63

Photography I MI CHA EL BAUMGARTEN] Sty ling I CHRI STIAN E JUERGENSEN I

 99

Sty l i11g K/\TIIRlN SE I DEi

PAUL LEPREUX
Photography
Pr( • ,· [Link] GERMANY
 131

I STORNY+ MISERICORDIA I
Set D
esign
JH'l?VE SAUVAGE l Fashion Styling
 137

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145
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Ecll1 o r lu l l'rojce 1 ro r S WALLO W ~IAG AZ I NE

Plto1og III ph) 13EL A 130RSO D I Prop St yll ng IJOJO LI I Food Sty I ing I VI CTORIA GRA NOF I
Editor i a I Styling Set Des ign ST I l.l.S & ST ROK ES
Project for l NTERVlEW GERMANY Photography
 8

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\orlal Projec t for EDELWEISS
Photography Ar:! Direc. tion I· CAARLES ·NEGRE
 96

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Photography I JOSS MC KINLEY I Sty!Jng I YANN LECORCIIE I FJoral DcsJg11 PIERRE DANCIIEREAl'
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102

Editorial Project for FRENCH REVUE DU MODES Photogruphy THOMAS

◄
 FEATURE: METZ+ RACINE
126

Metz+ Racine's still lifes live for the moment. Not for the mere
pleasures of the present or the split second that may account for a
snapshot's success, but rather for the moment almost missed. Seem-
ingly slightly off-schedule, many of Metz+ Racine's compositions
capture the "right before., or the "right after." Real suspense,
they appear to argue, resides in juxtapositions between disparate
objects, between an act and its imminent instance, or between the

present and the point it just passed.

Editorial Project for NUME' RO HOMME Photography Set Design

METZ+ RACINE

,a
thl"!ls sett!
"Some objects seem to be moved by •
say, and from time to tl ■e, (JIit ol
s Ii p or fall out the f rames of th . .
invisible f ore es',. Metz + Rae ine
are 1·0 fact" not so still,• Iudrt.-d,1,plY 1111
ten finds signs of I. f e and la d eir sti 11 hfes • wh1· ch , as th l r I)' ~ s11
someone has J·u s t
1
pse time in th eir images f ey note, or crumpled clothes. So■c c co
eft the .
uations s 1 picture, lettin o toppled jars of u hand or u ll'g• prl!st•~·
eem casual while others seem t g the viewer occasionally catch a gllmpse f 110•11 "
o be superbly staged, but all are imbued with ll hlttl o
134

rt

Editorial Project for TUSH

Photography
[METZ+ RACINE]
Art Direction
Set Design
140

Editorial Projecl for DETAJ LS Photogruphy [HETZ•UAC INE Set Uc, I g11
146

l'hol of:l'U)lh)'
Corporate Project for MA LIN HENN I NG SSON JEWELERY
f:~ I KEXJ I AO~
tor I a(
Pr Sty! ing
OJcct f or Pho I oi;r11pl1y
REAL SIMPLE
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 183

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at e Proj ec t BOIHIAN +SJOSTRAND
for ROOEBJ ER Photogruphy
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Personal Project for BEOW IN BEE LD PR I JS Photography Styling SCHELTENS & ABBENES

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Q. photo book Unfolded, they reversed the conventional hierarchy ute the prosper! ty of the photographic
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., and chronology of an exhibition and its catalogue: Though st II I I lfc portly to con1pnnles who are
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initially conceived to document their show ot the Jon Cunen
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., museum in Oss (and thus be the lost link in the chuin), the of their shoots, they shure that part of
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"~ cess. They worked with 3D designers to bulld smull muquettes people huve discovered thut working in
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., thut resemble the museum building, mounted oil the works to thut relatively simple wuy can be pleas-
"O be shown on its walls and took pictures of the model to be
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antly refreshing.• Yet few others master
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reproduced in the book. Printed prior to the show, the publ i- the fine art of the abstract still life
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"O cotion served us a te■plate to set things up, whl le the show with os much On Ir as Schol tens a Abbcnes.
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Itself wns turned Into u documentation of its own catalogue.
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It wus over the course of their ■uklng of Unfolded that
..;- Schei tens & Abbcnes discovered how the smart phone could be
used us n tool to tuke photos Inside the muquette. "It
wus umuz Ing whu t the cumero u I lowed us to see. The snup-
shot s proved o worthwhile step In the process-although
In the end, everything had to be worked out In detail•·
The swl ftness of the smurtphone snapshot aroused their in-
tci·est und leud to the J>Otentiul Idea to •study one In
dep th und reinterpret It, to think a step further and
de-fumlllurlzc It In order to bring out Its randomness.•
Anything but rondo■, yet always surprising, Scheltens &
Abbcnes stand for extruordlnury photography thut presents
products wl thout ever inc ludlng models. They have heralded
new era of experl ■entallsm In uppl led still life photog-
0

