An Interview with Dana Boulos

Photo: Dana Boulos

Dana Boulos speaks for us - for all the teenagers who feel completely invincible and permanently trapped. And in the midst of of old people waving their canes at kids, she has managed to materialize the worst time of our lives and make us want to hang it up on our wall.

The photographer and creative director's exploration of youth culture has been featured in  Oyster Magazine, Rookie Magazine  and Elle Girl Japan. But, ultimately, Dana Boulos' work speaks for and to us because she's captured-- on film -- the perfect oxymoron: that Teendom is terribly beautiful. Or terribly terrible depending on who you ask.

But even the worst moments are kind of magic, even if just for pretending to be on an episode of Freaks and Geeks or seeing one of Dana Boulos' art pieces and having it speak into your soul. YOUR SOUL!!!!

After my interview with  Dana, I decided to search for the wonderful in the terrible. I've also decided to complain less about gym class. And don't think I won't be holding you to the same standard. I’ll be watching you. I am the eyes and ears of this institution.

TAYLOR: How did you discover photography? 

DANA: I was about 5 years old when I discovered a camera, [and I] Decided to photograph everything and anything around me.

Who are your influences? 

I'm influenced by youth culture, fashion, shapes and color. I admire David Hamilton, Sarah Moon, Larry Clark, Guy Bourdin, Shirin Neshat, and Hedi Slimane.

You've been published by some really cool magazines -- online and in print. At first, did you feel nervous about putting something as personal as photography out into the world? Do you still ever feel that way now? How do you put yourself in the mind set to say "Hey, world! Look at this thing I made, I hope you like it!" 

It's really important to showcase your work especially right now in the world we live in. I don't really care about what people think, I think thats extremely important when it comes to doing what you love...do what feels right to you, even when people think your work is awful.

Is there anything you do before a shoot to relax or prepare, or do you just wing it?

I usually make a mood board before a shoot that way the model or client understands what type of vibe the shoot will be like.

What has taught you to look for the moments to capture on camera?

It's not specifically something you look for, it just happens. It's hard to really explain but when something visually happens that I think looks amazing I tend to capture it so I can never forget it. It's sort of my way of freezing time.

A lot of your work centers around teenagers and being in the suburbs, what continually draws you to that subject? 

Youth culture to me is something I will always be able to relate to. I feel like deep down inside I'm forever going to be 17.

I'm 17! So, you also creative direct, do you keep a mood board? Do you find that as a creative director you're drawn to something that you keep returning to? 

Yes I do! I have loads of them, the only way my brain functions [is] by having visual mood boards. Growing up I ruined so many computers by saving and scanning images from books or magazines to keep on file, but nowadays you have Tumblr which honestly is the best thing ever to happen to me. [My Tumblr] is where I keep all images that inspire me.

What do you want your viewers to take from your work?

I want it to be seen more than just a photograph but as an art piece you would hang in your room or home. An image that makes you feel like you froze time but on your wall.

What advice would you give to anyone wanting to be an artist like you? 

Never give up! Even if someone says "You're not going to make any money!" or "You're not good enough to make it". As cliche as this might sound, you have the power in being whatever you want to be-- as long as you stay positive and work hard, you'll make it. 

An Interview with Laura Kampman

Photo: Laura Kampman [Source]

Laura Kampman's ambitions stray far beyond those typical of the fashion world. Through portraits often taken in her own apartment, Laura captures the stories of models when they're not working. Her work is honest, beautiful, and most importantly, the photographic embodiment of this Spongebob gif.

But really, honestly, truly? What makes Laura infinitely interesting is not the fact that she has worked with totally fancy photographer Steven Meisel, or that she was on the cover of Vogue Italia, or even that that she's walked the runway for Oscar de la Renta, Lanvin, Kenzo and Prada. It's because after leaving fashion, she returned with the idea that she would not only model, but also foster her creative talents as a photographer.

What I'm trying to say is this: the life of a model is often bound by strictures of all kinds, but those limitations seem to have paradoxically granted Laura the freedom to live exactly how she wants-- in front of and behind the camera.

TAYLOR: What came first for you, modeling or photography? 

LAURA: Photography. I've been doing it since I was thirteen. I started modeling when I was sixteen.

How did you get into modeling? 

I got scouted at a restaurant and thought, "Why not"?! I said yes. Before I knew it, I flew to New York.

That's awesome. Did you always want to be a model? 

No, I didn't know anything about the fashion industry or modeling before I got scouted. It came to me as an unexpected adventure.

