams
119
Above:
L i tt l e Next
120
Prince
V i ct o r
Right:
Plum
spread:
Isla
121
122
In
T u ss i e - M u ss i e s ,
explore
the
secret
the
photography
language
of
duo
Re n é & R adka
flowers
“This small portrait series with little girls and flowers came about very spontaneously, in spring, the time of the year when everything is blossoming,” photography duo René & Radka recall. “Above all it arose because of our fascination with floriography: the language of flowers. During the Victorian era – a time when convention restricted certain types of conversations – flowers and plants were used to communicate. The whole mystery and the codes are so fascinating; the influence of the language of flowers became so great that there were even flower dictionaries!” Tussie-Mussies takes its name from small floral bouquets that were historically given as gifts, and is only the first part of René & Radka’s epic photography project about flowers in California. The pair have been waiting to shoot the second part for three years, but so far the right conditions have yet to emerge. “California has very spectacular spring flower blossoms,” they explain. “These amazing fields of wildflowers and desert blooms in spring are like huge colourful paintings. Unfortunately, for the past few years, California has been suffering a serious drought and we could not shoot at these locations; but we hope to have more luck this year after a long rainy season!” And now that the rains have come, more beautiful images are likely to follow. René is from Cologne, and Radka from Prague; they now live in Los Angeles. They first met in Paris sixteen years ago and have been working together ever since. Radka is the creative spirit and usually handles the camera, while René mostly takes care of the technical side of things. Together they create these dreamlike and intricate images in the most exotic locations: a girl sleeping among the flamingos in the Los Angeles Zoo; a little prince with a rose, framed by the jagged formations of Vasquez Rocks; a girl with a huge flower crown standing under the stars in the Mojave Desert. “Some pictures required a longer post production,” say René & Radka. “For example, the girl with the crown of flowers: we created the crown of flowers ourselves, but there are so many levels to a perfect composition, and René spent over a month weaving everything together until we were satisfied. Of course the flamingos were also composed. You can’t always control animals, and certainly not those pink birds. Often half a year can pass from the idea to the photo shoot and then the final retouching.”
René
&
Radka
Management.
See
are
represented
more
on
worldwide
by
Quadriga
www.s-magazine.photography
and
www.reneradka.com
123
Joachim Baldauf Don’t blame me for… We are billions of people who all look, think and feel differently. Luckily we are all individuals. A good reason to show that and to say it loud: Don’t blame me for being an individual. Go for being different!
Joachim Baldauf Printkultur & Agentur Neubauer Styling Daniella Petrovics Hair & Makeup Anna Brylla Protagonists Misfit Models thanks to Del Keens Photography Concept
Photographed with Leica SL and Vario-Elmarit-SL 24–90 mm f/2.8–4 ASPH.
124
Don’t blame me for being a supermodel.
Don’t blame me for having noblesse.
Don’t blame me for being different.
Don’t blame me for being serious.
Don’t blame me for being old school.
Don’t blame me for whatever.
Don’t blame me for being cultivated.
Don’t blame me for being hot.
Don’t blame me for being a Romeo.
Don’t blame me for being a foodamentalist.
Don’t blame me for being Berlin.
Don’t blame me for being peaceful.
Don’t blame me for being a diva.
Don’t blame me for being blessed.
Don’t blame me for being dangerous.
Don’t blame me for being coloured.
Don’t blame me for being a gentle man.
Don’t blame me for being a woman… soon.
