The Intimate PortraitThe Intimate Portrait-
Lachlan Bailey's work can be seen in a number of impressive publications, including the American, British, Japanese, Chinese and Spanish editions of Vogue. When looking at his photography, one is able to see no less than an incredible use of color, a fantastic feeling captured and a finish that never loses its humanity to a heavy-handed retoucher. When we invited him to share his idea of contemporary on this platform with no restrictions or rules, Lachlan dove into a very natural place that, for him, was a turn back to basics and a world where photography is still a personal experience. Photographing his friend and partner, Imogen, on two different days around their home, Lachlan created some of the most emotive and intimate images we've seen in a while. The result of their union brings us to a place where we can't help but revel in the realization that reality without interference still trumps the beauty of an overly 'corrected' image. Lachlan Bailey's work can be seen in a number of impressive publications, including the American, British, Japanese, Chinese and Spanish editions of Vogue. When looking at his photography, one is able to see no less than an incredible use of color, a fantastic feeling captured and a finish that never loses its humanity to a heavy-handed retoucher. When we invited him to share his idea of contemporary on this platform with no restrictions or rules, Lachlan dove into a very natural place that, for him, was a turn back to basics and a world where photography is still a personal experience. Photographing his friend and partner, Imogen, on two different days around their home, Lachlan created some of the most emotive and intimate images we've seen in a while. The result of their union brings us to a place where we can't help but revel in the realization that reality without interference still trumps the beauty of an overly 'corrected' image.
-
-
-
ContemporaryIS What's Contemporary, at the moment, is something very personal. That's what feels very contemporary to me. For this project, it was also the process that felt really fresh, the way it was shot. It was like the pictures I took when I first started.
ContemporaryIS When I was doing these images, I gave myself a certain set of rules where I wasn't allowed to crop the image out afterwards or do anything to the image that I wouldn't be able to do in conventional film. Basically, I didn't retouch them, I printed them. Also, I did it all myself, so I controlled the whole thing, which was really nice. What I tried to do last season was do as much as I could myself again. I had started to feel like I really got too much into the process of giving it to other people, and when I'd get the images back, I'd realize I hadn't done a before and after, where you layer up the raw and the finished image. Suddenly I'd be looking at what they sent back and find myself thinking, "Oh, God, I didn't ask them to do that.” It's just this thing that's happened. People want glossy images, I guess. I think it looks really old fashioned now, and people have been saying that for a really long time, but it doesn't seem to be getting through to the end result. ContemporaryIS What's Contemporary, at the moment, is something very personal. That's what feels very contemporary to me. For this project, it was also the process that felt really fresh, the way it was shot. It was like the pictures I took when I first started.
ContemporaryIS When I was doing these images, I gave myself a certain set of rules where I wasn't allowed to crop the image out afterwards or do anything to the image that I wouldn't be able to do in conventional film. Basically, I didn't retouch them, I printed them. Also, I did it all myself, so I controlled the whole thing, which was really nice. What I tried to do last season was do as much as I could myself again. I had started to feel like I really got too much into the process of giving it to other people, and when I'd get the images back, I'd realize I hadn't done a before and after, where you layer up the raw and the finished image. Suddenly I'd be looking at what they sent back and find myself thinking, "Oh, God, I didn't ask them to do that.” It's just this thing that's happened. People want glossy images, I guess. I think it looks really old fashioned now, and people have been saying that for a really long time, but it doesn't seem to be getting through to the end result. -
-
-
ContemporaryIS It was really about going back to something simple, but, also, not simple to the point where it's unconsidered and it's just throw away. Another thing is the relationship with the model — really going back to the idea of collaborating with the subject. That was what was so nice about working with Imogen. We have a relationship and a friendship and we understand each other. There were the talking moments and moments of no talking and just going back to that thing with the photographer and the subject. ContemporaryIS It was really about going back to something simple, but, also, not simple to the point where it's unconsidered and it's just throw away. Another thing is the relationship with the model — really going back to the idea of collaborating with the subject. That was what was so nice about working with Imogen. We have a relationship and a friendship and we understand each other. There were the talking moments and moments of no talking and just going back to that thing with the photographer and the subject.
