More beautiful images from fashion photographer, Roberto De Micheli from his latest shoot.
More beautiful images from fashion photographer, Roberto De Micheli from his latest shoot.
Childish Gambino working with Hiro Murai to direct the visuals and Ian Eastwood on the emotionally driven choreography sequence on his latest “Sober” video, taken from his latest Kauai EP.
The setting of the video is the late hours at an eatery, where an intoxicated Gambino is seducing a female, who is waiting for her order.
2015 will be the year for London-based Vaults.
Their latest EP Vultures contains new tracks (including a remix of Vultures by Maya Jane Coles), it is missing a couple of their early hit singles like Cry No More, but the new lineup of songs is just as strong and speaks volumes to the depth of talent the group has.
We’re entering a real golden age of mystical, enchanted indie-electro pop bands with the likes of Florence + The Machine, London Grammar, CHVRCHES and The XX, it seems the obvious next band to join the list…will be Vaults.
Public Description caught up with the very talented fashion photographer Roberto De Micheli.
De Micheli’s work pushes boundaries to create images that are emotional, edgy, and original. Read on to find out more about his work and future projects.
When did you take an interest in Photography?
I’d say more or less 10 years ago. I started as many do with taking travel photos. Then a combination of positive feedback and GAS (Gear Acquisition Syndrome) made a casual pastime avalanche into a passion that took no prisoners where my other hobbies are (were) concerned. The turning point, I believe, was in 2006 when I made the deliberate decision to take more control of my photography, meaning to go from random snaps to trying to achieve something with a photo. From then onwards it really kicked into high gear.
Who inspired you? Whose work has influenced you most?
Since I’ve started dabbling in fashion photography, more or less since the end of 2010, I always felt attracted by the sub-genre called “editorial”. The reason I started was, simply, the fact that a fellow photographer told me that he was going to shoot 2 models near where I live and asked me if I wanted to join them. There isn’t a precise genesis of my preference for editorial that I can describe. I could have tried my mettle with beauty or commercial or glamour, but somehow I decided that I was interested more into telling a story rather than showing a product or curves. Once I stumbled upon the work of Tim Walker, it was a revelation. That is the kind of photography I want to do. Elegant and (a lot) quirky. Imaginative and still technically excellent. Another great I look up to is David LaChapelle.
What makes your photographs stand out from the average photographer?
That’s difficult to say! :)
Of course I like to think that I am creative and experimental and that I have my own style and that I have mastered the techniques I use.
I guess something I have understood that may set me apart from the “average” (whatever that means) fashion photographer is the importance of the team. Any successful shoot is the fruit of the collaboration of a group of people. This group includes, as a minimum, photographer, models, make-up / hair stylists, wardrobe stylist and digital retouchers. In big productions the team may also include art directors, lightning specialists and designers. Of course, some people can perform more than one of these roles – e.g. the photographer can also set lights and do post processing. It depends on skills.
In any case the contribution of these roles cannot be overstated.
What does photography mean to you?
It is my passion. I think that everyone should have a passion in their lives and I am very happy to have found mine, and that it is completely separated from my day-to-day job. It is also my creative outlet and again I am grateful that I have one since my job is much less prone to go wild and be experimental. From time to time I toy with the notion of trying my luck with photography as a profession, but between my responsibilities as husband and father and the freedom that it being a hobby allows, I really think that I am in a good place right now.
One of the main discussion points amongst photographers are about the use of digital photography. Do you use digital cameras?
Indeed I do. They were already prominent when I got “serious” and in any case I do like the immediate feedback you get from digital cameras. Having said so, what I do not like about digital cameras is the tendency, especially with modern models, to add more and more automatism. To put it bluntly, I do not like the camera to do the thinking for me. I want to be in control of taking the photo and I am not really interested in what the engineers who designed the camera think makes a good photo. Therefore I disable all such nifty features and use my camera in a very manual way, as it were a film one, albeit with a digital sensor inside… and of course keeping in mind that the sensor responds to light differently from film.
If yes, what is the influence of digital technology on your photography?
Immediate feedback and the ability of experimenting without the fear of wasting expensive film… which is a boon and a curse at the same time (read: coming home from a shoot with hundreds of images and having to spend a lot of time to select the few candidates worthy of post processing)
Is it fair to alter reality by adjusting images in post-production?
Well… at risk of opening up a can of worms… it depends! What is the purpose of a photo?
If you are a photo journalist or your photos are used as an historical medium, then of course post processing can be done but only without altering the message / story. Otherwise we talk of propaganda.