raphy-a genre that is blooming I Ike the opulent bouquets In

the work O f
s old pointers. While Scheltens & Abbenes attrlb-
Persona I
Projc•c t
NINA LEMn
Sty I i ng
Photo'grapl,y SASCHA DETT WEILER
~ RA NK
fy s TuA CKE L I Art Dircctlon
212

Edi t or ia l Pro jec t f

or sooo EUTS CHE
ZElTUNG ~I II r, A 7 1 ~•
RYAN IIOPK I NSON
►

Art
Dt r1,cl I 011
RYAN IIOPKI NSON I ANDREW STELLLTANO
MullC Puinllng ADAM LEARY

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 As can be r ead on hi s blog. he " h a t es
234 Exci ted b) e,·erything that "l':< ·
l a nd scapes· because they idea li ze. Uth
presses our cont c■porane it~ . - Di Iorio
word s no l ess s h arp than hi s pictures .
d ec l a r es that consu■er produc t s and
Di Io ri o t ca ,·es no roo■ t o doub t that
coaaodi ti es arc close t~ connected to
poeti c port r aya l s are none o f hi s busi -
the pre sent . but al so t o the peop l e •ho
ness. But whe the r it be a rose in a
u se the■ . To h i ■ . the portra~al o f a
se r e• cla■p or a dra■at ic blaring o f
product parallel s that of a person . And
spray -on -de• . he overe■phasizcs thorny
whil e he r esolut e \ ~ rejects the idea o f
dc tai Is and dro p s hadows. occasionally
d e l i verlng a conc r ete ■essage through
t o the point •he re a pict ure of a product
hi s pi c ture~. hl' clai ■s that any ■a n ·
appears ■o re tangible than the actua l
■ade. I lfc less object ~tend s as a sy■ -
produc t it se lf . To borrow Baudril l ard·s
bol o f l ife it s l'lf . ·A r ose i s n · t si ■p l y
s ords , Di l o rio 's hypcrcl ear s tudio
a beaut i fu I rose.· he says . Indeed . it
~till s c"ot.:c the noti o n of a " s i ■ula ­
is a ho a ■<•t:lpho r o f ■ort a Ii t y •hen
t ion of so■e th i ng ,rhich nc,·cr r e ally ex -
it co■ es squeezed Int o a se re• cla■ p .
that do I s t cd . • They arc i ■bucd •i th a sense of
It 1, i n portra~·lng objec t s
no t ■e re I~ t e l I or o ur t l ■e. but a l so pulp fi c ti on that turns the trivial into

Io ri o up - a t o uchs t o ne of o ur post -digital faith .

of its tran ~lencl' . that Di
dat es the century -old s till l ife con - Di lo rl o ' s o the rsi se o r gani c c011po -

cep t of ,anitas and ■ c■e nt o ■o rl . si tions a r c all set agaio s t so lid color

'luc h I Ike the o ld ■as t ers who paint - backdro ps. bright and sober a s the sea■ •
ed their o ft entl ■cs ■undan c objects in l ess s tud io s weeps. But contras ting the
o rgani c. ■c tl c ul ous ■a nn l' rs . Di Iorio t edi ous tid i ness of conventional c011 -
co■ poscs hi s l ■ag es •·I th 1-c nse for■ ol ■e rc i a l s ho t s. h is s ub jec t s are neve r
rigor - ~c t wi th no pc nchont for ro■ancc . pe rfec tl y posi ti o ned. Ins tead . they are 1>

