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14.03.16
Rostam
[embed]https://vimeo.com/158922544[/embed]   Photographer and filmmaker Josh Goleman collaborated with Rostem Batmanglij (formerly of Vampire Weekend) to co-direct this awe inspiring music video.  Coupling mirrored, modern choreography with a simplistic setting, the video captures the mood and essence of the song perfectly.  NPR Music had a few kind words to share about the making of the video and the inspiration of the song: Some heartbreak stays with you, even after you've spent years trying to move on. That might be the lyrical message of "Gravity Don't Pull Me," a new song by the songwriter and producer Rostam Batmanglij, who recently left his longtime day job in Vampire Weekend, but he insists that's not the whole story. "I want people to hear the song as ultimately having a positive message," he said in an interview with NPR, "of learning from your mistakes." "Gravity Don't Pull Me" is the first time fans will see Batmanglij singing solo, front and center. The video, which he co-directed with Josh Goleman, is stark, focused on just Batmanglij, a microphone and two modern dancers — Jack Grabow and Sam Asa Pratt — in an empty room. Batmanglij sings about the "worst things [he] ever did" and the boy who broke his heart over an oscillating analog synthesizer while centered between Grabow and Pratt. He says he has wanted to make a dance video for about five years, and was inspired to work with Grabow after seeing a dance video he made for the Vampire Weekend song "I Think Ur A Contra." Batmanglij says he was proud of the rhythms he wrote for that song, and was impressed with how well Grabow's dance embodied them. So when he finished writing "Gravity Don't Pull Me" years later, he immediately thought to ask Grabow to choreograph a dance video for it. Grabow pulled in Pratt, who he knew from high school. Coincidentally, Batmanglij also knew of Pratt; he had seen a dance video Pratt made for the song "Osaka Loop Line," which Batmanglij produced as part of the band Discovery. Batmanglij describes both the song and the idea for the video as coming to him in insistent moments of inspiration — he says he was "pretty much possessed by the song" as he was writing it and knew he wanted the video to be an expression of symmetry. At first, even he didn't understand that impulse. But both of Batmanglij's parents are from Iran, and eventually he realized he was drawing inspiration from the symmetry of Persian rugs. "I think it was a subconscious thing," he says. For most of the video, Grabow and Pratt dance as mirror images of each other. At certain moments, however, the two break from each other and dance independently. Batmanglij says Grabow and Pratt left moments open for improvisation when they choreographed the piece. The result is the striking imagery of two people falling perpetually in and out of sync with each other in a way that mirrors the song's heartsick lyrics: "So I bite my lip and I hold my tongue / And I wait for the pain to stop / But some days I still let you back in." For Batmanglij, the lyrics, music and visual imagery are meant to inform one another. "I hope there's something bigger that lives between all those things interacting with each other," he says. "For me, the idea of writing a song, recording it, making a video — it's like, you go around the moon and you come back. You accomplish everything there was to accomplish ... It feels like telling the whole story." via NPR Music
09.03.16
Danny Clinch : Polaroids II

“I love Polaroid.  Instant satisfaction.  The black and white feels classic the minute you peel it. It’s imperfect and filled with happy accidents. In the beginning, I shot double exposures purely on accident, now I do them on purpose.  Accidental solarizing? Love it. Let’s do it on purpose next time. When I shoot Polaroids, it always brings me back to the great feelings I had, when I first started taking photographs.”