In Don’t blame me for… , Joachim Baldauf shows us what the subjects of his portraits are really thinking In Don’t blame me for... ordinary people of different ages, races, and sexes reveal what we should not blame them for. Some of their slogans are humorous, some are serious, and with some it is hard to tell. A freckly young woman with short hair says, “Don’t blame me for being different,” which neatly summarises the spirit of the project. So does a Gothic girl in a black choker who says, “Don’t blame me for whatever”. Staying honest and true to yourself is very important to Joachim Baldauf. “People are more and more dissatisfied with themselves because they increasingly compare their features with images they see, especially on the internet,” the photographer, who comes originally from Weiler im Allgäu and now lives and works in Berlin, explains. “Photos are more retouched than ever. Not only beauty or fashion shots, even portraits are excessively digitally manipulated and create a virtual parallel universe.” Retouching is everywhere, and it has also been internalised; most of us even do it to ourselves on our phones nowadays. We are living in an airbrushed fantasy world and this has had a negative psychological impact on our society. In this project the words are just as important as the images, and the premise owes as much to conceptual art as it does to fashion photography. Baldauf worked closely with Misfit Models (who, like him, want to bring real life back into photography) to build a diverse cast, and then worked closely with his cast on coming up with the slogans that would appear on their portraits. The resulting story is very honest in its form – because it does not use any retouching or manipulation – and in its content – because the models are everyday folk and the slogans are true to their personalities. It is an honest story and an uplifting one too. “Every human being is beautiful and special in their own way and in the end it’s not about someone’s physical appearance, it is about their personality,” says Baldauf. “This is why we created the campaign as a little reminder. We are billions of people who all look, think and feel differently. Luckily we are all individuals. This is a good reason to show that and to say it out loud: Don’t blame me for being an individual.” And what about Joachim Baldauf? “Don’t blame me for being a seeker,” he says.
Joachim Baldauf is represented worldwide by Agentur Neubauer. See more on www.s-magazine.photography and www.joachimbaldauf.com
137
T r i sta n R ö s l er
It ’ s St ran g e
Olivia
(left):
Blouse
Patrizia
Jacket
Levi’s
Vest
Jacket
Samsøe
Tiger
Steffen
Trousers
138
Steffen
Schraut
( r i g h t ) :
Pullover Vest
Tab
Thisisnon
Trousers Luca
Pepe
Red
Nobi
of
&
Samsøe
Sweden
Schraut Talai
PHO T O G RAPHY S T YLIN G HAIR
&
Tristan
Heike
Held
MAKEUP
Tina
MO D ELS
Luca
Olivia
Leonarda
C AR
Triumph
Photographed
Aimee TR6
Hoffmann (Place
(Spin
Models),
Models)
Pi
with
V a r i o - E l m a r i t - SL
Rösler
Leica 24–90mm
SL
and
f/2.8–4
ASPH .
139
140
blouse
Steffen
turtleneck trousers glasses
Schraut
shirt
Patrizia Andy
Deha Pepe
Wolf
141
Luca
(left):
Vest
Levi’s
Jacket Shirt
Vladimir
Trousers Olivia
on
the
is
streets
the of
story
of
Ha m b u r g ,
as
two
ex-lovers
told
by
Tiger
Rösler
Watching movies inspired Tristan Rösler to tell a story of his own: a road trip in a vintage car, starring models Luca Aimee and Olivia Leonarda and bringing to mind Hollywood classics like Thelma and Louise. Though it is a photo series, It’s Strange is shot like a movie with cinematic close-ups, tight focuses, dramatic tension, and interesting locations. Rösler comes from Frankfurt and now lives in Hamburg, where he shot this story, around Oberhafen, Eppendorf, Elbe and the Harbour Museum. “We had to find something in this city that is a bit abstract and rough,” he says, “because I like it rough.” The story, he continues, “deals with two women who already shared a little love story once in the past. After a long time, they meet up again on this road trip to escape from daily life. The connection they have now is kind of strange. No one knows if they are going to fall in love again, if they hate each other, or if they’re just good friends.” How will it all end? Like the best movies, it is up to the audience to fill in the gaps.
Tristan
Rösler
Fotomanagement.
is See
represented more
on
worldwide
www.tristanroesler.com
142
by
Tobias
Bosch
www.s-magazine.photography
and
Sweden
Pullover
reunited
Tristan
of
Karaleev
Samsøe
Trousers
Strange
Pepe
(right):
Vladimir
It’s
Tab Karaleev
Tiger
Turtleneck Jacket
Red
Patrizia
&
Samsøe of
Sweden
143
144 Catch a Ti g er by th e t o e
M ar i e H o chhaus
PHO T O G RAPHY S T YLIN G HAIR
&
NEWSHA SE T
Marie
Hochhaus
Nina
Petters
MAKEUP
Jamal
HAIR
D ESI G N
and Ines
(Ballsaal) Musa
Kรถnitz
Neele
Tschaitschian
MO D EL
Charlotte
(Mega
PHO T O
ASSIS T AN T
Svenja
S T YLIN G SE T
ASSIS T AN T
ASSIS T AN T
SPE C IAL Manuel
Florenz
Photographed Summarit-S and
Tim
and Models) Blobel Heyduck
Patricia
T HANKS
TO
Summarit-S
Paryz
Vadim
and
Schepers
with
35mm
using
MA C
Leica
f/2.5 70mm
S
(Typ
007),
ASPH .
f/2.5
ASPH .
