Spanish model Bautista Zorio Munoz and Mexican photographer Diego Fierce teamed up to create a heavy-hitting one-two punch for fashion editorial features. The collaboration brought together two extraordinary talents – who are both atop their crafts and industries – and who deliver awe-inspiring photographic brilliance.
“I always take a strong personal interest in the models I work with, and I have been very gratified to see Bautista’s career take off over the past several years,” said Fierce.
Munoz says, “Diego is certainly a go-to photographer in the business and I’ve always come away impressed and elated in working with him. He’s a photographer who knows how to get the best out of his shooting subjects and we’ve completed some incredible work together.”
A native of Valencia, Spain, Munoz has firmly supplanted himself as a debonair male model of international commendation. He has graced the covers of Minus10 Magazine and Fantastics, modeled for campaigns for Tommy Hilfiger and Abercrombie & Fitch, and been featured as a leading model for editorials published in fashion magazines such as GQ Mexico, Caleo (Germany), Rocket, Coast, Agenda, Adon and more.
The widely achieved and celebrated Fierce has shot cover images and editorials for premium lifestyle magazines such as Ene (Mexico), HUF (U.K.) Minus10 (U.S.) and others.
Munoz and Fierce worked together on an editorial feature for Rocket magazine, a prominent men’s fashion publication headquartered in Barcelona. The feature concentrated on an athletic theme that immersed Muñoz in a modeling portrayal of a schoolboy soccer player.
“In the editorial, Bautista provided a knockout performance that was sensual, confident and very memorable,” Fierce said. “He was a natural at delivering strong poses and expressions that suggested everything from a cocky playboy attitude to that of a moody, passionate lover. He also did a brilliant job of modeling the nautical-style shirts and shorts selected for the feature, making them all look quite stylish.”
Munoz said, “The shoot was exciting and fun. The soccer theme was something that came together really well and I think we did a nice job in bringing this feature to life in a very intriguing way for the magazine.”
Munoz’ breathtaking appearance was pronounced by his muscular torso and raw, handsome physical features. But the remarkable work came together too because of Munoz’ refined ability to create exhilarating drama within the imagery.
“Bautista absolutely embodies these qualities, and infused every photo with a strong sense of emotion that set him and his work far above many of his peers,” said Fierce.
The dynamic duo again collaborated on a cover editorial feature called “Perfect Confidence” for Minus10 magazine.
“He excelled at transitioning through the many distinct outfits and looks we had prepared for him, which ranged from underwear to sports jerseys to stylish suit jackets and leather boots,” said Fierce. “Bautista always knew how to model each item of clothing in order to draw out its most attractive qualities, and played the part of a classy urban gentleman just as easily as that of a sporty athlete.”
Of Munoz’ visual presence, Fierce said, “Bautista’s rich black hair and dark smoldering features were especially vital to the look we wanted for the projected, as they contrasted beautifully with the array of light and dark pieces we chose for him.”
With a repertoire of work that spans many genres, photographer Emma McIntyre’s creative eye has captured endless subjects in a way that speaks to audiences around the world. Whether she is shooting celebrity portraits or capturing the energy of an environment, Emma McIntyre’s natural photographic style reveals her subjects with a surreal-like beauty, and something she likes to call the ‘pause’ in between our ever-changing reality.
Over the years, McIntyre, who has has amassed an impressive client list that includes Horses Atelier, Sennheiser, Hudson’s Bay Company, Tiffany & Co, and many others, has had countless images appear in magazines and newspapers like Rolling Stone, Nylon, Spin, The New York Times, and Toronto Life.
Read our interview below to find out more about this incredible photographer.
TTNN: For those who don’t know you, could you tell us a bit about yourself?
EM: I’m a photographer from Toronto, Canada. I shoot a mixture of editorial, fashion and commercial work.
TTNN: How did you learn photography?
