For Adidas’ David Beckham FW10 line:
photo: for David Beckham’s Adidas FW10 from www.adidas.com, ©Graeme Mitchell / Adidas
photo: for David Beckham’s Adidas FW10 from www.adidas.com, ©Graeme Mitchell / Adidas
photo: for David Beckham’s Adidas FW10 from www.adidas.com, ©Graeme Mitchell / Adidas
photo: for David Beckham’s Adidas FW10 from www.adidas.com, ©Graeme Mitchell / Adidas
Stylist: Kemal and Karla w/ The Wall Group
Groomer: Cheri Keating w/ The Wall Group
Photo Assistants: Blake Williams, Charles Lee, Erika Shisler
Grip+Lighting Rental: Samys Camera Hollywood
Shot on location in LA
Just finished Study by Tara St. James‘ FW10 book. Another beautiful season. And we decided to put those flower still lives I did recently to use by making diptychs. These will be printed large on newsprint…love love working on stuff like this.
photo: Study FW10 by Tara St. James. ©Graeme Mitchell
photo: Study FW10 by Tara St. James. ©Graeme Mitchell
photo: Study FW10 by Tara St. James. ©Graeme Mitchell
photo: Study FW10 by Tara St. James. ©Graeme Mitchell
photo: Study FW10 by Tara St. James. ©Graeme Mitchell
Hair and make-up: Jessa Blades
Model: Nykhor w/ Red
video: making of W, “The Art Issue,” 2009.
Someone sent me these 3 videos on Mario Testino (thanks, Brandon!), and they literally came across my phone as I was looking at the current Testino spread in V magazine featuring Natalia. It was all fitting, since I was thinking of how Testino’s work is quit simple in many ways but that it nearly always works, and how he definitely deserves a nod for what he’s done over the years.
Part 1:
Part 2:
Part 3:
From V:
photo: Natalia in V #58, S09. ©Mario Testino.
And an old favorite add that Testino shot for Gucci back in the good ol’days of Tom Ford. I believe this was from ’98, but don’t hold me to that.
photo: from Gucci campaign (1998?). ©Mario Testino.
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.
Polaroids from a spring editorial. Keep your eyes on the newsstands, should hit’em in May.
polaroid: ©Graeme Mitchell, 2007
polaroid: ©Graeme Mitchell, 2007
Details:
Styling: Anna Shimonis
M.U.: Meredith Baraf
Hair: Sarah Potempa
Model: Marissa w/ Elite
Location: Studio 814 (yes, a special thanks to Studio 814 who facilitated our every need.)
When shooting 4×5 it’s not uncommon for other photographers to inquire about the camera I use, b/c the camera itself is a bit uncommon, so I figured it was worth noting here. First a little background, when I originally set out to find a 4×5, I searched for some time trying to find one that suited my style of shooting fashion and portraits, both on location and in the studio. I wanted a camera that was tuff, small, quick to operate, but also with decent bellow draw and movements to spare on both standards. These criteria ruled out everything I knew of. Finally, I was informed about the Linhof Color.
A hidden gem, it’s been out of production for ages as far as I can tell, but it basically amounts to a Linhof Technika on a rail. It’s built like a tank, sexy, and I can fit it, a few lenses, and holders in a Domke bag.
As I side note, yeah, sure, for the most part a 67 RZ can cover almost everything, but for that extra 3%…well, a nice piece of sheet film can be something else.
photo: Covet Spring ’07, ©Graeme Mitchell, 2006
If you’re shooting in NYC and need to rent a studio, consider Avedon’s old studio. It is neither particularly big, nor is the location fun, but neither of these qualms can possibly deter from that auspicious cyc.
I can imagine Avedon brooding around those halls alone, rife with anxiousness, looking at the board of dimly illuminated work prints riddled with his corrections…possibility and history weighing upon him…