David Armstrong - Photographer

[Ochi Chernye]

instyle.com

 

[MRTHO]

Many thanks!

 

[MulletProof]

JOHN ROCHA
10 Magazine S/S 10
Styled by Lucy Ewing
Hair by Jimo Salako
Makeup by Shinobu
Model: Hannah Holman
source: models.com, elitecopenhagen.dk, jedroot

 

[MulletProof]

GOOD MORNING PARIS
L'Officiel Hommes Germany March 2010
Styled by Tamara Cincik
Model: Callum Wilson
source: morphoman and jedroot.

 

[MulletProof]

SPRING COLLECTIONS
Dazed & Confused March 2010
Styled by Robbie Spencer
Hair by Terry Saxon
Models: Alexandre, Adnan, Peter, Romain, Benoit, Callum, Luis, Tristan, Florent and Thomas.
source: thefashionisto.

 

[MulletProof]

CANDY MAGAZINE




[thefashionisto]

 

[Hector]

US Instyle September 2010 : Milla Jovovich by David Armstrong
Women Know Best


myfdb

 

[BerlinRocks]

For “Mad About the Boy,” his new exhibition at Half Gallery, the photographer David Armstrong has sifted through more than 25 years of his archives looking for the male muses who have inspired him over the years. Appropriately for a photographer who has moved fluidly between fine art and fashion work, these muses are models, lovers and friends, and the photographs Armstrong has chosen to exhibit include classic black and white portraits, moody shadow-dimmed color images and cut-up contact sheets exhibited in scrapbooks. The Moment recently caught up with Armstrong for a tour through his personal archive.

Q.
Has working in fashion had a positive influence on your work?

A.
Whether or not it’s positive, [fashion work] teaches you to approach photography like it’s a trade. There’s a mission to be accomplished and that’s what you set out to do. That’s the opposite of how you approach it for art, where you take the photograph and then have quite a long time to think about it. I used to let rolls of film sit around for months before I’d develop them. If I was trying something even a little different, I didn’t want to spook myself. Now, with photo, it’s all so fast – and in the last 10 years or so it’s changed radically. When I first started shooting fashion, I was shooting film, so the clients knew that they would have to wait. Now they want to leave with it the same day!

So you think the switch to digital photography is a change for the worse?

I definitely think it’s a change for the worse. I think the way I work is really different; I don’t want to expand, I want to contract. So I hate being on a large set with a lot of people standing around. I want to be alone and focus in on the subject. A lot of people just use models as mannequins, so it doesn’t matter who they are. But I don’t – I approach it from the point of view of trying to make a fashion photograph into a portrait with some feeling or emotion.

This exhibition includes photographs of people you’ve known for a very long time. How does the passage of time affect the way you look at these photographs?

I always used to feel like everything needed to be distilled into this one ‘perfect’ portrait. I don’t feel like that now. I feel like the portrait is enlarged by looking at more images. Now, looking at these images, I can see why I chose the ones I did, but I can also look around at the other ones that I never would have chosen. When you first see contact sheets, it’s so important to you that something be good. As time goes by, that urgency has left and you can look at things more objectively.

Did you reminisce about those relationships while you were looking at these photos?

What I really like about photography is that there’s this degree of detachment, where you’re mediating a person, rather than actually being with them. It’s a heightened kind of being with them: you want to know them but you also want to get a good picture of them. I’ve had the experience in the last 10 years or so where a lot more is revealed to me by looking through the contact sheets than was in the real experience. And increasingly, as I get older, I’ve found that taking a photo is a sublimated sexual experience. It always has been this act of seduction, where you are trying to get the subjects to reveal themselves before the camera.

Ken Miller, 19 nov 2010

nytimes / t magazine

http://halfgallery.com/index.html
exhibition closes on Nov, 29th

 

[tarsha]

LULA F/W 10.11

Once Upon a Time
by David Armstrong





myfdb

 

[Mchunu]

^LOVE THE 4th PICTURE!!!

he's incredible with light. i love how he often photographs under low-light, sometimes even "non-photographable" light. Gives his photographs long-lastedness and painterly look.

 

[Mchunu]

I'd like to see more of his landscapes! Really hard to find them online in HQ.

 

[kasper!]

Found an interesting interview on Butt's site!

http://www.buttmagazine.com/magazine/interviews/david-armstrong/

 

[HeatherAnne]

Thanks Kasper. Fantastic interview, he's hilarious, love that he doesn't hold anything back.

 

[MulletProof]

He's just so cynical.

Loved the interview and how descriptive he is too.

Thanks for sharing, Kasper!

 

[Mchunu]

Oh wow, that interview was definitely very...interesting to say the least!

 

[TanyaKiller]

Vogue Paris June/July 2001
Emma
Model: Emma Balfour
Photo: David Armstrong
Stylist: Marie-Amélie Sauvé







{bwgreyscale / archive.org via pipoca}

 

[TanyaKiller]

...







{ same source }

 

[a.t.]

^ Thank you!

 

[tarsha]

V MAN 23 FALL 2011

The Tycoon
Luke Evans by David Armstrong
Styled by Heathermary Jackson



issuu

 

[tarsha]

VOGUE HOMMES INTERNATIONAL F/W 11.12

Royal Blue
Sean O'Pry by David Armstrong
Styling by Azza Yousif



designscene