Even in my own little world, when I shoot landscapes, cityscapes, street, wildlife and macro (my nowadays secondary interests in photography) I tend to do little post processing. I crop, I adjust exposure and colour and sharpness. Sometimes I remove objects that in my mind detract from the composition. Sometimes I create panoramas or HDR mergers. But I do not feel like I am altering reality.
Now, for what fashion photography is concerned… post processing is rife and it goes from colour correction to skin correction to body remodelling. Usually I don’t do body remodelling (although it has happened) unless I feel it’s needed for composition’s sake. Skin is always retouched. Even if I could afford models with perfect features / skin, there are cases when everything is perfect but for (say) the position of one foot… so I may decide that it’s better to salvage an otherwise good photo rather than not delivering for purity’s sake. My goal is to retouch (or to have retouched) an image till it looks good to me, but not over-retouched (knowing when to stop being actually one of the hardest lessons to learn in post processing).
In the end, you can aspire to beautiful images, but if you don’t have the budget / clout to get access to established models, great dresses and accessories and locations… you can either give up or accept that something will need correction in post.
Having said so… the kinds of dresses / accessories that are used in editorial fashion photography are usually designed for models that have body shapes that are not your average type. This normally fuels a lot of debate about the influence that this has on body-conscious people, providing them with unobtainable and ultimately unhealthy ideals. I do think this is an issue which post processing is tangential to. Meaning that post processing may sometimes exacerbate the unreachable perfection of the subject… but in my mind this is on top of an existing trend, not a cause in itself. It just makes it easier to show a perfect body without the need to book a perfect model.
As mentioned, I personally try to avoid body shaping by either using the right model for the job or, failing that, by using the right lights / poses / compositions. And I try to keep skin retouching to an acceptable minimum.
How important is it for a photographer to “connect” with your subject/model to bring out their true self?
In short… a lot! Although it depends on the model too. There are models that can pose and emote with no need of a connection with me, while there are others that start very nervous and apprehensive. In both cases I still like to establish a connection with them, at the very least because I like to think that I am a decent human being! But, especially with models that are not consummate pros, it is fundamental to put them at ease and try to have fun to get the best out of them. A good trick is to create a “story” they need to act to. I can go from alien princess lost on a wild dangerous world to beautiful socialite stalked by paparazzi to party girl that fails to get the attention of a love interest. The sky is the limit… and I have yet to find a model that doesn’t like to have a story to act on.
Locations and weather conditions are critical aspects to a successful picture. How do you plan if unpredictable factors occur?
I love shooting on location. I think it gives something more to the photos. Especially for editorial photography. But there is a but. Costs and time and risks they all spiral up when you shoot on location compared to a studio. Travel costs. Models paid for a full day rather than half day. Risk that dresses get damaged. Risk that the weather does not cooperate (I am talking about rain if we are in the open… exposure-wise I am much less worried). Risk of equipment failing (never found a battery-operated flash head that can achieve the advertised number of flashes on a full battery). Risk of someone coming up to us and asking us to stop shooting. Risk of having crowds of people in the frame.
How do you deal with all this? Be prepared and flexible. Pray. Allow for redundancy (especially models and lights). Allow for more time. Research the location first. Use a location where shelter is available. Bring the right lights and know how to use them. Have people to help (lights on stands + reflectors / umbrellas + wind = disaster). Use the elements such as natural shapes or the sky (a nasty looking cloudy sky can often be a marvellous background – hot midday sun usually is not your friend). Frame differently to avoid the crowds or that pesky car park.
And do use the location! Show some of it :)
I am usually a sorry mess after a location shoot, but boy are they fun!
Could you describe the process of a photo-shoot set up in a studio?
Colour vs Black & White. Do you have preferences and why?
Colour if I really have to choose. I come from wildlife and macro photography and colour is important to me. I think b&w suits architectural and street photography a lot. But I am ambivalent when it comes to fashion photography. It depends on styling (clothes and accessories and make-up).
I shoot RAW so this is a decision I can take afterwards. I often have both versions done and decide at the very end.
If I am shooting a geometric style in bold primary colours then I may consider b&w from the start. Meaning, usually, that I will want strong and harsh lightning and that I will ask the model to give me strong geometric poses.
When going for b&w you lose the discrimination factor of colours (d’hu) and therefore you need to compensate with lights and geometry.
Amongst your work, which one is your favourite and why?
Being selective with your own work is a painful thing to learn :)
As my taste and standards evolve, my favourite phots change (and old favourites become “what was I thinking” kind of things). Currently, these are some of my favourites.
