Terry Richardson - Photographer
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matthaeus123
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Now, I wish I could become a photographer like him so I could grope various women. lol
Alien Sex Friend
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sisley s/s 2007
from off site
lot of images
art direction by Nikko/Nikko as always
make up Liz Botes
models- Chiara Baschetti, Lisa Seiffert and unk
male i recognised only Charlie Speed
from off site
lot of images
art direction by Nikko/Nikko as always
make up Liz Botes
models- Chiara Baschetti, Lisa Seiffert and unk
male i recognised only Charlie Speed
Alien Sex Friend
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Alien Sex Friend
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Alien Sex Friend
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and all-new! kids line
also by terry
also by terry
Alien Sex Friend
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Interview with YEN Magazine:
THE PEEP SHOW
YEN: So I’m told you’ve just come back from Japan – were you over there visiting Keiichi, your old assistant?
Terry Richardson: Yeah, I definitely was catching up with him … but I also had a show opening at the Hysteric Glamour gallery.
YEN: Oh right, as in the friends who helped out with your first book, yeah? What were you showing?
TR: The show’s called Manimal and we’re putting it on with Nobuhiko Kitamura (the Hysteric Glamour founder) who selected some of the shots.
YEN: And before heading to Japan you shot a Lee campaign for us Aussies, yah?
TR: Yeah.
YEN: Were you surprised to be shooting a campaign for Lee? I know that in America the brand has a less “fashiony”, more farm-boy style than it does in Australia…
TR: You know, Lee make good jeans, so I really wasn’t surprised at all. The client and art directors were fantastic and it really, honestly, was one of the best things I’ve done in a long time. Their aesthetic and my aesthetic just matched up perfectly and whenever that happens, you get great results.
YEN: What do you do when you don’t get this matching of visual ideas?
TR: It just makes life much harder. You still need to be as professional as possible and try to get
a good result for everyone, but it’s much harder.
YEN: I’ve had a quick look at the shots for Lee and it looks like everyone is having a ball. How do you make people so relaxed and appear as if they’re all totally fun-lovin’?
TR: You have to approach it from an aesthetic point of view, but at the same time you need to create an environment where people feel comfortable. If everyone is too uptight, I’m never gonna get the type of pictures that I’m looking for.
YEN: How do you generate that atmosphere – with lighting, incense, telling jokes?
TR: Ha! Um, yeah, I just try to get to know everyone before we get rolling.
YEN: Everyone you work with must be very aware of the zany, raunchy and wild nature of some of your most famous pictures. Do you get situations where the models rock up ready to get loose and you have to say “Whoa! Keep your clothes on, I want you to look like a Mormon in this shot”?
TR: [Laughs] No, not really. I mean, it happens to some extent… but it’s just like anything in life when people think they know you before they do.
YEN: Do you work with a specific team on gigs like this?
TR: Yeah, it depends on the job, but I always try to work with people I admire or am comfortable with.
YEN: Yeah, people come through as such characters in your shots, which really makes it feel like you would pick a model based
on personality as much as anything else. How do you go about casting people for your shoots?
TR: For me, I just really need to get to know everybody a little bit, even if it’s for the smallest job. I need to know what they’re like
YEN: So it’s more than just a pretty face?
TR: It has to be – always. I’m involved in the casting 100 per cent, whatever the job.
YEN: Where are you off to next? Your agent said that you were heading out of town again today.
TR: We’re shooting for French Vogue.
YEN: In gai Paris?
TR: Ha, ha! Yeah, in Paris.
YEN: Now that you are such a jet-setting megastar, are you finding that you are only shooting ads and editorials? Are you getting to do much personal work?
TR: I’m actually about to start another personal project, where I am taking a Winnebago across the country.
YEN: Oh, sweet. Is that because you’ve split your life between LA and NYC and now you want to find out what’s in between?
TR: Yeah, it’s going to be “Terry Richardson’s America”.
