Shooting for Jones Magazine
I recieved a call from Donald Lawrence asking if I was available to shoot the cover and inside story for the summer fashion issue of Jones Magazine. I asked him to send me a mood board and the model choices, and when I saw that Rose Cordero was one of the models, I jumped on it. I remember Rose from her Paris Vogue cover that Meisel shot and I fell in love with her back then. So I was really excited to work with her.
Tracy Wingrove, the set and prop stylist, sent me another mood board of the color schemes. So the story is: we are shooting 3 black girls in super colorful and bright, poppy-wow! clothing, against a painted backdrop that Tracy was hand-painting in a Marimekko style. Alright…….I got this!
for color schemes
I put a studio on hold in the Flatiron District that I like using (our NYC workshop was held there) and since Donald and Tracy were taking care of the rest of the talent, I just secured my two assistants for the shoot.
I used an Elinchrom Octabank for this shoot, and I’ll tell you why. Jones didn’t want anything really edgy or shadowy. They wanted BRIGHT, COLORFUL, HAPPY images. Octas really produce a beautiful light without there being much dramatic edginess, unless, of course, you really place it directly to the side of your model. But if you place it sort of right in front or just a few feet away from dead-center, you’re going to get a beautiful, uncomplicated and very flattering light.
So I mentioned that Rose Cordero was our main model. We did about 5 different cover tries with her, settling on a shot with her and model, Nik, for the actual cover. We did a lot of different looks that day. The creative director, Donald (not the same Donald as Donald Lawrence) really pushed me that day and I was really grateful for that. Hey, you know, I am still learning too. We never stop learning. Just when I felt like we had it in the can, Donald would push me, saying, “I’m not sure, let’s keep shooting.” I was really thrilled to work with someone who was that fastidious. I also will add here that shooting black skin is a bit different than shooting white skin. So I had to do several lighting checks throughout the shoot to make sure that the model’s skin looked radiant and didn’t either get too blown out or too dark. I did move my light around more than I usually do, usually bringing it in tighter (closer) to the model’s face.
Overall, the shoot was a success. My agent is particularly thrilled with it because it’s happy and vibrant. My eye, my taste, tends to veer towards the darker, shadowy side of life, you know, pale girls running around an insane asylum or raven-haired beauties in a house that looks like Norman Bates could live in it. So anytime I do something even remotely commercial, my agent practically cries and does a whole lot of positive reinforcement. Don’t worry, I’m on to him. After all, I had parents try to trick me the same way. : ) Peace out. Xoxo