Photo: Shot by Laura Kampman. [Source] 

Do you think being photographed all the time has changed the way you approach photographing other people? 

For sure. I have a lot of experience in front of the camera. I know how I can look the best in pictures when I get guided, inspired and respected in a certain way, so I know how to treat the people in front of the camera.

You decided to stop modeling for a while, right? 

Yes!

Why?

I needed some time to grow, step out of the industry and realize what I really wanted.

What made you want to get back into it? 

I met the Lions [Model Managment] and they inspired me [to get back into it]. They didn't just see me as a model. They see and support me as an artist.

What do you think is the biggest misconception a lot of people have about what it's like to be a model? 

A lot of people see it as glamourous, luxurious and living the 'it' life. And it is a great life! But besides that, like every other life, it has ups and downs. There is a lot of rejection in the industry. Girls start at very young age and are forced to grow up very fast to be able to do their job. One day, you're sitting in a classroom with teenagers. The next day, you're surrounded with grown ups on set. It's pretty intense, but beautiful when you learn how to handle it.

Photo: Shot by Laura Kampman. [Source]

You have to develop a thick skin in an industry like fashion. Do you think being a model has helped you become more confident in yourself and your talents? Has it made you more ambitious? 

For sure. I had to become confident very fast to be able to walk strongly on the catwalk or look strong in pictures. It's all in the eyes. If there is no confidence in the eyes, they won't shine. With that, I also got more confident in my other talents.

“It's scary to let go of control, but the most amazing things come to you when you do.”

Do you get nervous before castings or shoots? How do you deal with the nerves? 

Sometimes I get nervous whenever I want something very bad. To deal with it, I concentrate on my breathing and tell myself that the earth won't burn down [if] I don't get this job. Life goes on. [Laughs]

Photo: Freja Beha Erichsen by Laura Kampman. [Source]

[Laughs] A lot of publications are saying that social media has "changed the modeling game." Do you feel like there is pressure to be active on social media and "brand yourself" a certain way? 

Yep, casting directors and clients look at your social media. It's a very big part of the fashion world. The fastest way of advertising. I don't feel pressure to brand myself, but I feel desire to show my personality to the world and attract people who feel inspired by it and wanna work with me for that. Social media is a great way to find the people you can do collaborations with. In terms of fashion and art.

Does having a creative job ever scare you? Like, with modeling and photography you never really know what's going to happen next. I was talking about this with Louise-- I legit ask everyone. The thing is, I'm really young, and I'm a writer. I'm constantly unsure of everything! Like, not knowing what I'm going to do terrifies me. 

It's scary sometimes but mostly very exciting! Everything can happen! I prefer the unexpected above the expected. It's scary to let go of control, but the most amazing things come to you when you do.

You're from the Netherlands, right? Do you go back home often? 

Yes! I try to go back every three or four months.

What do you like to do? What are some places you like to go when you're home? 

I like to spend time with my family as much as possible, doesn't matter where! That's my main reason to go back home.

Photo: Kelly Mittendorf by Laura Kampman. [Source]

I saw on your site that you have a Rolleiflex camera! It's so beautiful. Do you always shoot with that? 

Thanks!

No problem! 

I change it up. I shoot with my Rolleiflex, my Polaroid landcamera and my Olympus Stylus. All different film cameras.

What has been the most memorable experience in your career so far? 

I had to travel to China for a job and got to bring my best friend. That was an amazing adventure for us. I loved working with Steven Meisel. He let me be my creative self. And [I] always love working with Paolo Roversi. He's a big inspiration for my photography. He taught me to photograph with my heart instead of my eyes.

What's the best piece of advice you've ever received? 

Let it be. Live in the moment, and let life surprise you! Never expect anything. Be your inner child.

To see more of Laura's work, visit her site, laurakampman.com or her Instagram @laurakampman.  

An Interview with Louise Parker

Photo: Louise Parker on the metro heading home after the Saint Laurent show. [Source]

She was ultra chic on the runways of Chanel, Saint Laurent and Dior as well as wonderful with a wink on the cover of i-D Magazine, but don't mistake her model-off-duty cool-ness or her ability to transform any runway look into literally the best thing ever for the same surface appeal of many famous ladies labeled "It girls". She's talented, remember? And really smart, too. The Bard graduate has documented her past two years in the industry on a point and shoot camera, giving us an authentic insight into the life of a model. "I'm one of the girls, I'm one of the models, I'm really telling our story. I can relate to the models; I can understand where they're coming from." Louise told Isabel Wilkinson for New York Magazine. Louise's photographs share private moments with unique sensitivity and unexpected beauty, because unlike many of her counterparts, she never forgets the object of the photograph: her friends! With her smarts for camera-clicking, Louise Parker has gained world wide recognition-- only this time as someone other than the girl on the runway.