YEN: How much time are you going to need to find and capture Terry’s America?
TR: Am guessing about two months. We’re going to follow Route 66 and then play it by ear, depending on what interests us… and the weather. We’ve begun scouting some locations and talking to people about the different types of “America” that we want to see and places that we want to get to.
YEN: One of the last projects that your Dad [famous 70s fashion photographer, Bob Richardson] said he was going to attempt was something similar – are you finishing what Bob started?
TR: Yeah, it’s partly related, but it’s more to do with photographers from his generation who had a desire to document America. And I’m trying to continue more of this tradition rather than anything that he started personally.
YEN: Has having a revolutionary fashion photographer like Bob as a father both aided and hampered your career?
TR: It hasn’t hampered me whatsoever.
YEN: Do most people assume that he was the one who got you into photography?
TR: Um, not really in the industry, as our aesthetics are kind of different; our styles of photography are very different. But in terms of the way we both allow a degree of freedom in our photography, he definitely gave me a respect for that.
YEN: Who are you taking with you in the Winnebago?
TR: Just a couple of my best assistants.
YEN: Your work, especially your personal stuff, has made you more recognisable than a lot of the models you shoot. Do you ever feel like you are becoming a character in a photo essay of your own life?
TR: Ah, the star of my own movie? Sometimes.
YEN: Did you think it was odd when advertisers started asking you to appear in their images?
TR: Kind of, yeah. I guess it just has a lot to do with what I’m focusing on and what’s happening culturally at that time. Advertising is a very complex thing and you need to approach it with a different kind of perspective if it’s going to
be a worthwhile campaign.
YEN: But because you are so well known today, do you find that you have a lot more creative freedom, even in advertising?
TR: Yeah, I have access to more and more jobs that appease me creatively, far more than when I was just starting out. So, on this level, respect for my work makes advertising much easier.
YEN: Does this mean that on jobs like Lee you’ll be given reasonably free rein?
TR: Yeah, it all depends on the job, but much more of the advertising work I am doing tends to be collaborative. I’m not just following a brief; we all work together. I try to give a good understanding of my thought process, but together you need to know what the market is focusing on and what it is that you are trying to accomplish with each photograph.
YEN: Regardless of whether you are working on Lee Jeans or Miu Miu?
TR: Absolutely.
YEN: Do you have the same mentality when it comes to editorial work? How do you approach a project for a publication like Vice, as opposed to something along the lines of Purple magazine?
TR: I try to keep the process as simple as possible. In many ways it’s similar to the way I shoot my personal work, and even the advertising. I actually try not to change at all between projects.
YEN: So much you read about Terry Richardson in the media is centred on the sexually charged nature of your work. Does it grate on you that you’re always described as “part pornographer, part fashion photographer”?
TR: It doesn’t grate on me. I would just say that, you know, that’s just the way I like to take pictures and this is just the way that some people view it.
YEN: Don’t you ever feel that people are missing some of the other great elements
in your work, such as the humour?
TR: Humour is very important in my work. Very important. It balances out the sexual nature of the images.
YEN: And other emotions are there too, but everyone always talks about the sex.
TR: Yeah, it’s true, but it’s up to people to understand the work. It doesn’t really bother me if they don’t.
YEN: Do you walk down the street and see mothers excitedly grab their children’s hands and say: “Wow! Look kids, it’s Terry!”.
TR: Yeah, [laughs] it happens. I have a fairly wide body of work out there now, so people recognise me.
YEN: Aside from your work, which is quite distinctive, you yourself are one of the most identifiable characters in the global fashion industry. You have a signature style of your own, right?
TR: Yeah.
yenmag.net
THE PEEP SHOW
YEN: So I’m told you’ve just come back from Japan – were you over there visiting Keiichi, your old assistant?
Terry Richardson: Yeah, I definitely was catching up with him … but I also had a show opening at the Hysteric Glamour gallery.
