What makes a photograph stylish? Is it the subject in the portrait? The scene? The suggestion of a fresh perspective? These are some of the questions we debate and mull over endlessly as we produce and edit the thousands of photographs that appear in the Styles section each year.
Diana Vreeland, the legendary long-ago editor of Vogue magazine, had a good idea about making stylish photos. As she memorably said when describing her approach to creating the fantastical worlds of her fashion editorials, “The eye has to travel.” She made epic tributes to fashion, all to satisfy the insatiable, wandering eyes and minds of Vogue readers. No idea was too far-fetched to realize, no expense spared in her pursuit of depicting the seasonal collections. She used the genre of fashion photography to interpret and even invent the visual language of the 1960s. And while those pictures are classic artifacts of a moment, they are very different from journalism.
So the question is, If you want to make stylish images that satisfy the craving for novelty, but you’re not in the practice of staging fashion shoots, how do you go about it?
It’s something a reader might take for granted — that there would be stylish pictures in the Style section — but it’s not easy as it might seem to make an arresting, fashionable image without directing stylists, hair and makeup professionals. Because even though we think about what looks trendy and new, we are not in the business of making fashion shoots. Our eyes must report.
That’s why it’s worth noting, for example, that even if Erik Tanner’s portraits of future N.B.A. stars would be at home on the pages of the best men’s magazines, they were in fact the result of quick interactions in the atrium of Barclays Center. Sometimes our photographers have mere moments to make these pictures, unlike carefully arranged studio photography that you find in fashion magazines, typically requiring hours on well-lit, catered sets. Working quickly, and often with little notice, the photographers who shoot for Styles manage to make surprising, fresh, memorable portraits of some of the world’s most familiar faces, week after week.
Other wonderful examples of this include Simbarashe Cha’s street style pics from his Style Outside column, which capture the way clothes are worn beyond the confines of the runways. Our photographers including Rebecca Smeyne and Landon Nordeman are snapping moments inside parties, at weddings, on red carpets, at runways and practically anywhere else you can imagine — tattoo festivals, dog shows, political conventions. Wherever we are, we delight in capturing the way people look and live right now. Because as much as anything, Styles is about seeing the world anew and helping you see it differently, too.
“I came to the shoot with a mood board filled with photos of iconic Hollywood femmes: Audrey Hepburn, Judy Garland, Elizabeth Taylor, Joan Crawford and Liza Minnelli. I hardly needed to direct Cole; they already had the spirit of all these Hollywood icons on their side.” — Yael Malka
“While we understand Law Roach to be an ‘image architect’ for all of his clients, what made this shoot so fun was his command of his own body. Law felt deeply embodied, always knowing how to adjust his body to convey the magnitude of his magnificence.” — Justin J Wee
“The young performers’ infectious passion and dedication led me to also giving my greatest to find the most telling photographs of the day.” — Jon Cherry
“I just loved this collection. The pieces, the hair, the makeup: It was retro, it was mod, and the shoes were impossible for the models. But fashion, with a capital F.” — Simbarashe Cha
“Ib is such a busy person, but in this moment he’s quiet, at rest.” — Myles Loftin
“She was a fascinating blend of reserved and assured; soft-spoken yet deeply self-possessed.” — Heather Sten
“Entering a stranger’s home to photograph them is a very intimate experience, but the warmth I experienced from Quannah made it feel like I had been there many times.” — Lauren Withrow
“I was supposed to be photographing Shelley in her home, but when I arrived that day I found her in her car, which I instantly understood was her safe place.” — Katherine Squier
“As highly trained and neatly primped as they might be, these dogs are ultimately just animals and so, there was always a bit of chaos and humor to be found amidst the discipline and order.” — Jonah Rosenberg
“Miranda subtly contorting her body into a shape that’s reminiscent of a banana was an unintentional homage to this staple of many kitchen countertops.” — Dana Scruggs
“Some were crying or having an outward emotional response; it was a very vulnerable thing to witness, let alone photograph. I didn’t want to interrupt their experience with my camera so I knew I had to focus on details.” — Damien Maloney
“I shot this blindly from the hip as we crossed in each other’s direction, and it’s just some sheer luck that they were lock step in unison like that while also framing perfectly against the backdrop of the bar behind them.” — Simbarashe Cha
“I asked her to get into the shirt, and she immediately asked me to give her a double chin. I don’t know exactly what we were aiming for other than trying to make ourselves laugh.” — Gabriella Angotti-Jones
“The hardest part of photographing celebrity parties can be simply finding the celebs. At this event, a P.R. person sent me a tip that Erykah Badu had come in, but amid four dark and chaotic rooms, it still took some searching. Finally, I turned a corner, and almost ran right into a woman who was, unmistakably, Erykah Badu.” — Rebecca Smeyne
“I think this moment really captures how she wants us all to see her. There is so much intention in that look and I think to myself: ‘Let her be messy, let her try all the things. Who am I to judge?’” — Michelle Groskopf
“Photography has taught me that even when you expect the unexpected, your jaw still hits the floor. Showing up to a discreet warehouse on Long Island only to walk into a MAGA wonderland was like walking through some kind of Narnia.” — Johnny Milano
“Seeing the designer perfume bottles clash against the other reminders of childhood was both humorous and charmingly earnest.” — Evan Jenkins
“I spent most of the time we had together chasing him around the hotel. Any notion of careful posing quickly went out the window. Max’s energy knew no bounds.” — Graham Dickie
“Rocket may not be the fastest corgi, but his charm and the bond with his owner have made him a star.” — Francesca Forquet
“As we were thinking of a way to incorporate his beautiful garden and flowers in the portrait, Zac sat back and we were able to capture this brief moment.” — Nicholas Albrecht
“It was essential for me to remain a fly on the wall, capturing the essence and authenticity of the brotherhood while maintaining enough distance so the men wouldn’t be distracted by the camera and could stay fully present in the moment.” — Kadar Small
The post The Eye Has to Report appeared first on New York Times.
