graeme mitchell

Crops from a contact sheet.

Editing editing.

Full story will be out soon.

photo: from fashion story contact sheet, ©Graeme Mitchell 2008.

photo: from fashion story contact sheet, ©Graeme Mitchell 2008.

Some finals from the beauty story shot two weekends ago (Polaroids here). These three girls are with Ford NYC. If I recall their names correctly, Catlin, Matta, and Leane. Respectively.

Imported from the future.

photo: © Graeme Mitchell 2008

photo: © Graeme Mitchell 2008

photo: © Graeme Mitchell 2008

I am buried in work. In a good way b/c it’s work that really puts me on the moon, but it turns out there’s not enough minutes in the day to also include time for this site and time for the NYC Journal, and anyone who knows me knows how important the latter project is to me (immensely), so in the summer I hope things will balance out and I’ll be able to be, well, more balanced.

Until then go over the Lens Culture’s site and check out the audio interviews. Good listens.

A rare bird spotted late last night in the W. Village, totally stock and looking wise beyond it’s years. Really real boyhood memories, and more importantly a cognizance of possibilities that will never die.

[Insert Bon Jovi’s “Wanted Dead or Alive” track here. Seriously.]

photo: © Graeme Mitchell, 2008

A Polaroid sheet from a beauty and hair editorial we did yesterday, working title is marble androids, or maybe robo-statues. Hair was by Sarah Potempa and M.U. by Meredith Baraf, both at The Wall Group. More to come on this once the film is souped and dried.

This is a portrait of the French Kicks done for an editorial feature. They ‘re a chill and charming bunch. They’re also becoming a prominent prominent feature on the indie scene…deservedly. Give them a listen and hit up their current tour (dates can be found on their myspace page).

Then you’ll be able to say you saw them when.

photo: French Kicks, Brooklyn NY, 2008. © Graeme Mitchell.

Details: shot on location in Clinton Hill, Brooklyn at band member Josh’s apartment.

I’d previously mentioned Brandt’s portrait of Francis Bacon here. But I want revisit Brandt, b/c I think he was one of the most visually creative photographers of the 20th century, certainly one of the greats to come out of England. It’s almost impossible for me to fathom how he took the pictures he took and, for lack of better words, got them to work, at least without losing the idea’s effect within the idea’s requisites, and more specifically how he was able to transform the plurals of form and content into a singular. Although, he was Man Ray’s assistant so… As an example and as the picture-to-really-consider-of-the-day:

photo: Micheldever 1948 ©Bill Brandt