Winter
“When she arrived on set, she told me this was her first time being profiled by a major publication. She brought so much gratitude and enthusiasm to the shoot because of it.’” — Thea Traff on photographing Britt Lower after her breakout role in “Severance”
“After finishing inside a cafe, I took the musicians outside. I wanted the moment to feel incidental, almost accidental, as if they were just passing through, not posing, not performing.” — Kristine Madjare on photographing Ic3speak on the outskirts of Riga, Lativa
“Her professionalism is well known, but witnessing that level of precision and emotional clarity up close was incredibly special. It was striking to see an actor of her caliber at work.” — Hannah Edelman on photographing Sadie Sink before watching her rehearse “John Proctor Is the Villain”
Spring
“There is this childlike element of play and experimentation in Kunie’s work that I admire and try to embrace in my own photographic practice. Her eye and way of seeing are unique, and perhaps that is how this image subconsciously came to be.” — Sara Messinger on photographing Kunié Sugiura
“After buying everybody’s lunch on a disruptive — but welcome — impromptu stop at Roberto’s Freehold Grill in New Jersey, he ordered a milkshake, turned his back and took a sip. He asked, ‘You mind if we go one more place?’ I told him, ‘Bruce, I will do this for the rest of your life if you want me to.’” — Daniel Arnold on photographing Bruce Springsteen
“If you’ve ever squeezed into a Broadway seat and marveled at the tight fit, imagine doing it with two giant telephoto lenses weighing 6.5 pounds each. I had exactly one chance to capture her pivotal rendition of ‘Rose’s Turn,’ a performance lasting all of 4.5 minutes. My goal was to fill the frame with her whirlwind of emotions.” — Graham Dickie on photographing Audra McDonald during a matinee performance of “Gypsy”
“She walked me through each painting and told me which woman each is. What their name is and what moment of his life they were a part of. Some were his mistresses, some were herself. All in the same room. She reminded me that I had forgotten those weren’t just characters in paintings but were also real people.” — Sam Hellmann on photographing Paloma Picasso at an exhibit featuring her father’s works
“Many artists are uneasy about being photographed, so obscuring her face with her own materials felt both cheeky and truthful.” — Marisa Chafez on photographing Sam Moyer in her studio
“I really like how he has arguably become equally, if not more, famous for his joie de vivre alongside his legendary acting career. He’s one of those people who you’re hoping just shows up as ‘himself’ in everything. I knew that I wanted to show him as a light in the middle of the daily grind.” — Chris Maggio on photographing Jeff Goldblum in The New York Times offices.
Summer
“As part of the assignment, I tried to look at the coast the way Turner might have, attentive to the landscape and the power of nature. He painted the sea and the sky in more than a hundred works from this area. I noticed the land instead, an untamed hedge creeping over the cliff-side railings to reclaim the edge. In its own quiet way, it bridged the two.” — Tom Jamieson on photographing the “dinosaur bushes”
“I told him that my dream was to photograph him on his chopper, as I knew he loved old bikes and I happen to love old choppers too. I jumped in the back of a truck, did a few hot laps on my little film camera and we got an awesome moment in time that allowed us to create art together.” — Magdalena Wosinska on photographing Jason Momoa at an abandoned military base in Hawaii
“Leading with observation versus immediate instructions for someone I’m shooting does wonders. These paintings were massive, abstract landscapes — witnessing the process, being in the space, in silence, I wanted the pictures to be just as quiet and considerate” — Clifford Prince King on photographing Flora Yukhnovich in her studio
“He arrived without an agenda. He was open, kind and more camera-shy than one might expect. He wasn’t interested in moving past the moment so much as settling into it. That is often when the best images are made.” — Ryan James Caruthers on photographing Benicio Del Toro
“I was excited to shoot Steve Buscemi because he knew my grandfather when he was alive. My grandpa used to hang out at the firehouse in Little Italy where Steve had been a firefighter. I told him that I had actually first met him when I was 12, and it was a sweet way to break the ice.” — Bobby Doherty on photographing Steve Buscemi
“I saw these two boys at a table, trying to remember the correct utensil placement. After I snapped this photo, they noticed that they were holding their forks and knives in different configurations and looked to me, the nearest adult, for guidance. I smiled sheepishly and shrugged. I didn’t want to tell them that I had absolutely no clue.” — Eli Durst on photographing a cotillion class
“I’ve always loved the staircase at the Met Opera. Its cantilevered curves feel grand, almost ceremonial. The twin arcs of the stairway remind me of a lotus hand, a gesture rooted in Eastern traditions. Against this rigid structure, I wanted her to dance at the center.” — Amir Hamja on photographing Gillian Murphy in the lobby of the opera house
Fall
“When I saw how he was dressed, I immediately recognized the influence of Springsteen’s ‘Tunnel of Love’ album cover. He mentioned ‘Tougher Than the Rest,’ which turned out to be both of our favorite songs from the record.” — Daniel Weiss on photographing Jeremy Allen White on an empty beach in Asbury Park, N.J.
“Stepping onto a modern set and seeing a massive printed backdrop, not a wall of LED panels or green screen, even if it’s a banal Albuquerque cul-de-sac, was an instant reminder of all the practical magic that goes into a production, and the reason it’s interesting to pull back the curtain in the first place.” — Peter Fisher on photographing the set of “Pluribus”
“In a way, I felt as though I was dancing with the performers, catching their body movements, watching their subtly changing expressions.” — Marcus Maddox on photographing a wrestling match
“Despite his reputation for avoiding press, he was tremendously warm, present and generous in conversation, though it was clear he had no interest in performing or posing for the camera. That restraint shaped the photograph: stripped back, quiet and inward. I’m drawn to images that feel essential rather than overly embellished, and I hope this frame reflects him with that same clarity.” — Geordie Wood on photographing Daniel Day-Lewis
Additional cinematography by Wilson Cameron (Jeff Goldblum); Tim Schutsky (Bing); Andrew Price (Night at the Museum); Amina Gingold (Steve Buscemi)
The post 64 Visuals That Defined the Year in Arts appeared first on New York Times.