The reason I like these photos is the impact they have. It is the apparent simplicity that hides a great deal of complexity. It is, most of all, the pride I feel when I show them and I can say “I have created this”
Do you step out of your comfort zone to be creative?
I have a little rule of my own. I need to do something different every shoot. Be it use a new piece of equipment, use a new technique, a new model, a new type of style, a new location… something gotta be new.
This may sound trivial. But I believe that one of the things that I love about photography is the fact that it can be infinitely challenging and it can keep your interest alive indefinitely… if you let it.
In a sense I could answer “no” to your question. I’ve done different types of fashion photography but I keep going back to editorial. But in reality, the scope is so vast in editorial photography… I think that if I am not being creative on a shoot then it is my fault.
Having said so, there is another aspect to this… as your ambition grows, you start hitting a “glass ceiling” in terms of your ability to get access to better model, better styling, better locations, better toys, etc. Money is an issue. Time is another. When you start hitting these boundaries (i.e. the models you have easy access to do not cut it anymore) then you either become creative and take some risks, or you stagnate. So for me it becomes a matter of necessity as well.
What advice would you give to an amateur photographer starting out into photography?
Let’s focus on fashion photography ok?
My advice is…
Thank you Roberto!
Images: Roberto De Micheli
“The collections at the V&A never fail to intrigue and inspire me. The nation is privileged to have access to such a resource…. it’s the sort of place I’d like to be shut in overnight.” Alexander McQueen
This spring the V&A will present the only major retrospective in Europe of the work of the visionary fashion designer Lee Alexander McQueen. One of the most innovative designers of his generation, McQueen was celebrated for his extraordinary creative talent. He combined a profound grasp of tailoring and eclectic range of influences with a relentless pursuit to challenge the boundaries of art and fashion, blending the latest technology with traditional craftsmanship.
Originated by the Costume Institute at the Metropolitan Museum of Art in New York, Savage Beauty will be edited and expanded for the V&A’s large exhibition galleries. It will feature 30 additional garments, including some rare early pieces, lent by private individuals and collectors such as Katy England and Annabelle Neilson as well as pieces from the Isabella Blow Collection and the House of Givenchy. A new section will be added to the exhibition, focusing on McQueen’s fledgling development as a designer in London. Other new garments that will be displayed include a red ballet dress from The Girl Who Lived in the Tree (A/W 2008-9) and a white feathered dress from The Horn of Plenty (A/W 2009-10).
Gainsbury and Whiting, the production company that collaborated with Alexander McQueen in staging his catwalk shows are working with the V&A on the exhibition. Each section will capture the essence of the provocative, dramatic and extravagant catwalk presentations that McQueen became renowned for, combining storytelling, theatrical performance, music and film. For example the spectacular moment where Kate Moss appeared in a gown of rippling organza as a holographic 3D image will be shown near life size as it was for the finale of the Widows of Culloden (A/W 2006-7) catwalk show.
Another key moment of the exhibition that has been expanded at the V&A is the Cabinet of Curiosities, which will showcase designs produced by McQueen in collaboration with fellow creatives such as the jeweller Shaun Leane and milliner Philip Treacy. Presented in a double-height gallery, interspersed with film footage of nearly all of McQueen’s catwalk shows, it will display around 40 additional objects that have not previously been seen together. These include a sequin top overprinted with a haunting image of the Russian Romanov children (Joan, A/W 1998-9); an embellished matador’s jacket (The Dance of the Twisted Bull, S/S 2002) and a black horned headpiece designed for Givenchy (S/S 1997).
In total, the exhibition will showcase more than 200 ensembles and accessories, the largest number of individual pieces designed by McQueen and collaborators ever seen together. They range from McQueen’s Central Saint Martins’ postgraduate collection of 1992 to his final designs for A/W 2010, completed after his death, and are drawn primarily from the Alexander McQueen archive in London.
The thematic presentation of the exhibition will interrogate ideas and concepts central to McQueen’s work, including: subversive tailoring; Gothic sensibility and the interplay between darkness and light; primitivism and the animal world; heritage and ancestry; nature and the natural world; and technology and handcraft.
The V&A was one of the first museums to show McQueen’s work in 1997 in the exhibition Cutting Edge: 50 Years of British Fashion 1947-1997. He was also represented in the Fashion in Motion series in 1999 and with Shaun Leane in 2001, and was one of 11 designers represented in the exhibition Radical Fashion in 2001 which showcased works from his Voss collection (S/S 2001).