– Danny Clinch

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25.02.16
James Day : Personal Work : Platinum
In this series of personal work titled Platinum, photographer James Day captures the beauty of mature-aged women.  His plan was to create images that are subtle and sophisticated.  These portraits successfully convey a quietness and contentment without feeling vulnerable. unnamed-33 unnamed-32 unnamed-31 unnamed-34
24.02.16
Owen Gildersleeve : Papercraft Illustrator and Art Director
Owen Gildersleeve is a designer, papercraft illustrator and set maker.  His illustrations often play with light and shadow, frequently combining multiple layered paper-cuts with graphical forms and hand-rendered typography.  He also enjoys collaborating with photographers, animators and stylists to help bring his ideas to life.  Owen's playful, handcrafted creations won him a prestigious ADC Young Guns 9 award in 2011, and have seen him produce illustrations and designs for an array of international clients.  His work has been exhibited in London, New York, and Tokyo.  A University of Brighton graduate, he is now based in London where he works from a shared studio. -From Papercut, An Exploration into the Contemporary World or Papercut Art and Illustration, by Owen Gildersleeve We are proud to welcome Owen to the L/L roster of artists!  You can see his full portfolio of work on the LEVINE/LEAVITT site OG_OVERVIEW_GooglePlay_Valentines3 OG_OVERVIEW_GooglePlay_Valentines1 OG_OVERVIEW_Grooves OG_OVERVIEW_DistantAeons2 OG_OVERVIEW_DistantAeons1 OG_OVERVIEW_ReamoftheSenses_Aether OG_OVERVIEW_ReamoftheSenses_Air OG_OVERVIEW_ReamoftheSenses_Earth OG_OVERVIEW_ReamoftheSenses_Water OG_OVERVIEW_ReamoftheSenses_Fire OG_OVERVIEW_SleepSpaces2 OG_OVERVIEW_SleepSpaces1 OG_OVERVIEW_IstanbulPalaces OG_OVERVIEW_PaperCut OG_EDITORIAL&PUBLISHING_ToClimbAMountain OG_EDITORIAL&PUBLISHING_BO15_TheAffair OG_EDITORIAL&PUBLISHING_BO15_YoungThug   OG_OVERVIEW_BO15_Opener OG_OVERVIEW_Discoverer'sAlliance2 OG_OVERVIEW_Discoverer'sAlliance1
17.02.16
James Day : Personal Work : Miniatures on Stripes
17.02.16
James Day : Personal Work : Falling Flowers
17.02.16
James Day : Personal Work : Coloured Wigs
16.02.16
Danny Clinch : Squarespace : Leon Bridges
Photographer/Filmmaker Danny Clinch collaborated with the team at Preacher to create the latest campaign for Squarespace, featuring singer/songwriter Leon Bridges.  The article below from Billboard Magazine shares some insight into the project, plus some kind words from Leon about working with Clinch: [embed]https://vimeo.com/155143191[/embed] Leon Bridges went from washing dishes in Fort Worth, Texas, to a Grammy nomination in about two years. You might think you know what to do with a story that sounds too good to be true, but the 26-year old soul revivalist deserves to get a word in. His platform is the 2016 Grammys, and though the prize he’s nominated for -- best R&B album -- won’t be awarded on air, Bridges’ rise to stardom will be told in a Squarespace commercial debuting in the live CBS telecast. Directed by iconic photographer Danny Clinch, the ad blasted Bridges back to the tiny Fort Worth venue where he was discovered. Only during the shoot did Bridges realize the full scope of Clinch’s career; doubt if you want, but these stories are hard to make up. Leon-Bridges-guitar-2016-billboard-650 “There’s people out there who still think that the label just put together an ultimate retro soul/R&B star,” Bridges confides in Billboard, calling in from L.A. during the pre-Grammy festivities. “Of course I didn’t come out of the womb dressing like this, but this started three years ago and I would love this style and this style of music if I never even picked up a guitar.” But it’s a good thing he did. After a couple years of studying dance at a local community college, Bridges shifted his focus to writing and performing music. "I was playing at the Magnolia Motor Lounge every Tuesday night for almost two years. I was bussing tables at this little Tex-Mex restaurant. I'd get off work -- sometimes in my uniform -- and go play there. And one Tuesday night, Austin Jenkins happens to walk in.” Jenkins is a former guitarist of the Texan rock band White Denim, who is signed to Downtown Records, an imprint under the Sony umbrella along with Columbia. Bridges wowed him so much he suggested they cut a track together. “Coming Home” was placed on SoundCloud; in June 2015, it became the lead song and title track of Bridges’ debut long-player. Less than six months later, it was nominated for best R&B album at the 2016 Grammys. Leon-Bridges-Journey-2016-billboard-620 “I didn’t even expect to get nominated,” Bridges says, “I definitely think D'Angelo is going to take it home.” In a way, Bridges has already won. Nomination aside, the 60-second version of Bridges’ story is being broadcasted to the Grammy-viewing masses, under the direction of a master like Clinch, whom Bridges calls “the most humble photographer” he’s ever met. “I knew of him a little bit but I didn’t know all the people he’d worked with. When we were shooting and at one point he pulled out his book… there’s Nas and Jay Z, all those heavy cats." And of course, the admiration is mutual. “Leon is a complete natural,” Clinch (this year’s official Grammy photographer) tellsBillboard via e-mail. “He began as a dancer and therefore he knows how to present himself to the camera. And though he's personally somewhat shy and very humble, he is also a performer and that's always great for a collaboration.” Leon-Bridges-02-2016-billboard-620-1 A month later, Bridges will release another Squarespace project -- this one a short documentary called This Is Home. It will cover his first year on the road, but like the ad, it will bring him back to Fort Worth before all is said and done. Only now, a more well-traveled Bridges has favorite vintage shops (like Decades in Salt Lake City, Utah) to go with Texas haunts like Dolly Python. He’s an inspiration to every out-of-place, creative dreamer and improbable as his story is, it’s only our loss to doubt it. via Billboard