145
146
Coat
Monki
Sweater
Replay
Pants
Thomas
Rath
147
C OA T
148
Patrizia
Pepe
149
150
151
152
153
Ma r i e
H o c h h a us ’ s
t a k e s
u s
i n t o
s e r i e s
t h e
l a n d
C a t c h o f
a
T i g e r
b y
t h e
T o e
d r e a m s
Marie Hochhaus was born in Weimar and now lives in Hamburg. It was there that she discovered the Hanseatische Materialverwaltung, a warehouse full of props that she chose as the location for this shoot. “It’s a wild and free place,” she says. “Like an attic full of miracles and things to discover.” Catch a Tiger by the Toe takes its title from a line in a children’s nursery rhyme and is full of the magic and imagination of childhood. We see a young girl, Charlotte, in a creepy fantasy world of her own making: she is painting herself like a canvas; she is having a tea party; she is bathed in shades of fuchsia, amber, and avocado-green light. “I like to use photography to tell stories,” says Hochhaus. “A lot has to do with my daydreams.” But not only is Hochhaus making work inspired by her daydreams, she is also just living the dream of making pictures as a career. “The role that photography plays in my life is transforming,” she says. “At first it was only about fun, to experiment and to find a medium in which I could express myself. Then I studied photography and it became my profession.”
Marie Syndikat
Hochhaus
Artists.
See
and
154
is
represented
more
on
worldwide
by
www.s-magazine.photography
www.mariehochhaus.com
155
th e Gan g
C hr i st i a n G e i sse l ma n n PHO T O G RAPHY
Christian
HAIR
Hosono
Masami
MO D ELS
Daniela
Leuenberger PHO T O and
fashion Odin New
Rag
&
Tatiana
Models)
Laurent
Baone,
York,
Summarit-S
S T YLIN G Norah
Pajkovic
PRO D U C T ION
Gloor
with
35mm
Beacons
Worship
Delcey
Fleming
Salazar and
Anja
Jakenna
V I D EO G RAPHER
Davi
Gilbert Costa
Leica
f/2.5
Closet,
Index
Archive,
Vintage S
(Typ
ASPH . ,
APO - M a c r o - S u m m a r i t - S
156
MAKEUP
Pires
Photographed and
Freitas,
(Premium
ASSIS T AN T
Romulo
Geisselmann
( ASOR T )
006),
Summarit-S
120mm
f/2.5
70mm
f/2.5
ASPH .
157
158
159
160
161
Christi a n
G e i ss e l m a n n
dangero u s
B r o o k l y n
s h oo t s
g i r l s
i n
p o w e r f u l , T h e
t o m b o y i s h ,
Ga n g
Taking inspiration from Bruce Davidson’s photo book Brooklyn Gang, which documented the lives of a genuine street gang in the summer of 1959, Christian G eisselmann decided to shoot his own story with three models patrolling the rundown districts of present-day Brooklyn. It’s a counterintuitive and original approach, a cinematic retelling of the documentary photography of the past, and Geisselmann’s results are both modern and nostalgic. Shot in monochrome, or sometimes faded colour with most of the pigment drained away, with a subtle grain and a shifting focus, these images have a strong vintage feel. “The series is about ordinary everyday moments in the life of this group of women,” he explains. “The pictures could just as well have been taken out of a documentary film.” Christian Geisselmann comes from Bavaria, made his name in Paris, and now spends more and more of his time in New York. The Gang is a celebration of the toughness of New Yorkers but also a love letter to the city where anyone can be whatever they want to be. “For quite some time now,” he says, “New York has been the city where I feel best: it’s dynamic, inspiring, has strong character, is always in movement and there’s always something to do. Everything’s possible!”