-
-
ContemporaryIS It's all about product now, and clothes and bags, and it can be frustrating when you take an image for a magazine that's an interesting crop and create some interesting composition that feels very contemporary to you, only for the magazine to then crop it into a head-to-toe, full length image. I have a hard time understanding the thought process behind it. They'll do a show and you see head-to-toe fashion and bags, then they'll do a look book and you see head-to-toe fashion and bags, then they'll do the campaign and you'll see head-to-toe fashion and bags. The editorial is where there should be a little more freedom to play with the fashion and contextualize it in a way, but, in the end, it's turning out to be the same thing. The creative reaction to all of this, for me, is feeling drawn back to creating something more personal and human. ContemporaryIS It's all about product now, and clothes and bags, and it can be frustrating when you take an image for a magazine that's an interesting crop and create some interesting composition that feels very contemporary to you, only for the magazine to then crop it into a head-to-toe, full length image. I have a hard time understanding the thought process behind it. They'll do a show and you see head-to-toe fashion and bags, then they'll do a look book and you see head-to-toe fashion and bags, then they'll do the campaign and you'll see head-to-toe fashion and bags. The editorial is where there should be a little more freedom to play with the fashion and contextualize it in a way, but, in the end, it's turning out to be the same thing. The creative reaction to all of this, for me, is feeling drawn back to creating something more personal and human.
-
-
-
ContemporaryIS I feel like sometimes you are in a room, and you're directing, and there are conversations going on in the background — there is a lot of collaboration, which is great — but I feel like at the moment there is almost too much collaboration. Like we've kind of lost that single-vision photographer in a certain way, because of this collaboration. If you look at Avedon or Helmut Newton, you really knew who their woman was, and their picture, because they were really the ones completely driving the ship. I guess because everything has become so much bigger, that element has been lost a bit. ContemporaryIS I feel like sometimes you are in a room, and you're directing, and there are conversations going on in the background — there is a lot of collaboration, which is great — but I feel like at the moment there is almost too much collaboration. Like we've kind of lost that single-vision photographer in a certain way, because of this collaboration. If you look at Avedon or Helmut Newton, you really knew who their woman was, and their picture, because they were really the ones completely driving the ship. I guess because everything has become so much bigger, that element has been lost a bit.
-
-
-
ContemporaryIS This project was a really good exercise to do, I have to say, and, in a way, I hope it kind of influences me this year. Having the courage to accept the big job and not come in with a whole bunch of stuff — taking on a commission and just showing up with a camera. Helmut Newton used to have one assistant and one simple light, and everyone has been referencing his pictures for years, and I'm sure they will continue doing so for many more. His pictures still feel very human and very fresh. If you look at those images today, you'd be 'fixing' a lot of stuff. You look at it and think "Wow, it's amazing." Then you look again and think "Oh, it's a bit grubby there." They are beautiful and will be beautiful for the next 10 or even 20 years. I think a lot of the stuff that's been done in the last 10 years will look really dated and you'll know exactly at what point in time they were shot. ContemporaryIS This project was a really good exercise to do, I have to say, and, in a way, I hope it kind of influences me this year. Having the courage to accept the big job and not come in with a whole bunch of stuff — taking on a commission and just showing up with a camera. Helmut Newton used to have one assistant and one simple light, and everyone has been referencing his pictures for years, and I'm sure they will continue doing so for many more. His pictures still feel very human and very fresh. If you look at those images today, you'd be 'fixing' a lot of stuff. You look at it and think "Wow, it's amazing." Then you look again and think "Oh, it's a bit grubby there." They are beautiful and will be beautiful for the next 10 or even 20 years. I think a lot of the stuff that's been done in the last 10 years will look really dated and you'll know exactly at what point in time they were shot.
-
-
-
contributor Lachlan Baileycontributor Lachlan Baileyeditor Christopher Michaeleditor Christopher Michaelcreative Ashe Abbottcreative Ashe Abbott