Chris Rhodes This Mulberry editorial was the first time we shot on set together for a non-commercial project.
Jasmine Raznahan Yes! I tend to not come on set for Noon, I like to give you space. It always feels like a continuation of a conversation when we work together, regardless of the project. I think you’re always pushing yourself to try not to make the same picture twice and that’s inspiring.
CR I try to, otherwise its quite boring and repetitive. My work revolves around constant themes - archive, vernacular imagery, faded glamour and Surrealism as well as the New Topographic movement, man-made landscape and accidental still lives - but I always approach my subjects with a fresh eye: I am not interested in making the same photograph twice. My inspirations are very varied, and I find Noon a perfect outlet for these experiments.
JR It’s a real reflection of what I’m looking at and interested in during that moment. It’s my editorial space where I can think completely creatively without any restrictions.
CR For the Mulberry shoot, I was interested in approaching couture with dynamism and freedom. At the time I was looking at a lot of old polaroids. I enjoy the atmosphere that they evoke, reflecting more of a flickering moment. However, I wanted the final images to be quite hard and saturated.
JR You were a bit scared of the silver ink finish that I added to the print story, weren’t you?
CR This is what is interesting about our collaboration. Pushing each other to create something different and progressive. I am quite traditional when it comes to photographs…but you added something of your own into the images, then it becomes our photograph.
JR That’s a nice thought, the joint ownership of a picture.
So, you took my portrait for this project, which was quite an interesting process…Talking about that idea of who a picture belongs to, it was strange to be the subject of an image. Being such a big part of it but also not really a part of it at all.
CR How did you find it?
JR I’m normally on the same side of the camera as you - working on the picture, figuring out how to make it better, so it was an exercise in trust to an extent, flipping the camera like that. But I don’t have my picture taken every day... how did you find taking the portrait, considering you shoot people so often?
CR Normally I don’t know my subjects before I shoot them, so it was refreshing to photograph someone I know so well.
JR How does knowing a subject change the picture?
CR Faces are not particularly my domain. I am more interested in a person's character and energy. With you I didn’t have to create this character, I know your energy well. My pictures are made quickly and spontaneously. I came from a background of street photography, working in a very quick and discreet manner. My first commissions were shooting backstage at fashion shows, making one photograph and quickly moving onto the next. I never changed my method of working. For me, shooting a portrait is quite challenging. I am more interested in representing people through the objects and traces they leave behind.
JR We’re shooting a job together tomorrow. What are you most looking forward to and most dreading about working together again? Ha!
CR I’m always curious to see what we will come up with next and where our collaboration will head. We have relatively similar approaches to image making, in terms of how we handle our subjects together. Knowing we respond to each other’s expectations is very inspiring. It means there is always space for new things. Not looking forward to the early call time though!
JR Me neither!
JR I was going to ask you what your favourite magazine is to work with but I know the answer already…