Christian Lila
Management. and
162
Geisselmann See
more
on
is
represented
by
www.s-magazine.photography
www.christiangeisselmann.com
163
Photography St y l i n g Makeup Hair and
(Talents
Ghendrih
Headpieces
Dajana
Sofie
Assistant Post
Kaufmann
Herrera
Alice
and
Model
Benjamin
Jose
Tom
Paris)
Lebrun Models)
with
London
Samuel Leica
Sanz S
(Typ
f/2.5
Summarit-S
70mm
f/2.5 ASPH. (CS) 120mm
Frank
007),
35mm
APO - M a c r o - S u m m a r i t - S
ASPH .
and
Summarit-S
164
(Jedroot
Models)
(Karin
Rubix
assistant
Photographed
Madrid)
Fawcett
P r o d u ct i o n
St y l i n g
Olivier
(Premium
Nielander
(Artlist
(CS), f/2.5
and (CS)
Jymz
Paris)
Dress
165
Amaya
Arzuaga
No r รฐur
B e n J am i n K aufma n n
body
166
(left)
and
top
(right)
Amaya
Arzuaga
167
168
169
170
Coat
171
Maria
Cle
Leal
Left:
172
Jacket
Amaya
Arzuaga
Right:
Jacket
and
pants
Boss
173
174
175
coat
176
Leandro
Cano
B e n ja m i n
Ka u f m a n n
Pa r i s i a n
photography
o f
Ic e l a n d
i n
h i s
takes
us
on
studio
a
to
c o n c e p t u a l
journey the
from
epic
f as h i o n
a
chic
w i l d e r n e ss
s h o o t
N o r ð u r
“I have always been inspired by nature, landscape and breath-taking light, especially in northern countries,” says Benjamin Kaufmann, explaining the idea behind these unusual juxtapositions of high fashion and northern landscapes. “It has a very raw and undisturbed connection to the origins of this world. We based everything on a selection of images I did in Greenland and then developed a concept that translates the abstract ideas into fashion, makeup and hair.” So, working closely with stylist Jose Herrera, makeup artist Alice Ghendrih, and hair and headpiece stylist Olivier Lebrun, Kaufmann began dreaming up experimental fashion looks that would mirror the northern landscapes he wished to shoot. Rather surprisingly, he actually shot all of these looks with his team in a studio in Paris before hopping on a plane towards the Arctic Circle – so rather than making the models look like specific landscapes, he photographed them first and then went out into the Icelandic wilderness to find landscapes that complemented them and created visual harmonies. Benjamin Kaufmann is originally from Munich, now based in London, and for this shoot he went on something of an adventure. “The landscapes were shot by myself in Iceland especially for this editorial,” he explains. “I travelled there at the start of November after we had done the fashion and beauty shoot. Having the images we created in Paris with me, I was specifically looking for places and situations that would strengthen the underlying mood in the story.” Whilst exploring Iceland, he found all sorts of visual echoes of avant-garde fashion in the chilly northern landscapes: a model in a giant crinkled headpiece and long flowing dress, striking an angular, iceberg-like pose, found her visual equivalent in natural white stone. A fragmented black dress suggested a fog-shrouded rock formation; so much so that the girl wearing it appears to be turning into a landscape before our very eyes. Waves crashing upon the craggy coastline are evoked by a wild hairdo that appears to float off in every direction, as if it was underwater. Everything fits perfectly together. “The models,” says Kaufmann, “play a very important role in reflecting the cold winter atmosphere in their movements, but at the same time giving credit to the incredibly strong and warm-hearted northern people. Which just goes to show that patterns, and similarities, are everywhere in nature if you look for them.
Benjamin
Kaufmann
(Germany)
and
is
represented
A & R
by
R o c k e n f e l l e r & G ö b e l s
Photographic (UK).