Editor's Note: Sitting across from Louise on a Monday afternoon in an 18th street cafe in Chelsea, I decided two things were true: Louise is absolutely brilliant and I'm almost positive she's a fairy. 

TAYLOR: Thanks for doing this, I know you're crazy busy. What does your schedule look like these days? 

LOUISE: No problem! Well, luckily I get to go home on Sunday so I have quite a bit of time off for the holidays. I'm from Minnesota, so I'm going home for the week and then I'm going on vacation with my family for New Years. This week actually I don't have much going on, I was going to travel to L.A. on Wednesday, but I decided not to. I have a lot of holiday shopping to do! In terms of work, it's just last minute castings and stuff.

How did you get into modeling? 

I got into modeling when I was eighteen. I went to school in Upstate New York, but I was in Brooklyn for the weekend. While I was there, I got scouted and ended up working with a couple different photographers. But, I waited until after I graduated college to sign with an agency and model full time. So, I really started two and a half years ago.

Did you feel weird posing in front of the camera at first? I sometimes feel weird when people take my picture, not everyone knows my angles. [Laughs]

Yeah, I mean the first few times it was definitely a strange experience. [Laughs] But, you know, I kind of got over it after the first time. I was really lucky I worked with really great photographers the first few times I modeled. That always helps, they made me feel comfortable.

Do you get nervous before shows, shoots or castings? I get nervous for everything, like, especially before I interview someone.

Sometimes I'll get nervous before a casting, only if I know it's super important. But that's the worst thing you could do before a casting, is to get nervous.

How do you deal with the nerves? 

I just try to snap myself out of it, I try to be confident and hope it works!

Photo: Models backstage during the Dior casting photographed by Louise Parker. [Source] 

I feel as though with creative jobs, you never really know what's going to happen next or where you'll be. Like for me, one day I'll be covering fashion week and the next few weeks I won't be covering anything. Is it like that with modeling?

I feel that way all time time.

Good! It's not just me.

Yeah, it can really be frustrating. [Laughs] You don't have that much control over what's happening, so sometimes it's like "Well, is this the last job I'm going to do?" I know it's not, but you always feel like that!

How do you deal with that sort of thing? One minute being booked for a ton of shows and then feeling like "Ok, well, what's next?".

I try to keep myself busy with other stuff, which is why photography is a good thing for me. Also, I just joined a gym. [Laughs]

[Laughs]

I'm hoping that will fill my time. But, yeah, it's just about staying motivated and filling your time with other hobbies that you have.

Photo: Malaika Firth photographed by Louise Parker. [Source] 

“It's really exciting just hearing different people's stories and seeing how they work, what their visions are.”

Do you find that the reality of modeling isn't as glamourous as it appears to someone who isn't a model?   

Definitely. I think that's a huge part of it, that some people don't understand it's really hard work. It's kind of like with anything, unless you're at the top, top level -- which you know only a couple girls make it there -- then it's a hustle. You gotta run around, you gotta meet people. Sometimes you end up doing jobs that you might not necessarily want to do. Like, standing outside in the middle of January in your underwear [Laughs] or being in a fur coat in the middle of summer. Yeah, it's a lot harder than most people think it is.

What's the best part about being a model?

Well, I think one of the best parts is that you get to work with different people. Like, pretty much every job I do, it's always a different team of people. It's really exciting just hearing different people's stories and seeing how they work, what their visions are. It could be really inspiring. Also, traveling. It's a huge bonus!

Do you ever get to keep any of the clothes?

People always ask that! Yeah, sometimes we do get to keep some of the clothes. But, usually it's stuff that you couldn't really wear…

Like [French accent] "haute couture"?

[Laughs] Yeah, or sometimes when the designer is new and doesn't have a lot of money, you get paid in clothes. That can be fun but it's also like...

Yeah.

Photo: Backtage at Chanel photographed by Louise Parker. [Source]

When did you realize that you have a talent behind the camera?

Well, I actually went to college for photography, so that kind of came before modeling. I really became interested in photography in high school when I worked for the student newspaper. I was one of the photo journalists!