12.02.16
Danny Clinch: Time Magazine
For the past 12 years Danny Clinch has had the incredible opportunity to capture portraits of Grammy winners, the photos taken just moments after they have been handed their awards.  For the 13th year, NARAS and the Grammys have invited Clinch backstage again.  This week, Time Magazine featured some of Danny's favorite photos from past Grammys shoots: Time Magazine Lightbox Danny Clinch’s specialty is documenting the world’s most famous musicians from an intimate perspective, finding an unobtrusive angle with a subject who has been photographed countless times. “I always try to be curious and create a great vibe, I’m all about a great life experience,” Clinch says, “I feel like it’s a collaboration, it’s what that person is willing to give back to me, or allow me to capture.” Since 2003, Clinch has been capturing a wide array of artists, from Paul McCartney to Katy Perry, backstage at the Grammy Awards. “For me, it’s been a really interesting challenge, and it always has been,” Clinch says of the experience, “The idea of having 30 seconds to maybe five minutes, if you know the person, to get a portrait of them that has some merit and will withstand the test of time.” Influenced by Irving Penn’s Worlds in a Small Room, this particular series of Clinch’s work traces back to 1996, when he was first asked to photograph the Beastie Boys’ Tibetan Freedom Concerts. The gig allowed him to experiment with the idea of having a backstage portrait studio, which he then brought to the Bonnaroo Music and Arts Festival, beginning in 2001, before catching the eye of the Grammy Foundation. “My approach is the classic, simple portrait of someone, there’s a lot of subtleties to making someone look good in that moment,” he says, “It’stheir moment, I want people to look good.” Clinch usually prepares ahead of time, formulating ideas and coming up with poses and props, while playing on spontaneity and the excitement of the evening. An artist like Jay Z he describes as “smart and curious,” and recalls one year when the rapper went as far as pouring cognac into his gramophone-shaped Grammy award, sharing the drink with Clinch’s crew at the end of the evening. “They feed off of what I’m responding to,” Clinch says, “When people want to participate, that’s the best. When Kanye comes back, he’s presenting himself to the camera, Sam Smith last year was laughing, screaming, making faces and having a great time, I think he had four Grammys in his arms.” For Clinch, it’s about getting past a standard pose and capturing his time with the artists in a way that is not artificial, but genuine and in the moment, while leaving his own mark within the photograph. “You take this photo of Kanye, for example, or Katy Perry, or the Black Keys, or Pharrell, you take this simple portrait, there’s a little something else going on, a little surprise and you find that thing and you try to get it,” Clinch says, looking at his portrait of Pharrell Williams, “You get the beautiful light, but if you look at the eyes, he’s there and present, a lot of times people can be looking at the camera and they’re not present.” One of Clinch’s best memories is when he photographed James Brown in 2005. When it came time for his assistant to hold up a sign that’s meant to identify each artist, “[Brown] grabs the thing from him, ‘Gimme that! That’s my sign, I’ll hold that sign!’ and I click as he’s telling me that, it sums up the whole thing.” It’s the surprise moments that makes each Grammy shoot unforgettable for Clinch. “I introduced Paul McCartney to B.B. King. I got a picture of them sitting there chatting, it was incredible.” Another vivid memory was while photographing Kanye West. The singer brought his mother, Donda, backstage to the photo shoot in 2006 and Clinch captured a portrait of the two of them. After West’s mother passed away the following year, the rapper used Clinch’s portrait as a tribute to his mother in the album packaging for 808s and Heartbreak. “I think that people who have been making music… understand that it’s important to be documented, they want to be documented, they don’t want to be harassed,” Clinch says. “You want to find that common ground. The best thing that someone can say to me is ‘That was great, that was easy.’” via Time Magazine DC_TIME MAGAZINE_GRAMMYS_10 DC_TIME MAGAZINE_GRAMMYS_09 DC_TIME MAGAZINE_GRAMMYS_08 DC_TIME MAGAZINE_GRAMMYS_06 DC_TIME MAGAZINE_GRAMMYS_05 DC_TIME MAGAZINE_GRAMMYS_04 DC_TIME MAGAZINE_GRAMMYS_03 DC_TIME MAGAZINE_GRAMMYS_02 DC_TIME MAGAZINE_GRAMMYS_01 DC_TIME MAGAZINE_GRAMMYS_06  
11.02.16
Nick Meek : Earth Into Aether
Photographer Nick Meek collaborated with Cal Al-Jorani (Wieden and Kennedy) and Arnold Hattingh (Platinum Rye Records) to create this gorgeous packaging for Bill Baird's latest release "Earth Into Aether".  The vinyl edition is a heavyweight yellow double album in a gatefold sleeve, accompanied by a limited Rough Trade exclusive linoleum block print cover CD consisting of five songs.  Nick's dreamy images are the perfect accompaniment to an album described as "a spontaneous-sounding series of musical postcards sent direct from the heart of a fertile mind in response to all that modern America has to offer". unnamed-11 unnamed-12 unnamed
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