www.s-magazine.photography
and
See
more
on
www.benjaminkaufmann.com
177
178 N a ke d C i t y
H ect o r P ere z
PHO T O G RAPHY
Hector
MO D ELS
Danielle
Varsha
Thapa
Aida
Artiles
Alicia
Medina
Yu
(Blow
WI T H 006),
Summarit-S
Models),
70mm
Models),
Models),
(Sight
Leica
(Typ
( LA
(Wilhelmina
PHO T O G RAPHE D S
Perez
Management)
Summarit-S
f/2.5
APO - M a c r o - S u m m a r i t - S
ASPH . 120mm
35mm
f/2.5
ASPH . ,
and f/2.5
179
180
181
I n
Na k e d
tours m i r r o r
and
C i t y ,
H e c t o r
s u r f ac e s
t h o s e o f
of
o u r
P e r e z m odern
s h o w s
u s
A m e r i ca n
h o w
t h e
c o n -
architecture
o w n b o d i e s
“I’ve always been enamoured with the way a simple line can convey so many different ideas and expressions,” says Hector Perez. “It’s interesting to see the contrast between the organic lines of the body and the structural elements of modern architecture.” Indeed, looking through Naked City one notices visual echoes between, for instance, how a ray of sunlight burns a bright cross onto a grid of windows in Manhattan, and the way a model in a white shirt casually holds a cigarette; or the arrangement of light and shadow on the façade of a building and the dramatic chiaroscuro of a naked body in a darkened room. Hector Perez comes from San Sebastián, Spain, but has lived in Paris, London, Barcelona, and now New York. The world’s metropolises are often his subject, and his inspirations – including photographer Peter Lindbergh, director Wong Kar-wai, and painter Edward Hopper – are themselves masters of portraying the grandeur of cities, in all their lustiness and loneliness. In his own work, Perez makes us think not only about the epic architecture of cities, but also the people that might be hiding behind those reflective surfaces, with the closed window blinds casting a pattern of shadows across them.
See
more
on and
182
www.s-magazine.photography www.hectorperez.fr
183
R a w Be a u t y
J ames M eak i n
PHO T O G RAPHY
James
MAKEUP Francesca Management) PHO T O
Photographed Elmarit-S f/2.5
184
MODEL
ASSIS T AN T
ASPH .
Jena
Craig
with
45mm
Meakin Brazzo
(CS),
Linh
Stephen
Ly
Low
(ELSL
Goldsack
(Models 1)
Teunissen,
Riccardo
Leica
f/2.8
S T YLIN G HAIR
S
ASPH .
(Typ
007),
(CS),
Summicron-S
Raspa
Summarit-S
100mm
f/2
70mm
ASPH .
Bomber
jacket
Diesel
Black
Gold
Dress
Fendi
Shoes
Louis
Vuitton
186
Left:
Top
Helmut
Lang
187
188
Bikini
top
and
pants
Baserange
189
190
Above:
Bikini
top
Left:
and
pants
Jumpsuit
Baserange
Rosetta
Jeans
Levi’s
Getty
191
192
Jumper
Preen
Line
Bikini
b o tt o m s
Eres
Denim Frame Jeans McCartney Stella
t o
t h e
and
J a m e s
hotly
C o r n i s h
M e a k i n
tipped
c o as t l i n e
b r i n g s
model o f
Jena
h e r
f i s h e r m a n ’ s G o l d sac k
b ac k
c h i l d h o o d
“Raw Beauty,” James Meakin explains, “was shot on the Lizard Peninsula, between Kynance Bay and the fishing village of Cadgwith Cove, home to Jena, the fisherman’s daughter. The people there were inviting and full of life, and we certainly ate well: the catch doesn’t come fresher. I arrived a day before the shoot; Jena showed me her favourite haunts, and it all fell into place.” This dedication to finding exciting, out of the way locations, gave rise to a series of stripped-back portraits of Jena, mixed with awe-inspiring Cornish seascapes, on the southernmost tip of England where she grew up. Her blue eyes are mirrored in the colours of the Celtic Sea and complemented by flashes of turquoise over underwater sands.
Jacket
B e a u t y ,
Baserange
Ra w
daughter
Bra
I n
James Meakin comes from Tavistock in the neighbouring county of Devon, so he knows these waters very well. “The English landscape is often overlooked,” he says, “and it never ceases to inspire, as well as treat you to a weather roller-coaster ride! I collaborated with Jena’s agent to conceptualise a shoot capturing more of the real Jena, feeling she would be empowered by her home and the character of the landscape.”
James
Meakin
is
represented
Klein Photographen (South
Africa).
See
more
by
WIB
(Germany)
on
Agency and
( UK a n d US ) ,
Agent
Emma
www.s-magazine.photography
and
www.james-meakin.com
193
Photography St y l i n g Hair
&
Monica
Jeanna Makeup
(Using
Paul
Rouge)
NAILS
PHO T O MO D ELS
Yulia
Nina
&
Rouge Nickel
Trenkler
Crombie
(Uno
De Lianin
with
Leica
and Vario-Elmarit-SL f/2.8–4
ASPH .
