A wonderful documentary about chance and circumstance. A enjoyable thought provoking journey into the daily life of Mark Reay, Photographer, Model, Actor and Homeless…

HOMME LESS is about the underbelly of the American Dream, the hidden backyard of our society. Mark’s life stands as a metaphor for the struggle of the vanishing middle class in America. But it’s also a film about the relationship between New York City and one of its residents. New York is not simply a beautiful backdrop for this story. She’s the antagonist that dictates the direction M’s life is going in. The joy and pain, the love and hate, the success and denial New York is teasing him with, the hardship he is going through in order to stay in her grace and the inventiveness he comes up with to be with her are all unique. Mark walks the streets of Manhattan looking like a millionaire, wearing designer suits and expensive leather shoes. He seems to be well off, and works in the prestigious fashion and movie business. He is eloquent, charming and good looking, and obviously has a lot going for him. But while during the day he pursues a ‘normal’ life, late at night he goes to a place where the American Dream has turned into a nightmare.


HOMME LESS captures a raw and unfiltered moment in time, our time. Like its title HOMME LESS has different layers and raises the question of how far are we from losing everything, even our homes, and with it a part of our dignity and humanity? How often do we have to pretend that everything is in fine order to keep up the facade of being a well-off member of society? And how far are we prepared to go to take the financial pressure off our shoulders to live a more carefree live, the live that we want to live? What went wrong in Mark’s life? How is he able to keep up his facade of success and fool everyone? What keeps him from going under? What motivates him to put up with this rather unthinkable situation? What were and are his hopes and desires in life? Mark stands lost and alone in the midst of eight million dreams, balanced between the glamorous surfaces of this vibrant and inspiring city and its far from glamorous hidden backyard. He is the Homme Less.


INTERVIEW // A conversation with Ryan Muirhead

I stumbled onto this great interview over at ....ENJOY


I think I knew really shortly after I look my first picture, to be kind of cliché. It was such an out of the blue experience; I had never done anything artistic before. I was going through a really hard time and a friend asked me to take a photo for them and I just did it, and a whole bunch of emotional content I hadn’t seen coming out worked its way into the picture.

I think my friend recognized it before I did because she had it printed out and started showing it to people and saying ‘Ryan made this.’ I was on the set of a movie, and the director of photography saw it said that it felt like something. As though I was communicating something. I can honestly say that that wasn’t even my intention. Just from that kind of feedback it hit me really fast like ‘You do have something to get out that you haven’t had the means to get out before’ and I think it just snowballed.

I shot something later that day and the next day. I ordered a DSLR a few days after that and honestly it hasn’t been more than a couple of days that I have gone without shooting since that happened about 8 years ago.


Home for me is Portland, Oregon. I moved there from Utah about two years ago. And work is a really funny definition. Work would be where I shoot from. I don’t really take any shoots for money. All my money is from teaching and print sales. So where I work is my everyday life wherever I end up, either teaching or traveling, so work is kind of everywhere. There is no start and no stop to it I guess.


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PHOTOGRAPHER // Alasdair Mclellan

BoF talks to photographer Alasdair McLellan about his personal and professional path, from DJing and taking pictures of friends in the South Yorkshire village where he grew up to shooting covers for Vogue.

ONDON, United Kingdom — Alasdair McLellan is sitting in the corner of Bar Bruno in London’s Soho with a cup of strong milky tea. It’s an old-fashioned sanctuary from the neighbourhood’s self-aware cafés and stage-managed members' clubs. “It’s a locals’ place,” says McLellan, who prefers the casual setting to the table originally booked by his assistant at the upscale Charlotte Street Hotel.

The attention McLellan pays to the mise-en-scène of the interview offers an insight into his photographic style, which refers to early years spent growing up in the mining villages of South Yorkshire (where he took pictures of friends messing about and DJ’d in the local youth club), but nonetheless reflects a consciously created world. The same might be said of his outfit. “It probably looks like something you could pick up at the market in Doncaster,” he says of his zip-up, cropped houndstooth jacket, which turns out to be Prada Autumn-Winter 2013.

