Leica S Magazine No. 9

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

4 192346 409909

9,90 € · 12 US$ · 8 £ · 1.400 ¥ · 12 CHF

O

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Why settle for less?

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LEICA. DAS WESENTLICHE.

Experience the Leica S for yourself in Leica Stores and Boutiques worldwide, and at www.leica-camera.com

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

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c o as t l i n e

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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

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J A C KE T

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Left:

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Augustin J EANS

&

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BEL T

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C a r e ,

Maas

f a r m y a r d

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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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