Bunny
Zimmermann (Recom) Models
and
Zaitsev
Photographed
194
Santalab
Miriam
Marion
Carla
Madrid), Sasha
Suzana
Mitchell
ASSIS T AN T
RE T OU C HIN G
Menez
Krichel
SL
24–90mm
(left):
Dress
Irene
Luft
Nina
(right):
Dress
Self-Portrait
seen
at
mytheresa.com
Be l l o
M o n i ca M e n e z Carla
195
This
Page:
Dress
Irene
Carla
196
Luft
Right
(right):
Page:
Dress
Nina
Kaviar
(left):
Gauche
Dress
Glasses
Self-Portrait Gucci
Shoes
seen
at
Valentino
mytheresa.com
197
198
Left seen
at
Page:
Dress
mytheresa.com
Irene
Socks Carla
Luft
Murmur (right):
EaRrings
Shoes Dress
Wah
Swarovski London
Kaviar
Above:
Sasha
Gauche
Nina
(centre):
Necklace
(left): Total
Temporary
Dress
Look
Self-Portrait
Hugo
Boss
Shoes
Aldo
Brue
Wardrobe
199
Above: Shoes
Wah
Nina
(left):
London
Carla
Dress
Wardrobe
200
Self-Portrait
(right):
Dress
Necklace
seen
Stylist’s
(Headpiece)
at
mytheresa.com
own
Right
Très
Page:
Bonjour
Socks Dress
Murmur Temporary
201
202
Nina
(Left):
Dress
Self-Portrait
seen
at
mytheresa.com
Carla
(right):
Dress
Marina
Hoermanseder
Complementing
a
Bello
erotic
spins
an
film,
M o n i ca story
Menez’s
with
a
photo
sting
in
series
its
tail
They say a picture is worth a thousand words, but some things are difficult to convey in pictures alone. “It’s important to me to make a photo shoot which accompanies the film,” says Monica Menez from her studio in Stuttgart, “but there are a few significant differences: the photo shoot should not depict the story of the film, but rather accentuate the relationship of the figures to one another, and place emphasis on the atmosphere. In other words, it focuses more on what could have happened before or after the story of the film. One of the main reasons why I make fashion films is that they can convey a story – something that a photo is not entirely capable of doing.” So Bello is a series of photographs and also a film; what you are seeing here is only half the story, an introduction to some of its characters and themes. There are two female leads: Carla Crombie, seeming to be the lady of this grandiose apartment, is seen here trying on different outfits and waiting around with an unusual intensity. By her side is Nina De Lianin, who appears to be her maid. However this may not be the case – Menez is known for her surprises. There is also a male character played by the dancer Sasha Zaitsev. Lastly there are all sorts of curious details – a toy monkey holding a banana, traditionally an iconographic symbol of mischievousness; an apple signifying, perhaps, temptation – which might be considered clues. Monica Menez’s films are known for their use of humour, suspense, absurdity, the surreal and lust. This one, she says, “deals with sensitive, personal issues that can arise between women and men, so some of the motifs are love, jealousy and r ivalry. I can’t go into much more detail regarding the constellation of the characters, otherwise I would spoil the surprise ending! All my films contain a story that is seemingly puzzling and somewhat deceptive to the audience, but in the end, the suspense is broken by a surprising twist. I can reveal this: the woman you see doing all sorts of strange things in the apartment, is not who you might think she is... Nothing is what it seems...” Intrigued? If you want to see how this all ends, come visit our website www.s-magazine.photography and watch the finished film.
