WildeBeauty, Front cover image.
Q. First of all I have to ask, “Are these portraits?”
A. Well, they are portraits in the sense that every photograph of a person is a portrait to some extent—unless the person being photographed is extremely clever. But in a larger sense, they are not. And yet elements of the various model’s personalities will emerge regardless of how I stage a shot. I suppose they are not portraits because I do not do portraits. And although I’m not drawn to capture a subject’s essence, there is a reality–even if it’s only behind the eyes– that pervades every image. But I think it would be more accurate to say that my models are more like “actors in a film” than subjects of portraiture.
Q. Having worked with “Miss America,” prima ballerinas, rock stars and international beauties… how would you describe the Perfect Model?
A. “On time.” One minute late, and I already don’t like you. Beyond that, I would always rather work with professional models first. For the most part, they take direction well, and they understand the process. However, there comes a point when a model comes to a shoot with too much experience. This can turn a photo session into a spectator sport for me, and this isn’t really how I work. Watching a girl go thru an endless litany of moves is the least enjoyable kind of shoot for me personally and professionally. I generally won’t even book a model unless I know exactly what I want her to do. For this reason alone, I’ll take a younger model that listens and takes direction, over a model who’s “too experienced” any day.
"The Enchanted One."
Q. Photography is traditionally thought about in terms of “capturing a moment.” But it seems that your photography is different. Is this something you can talk about?
A. I once heard someone say that “an artist talking about their art, is like a plant talking about horticulture.” And I’ve always liked that—even if I mistranslated it! What I can say, is that it feels to me that my work is more about a “continuum” rather than a specific moment. Perhaps even more about a “state of being” than a quickly passing moment. Not to get spiritual, certainly not—but if there is a sense of the moment in my work… it is more of a transcendental or timeless moment, rather than a transitory or fleeting one.
"Champagne & Isadora"
Q. Your lighting in your photographs is often compared to “movie lighting” rather than having a “photographic” style. Can you explain this?
A. I think there are at least 2 reasons. First of all, there’s the issue of strobes versus continuous lighting. I have a tendency to prefer continuous, because I can be more creative, more adaptive and more nuanced. Plus I feel that when I use strobes, my lighting often looks like everyone else’s lighting. But I think people think of my lighting as more ‘cinematic’ because I prefer not to draw attention to the lighting per se. Maybe it’s like when you’re watching a movie: you don’t want the lighting to be conspicuous. You don’t want to be drawn out of the experience with “Wow! That lighting is great!” As soon as that happens, you have been pulled out of the movie and you are no longer in the moment. Your ‘suspension of disbelief’ as they say in theatre—is shattered. Therefore I like the lighting to feel less conspicuous and more ‘natural.’
Q. You seem to have a ‘stable of models’ that you prefer to work with. Do you work with these models regularly?
A. The way I work… if I have a certain relationship, a certain level of trust, and some history with a model, I find that the results can be phenomenal. There are people I’ve been shooting for over 10 years, and somehow it always keeps getting better. There’s a magic involved that I don’t fully understand. But I like it! There are models like Kenzie Smith, Nic White, Kristian Gia and Kahren Schaffer who come to mind and they’re in this book. They understand that I am there for them 100 per cent and that I will bring everything I have to the game. They know that I have their interests at heart and the trust between us in unconditional. And I know that they are committed to the shoot absolutely and unconditionally. The possibilities in this kind of equation are extraordinary. And even though you’re not going to have this kind of chemistry with every model—it’s certainly the way I prefer to work.
"Nic White enjoying a summer night on the balcony."
Q. There’s a certain amount of nudity in your work, do you consider your photographs “sexual?”
A. Here’s what’s funny: when I’m shooting its more “problem solving” then “sexual.” There’s so much going on when I’m shooting. I mean… I’m staging, I’m building props, I’m creating and tweaking the lighting, constantly checking the make-up and hair, talking to my assistants, I’m solving problems with the set—with the model’s pose, with the model’s expression, with the tilt of the head. Is the background working? What’s not right with the model’s foot? Why doesn’t the model’s hand look right? Is this the best lighting that we can create for her? Does that bracelet really work with that lingerie? Is there a better way to crop the shot? How can I get a vertical out of this? When I’m evaluating and addressing these kinds of things in the moment and trying to get the model’s energy just right… I just don’t have the time to think about it in a sexual way. Add to that, most of the models I work with are also friends of mine and half the time they’re just not old enough for me to even think about them that way! But sometimes, after a shot is done and it’s printed, I’ll look at it differently. (Julian smiles.)
"Kahren playing with her new i phone, on a break."
Q. Which begs the question, “Does your wife come to your shoots?”
A. Raven, my wife– is not only my favorite stylist, but she also has one of the best eye’s in the business! So yeah, I prefer that Raven is not only on the set but deeply involved. She dresses my girls, and as a wardrobe stylist—she has an endless array of props that she brings to our shoots. And quite often, Raven is the one who pulls the entire look together. Another reason I love to have her on the shoot is that I totally enjoy working with Raven and sharing this creative exercise with her. Having her there even gives the photographs a deeper dimension. Because when it’s all said and done, it’s something that we’ve created together. It’s part of our shared history. I can have a great shoot, but if Raven’s not there… it’s not as good as it could have been and we both love sharing this part of our lives together.