What made you decide you wanted to photograph your friends backstage at shows?

I kind of always knew that if I got into modeling, I'd have to keep up with my photography. I knew it would be a cool thing to do, to start documenting this whole new world and experience. It kind of started right away, but it took me a little while to figure out how I wanted to photograph it. You know, what I wanted to show.

Photo: Models photographed by Louise Parker. [Source]

“I'm much more sensitive to how the girls feel, how they act, when they're not in the mood to be photographed.”

Has being photographed all the time changed the way you approach photographing other people?

Yes, I think so. Definitely in terms of photographing my friends at shows and stuff. I know that sometimes you don't want a camera shoved in your face early in the morning. I think I'm much more sensitive to how the girls feel, how they act, when they're not in the mood to be photographed.

Who were your influences when you started, who are they now, and how has that changed?

I guess when I started modeling, before I started the behind-the-scenes kind of photos, I was really interested in photographers from the 70s.

Oh my God, such a great era. I'm going through a 70s phase right now!

Yes! We call the photographers from that time the New Topographics. There's Lewis Baltz, Robert Adams and Stephen Shore. Those were kind of my all time favorites. Once I started doing this project, I started looking more at self portrait work by Cindy Sherman, Claude Cahun and Nan Goldin. Just more documentary stuff, also Larry Fink. I still love all those photographers, but there was definitely a shift in focus.

Photo: Backstage at Dior photographed by Louise Parker. [Source]

What kind of camera do you shoot with?

I used to use a Contax T2, which uses 35mm film. But, recently I bought a Fuji X100, which is a digital camera. I've been using that a lot more recently.

Since the film is limited, how do you decide which moments to capture on your camera?

I think it actually helps me and my process!

Really? I got a polaroid a few years ago and not having a lot of film stresses me out.

I find that now with my digital camera I'm taking too many photos. When you know that you only have a certain amount of frames, it's a really great way to limit yourself. It also makes you wait for the moment, and I'm trying to train myself to do that with my digital camera.

Photo: Cindy Bruna with other models at a casting photographed by Louise Parker. [Source] 

“No matter what you're doing, you have to believe in it yourself. If you don't, no one else is going to.”

What has been the most memorable experience in your career?

I think maybe walking my first big runway show, which was Saint Laurent. I'd walked for a couple designers in New York, but that was like my first big show. That was two and a half years ago.

What was the casting for that like?

Well, I had to fly to Paris and meet with the designer, Hedi Slimane. I went there knowing that I could either stay for three weeks or fly home the same day, depending on how the casting went.

Oh, that's nice, no pressure! 

[Laughs] I actually wasn't too nervous for that one, I don't know why. Maybe because it was all so new to me. I was kind of just like "Well if this doesn't work out, it's fine, I could do something else." But, it was definitely… weird? [Laughs]

What's the best piece of advice you've ever received?

Oh my God.

Yeah, you could think about that for a little.

Um ok, so this is so generic and basic, but just being confident. No matter what you're doing, you have to believe in it yourself. If you don't, no one else is going to.

That's great advice, I think everyone needs to hear that.

Yeah, I just think it's important that if you give off confident energy, people will see that and be attracted to that and in turn believe in you. You have to believe in yourself, you have to go after what you want, because if you don't then no one will.

An Interview with Lee Clower

Photo: Aileen wearing a Bonnie Young dress behind-the-scenes of La Petit Magazine photographed by Lee Clower. [Source]

Lee Clower needs no introduction, even to those with marginal interest in fashion and no internet access. Clower is click-click-clicking his camera into the pages of every major publication. La Petit Magazine? Check! The New York Times? You bet! Baby & Me Magazine? Goo-goo-ga-ga, I mean, totally! From youth to lack of it, this photographer has snapped 'em all. Including my -- and probably universally shared-- girl crush, Karlie Kloss. Between photo shoots in Asia and making small talk with some of the industry's biggest names, Lee Clower is a busy man. A busy man who's had camera-time with Iman, Molly Ringwald, Coco Rocha, Betsey Johnson, Charlotte Kemp, even the First Lady Michelle Obama! INCREÍBLE! Plus, hear this: Lee is all about fashion AND fun. When The Huffington Post wrote a piece on ways to improve a bad day, they forgot to mention Clower's constant creativity and unabashed enthusiasm.

TAYLOR: When did you realize that you wanted to be a photographer? 