Martin Roth, Director of the V&A, said: “I am thrilled that this magnificent show is coming to London and feel passionately that the V&A is its natural home. Lee Alexander McQueen presented his work here during his lifetime and studied the Museum’s wide-ranging public collections of tailoring, painting, art, photography and books as inspiration for his visionary designs, yet remained vigorously anti-establishment and a true provocateur.”
Sarah Burton, Creative Director Alexander McQueen, said: “Savage Beauty is a celebration of the most imaginative and talented designer of our time. Lee was a genius and a true visionary who pushed boundaries, challenged and inspired. He believed in creativity and innovation and his talent was limitless.”
The V&A’s presentation of the exhibition is being made possible with the cooperation of Alexander McQueen and will be in partnership with Swarovski, and supported by American Express.
Nadja Swarovski, Member of the Swarovski Executive Board, said: “We are honoured to support this landmark exhibition celebrating the creative genius of Alexander McQueen at one of our most distinguished cultural institutions. We were privileged to collaborate creatively with McQueen since 1998 in both fashion and design, and Savage Beauty is an eloquent tribute to the scale of his talent and to his limitless imagination, which conjured looks that were sometimes wild and challenging, but always exquisitely crafted, and always beautiful.”
Lisa Gregg, Vice President of Consumer Products & Experiences, American Express, said: “We are delighted to be a part of this unique retrospective. Our support of Alexander McQueen spans many years over which time we had the privilege of supporting his meteoric rise from cutting edge British designer to global household name. As one of the sponsors of the 2011 New York debut of Savage Beauty, we are particularly excited about the homecoming of this truly special and inspirational exhibition.”
The exhibition is being curated by Claire Wilcox, Senior Curator of Fashion, V&A and Professor in Fashion Curation, London College of Fashion, University of the Arts London
The exhibition is based on Alexander McQueen: Savage Beauty, an exhibition organised by the Costume Institute at The Metropolitan Museum of Art, New York in 2011
Andrew Bolton, Curator of the Costume Institute at the Metropolitan Museum of Art, New York is Consultant Curator and was Curator of the original exhibition
Sam Gainsbury, Creative Director and Joseph Bennett, Production Designer will redesign the exhibition at the V&A with Anna Whiting as Consultant Producer, following their collaboration on the original exhibition in 2011
In partnership with Swarovski
Supported by American Express
www.vam.ac.uk/savagebeauty | @V_and_A #SavageBeauty
Mikhail Goldgaber | Keynote speaker at UCD14
UCD14 is a unique User-Centred Design conference in London. This years event explores how User Centred Design is applied in a variety of disciplines.
The idea for the unique organisation, was conceived in a pub when three of the organisers commented on the lack of collaboration of like minded groups, the lack of quality local speakers being seen and the prohibitive cost of attending conferences in general.
That night in the pub they decided to put together UCD2012 as a platform for exploring the many disciplines that have User Centred Design as their foundation and focus on UK based speakers (but not exclusively) who are the best in their field.
They wanted to offer real world case studies, provide inspirational presentations and interactive workshops and offer opportunities for learning, sharing, networking and socialising with like-minded people.
More information about the conference can be seen on their website.
NEW YORK – Christie’s New York announces highlights of its upcoming Important Jewels auction on October 22. With 350 jewels on offer, the sale features an array of colored and colorless diamonds, rare gemstones, and signed jewels – led by a magnificent rectangular-cut potentially internally flawless diamond pendant necklace of 81.38 carats. Estimates range from $3,000 up to $4 million, and the total sale is expected to achieve in excess of $30 million.
In the first half of 2014, Christie’s International Jewelry department achieved their highest ever half-year result at US$362 million and established 8 new world auction records. The May 14 Magnificent Jewels auction at Christie’s Geneva saw the highest total ever achieved for a jewelry auction at US$154 million that included the record-breaking WINSTON BLUE diamond (US$23.8 million), which set a new world auction record price per carat for a blue diamond at US$1.8 million per carat.
RAHUL KADAKIA, INTERNATIONAL HEAD OF CHRISTIE’S JEWELRY, commented: “We are excited to begin our fall jewelry season with this promising sale of Important Jewels on October 22 at Christie’s New York. From an impressive cushion shaped diamond of over 100 carats to a chic multi-strand moonstone bead necklace, by Tiffany & Co., the sale has a jewel for everyone. We look forward to seeing collectors back in our saleroom in New York and then Geneva, Hong Kong, Paris, and London as the season progresses.”