But McLellan is not some hokum pretender and both his artistic voice and heart are still closely bound to his northern adolescence. “I remember getting a camera, I think it was a Halina, for my thirteenth birthday and thinking, ‘Oh this is quite good.’ I took it everywhere. I took it to school. And I remember my mate and his girlfriend and my girlfriend all came to my house and I started taking pictures of everyone and I realised it was quite good fun. The girls liked Bros [a British band popular in the late 1980s and early 1990s] and they did my hair like Matt Goss and Jason Donovan and took pictures of it. We were listening to everything in the Top 40 at the time.”

His initial enthusiasm for photography became more serious when he decided to study it at school. “For my GCSE, again I took pictures of my friends, but it was more of a sitting. I think we were trying to recreate posters she had on her wall of Madonna — it was a Herb Ritts image. I shot it on black and white film, which I think is pretty cool for a 16-year-old. I remember watching the Ritts’s video with Madonna and the Pet Shop Boys videos and thinking, 'That looks really appealing.What is that? What kind of job is that?'"



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I like this short vid, it really highlights some great points which can be not only applied to Fashion. When editing any work it is great just to go with your gut and consider relationships that images have with each other ... enough paraphrasing just have a watch and learn from the man himself ... Alexi Lubomirski

Source (Alexi Lubomirski Youtube) (music "LIKE SWIMMING" by Broke For Free @tomcascino)

The Secret to Making Your Fashion Photos Stand Out from the Crowd

by by Natalia Borecka

Left to right: Constance Jablonski by Alex Cayley, Joan Smalls by Sean & Seng, Unknown model by Billy Kidd

Left to right: Constance Jablonski by Alex Cayley, Joan Smalls by Sean & Seng, Unknown model by Billy Kidd

Every fashion photographer dreams about transcending their craft’s commercialism and taking photos that are so creative and so ground-breaking, they’re good enough to hang in the Louvre. So what does it take to create great fashion images like this? If there was just one thing you could do to make your images more creative, and take them from beautiful but predictable, to intriguing and memorable, what would it be? Of course, there are a million possible answers to that question, but none are as powerful and ring as immediately true as imperfection. The secret ingredient to ground-breaking art is ugliness, asymmetry, grit and disorder. Take a look at the image below. On the left you have a basic perfect image, something you’ve probably seen on every beauty ad known to humankind. In the middle, you have a basic “glammed” up version of that image, better, but still pretty safe. And on the far right you have imperfection, in all its weird, roughed around the edges glory.

The distinction to make here is between beautiful but predictable mass-market aesthetics, and art that pushes the evelope. The one is that perfectly lit soft-focus picture of a duck floating serenely in a pond (c’mon, we’ve all seen it), and that blurry Man Ray photo of Marchesa Luisa Casati looking a little crazy. The first two images above, though clearly beautiful, will nonetheless quickly be forgotten because there’s nothing to remember. There’s nothing for the eye to hook on. The skin is soft and smooth, the hair is soft and smooth, the lighting is soft and smooth. They’re so flawless that your eyes just drift smoothly over the image and away forever. This is why more and more photographers have started to leave airbrushing and “technically perfect” lighting behind altogether in favor of something more raw, and less pretty. It’s also the reason why the most innovative fashion houses have started to feature real women in their ads. Everyone lost their marbles over Celine’s beautifully undone advertisements featuring a makeup-free Daria Werbowy, and an 80 year old Joan Didion. Those ads caught everyone’s eye exactly because they were so unexpectedly (and beautifully) imperfect.


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Fashion Shooting Future

Photoshelter have put together a nice article to help you on your fashion Shooting Future

Breaking Into Fashion Photography

Fashion photographers, this one’s for you! We’ve partnered up with Breed, an online community of fashion photographers, for our latest guide, Breaking Into Fashion Photography. Inside, get tips to market yourself right, establish your brand, approach photo buyers, and find work. Also get advice from experienced fashion photographers who have learned important lessons along the way. Download the guide today!


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