YEN: Oh right, as in the friends who helped out with your first book, yeah? What were you showing?
TR: The show’s called Manimal and we’re putting it on with Nobuhiko Kitamura (the Hysteric Glamour founder) who selected some of the shots.
YEN: And before heading to Japan you shot a Lee campaign for us Aussies, yah?
TR: Yeah.
YEN: Were you surprised to be shooting a campaign for Lee? I know that in America the brand has a less “fashiony”, more farm-boy style than it does in Australia…
TR: You know, Lee make good jeans, so I really wasn’t surprised at all. The client and art directors were fantastic and it really, honestly, was one of the best things I’ve done in a long time. Their aesthetic and my aesthetic just matched up perfectly and whenever that happens, you get great results.
YEN: What do you do when you don’t get this matching of visual ideas?
TR: It just makes life much harder. You still need to be as professional as possible and try to get
a good result for everyone, but it’s much harder.
YEN: I’ve had a quick look at the shots for Lee and it looks like everyone is having a ball. How do you make people so relaxed and appear as if they’re all totally fun-lovin’?
TR: You have to approach it from an aesthetic point of view, but at the same time you need to create an environment where people feel comfortable. If everyone is too uptight, I’m never gonna get the type of pictures that I’m looking for.
YEN: How do you generate that atmosphere – with lighting, incense, telling jokes?
TR: Ha! Um, yeah, I just try to get to know everyone before we get rolling.
YEN: Everyone you work with must be very aware of the zany, raunchy and wild nature of some of your most famous pictures. Do you get situations where the models rock up ready to get loose and you have to say “Whoa! Keep your clothes on, I want you to look like a Mormon in this shot”?
TR: [Laughs] No, not really. I mean, it happens to some extent… but it’s just like anything in life when people think they know you before they do.
YEN: Do you work with a specific team on gigs like this?
TR: Yeah, it depends on the job, but I always try to work with people I admire or am comfortable with.
YEN: Yeah, people come through as such characters in your shots, which really makes it feel like you would pick a model based
on personality as much as anything else. How do you go about casting people for your shoots?
TR: For me, I just really need to get to know everybody a little bit, even if it’s for the smallest job. I need to know what they’re like
YEN: So it’s more than just a pretty face?
TR: It has to be – always. I’m involved in the casting 100 per cent, whatever the job.
YEN: Where are you off to next? Your agent said that you were heading out of town again today.
TR: We’re shooting for French Vogue.
YEN: In gai Paris?
TR: Ha, ha! Yeah, in Paris.
YEN: Now that you are such a jet-setting megastar, are you finding that you are only shooting ads and editorials? Are you getting to do much personal work?
TR: I’m actually about to start another personal project, where I am taking a Winnebago across the country.
YEN: Oh, sweet. Is that because you’ve split your life between LA and NYC and now you want to find out what’s in between?
TR: Yeah, it’s going to be “Terry Richardson’s America”.
YEN: How much time are you going to need to find and capture Terry’s America?
TR: Am guessing about two months. We’re going to follow Route 66 and then play it by ear, depending on what interests us… and the weather. We’ve begun scouting some locations and talking to people about the different types of “America” that we want to see and places that we want to get to.
YEN: One of the last projects that your Dad [famous 70s fashion photographer, Bob Richardson] said he was going to attempt was something similar – are you finishing what Bob started?
TR: Yeah, it’s partly related, but it’s more to do with photographers from his generation who had a desire to document America. And I’m trying to continue more of this tradition rather than anything that he started personally.
YEN: Has having a revolutionary fashion photographer like Bob as a father both aided and hampered your career?
TR: It hasn’t hampered me whatsoever.
YEN: Do most people assume that he was the one who got you into photography?
TR: Um, not really in the industry, as our aesthetics are kind of different; our styles of photography are very different. But in terms of the way we both allow a degree of freedom in our photography, he definitely gave me a respect for that.
YEN: Who are you taking with you in the Winnebago?