Pe rso nal Projec t s Phot ogruphy

 237

personal Project Photography I MAURIZIO DI IORIO]

I
23 8
 . for IT' S NIC E THA T PRI
EdJ torin l Proi ec l NTED PAGES
Pcrsonol Project
Pholog rnphy MAURIZIO DI IORIO I

broken, nibb led off cru bl d

• D C , or o bl lou t of
s l eps l sl e r of pluce . To 01 lorlo , pcrl•ecll on Is
con fora lly, so he llkcs loworkug 1hc
u lnsl ll w lthnrru ngc■cnl s thnl burs
wl lh v lbrnncy and I lkcable Ouws t
. One cou ld l■uglne hl■ s■usl1lng cons
of Co■pbc l l ' s lnlo
every pic ture . Bel t out of rebe
llion- or just bccuuse lt would look
so lusc ious ly red.
lus t end of Cumpbcll 's , one finds
crushed coke cuns , nnll ed nylons,
cropped body purl s-and cerl nlnl shurply
y a good portion of pusl lche uml
The ■osl "vio lent pun s of hi bloc k huaor .
s photogru phs ," however, arc thei
r punchy con·
trus ting co lors , he reckons.
As he secs ll, they viol ate
the unwritten rules
o r so· c11 llcd good tas t e, •hntcvcr
those nro worth. Co lor Is, by all
•cons, ncl ·
thcr clrcu■stanllal nor extraneo
us In DI lorlo '5 111tturcs . ll Is
lo form. And although hi s tlnl
alwa ys equal
s and t extures ore digi tall y tnne
d, he cons ld·
crs hi s approach •cssenll ol ly
Eggl cs Lonlun• In nature , noting
lhul desp ite
ull the t echni cal twcuks, ll Is
stil l prl1111rl\y proper ligh ting
lhal accounts
fo r cri sp colo rs , I Ike In tho
good old duys of the greul Ill I
llu■ Egglestone.
Huch like the legendury stre et phot
ogrophcr , DI lor lo chooses 110s l of
l1ls subj ect s
Inst lncl l vc ly: the s lghl of a
product alwuys serve~ os the Init
ial l■pulsc. From
ther e, he comes lo an Iden rnlher
rupldly. "Tho toothbrush photo, perh
aps ■y personal
fovo rlle , cu■e together In half
an hour, poslproduct lon Included.
For ■any pictures
the proc ess Is longer, but thul
Is mainly due 10 the tl■e ll take
s 10 find tho right
objects and props. The shooting
Is so quid; bccuusc all ■y co■posll
lons have been pre·
c l se ly prec oncei ved. " Thal luh
cre DI lorl o's and Egglcslone's path
s clea rly di verge .
DI Ior .lo Is 11 di let tuntc, In
the truest sense of the tcr1 . Havi
ng started
phot ograph Ing ror shee r dcl lght
, he tlrsl pursued the art In para
\ le\ to hi s pre· I>
 '< (·
240
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Editorial Project for REF I NERY29 Photograph y