"Shea Marie in the Garden Court."
Q. You are thought of as a Studio Photographer and yet you don’t shoot much on backdrop paper. Do you have an aversion to white backdrop paper?
A. Helmut Newton had said that his models don’t live on white backdrop paper, do why shoot them on it? I feel the same way. And more importantly, I don’t find white seamless to be that evocative or inspiring. To be honest, years ago—when I was shooting mostly fashion—I did shoot on a lot of seamless and I actually enjoyed it as a creative exercise. But over the years I’ve become a huge architectural junkie and a collector of furniture and great chairs in particular. So I always have stuff to shoot with. And of course my primary studio is some 10,000 sq ft and has a lot of Period quality Italian Renaissance elements: extensive wainscoting, great corners, fantastic walls, beautiful doorways—so there’s always a lot to work with, without ever having to pull out the studio gray backdrop.
Q. Why would someone who has shot internationally, choose to work in the Pacific Northwest—and Portland in particular?
A. Having traveled a bit, I really find the seasons, the mountains, the forests, the water… and the people to be beautiful here. It’s really about quality of life for me. And to keep me happy, that’s really all I need! I’ve also been very lucky– and I would say I owe this to the internet– that I have been able to have world class people come to me and to work with me, in a city I choose to live in.
A. When I realized how much Sophie had accomplished in her first 4 months of modeling, it was obvious that she was a force of nature and I had to have her in. I mean, in her first couple of months she had already shot with some of the top photographers in the country. Even entering this business at 46–I could see that this lady had a lot to do and she was going to do it! We shot her for almost half and day and it was impossible narrowing her shoot down to a couple of images, but the images of her sitting in the corner is utterly priceless. Usually shooting a model topless can be an issue. In this case, it was so much more organic, because this is exactly what she was wearing at the time! Plus she is a figure model and at 46 has a fabulous body. No brainer. Plus the lady is so unabashed, so fearless, so take-no-prisoners that topless was perfect. It’s one of the few real portraits I’ve taken. And one of the best!
Q. In putting this book together, and in editing “WildeBeauty” you had to ask yourself the question “What is a WildeBeauty shot?” What are some of the things that make this collection of images hang together so well?
A. Well now… that really is The Question isn’t it? OK. I think there’s always an element of glamour involved, but they’re not really ‘glamour shots.’ I also think there’s a level of seduction working, in a lot of the images. Maybe even some sexual energy at play—at least on a subliminal level. And because I am essentially a beauty photographer, ‘beauty’ is the most important element that ties these images together. These are not portraits and they are not about fashion or any particular style—although style is always evident. I suppose every artist has to answer that question “What do you do?” This book, more than any other of my creative works, this book for me, is the answer to that one question.
"The Jeweled Head of the God Queen."
Q. May I quote something from one of your websites?
A. Hey, it’s your show!
Q. You had written something to one of your models that “The seasons will change and the world will someday grow old. But the beauty that we have created together will be like an Eternal Spring.” Isn’t that what “WildeBeauty” really is—a testament and a tribute to that ‘Eternal Spring?’
A. Honestly, I could not have said it better myself!
Q. What is a model to you? And what do you look for in your models?
A.) There are so many qualities that help define a great model that I really don’t know where to begin. But I would say that when a model is totally committed to the shoot, that’s when we get the very best possible results. In fact, being totaling open to ideas and being seriously committed goes a long way with me. The kind of photography I do requires that models listen first and foremost. I’m not looking for models to come in and lay out 30 minutes of “moves” for me. But I do need them to listen and understand where we’re going with the shot. And if you’re lucky, every now and then you’ll get a girl who is not only is listening, but she intuitively understands where the shot is going and in her mind she knows exactly the path to get there. When that happens, the sky is the limit. And to be honest, it’s a little something like great sex. There are moments when you lead and there are moments when the model takes the lead. Once the thing gets off the ground, there’s often really no need to speak. The session takes on a life of its own. Suddenly the timing is just right, the pacing is perfect, the rhythm of the models moves is perfect. Then before you know it, all the anticipation, all the tensions that have been slowly building, it all begins to come into focus and you feel it resolving. That sense of play and experimentation that you’ve engendered… it all starts to pay off. And you get this incredible sense—I mean, everyone in the studio can feel it– that you’re not only “in this together,” but that your riding the same wave and heading towards the same shore. For me, it actually feels like light is pouring into me—like by entire being is being filled with white light. It’s delicious and it’s wonderful and there’s nothing in the world like it. Suddenly, you feel like your dancing in the moonlight and you know that this is what you want to do forever… because you can’t even imagine doing anything else. (Julian get’s up shaking my hand, and winks).
Julian Wilde, Fashion & Beauty Photographer.
