Frances in the Fall

“I feel more and more, that it is about photographing this “magic space,” situated between the photographer and the subject he’s photographing and not about the ‘architecture’ of faces.” —Peter Lindbergh

It has been a long time since I worked as a fashion photographer, and I’m not much interested in dresses. So, when I discussed a shoot with model Frances Hope, I made sure to tell her up-front that that’s not what I was looking to produce. These days, working with models, or any other human subject, my ideal is to transcend the “pose” and connect with the personality in front of my camera.

That’s a tall order for anyone under the scrutiny of the lens and the photographer behind it, who is presumably the “conductor.”

But it is the sign of a good model who can “perform” for the camera, at the same time as revealing something of their true personality. And it’s not easy. Stripped of duck-lipped posturing, high camp, or come-hither seduction, the consummate photographic model reveals something of themselves — whether vulnerable or indomitable — rather than wearing the cultural masks or haute couture of the day.

Simply said, the best models are equally great actors.

The very best of fashion photography transcends the marketing of avante garde tribal costume to the degree that it creates a subtext, based for the most part on reaching that “magic space” referred to in the quote above.

Think of David Bailey’s revolutionary New York shoot, with Jean Shrimpton (not to mention famous collaborations with Penelope Tree, Catherine Deneuve, Marie Helvin, and Catherine Dyer); Richard Avedon and Dovima (whose work with Tree was also notable); Mario Sorrenti and Kate Moss; Man Ray and Lee Miller; Lindbergh and Linda Evangelista.

These are benchmarks for any model or photographer. Both, perhaps, dream of the fates aligning so that they might meet in that space between the recording device, be it film or digital, and the theatrics of modelling. Because any memorable image becomes not so much about those who made it as the emotional engagement of the viewer.

I no longer live in a centre of the fashion trade (Toronto is really the only place in Canada that has a bonafide “Fashion District”), nor do I aspire to its conceits. But I do admire the best of the genre — which has always been created by collaborations that didn’t give a damn about selling dresses.

Quite simply, I am very happy with the results of this October location shoot with Frances Hope, a muse I hope to work with again. She made my job easy by connecting with the concept, such as I communicated it, and reaching across the space between us, piercing my defences by stealing my hat.

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