how liigh•defiuil lOII, DI

vious Joh os a copyulter In odvertlsln g, a career that he No matter
•r,SC of 110•
lorlo's Images ,plcc up I IJC ,c
opted out of only around four years ago. • J sold •ord• 10
~Ith a dash of nostulgiu, There fs ;Ollc·
clients hock then. hut uni h<>11c •Ith ! ■ages 111 ■y head," 1hc •UY iticJ
thing .,lightly retro 10
he recounts. Not 1l1ho111 reason ,ould he soon counter the . ·d K>>lfllrd> u11d
rec a II cl um, 11 y rcco I 01 < I
coa■on, slightly nego1lve notion of dllcllontls■ allh >1:rf· f Ihc pus I' or
.,vcrdra~JJ couuucrclu ls o
ous coa■ l l ■enl. ·J storied wl th port ra l t, ,Imply hccau,c I . cxcc,• 11'C I'l
D11Jrc rccc111 I y of ,:cucr c' l
I dldn' I ho,·e the tcchnlcol skills 10 do studio photog c11('rJJI foll ,10!'
pho1osl1op)><'d early 11 ref·
rophy back then-hut ofter 0 ah lie. I fouud ■ysc J( dcvot • prcc I ,cl Y 111
photos, l'crh•J>' 1t 1" . k of•
Ing cnl I re nights to studying profess Iona I studio J lght • , 1hu I I lwY ,pell
ereuclJJII the 1'11 ' 1 .,)Ille 10
Ing, bccau,e the photograph y I us fosclnated hy fro■ the I hU I Ion• '
col Jup•e of hl•lorfc• . I111rc,
very hcglnnlng aos the sort that I' ■ doing now.· Namely the 'IJ f)' lutll~c.· 'II
dwruclcrl ze cm11c111Jll>l I r.-lW'
coreful ly COllpoHdstudio st l l ls that ore frc1Iuen1 Jy fru· 1hclr<•J1r efu" .
u11d ,pee !lieu 11 y I u ,r•·•cul •
turcd In publicatio ns such as l~ut, Vice, \\'al/paper. or \\1/rtd. . u11l er I hc I
1rutloJJ 1h11l illey co
Back when he ■olnly shot 110r1rafts, DI Iorio dcscrllicd 1 ,1c111rc•·
couccl\,,,c I

I
exec• s of poor I y
his process as ·o ■crcfy predatory act,· liul that hus 1 ,11u1»h"1 • •
II u,tll I "' ,rl
• J havt: uol ' 11,: ,hu1o~r1111h<
changed. Everything Is entirely In his hauds ever ,Jucc
hut I hcl 1evc 11101 ,u1111Y I 1cch1i1cal
he started shooting stf I ls. ·Jluvl11g ful I control over the to hfdC 11iclr ,11u1 o
uhu•c I he liypc uddlllS
process, l l feels a lot like that of u puluter ,orklug
Ouws, • l>l Iorio urgut:••, 10> •• ,11 ,o<>ll
on a picture,· he soys, bringing us liul'k to the fuel that f todU)' 05 I' ,o 11fcS•
Juise purl O
he works with puluterly prccfslou. MuulucuJJy attract· ll ,,,u rd I us 5t1ll 11,rs,
t,c forgo! tell• Co I 10Sfd('
Prl hv rletalJs. DI Iorio has always paid particular u11c .. Fol' 110111)' p io tllC
~,-11·
u
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 245

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f>~rsouuJ Pr oj ec ts IORIO
Photogruphy HAURIZIO DI
 247

Per sonal Projec ts Photogruphy MAURIZIO DI IORIO

produce s impl e, o ft en bonol, pi ct ures of obj e c t s r es ting agains t color f ul pa per

backgrounds . No parti cular a tt ention l s gi ven t o lighting o r compos itio n, und
the re ure r are l y nny themati c r e f e r e nc e s. A lot of pho t ogra phs we see on soc ial
ne tworks s uch us Tumblr ore lllppont imoges de vo id o f a es the tic and arti s ti c volue.
In fa c t , the numbe r of pho t o grophe r s doing [Link] y s till llfes ho s n ' t c hanged
from ten yen rs ugo. The r es t I s jus t a f ad ." A tine sel ec tion of young photogro -
phy that DI Io ri o docs rind r e l evant i s f cutured l.11 the Disturber, a publl c otlon he
hos f ounded to s howc a se • r c url ess , ln - your- fu cc imugery" by trullbloz lng tolcnts.
"Pho togrnphy Is n con ser vntl ve urt . lt s pro tugonl s t s hove token ye ors to
oss lm l lut e the cllgll'nl. Now, finall y , the trans ition I s ubout to be compl e te
0nd st
111 life pho t ogrnphy gnvc It the de finit i ve pus h, " dec lare s DI lorlo , for
whom "true pho t ogr;phl c innovut Ion Is ln s t y l e and i n the use of the digital. •
It Is no col nc lllc ncc h is own lwoges s trike on bo th co unt s . Digitally enhanced
und s t r I k I 11 , I f
1: n s t y l e , they cxuggerat e the s till life' s s tagine ss us I to re -
•lnd us lhut 11I I produc ts urc props, und us s uch, are r e placed at the end of
each s ouson . And porhups t o r e mind us of these poignant wo rds by Gny Debo rd:
8
"In world whi ch r e all y I s tops y - turvy , the true Is o moment of the fal se . •
250