TR: Just a couple of my best assistants.
YEN: Your work, especially your personal stuff, has made you more recognisable than a lot of the models you shoot. Do you ever feel like you are becoming a character in a photo essay of your own life?
TR: Ah, the star of my own movie? Sometimes.
YEN: Did you think it was odd when advertisers started asking you to appear in their images?
TR: Kind of, yeah. I guess it just has a lot to do with what I’m focusing on and what’s happening culturally at that time. Advertising is a very complex thing and you need to approach it with a different kind of perspective if it’s going to
be a worthwhile campaign.
YEN: But because you are so well known today, do you find that you have a lot more creative freedom, even in advertising?
TR: Yeah, I have access to more and more jobs that appease me creatively, far more than when I was just starting out. So, on this level, respect for my work makes advertising much easier.
YEN: Does this mean that on jobs like Lee you’ll be given reasonably free rein?
TR: Yeah, it all depends on the job, but much more of the advertising work I am doing tends to be collaborative. I’m not just following a brief; we all work together. I try to give a good understanding of my thought process, but together you need to know what the market is focusing on and what it is that you are trying to accomplish with each photograph.
YEN: Regardless of whether you are working on Lee Jeans or Miu Miu?
TR: Absolutely.
YEN: Do you have the same mentality when it comes to editorial work? How do you approach a project for a publication like Vice, as opposed to something along the lines of Purple magazine?
TR: I try to keep the process as simple as possible. In many ways it’s similar to the way I shoot my personal work, and even the advertising. I actually try not to change at all between projects.
YEN: So much you read about Terry Richardson in the media is centred on the sexually charged nature of your work. Does it grate on you that you’re always described as “part pornographer, part fashion photographer”?
TR: It doesn’t grate on me. I would just say that, you know, that’s just the way I like to take pictures and this is just the way that some people view it.
YEN: Don’t you ever feel that people are missing some of the other great elements
in your work, such as the humour?
TR: Humour is very important in my work. Very important. It balances out the sexual nature of the images.
YEN: And other emotions are there too, but everyone always talks about the sex.
TR: Yeah, it’s true, but it’s up to people to understand the work. It doesn’t really bother me if they don’t.
YEN: Do you walk down the street and see mothers excitedly grab their children’s hands and say: “Wow! Look kids, it’s Terry!”.
TR: Yeah, [laughs] it happens. I have a fairly wide body of work out there now, so people recognise me.
YEN: Aside from your work, which is quite distinctive, you yourself are one of the most identifiable characters in the global fashion industry. You have a signature style of your own, right?
TR: Yeah.
yenmag.net
Video of the shooting:
http://www.youtube.com/watch?v=jNZQhstR9yk
http://www.youtube.com/watch?v=jNZQhstR9yk
Last edited by a moderator:
BerlinRocks
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from l'oeil de vogue (vogue paris) June/July 2002. i might scan the related editorial this week-end... so check the vogue paris thread.
scanned by me.
scanned by me.
Alien Sex Friend
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you mean that one?
from old terry site
from old terry site
BerlinRocks
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^yes!...
do you want me to scan or not?
do you want me to scan or not?
Alien Sex Friend
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me personally- not, cause i have all terry pics from paris vogue in print
he`s my fav and i collect all his works)
thanks anyway
he`s my fav and i collect all his works)
thanks anyway
fashionyork
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Alien
Liz Botes is a stylist. She styled this campaign in the previous one. the make up was someone i forgot the name now. I know this for sure cause i worked in this shoot
Liz Botes is a stylist. She styled this campaign in the previous one. the make up was someone i forgot the name now. I know this for sure cause i worked in this shoot
fashionyork
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Oh and the other model is Melissa Baker... all with IMG Models.
matsudaseiko
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i call this modern, contemporary and really really trendy. that is if u didn't notice the 'HIROMIX' trend that started a few years ago, hehhehe.....
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