Monica and
Menez
is
Enrimür
represented Management
www.s-magazine.photography
by
Wanda
(Spain). and
Print See
(France)
more
on
www.monicamenez.de
203
PHO T O G RAPHY S T YLIN G HAIR
&
MAKEUP
St y l i n g MO D EL
Aglaja
Fabiana
Katharina
Assistant
Anna-Maria
PHO T O G RAPHE D
Brix
Vardaro
35mm
f/2.5
Summarit-S
70mm
f/2.5
(Basics
Antonenko
S
(Typ
007),
ASPH . , ASPH . 120mm
D o n’ t Car e
APO - M a c r o - S u m m a r i t - S
Ag la Ja B r i x F l o r i a n M aas
Handel
Maas
Berlin)
Management)
Leica
Summarit-S
204
Florian
(Basics
Anastasiia (Core
WI T H
&
and f/2.5
Berlin)
205
D RESS
Commeonveut
SHIR T
Levi’s
D RESS
Isabel
FAKE
e
Vollrath
of
at
Maripossa
Poi
Lei
Boutique
HEELS
École
Sweden
Mago
NE C KLA C E
Tiger
Moga
FUR
NE C KLA C E
Bonjour
FRIN G ES
LATEX STOCKINGS Très
206
Right:
J A C KE T
Gasoline
Left:
D RESS
LEA T HER
Glamour
V ES T Asos
D RESS BO D Y C HAIN
Teboul Levi’s
Augustin J EANS
&
HA T BRA C ELE T
Glamour LEA T HER
Gasoline Stories
SHOES Other
Tigha
Jarow
at
Stylist’s
own École
Boutique
SHOES
Levi’s
207
208
209
Left:
BLA C K
SHIR T IRO
Fred
V ES T
SHIR T
LEA T HER
C HE C KE D
Right:
Tigha Paris
Perry
J A C KE T
J A C KE T
J EANS Stylist’s
Etiquette UN D ERNEA T H
Blank
&
Melvin BLOUSE
SHOES LA C E
Asos own
&
DSTM Céline
HARNESS SUN G LASSES
LEA T HER Stories
Hamilton Other
BA G
École
Boutique
210
LEA T HER
V ES T
IRO at
École
Stylist’s
Jarow
UN D ERNEA T H
BRA C ELE T
J A C KE T
LEA T HER
Paris
LA C E
Boutique
own BOO T S
BLOUSE
&
Other Shoes
Stories
Vegetarian
SKIR T
SUN G LASSES
LA T E X
Sasha Céline
BA G
LA T E X
Givenchy
Louise
LE G G INS
Très
Bonjour
211
T UR T LENE C K ,
LE G G INS Gasoline
D RESS , G LO V ES
&
own
Teboul Stylist’s
Augustin SO C KS
HEA D PIE C E Glamour
SHOES
Levi’s
212
D RESS
own
Devaki
Stylist’s
HEADPIECE
J A C KE T
FEATHER
Asos
Jarow
at
Boutique own
École
BANGLES Stylist’s
BEL T
I n
D o n ’ t
F l o r i a n of
C a r e ,
Maas
f a r m y a r d
p h o t o g r a p h e r s
c o n j u r e
u p
a
A g l aja
s u r r e a l ,
B r i x
m a g i ca l
a n d
s t o r y
r e b e l l i o n
“This editorial is the perfect example of being inspired by the location where the shoot took place: the very first time we drove by the yard it looked so special, it nearly seemed like a film set with all the tools and free-roaming animals,” Aglaja Brix and Florian Maas explain. “It turned out to be the living space of neighbours of Florian’s sister, who live there with their pets. The quasi-apocalyptic scenery mixed with sleepy, rural charm immediately fascinated us.” Aglaja and Florian met when they were studying photography at HAW Hamburg. They moved to Berlin and started collaborating on their mysterious images two years ago. Don’t Care contains all kinds of visual tricks: such as an out-of-frame fence casting a grid of shadows over Anna-Maria Nemetz’s face in one picture; or the tangerine lens flares floating like fireworks in front of another. Here is a modern take on the erotic tradition of pastoral fantasy with singer and model Anna-Maria as its grungy star. “She conveys a self-conscious yet lascivious charm,” say Aglaja and Florian, “which is just what we wanted for the shoot.”
See
more
and
www.brixandmaas.com
on
www.s-magazine.photography
213
214 p
e
c
i
a
l
G
u
e
s
t
ep i lo gue
E l l e n v o n U n w erth
S
Photography S T YLIN G HAIR
Danilo
MAKEUP NAILS PROP
Ellen
Deborah (The
Mynxii Ashlie
S T YLIS T
von
Unwerth
Afshani Wall
(The
Wall
Group)
Group)
White Johnson Walter
(The
Wall
Barnett
Group)
(Opus
Beauty)
T ALEN T S M e r e d i t h M i c k e l s o n ( N e w Y o r k Models), Eva
Doll
(Wilhelmina),
Vreeland (Next Models), Masha Rudenko Photographed Vario-Elmar-S and
Nana
(Photogenics with
Leica
30–90mm
APO - E l m a r - S
180mm
S
Caroline
Ghana,
Media) (Typ
f/3.5–5.6
007), ASPH .