Nickolas Grace stripped naked to protect wild fish along with other celebrities
The final instalment of the exclusive Nickolas Grace interview. The interview which was conducted on two separate occasions over coffee in Notting Hill revealed to me a warm, funny, and sincere individual. One that also has an undeniable talent. I would like to thank Nickolas for his time and hope you all enjoy reading the final part of the series.
“Don’t do it. Haha! We are in a very strange time. Things have changed a lot. Young people in reality shows think ‘Ah I’m famous now, it is easy to get into’. But it’s not easy to sustain.”
“What saddens me is they think they don’t need to go to drama school or they don’t need to study. I always say go to drama school if they are serious about it. There are many many more people now that come in for lots of different reasons. Our union, Equity, is now weak because you don’t have to be part of the union. Anyone can act. Anyone can employ anyone. When I have the chance to employ people as a director I always say I’m only going to employ people who are members of Equity.
“So I’d say don’t do it unless you want to study hard and want to go to drama school.”
“I am very fortunate I have been given two honorary degrees. I’m a Fellow of the Royal Central School, and a Companion of LIPA. I received one from Terence Stamp and one from Sir Paul McCartney.”
“Central had asked me who I would like to present me with my honorary degree. As Alan Bates and Terence Stamp were my two mentors. I asked Alan Bates to present my degree. Sadly, Alan Bates was just beginning to be ill, and said ‘I don’t think I can do it but I’ll be there’. He came in a wheelchair bless him and sat at the back of the hall. So Terence was kind enough to present me with my degree , and it was quite funny: my best mate giving me my honorary degree. That made me cry too. At least my mum was there, and it made her quite proud.”
“I have indeed. Who’d have thought I’d work with Madonna in Evita. Alan Parker who is one if my favourite directors wanted me to be in the film. “
Madonna… Sugar or Spice?
“A nightmare. Haha! She’s a great star. The first time we met was amusing. She was tired and it was the last day of shooting. Madonna had done a twelve week shoot for Evita all over Europe and Argentina too. So I go there at 6:30am, to go to make up and costume. I’m sitting in the dressing room to start and there’s a knock on the door and it’s Jonathan Pryce who I’ve known for a long time. He says ‘Listen Nick we’ve done twelve weeks so don’t fuck it up alright’. So I say ‘oh thank you’ haha. No pressure.”
“So I think I’ll be on in a minute. It’s now 9:30am, I have a cup of coffee and she’s not ready so I go back to the room and then there’s another knock at the door and it’s Antonio Banderas who I’d met once before in Spain, when I played Lorca. He says ‘Nickolas remember do not fuck up this movie’ I thought this is obviously a wind up. Haha. So it gets to lunch time and Alan Parker says ‘I’m really sorry there has been a bit of a problem, you go and have some lunch’. So by now I’m quite tense. So I go to get some lunch come back and then Alan says ‘come down I’ll show you the set’, so we go and look at the big set at Pinewood studios. Then suddenly there is a temperature change in the studio. I can feel it. I see Alan strain a little, and you see these two bodyguards come in. I think to myself she’s coming. She walks in and Alan Parker says ‘Oh M, this is my mate Nick, Nickolas Grace, this is Madonna’ she snaps back ‘Don’t touch my fucking hair!’
“I’m like ‘No of course I’m not going to touch your fucking hair’. So that was my first line from Madonna. I think back now, and at the time I was thinking inside I really mustn’t do anything wrong. You can imagine how the day proceeded, but by the end she changed her attitude. She said ‘I really like you’, and made the sign of the cross on my face. ‘I said is that the Madonna blessing?’ and she smiled mischievously.
“You’ll get the full version in my auto-biography. It probably won’t come out until I’m in my 80’s because I want to tell the truth.”
Thank You, Nickolas!
To find out more and read why Nickolas is naked holding a fish please see below link:
New York – On October 14, Christie’s New York will present a curated design sale, Forever Chic, which will celebrate timeless style from modern luxury to the enduring appeal of the ancient. This innovative auction will encompass inspiring lighting, furniture, one-off design pieces, sculpture, Chinese works of art, pop-art and antiquities. With something for everyone, estimates range from $800 to $150,000 and the sale is expected to realize in excess of $1.5 million.
Forever Chic is led by a collection of modern design and bespoke furnishings from the Peter Marino-designed interior of the former Madison Avenue showroom of Bruce Hoeksema’s luxury brand, VBH. Highlights from the collection include a unique sculpture by Alexandre Noll, circa 1963-65 (estimate: $50,000-80,000) and a gilt-iron and travertine console table designed by Jean Royere (estimate: $40,000-60,000).