![]() I also rely heavily on our incredible photo team Damian Prado, Meghan Benson and Amanda Webster who are out there pounding the pavement looking at work, finding new talent, pitching ideas and generally bringing their enthusiasm and passion to WSJ. I look at everything: museum and gallery shows, books, magazines, blogs, social media, photo fairs – you name it. I work very closely with our editor-in-chief Kristina O’Neill and creative director Magnus Berger and we have a continuous brainstorming conversation going, which never ceases to inspire and motivate me. At the same time, I want to push things, bring in new photographers and continually refresh my own eye so I can bring more ideas to the magazine. I hope to continue to nurture our existing relationships with photographers and to continue to find exciting assignments for them. What are you looking to do with the photography in the next two years? We have tried to strike a balance between working with a core group of photographers in order to establish the visual point of view of the magazine and the need and desire to bring in new talent. We are incredibly fortunate to have the freedom to publish these types of open-ended travel stories at WSJ.Īre you working with a core group of photographers now? There is a thrill in seeing where it all lands and of course, seeing it in the magazine. (Note: we have another very exciting destination coming up this fall so keep an eye out.) There is always a give and take when it comes time to edit which goes with the territory when sending a photographer off on these very special, un-boundaried projects. Knowing that, it is exciting to send him to these far-flung places such as Azerbaijan, Lagos, Kashmir and, most recently (for our February 2016 cover story), Antarctica to see what he will come back with. ![]() I know any images that we commission from him will be very clearly him – his palette, his printing (he prints everything by hand himself) and his voice. I think Jamie’s photographic aesthetic is so distinctive, it almost doesn’t matter what he photographs. I first came across Jamie’s work after seeing his Preston Bus Station project so my first impression of him was as a portrait and landscape photographer, not so much fashion. Jamie Hawkesworth is primarily a fashion photographer, what was it about his work that you assigned him the landscapes? Hopefully this consideration leads to a feeling of ease on set that allows for moments of surprise and alchemy during the shoot.įebruary 2016 Issue | What’s Upon a Time in Antarctica | Photography by Jamie Hawkesworth We spend a lot of time before the shoot thinking about the creative approach that we want to take as well the interpersonal dynamic of the photography team that we assemble and how it will all work together on the day of the shoot. We try to capture their essence in the most natural way possible, which usually means making the shoot experience as comfortable as possible for everyone. We have definitely expanded our coverage of celebrities in the magazine, but we still approach our subjects (celebrity or not) with a light hand in the way that we photograph and style them. How much has that shifted since then, and is this now a regular cover theme? When we last spoke in 2014 the magazine had just begun dipping into the celebrity territory. Some of my favorite photos from the story are of Edie riding a horse through a herd of zebras and Anna in the afternoon light walking through the bush. One features Anna Ewers and the other Edie Campbell. Also, for the first time in the magazine’s history, we had two different covers. It also resulted in 34 pages of fashion and landscape photographs that I think capture the romance and wildness of this dramatic location. ![]() For this particular story in our upcoming June 2016 issue, out on May 28th, photographer Mikael Jansson and stylist George Cortina brought their enthusiasm for the environment and the culture of the area with them to Kenya, which helped to smooth out any bumps along the way. It takes a lot to move a large crew into the middle of a 7000-acre conservancy in a remote corner of Kenya. It’s true, location shoots are always challenging. Location projects always seem to have unique challenges. The Kenya shoot looks flawless but were there obstacles or triumphs along the way that you can share? The Wall Street Journal Magazine Editor in Chief: Kristina O’NeillĪrt + Production Assistant: Caroline Newton
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