EM: I started taking pictures in high school where I had a great instructor and learned in a dark room. We also always had cameras lying around the house because my dad was a hobbyist photographer, as was his father. I inherited a Pentax Spotmatic when I was 16 and fell in love with the whole process.
In University I worked as the photo editor for our campus paper and ended up shooting a lot during that time as well. Eventually I studied photography at NMIT (North Melbourne Institute of TAFE) in Melbourne, Australia for two years.
TTNN: What equipment would I find in your camera bag or studio for a typical shoot?
EM: My Nikon D3S with 85mm and 35mm prime lenses.
I also love to use my film cameras – a Hasselblad and a Mamiya 645 film camera. On commercial jobs it’s harder to shoot film, but I still love the feel of it and think it’s unparalleled.
TTNN: What lighting equipment do you favor and why?
EM: My preferred light is natural light but I’m fortunate to have worked with some great lighting techs in studio who have taught me how to recreate beautiful lighting scenarios that emulate natural light.
TTNN: How many shots on average do you shoot during a session?
EM: It really depends. With digital as you know it’s so easy to go overboard. I think that’s another reason I like to shoot with film if I can. You are so much more deliberate and don’t have the option to constantly check what you’re doing and tweak it. Film still forces you to be a bit more instinctive and trust that you’ve captured what you needed to. That being said I do commercial and fashion shoots with digital and in those cases can shoot hundreds of images. Especially with assignments like lookbooks when you’re firing off a lot of frames to make sure you capture a variety of angles and looks.
TTNN: Can you tell our readers about some of the projects you’ve worked on?
EM: Recently I’ve been working with the Toronto fashion designers Horses Atelier on their lookbooks and e-commerce. It’s been a really rewarding evolution collaborating with them and their art director to strike a balance in the look with something that properly shows the clothing while still remaining artful. I’ve loved finding that balance and their clothing is so well designed and executed it’s great to work with.
Lately I’ve also been shooting a lot of music – live concert photography as well as some backstage portraits. It’s really challenging to work with the changing lighting conditions and in a really limited time (usually the first three songs only.) I’ve loved trying to capture something unique and being a part of that performing energy is really invigorating. I’ve shot several music festivals this summer like Osheaga, North by Northeast and TURF Festival.
I have an ongoing collaboration with interior designer Timothy Johnson in Toronto. I love his design work and some of his projects have been featured in House and Home, Objekt, and Toronto Homes. I’ve documented all of his projects over several years and love the meditative aspect of just shooting spaces and objects. Editorially speaking I’ve been published in a lot of local magazines like Toronto Life, Fashion, The Grid and re:porter and internationally in places like Monocle and NYLON.
TTNN: What has been your most memorable photo shoot, and why?
EM: Probably my favorite shooting experience was in Cuba – which wasn’t an assignment – I brought my Hasselblad there and it sounds like a cliche but the textures of the buildings and the color and life of the place was so inspiring to photograph. I took some of my favorite photographs in that country. By the end of the trip I actually felt visual fatigue from seeing so many beautiful things.
TTNN: I noticed on your website you have a section entitle ‘productions stills’, what productions have you worked on?
EM: I’ve worked as a production stills photographer (or unit stills photographer) on a number of films and television shows. My first job of this nature was for the documentary Don’t You Forget About Me about filmmaker John Hughes. Here I had an opportunity to travel with the crew and shoot B roll as well as still images on a road trip to Chicago to John Hughes’ hometown. From there I worked on a number of television shows including Curious and Unusual Deaths, Inventions That Shook The World, Rescue Mediums, Totally Amp’d and Million Dollar Critic as well as films such as Everyday is Like Sunday and Diamond Tongues (currently in post-production.)