Edi tori al Project for THE GOUR HAND Pho1osrophy I AARON TILLEY SLyllng
 I I I l .J

253

Editorial Project for KINFOLK

Photography AARON TILLEY Set Design Styling KYLE BEAN Food Sty! Ing IAIN GRAHAM
I

I
 263

tditon . 1 I' J
01 FRAULE I N
ro " f or
Pl1o1
og,,J>hy
Prop Stylin g l JOJO LI I Fushlon St y I Ing [ VANESSA GIUo rcrJ
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[sELA eoRsooD
Photogruphy
[Link]
ortu t p
r•ojcc t rn .. I ' /\r.r. I'(' I r. I 1rnMME
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 a

268 FEATURE : PETER LANGER

o Zuh air Murnd gla ni o r o u s

Fr o m Adid as Su p ers t or s n eake r s t
a lw ays s po L e n n l a nguag e
go,.n s. i co n i c foshl on item• hav e
ZE!Tm a ga=i 11 s tart e d pu b -
of th e ir o .. n . E,· er si n ce th e Ger mon
lumn featu r ing s triki ng
l ish in g o p o puln r wee kly s t y l e co
captu re d by P e t e r La n ger.
f ul I poge s t i I l l ife ph otogr ap hs
a n g u age. wh o in f ac t l ets
fas h io n begun to s p ea k Lan ger's l
gh the ft1ll o f their
gar men ts spcok f o r th e mse l ves throu
l isten . Or. rath e r. l oo k
f o ld s a n d fin e fabri cs. And ,.e
of l o nging . L ess for th e
a t Lang er·• pictu res with n hint
o f their o " n th ey see m
luxu r y the y exu<l e thun for the life
to toke.

ea k of th e fre n zy of the
Occo sio rrn ll y. Lun ge r 's image s s p
y s p ea k t o u s i n n n u t -
fa s h i o n • o r I d , bu t a b o , . e a I I , t he
of our o wn r e l a tion s hip
tcrly intim ntc " 8)' , remin di n g u s
clot h es i n inn ovat ive co m-
"ith "hnt we " car. By ar r angi n g
back drop s. Lang er c r ea t es
bi n utlo n• and aga in s t unfo re see n
s ubje ctive s t orie s. He
vis ual co nt ras t s th at pr od u ce ,· cry
f Burb erry c h ecks and pin -
l e t • u s read be tw een the I I ne s o
f or ms of th e gor mc nt s.
s t ripe s uit~ or I nt o th e f l o ,. i n g

Edito rial Proje ct for ZEITMAGAZJ N

Concep t St y I Ing Set 1Jc~lg 11

Pho tograp hy

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 269

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ru1 Photo good photogruph , • Longer suys , ing .• Indeed, Lonser's coaposlllons conul n I sweet sense of
IIOl11 1 gruph he
1t,, 1 • · ~I lhou 1 u Story mcuns one t hut ■ukes o ■eun lng- uoryte lllng, spiced up •Ith a hint of h1110r end hllllonity.
11t
y tlo d
· 111cns 1 ' you huve dcud l11ogcs, •hl ch ore Presenting lnu nl ■ut e products In unexpected orronge■ents ,
•~1h111 Ono I co1>les of
I
o co11s1 g Hew' You rcu I l t y. If you •uni to ere - Langer' s pl1otographs hove us reeling bcueen coapos it Ion tnd
• ruq need soa, chaos, roaun t lcls■ and ■ui·he■ , fo■lllarlty ond otherness.
lid bi~"dl tc11s1 0 11 11 c son of nurrutlv e; you 11ecd
11g th ,
~. 111 0
Y Chaos I Ilg I
l te sultublc Ingred ients Ironical l y, It Is In rc■ovlng the■sclvcs fro■ the convent ion·
St1rpr1s1 o I l ■ugc bul ldup that these photographs bring the products E>
Hg •uy. It 's u bi t like cook-
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Sty I Ing I WINNIE PLACZKO l
 275

[!rNNlE PLACZK~
Styling
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Edito ri al Projec t s for ZEITMAGAZIN

