![]() ![]() Over the years you develop a bunch of skills. To do that you have to read each situation. You don’t want the photograph to feel staged. What you’re looking for, working with anyone from Beyoncé to David Beckham to Björk, is a moment of spontaneity. The Museum of Modern Art and the V&A had already asked to have the photos in their permanent collections, so they were elevated above just magazine shots. Two months later, I discovered Photoshop, with which I could have done the whole thing in just two minutes.Ī photo from this shoot ended up on a Giles Deacon dress. To get the shot, we had to aim for this one moment when there was a perfect balance between the strength of that artificial light and the strength of the dying sun. We had just one, attached to the side of the boat that was our only lighting. We found tiny lights used for car shots in movies to illuminate people’s faces. I was trying to achieve the opposite – I wanted everything to be underexposed and muted, sombre. (If I were to choose a soundtrack for this shot, it would probably be Soave sia il vento from Così fan tutte.)īack then, film stock was really oversaturated, because it was developed in the amateur market, so you gotthese bright, vivid colours. I was also thinking a lot about Terrence Malick’s Days of Heaven. Both have religious scenes of people floating down the river in the mist. I’d seen two films growing up that influenced this shot: one was Andrei Rublev, by Tarkovsky, and Time of the Gypsies by Emir Kusturica. ![]() ![]() When the film was developed it was exactly what I had wanted to achieve. We closed the river again and worked on everything we’d done wrong to get it right the second time around. When he asked me if I’d got the shot I said, “No!” and stormed off in a huff. Mr Bertelli, the boss of Prada, was standing there on the riverbank shouting at everyone. ![]()
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