In this role you are tasked to capture images that will function as publicity images as well as capturing general atmosphere for posterity and details for continuity. It’s always an interesting experience as a photographer because you are working with film/ tv set lighting. It’s a great learning opportunity because lighting techs in film and TV are so knowledgeable and shooting with their set-up is a bit of a luxury. It can be a fun collaboration with the producers/ directors when conceptualizing what will work for publicity images. For the show Rescue Mediums (a show about two mediums from England making house calls in North America) we decided to shoot in a foggy cemetery at night. My lighting equipment kept malfunctioning and the team was convinced it was supernatural forces at work. I like the TV and film world because it always takes you to places you wouldn’t expect and especially in the more documentary type of television you have an opportunity to encounter interesting experts and perspectives.
TTNN: You’ve had an opportunity to shoot a long list of celebrity photos, can you tell us a little bit about that experience, and some of the people you’ve shot?
EM: I collaborate with a team of great people here in Toronto who produce a long format interview magazine about cinema called The Seventh Art. They’ve attracted a number of well-respected directors to be part of the magazine and I’ve captured stills during the taping of these interviews and then often had an opportunity to capture a portrait after the interview. They always chose interesting locations around the city to conduct the interviews so this gives me an opportunity to shoot environmental portraits in new spaces. It was through this magazine that I had an opportunity to photograph Peter Bogdanovich, Xavier Dolan, Andrew Bujalski, Christopher Doyle, Whit Stillman, and Paul Schrader. I was especially excited to photograph Peter Bogdanovich as I was a huge Sopranos fan and I think he has such an iconic look. I had about two seconds to capture a portrait of him between takes and he just stared deep into the barrel of the lens and gave me an image that I just love.
TTNN: What inspires you? Who are some of your favorite photographers?
EM: Lately I’ve been loving the work of Pari Dukovic. He’s been appearing a lot in publications like the New Yorker and his portraits are so imaginative and his use of color is so beautiful. Some photographers I have admired for a long time include Nadav Kander, Autumn de Wilde, and Lauren Dukoff. Vivian Maier has been an amazing discovery in the photography world – her street photography is so inspiring. Instagram is also great in that way as means for discovering new photographers. I think it’s so important to try and soak up every type of culture for inspiration though. I find inspiration in music and film as much as other photographers. I recently saw the Nick Cave documentary and it’s always so interesting to witness someone else speaking about their creative process. His discipline and the longevity he’s had with his career is so inspiring.
TTNN: Do you have a specific genre that you focus on with your photography? What is it and why are you passionate about it?
EM: Like many photographers, I’m most passionate about photographing people. That being said I love assignments where I’m asked to go document an event, space, neighbourhood, etc. Anything that takes me into a new environment is always so stimulating and I love making use of whatever lighting situations I encounter to create something interesting and tells the story of the place/ person. Portraits are more challenging because if it’s successful it’s telling a powerful story with one image. Something that communicates more than just the surface and actually relays something about the person. My love of documentary style storytelling means I pretty much love every assignment– everything presents new challenges and often you have a really limited time to capture the essence of the person, place, or environment.
TTNN: How would you describe your photography style?
EM: In terms of style I would say I like to capture quiet candid moments and expressions both in people and in urban landscapes, details and still life. I suppose it could be described as documentary/ lifestyle with a bit of a stylized/fashion sensibility. Ideally I am striving to capture a subtle emotion, something that appears in the in between moments which can be awkward and beautiful. For all my subjects – interiors, people, still life/ food – I prefer to use natural light and try to communicate the brief moment of pause – before words are spoken, spaces are entered, still life is changed.
TTNN: How do you keep productive and retain your creative edge?
EM: Being freelance forces you to be inventive and disciplined in terms of finding new work. As far as creative edge I think it’s important to expose yourself to lots of new art, film, music for inspiration and travel always makes me feel newly inspired – even if it’s just a road trip outside of the city to get a different perspective.
One of the most captivating things about a film, or rather, a good film, is the compelling nature of its imagery. The way a single shot can effect our emotions as an audience provides cinematographers with the powerful tool to create a visual language that runs along with the film’s story.
French cinematographer Johanna Coelho falls into the group of cinematographers who are known for making films that draw viewers in with their film’s visually stimulating imagery and leaves them with an emotional experience.