LEE: I knew from when I was a kid that I would end up in art or fashion just because my parents were very chic. I was a fashion editor before. [I] worked with some of the biggest names in the world. When I decided to start shooting I considered my editor years my education or boot camp.  


Did you always want to be a fashion photographer or did you want to photograph, I don't know, landscapes? 


Somewhere in between, I suppose. I have an abstract art series that is my real passion, but the series definitely has elements of fashion within. I do love shooting landscapes and cityscapes and blending those into my fashion work. This week my favorite image is one I shot of the Great Wall of China. Last week it was a night shot of LA from the Hollywood Hills. Next week it will probably be a shot from my new Lamantine Paris campaign with Zuzanna and the following week maybe Callie Reiff for La Petite Magazine's upcoming issue.  


When you see Callie, tell her I say, "Hey, girl!" I interviewed her a few weeks ago. Do you remember your first job?  


My first job was shooting Cynthia Rowley’s collection for an Italian Vogue editorial in Montauk.  



Did you learn anything from that day that you've carried with you? 


I learned that I love my job and that I love Cynthia Rowley. She was my biggest supporter from day one and we remain excellent friends and still work together to this day.  


What's a typical day on a shoot like? 


I’m not sure there’s ever a typical day on any shoot of mine. I mean, I try to keep the same crew together most of the time, so the set up in the beginning can be somewhat typical to the crew, I suppose. But I go into every single job as if it’s the most important of the year, and have fun doing that. That said, I could say the most typical part of any shoot of mine, is that we have fun!  

Alieen in Bonnie Young photographed by Lee Clower. [Source] 

What's the best part about your job? 

That I love creating art and it just so happens to be an actual job. Also, creating work with really awesome, talented people. The models included in there. 

The hardest? 

Maybe “know it all” moms and clients!  [Laughs]

[Laughs] What's the most memorable experience in your career? 

There have been so many, but I would have to put shooting Michelle Obama at The White House at the top of the list. 

I guess that would be at the top of my list too, whatever. [Laughs] That's legit so cool. Tell me more. 

I spent some time in Iraq, Bahrain, Kuwait and Northern Africa. That ranks up there and qualifies as memorable but not in the same glamourous fashion that I prefer. Also, shooting in Paris for Town & Country, London for Kids 21, New York City for The New York Times. All [of the shoots] are favorite shoots every time they happen.

Do you ever get starstruck? 

I don't ever get starstruck. Even going into The White House my level of enthusiasm for the shoot just completely eclipsed any other thoughts or emotions that might equal nervous or star struck.  On an amusing note, the closest I ever came to seeming starstruck was when I shot Kiernan Shipka for The New York Times. We had a huge suite at the Gramercy Park Hotel for the shoot. As I was deciding which room to shoot [in], I lost my camera for like, 20 minutes.  She kept telling me she was ready to shoot, but I just kept stalling with a grin. 

[Laughs] That's a pretty funny story. I met Kiernan a few years ago. She's a super sweet kid, I'm sure she didn't mind. Do you think it's important for photographers to be active on social media?

I definitely think so. It’s certainly a big part of my approach to the industry these days.

Why? 

I can’t speak for other photographers. I know some of my favorite and very successful counterparts are not on social media at all and are doing extremely well. For me, it’s just fun and happens to be work.  

Do you remember the first time you saw your work in a magazine? 

My first magazine tear was the aforementioned Cynthia Rowley story, and it was pretty great. 

That's awesome! Any other magazine stories? 

Soon after that I shot the cover of The [New York] Times Styles section for the first of what would be too many to count in the years to follow. That was way more awesome, but still didn’t compare to [shooting] the actual cover of The New York Times that came a few years later. 

Photo: Aileen in Bonnie Young having by Lee Clower [Source]

What advice would you give to aspiring camera-clickers?  

Follow your passion and allow it to evolve. I loved my work as a fashion editor, but as the jobs became bigger I wanted to interject more of my vision into my work. I had very little technical knowledge or inclination for that knowledge but I just knew it would come if I followed the inner passion. And it did.  

That's beautiful. If you weren't a photographer, what do you think you'd be doing right now? 

I was born to do what I do. There is no other profession for me. Pro tennis player is a very distant second perhaps.  

Besides journalism, a close second for me would have to be becoming a teenage mutant ninja turtle. My ninja name would be Frida. That would be so cool. Anyway, what determines a great photograph, the camera or the person behind it? 

Certainly the person behind it. Sometimes the person in front of it. But never the camera.