Author: studiobypines

Zoe Kravitz told BuzzFeed that she was at home during the pandemic growing her nails out and she got an idea. She called director Matt Reeves and said “What if Cat Woman had really long nails but with no polish so they look like claws,” genius.

BTP: For every shot you take that ends up being worth sharing, how many shots get thrown out?
Elisa: Just to give you an idea, I took 600 photos of the Dior Show, edited 35, and posted 20 on my Instagram. Most of them are unusable because they are too blurry, or people are standing in front of my camera. You really have to take burst mode photos and hope to have at least 1 that is good, especially when you shot a huge celebrity!

BTP: What’s your favorite photo that you’ve taken this fashion week?
I wish I could say “It’s my Rihanna photo of course, it’s perfect” but unfortunately it is not that good haha! As Elisa: I am answering your questions, I have only been to the Dior Show. But I took a photo of a nice-looking lady standing in front of the Eiffel Tower, I really like this photo. I also took a cool photo of Anya Taylor-Joy, but she passed through the crowd so quickly I could only take a picture of her profile. Maybe my next photos at the Louis Vuitton or Chanel Shows will be better!

BTP: What advice do you have for new photographers trying to get into shooting at Paris Fashion week?
Elisa: Be organized! The addresses where the shows take place are given the day before to those who have tickets. Look on Google, Twitter, ask other PFW photographers, so you know where you have to go. Arrive an hour before the show, and leave after the end of the show to maximize your chances of taking good shots of the guests, but also nice dressed spectators.

To keep along with the budding photographer follow her Instagram: @elisatimotei_photo

Once upon a couple a decades ago Tom Ford was a regular at Paris Fashion Week. The brand since found itself presenting in New York then ultimately making the trend-setting move to Los Angeles. Most recently the latest show was canceled due to production issues related to covid which brought the brand full circle to dropping its lookbook in the middle of #PFW. While Tom Ford is no stranger to sumptuous velvet, satin, and faux fur the Fall 2022 collection is certainly Californicated in the most elevated casual way.

Hair by Antoinette Hill for TRESemmé at Mastermind Management Group; makeup by Raoúl Alejandre at Opus Beauty; manicure by Marisa Carmichael for Dior Vernis at Forward Artists. Set design by Nicholas Des Jardins at Streeters. Produced by Wes Olson at Connect the Dots; production coordinator: Zack Higginbottom at Connect the Dots; photo assistants: Zac Jones, Austin Durant, Aliana Turkel; lab: the Icon Los Angeles; retouching: DTouch London; fashion assistants: Justin Ramirez, Birta Epstein; production assistants: Gina York, Tchad Cousins, Kein Milledge, Khari Cousins; set assistant: Joshua Clark Puklavetz; tailor: Erica Fromdahl.

We’re obsessed with this story behind Milla’s 1994 shoot with Chris Floyd as told by Chris on his blog.
‘This is from a 1994 shoot with Milla Jovovich at her apartment in New York City. I don’t think I’ve looked at the film since I shot it. Seeing it for the first time in 16 years has been a bit of a shock. The thing that immediately came back was the memory of being mugged by a gun and knife wielding duo on the Lower East Side the night before the shoot. My camera was taken from me and I very nearly didn’t get to see the sun come up the next morning when I called the assailants a “bunch of f** c**” as they walked away from me. It was a calculated decision, based on the belief that they were far enough from me to not be bothered about coming back as I uttered the words at them. I was exactly 100% wrong in my calculation. They took it so personally that they decided to try and kill me and the friend I was with by chasing us all the way up Ludlow Street until, at the junction of East Houston we ran into 2 of the NYPD’s coffee slurping, doughnut gobbling finest, hanging out on the bonnet of their blue and white. Saved. The muggers scarpered back the way they came and the Po-Leece were so not arsed about trying to catch them.
The next morning, though, all I had was my other camera – a Contax T2 point & shoot, which you can see Milla holding in some of these pictures. I was so naïve in those days that I don’t think it occurred to me to even try and get hold of a replacement camera from one of New York’s rental houses but, then again, I had no credit card and thus, no means of securing anything I might have wanted. However, David, my fellow muggee from the night before had an old Pentax K1000 and he very kindly let me borrow it.
Looking at the film now, what strikes me is how cavalier I seemed to have been in my methods back then. My choice of film is all over the place. I photographed her on 4 different films: 400 Tri-X, 3200 T-Max, Agfa 1000 E6, Fuji 400 C41. Some of the Agfa I processed as straight E6 and some of it I cross processed in C41, which was all the rage back then. When I look at it now it’s disgusting.

What is absolutely clear, though, is that I was totally experimenting. I had not yet found myself because, at that age, 25, I didn’t know who I was. Nowadays I absolutely know who I am and I’ll shoot in a consistent way throughout so that a portrait session will, in my head, have a clearly defined beginning, middle and end period, because I have learned some craft to go with my art, or if you want to put it this way, I now have some head to balance out my heart. Back then I regarded it all as a bit of a laugh and it’s hard to see why I shouldn’t have. I was photographing people who were the same age as me. We were equals and peers, it felt personal and free, which is just the way it should be.’
More at ChrisFloyd.com

Creative Director Alessandro Michele, Art Director Christopher Simmonds, Directors of Photography Mert Alas and Marcus Piggott