Coelho explains, “Images have always been a passion for me. From an early age onward I was very interested in understanding how we can visually transmit feelings and emotions.”
What separates the best cinematographers from the mediocre is their ability to shift the mood and style of the images in a way that is cohesive to the ever-changing elements of the story— but more importantly, they need to accomplish this without the audience noticing.
If viewers become preoccupied with the images in a film to the point of overshadowing the story, then the purpose of film as a medium for expression has been lost.
This subtle balance is something that Johanna Coelho, and the rest of the world’s most renowned cinematographers, recognize and execute on a daily basis in their work.
“My job is to create images that represent the vision of the director in the film,” said Johanna Coelho. “I have to be able to interpret emotions visually and create the story’s various atmospheres in the best possible way. I like to say cinematographers are visual psychologists.”
Coelho, who is originally from France, has worked on an impressive list of projects that not only show her diversity when it comes to choosing what images strike the perfect balance in the way of what’s appropriate for contrasting genres, but also display her unparalleled abilities to propel the overall energy of the story to a place that visually impacts viewers’ on an emotional level.
As the cinematographer, also known as the director of photography, of the film Scaremonger, which debuted earlier this year, Coelho was in charge of creating a juxtaposition of imagery that had elements of both realism and fantasy. The film centers on the story of a mother worried for her son who is being bullied by the neighborhood kids.
“The director wanted to treat this social issue as a dark fairytale,” said Coelho. “I had to create this magical atmosphere for the mom’s nightmares versus a pretty realistic look for the day scenes. We created gigantic shadows representing monsters appearing on the walls, we tried to make them happen as much as we could on set, and for some of them we had to use VFX. It was very interesting to see what the limits of what we could achieve on set with the resources we had were.”
The outcome of the film serves as a testament to Johanna Coelho’s extraordinary creativity and skill as a cinematographer. The film did astonishingly well on the festival circuit where it received the awards for Best Narrative Film at the 2014 California International Shorts Festival and Best LGBT Film at the 2014 Fulbright Film Festival, as well as was an Official Selection at the IFS Film Festival, Serbia’s Cinema City Festival, Costa Rica’s International Film Festival, and the renowned Montreal World Film Festival.
A Canadian citizen who was originally born in Belgium, Miss Adina Doria has travelled the world with a camera since she was three-years-old. Through photography Adina Doria has been able to communicate that which is often incommunicable through words. Doria, who is currently working as a lead photographer for Sinko Branding in Los Angeles, has shot some of the world’s hottest fashion campaigns. Her work has been featured in magazines including Germany’s Huff magazine, Milan’s Trent Prive,LA Fashion Magazine, and countless others.
With her unique vision and unparalleled creativity, Doria’s photographs have provided a spotlight for many models in a way that has led them to great success.
Doria’s work with Ivy Levan depicts the well-known model, musician and actress as a luscious bombshell in a series of photographs that are so striking it is simply impossible for viewers to take their eyes off of her. When it comes to lighting, Doria uses her artistry to capture Levan’s fierce sexuality in a way that is both cinematic and provocative.
While Levan is undoubtedly breathtaking in each photograph, the way Doria poses her model and incorporates various lighting techniques in accordance with the model’s wardrobe and make-up is a testament to her unrivalled artistic vision.
For example, in the shots where Levan is dressed like a futuristic dominatrix, Doria uses the perfect hint of blue lighting to capture her subject in a way that makes her look like a fierce ice queen. Doria’s use of subtle red lighting in the background of the shots where we see Levan dressed in 50’s-esque pinup lingerie holding a long bone cigarette holder is the perfect compliment to Levan’s blood red lipstick and sultry stare.
Aside from her incredible use of light and impeccable eye, Adina Doria is a magician when it comes to getting the shot. She has a way of accessing her subjects most photogenic angles within seconds of meeting them, a trait which not only makes her one of the best of photographers in the world, but one of the most sought after in the fashion industry.
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