f/3.5
215
216
217
218
219
220
221
222
223
Ellen a
8·English 01·2016
9,90 € · 12 Us$ · 8 £ · 1.400 ¥ · 12 ChF
EllEn von UnwErth
The eighth issue of S Magazine was shot entirely by Ellen von Unwerth. It told a cinematic story over four distinct chapters starring the likes of singer Marilyn Manson, actor and model Eva Doll, and performance artist Millie Brown.
von
p a r t y
Unwerth
s o
takes
s e n s u a l
us
y o u ’ l l
b ac k n e v e r
to
Los
f o r g et
Angeles
for
it
“I was always somewhat frustrated as a model, even though I was working with really great photographers,” says Ellen von Unwerth. “My problem was that I am very lively and wanted to do more in front of the camera. Photographers always told me: ‘No, do not move! Look left! Look to the right! Do not laugh!’ So, I was never really satisfied. Once I started to photograph myself, I asked my models to laugh and move and show their personality to the camera. Therefore you also need people who are talented actors. Although I always set up the scene in advance, I love getting the special moments when something unexpected happens.” Ellen von Unwerth is originally from Frankfurt and has worked all around the world. She has transitioned from a life in front of the camera to one behind it more successfully than any other model-turned-photographer ever, and has shot with many of the biggest models, magazines, and labels – she is particularly famous for discovering Claudia Schiffer, and for her iconic black-and-white campaigns for Guess. Our last issue of the S Magazine was dedicated to her and taken up entirely by her 204-page shoot telling an epic story of riches, glamour and forbidden love in four chapters. It contained so many ideas, such a large and imaginative cast, and so twisting a story that not everything could fit into even such a large shoot. And some of the unpublished images were so beautiful that von Unwerth decided the story needed this Epilogue to finish things off: a collection of decadent images of the girls escaping into a fantasy world of elaborate costumes and feathered headdresses; of vaudeville masks and vertiginous high heels; of paddles for spanking and blindfolds and restraints. In the last scene, one even catches a glimpse of a monster outside of the crop. When you are shooting with Ellen von Unwerth, everything is taken care of: the locations are unbelievable, the surprises around every corner, the lines between fantasy and reality can become very blurred, and most importantly there is a gorgeous cast of models, actors, artists, musicians and socialites. “The casting,” she agrees, “plays a major role. The women I pick must be distinguished by their sensuality and personality and they have to be alive in front of the camera. They must have fun, and be very feminine and sexy. And they must be able to celebrate femininity!”
Ellen
von
2bmanagement.
224
Unwerth
is
represented
on
worldwide
See
more
and
www.2bmanagement.com
by
www.s-magazine.photography
225
I m p r i n t S Magazine A special edition of Leica Fotografie International 7th year – Issue 9 (1·2017) LFI Photographie GmbH Springeltwiete 4, 20095 Hamburg, Germany Phone +49 40 / 226 21 12 80 Fax +49 40 / 226 21 12 70 ISSN 2192–8355 www.lfi-online.de E-mail mail@lfi-online.de
Editor-In-Chief Frank P. Lohstöter Inas Fayed Art Direction Alessandro Argentato
Editorial Office
Carla Susanne Erdmann
Edyta Pokrywka
David Rojkowski
Photo Editor Edyta Pokrywka
(Photographer Relations)
Text
Dean Kissick
Sub-Editing Osanna Vaughn
Photography Enrique Badulescu
Joachim Baldauf
Aglaja Brix & Florian Maas Bil Brown Arved Colvin-Smith Anna Daki Rui Faria
Christian Geisselmann
Esther Haase Marie Hochhaus Benjamin Kaufmann
James Meakin
Monica Menez Hector Perez Elizaveta Porodina René & Radka
Christian Rinke
Tristan Rösler
Takahito Sasaki
Ellen von Unwerth Management Board Frank P. Lohstöter Anja Ulm Reproduction Alphabeta GmbH Printer
optimal media GmbH,
Röbel / Müritz, Germany Paper Lumisilk
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