Photogr a phy Concept Sty ling Set Design

he smart·
stive than t
tant a s the image -making itse lf , some times e ven s upe rior to the no t i o n t ha t t hey a re no 1 ess s ugge pararY i•-
the s hoot i ng. One mi ght say it r e l ates back t o the ori g inal domi na te contem the
pho ne s na p s h o t s tha t h ave come to wor ld,
me aning o f t he t e rm ' pho t ogr a phi c .• In f ac t , I f ee l mo r e • in the western ,.;111
age c ul t ure . La nge r r ema r ks t h at t taken
recent
graphic than photo. I like t o s hift l i ttl e squa r es, trying t o i Pho ne pic ture ha s l o ng wo n ove APP'I e ·s
r t he stud i o s ho
solve a bac klit puzz l e . I am a l so no t hidd e n in a dark r oom, • a nd r efers to i th an
a pri cey profe s s i on a l came r a, •shol "
everything happens in br igh t li ght .• . s of photos • for• 110s
ad campa i g n cons ti t u t ing a se ri e ok
Imagine Lange r in a bra sh l y li t st udio. Thi s i s an ima ge and foce bo ' p,1cr
i Pho ne 6." I n t h e age of I ns t agram • And
that aptly l e ad s to the obser va ti on tha t hi s own a r e occa - posi t ion to con te nt .
l o ng l ost its pr i v ileged
sionally o verexposed, a s if g l ared by ha l ogen he adl ights: La nger l i k es t h is. t•uge rY • •' "' "
It support s the i r s trong sense of immedi acy and hi ghli gh ts and • cheap"
He himse l f mixes "expe n sive•
278

Editorial Projects for ZEITMAGAZIN

Photography Concept Sty! Ing Set Design PETER LANGER]

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'roject for ZEITMAGAZIN

Concept Styling Set Design PETER LANGER]

 blnlng photos from his lPhone With hlgh -
111 com l s tcre d t,y the latest dlgltul technolo - that to s011e elltcnt, It's really o trio!
110
• s ts hore J s nO !,l ack or white ,· he affir•s. •we
J I5 11 Io
8nd 281
error Process . In fact, the hardest
,~d s l'1tl 11dt1 ys the there ls a lot of gray -scaling. I think Jlllrt I s to kno,r When to stop and ca ll It
ci•,cs· •N°" 1111
II I e whenotJng ond I om
glad to work under these a lino( Image . • It ls about staying alert
. urchl es feel nat ln an age when
I l ,,c 11• ve rY JJbcr gc h 1cr in what he calls on •ongo ing struggl e
I 1s 151 0 11c cs •• Jmo pi e d on d po s t ed , compressed , reproduced ,
11 between order ond chaos,• which sounds
co
' c,,_.s o111 e uL is ttcd,
1r r emhed
. • and oftentimes. dlstrlbute d like the challenge of life Itself.
11
,c •
c ,1 11 cI d reedf orm o f rn gs and rips
,,1st
that swiftly
. poss
. o ur
. Jn Langer's op inion , the chaotic

,c (or_. c 111 1he Longer 's pi c tures ore deep

. ly rngrained
. 1n circumstanc es of our contempora r y world
5
cor (re r .1 pe l!IIC • h 1 1• ke his approach to image mak rng, their contribute to the recent success of
Jig jlol 111e, ond muc 11 thcmse. I ves a s pl eosnntl y democratic . the sti ll li fe. One of the reasons why
1
11111 ti tlon 5 presei ond gos pumps • swimming pools and sl i ver thi s parti cul a r genre of photogr a phy is
1
_.p0s cJOll s
,.,.. gown s t s a nd co r l ogos, toy dinosaurs and deluxe r ece iving such great att enti on l ate ly
1 . gs ore on par in Langer 's pie -
pre I eo 11er coo these t 11111 ls, according t o Lunger, beca use o f our
111 the most growing l ong i ng for control and secu-
P 0,pS• rs • Al I of · mes. os we know i t from fashion,
Any supposed rity, that Is itse lf a reuction to ult
t , 1oe And often ti. ns make for t he best matches.
5
111
poss i ble interpreta tions. rt the visual and verba l information that
re11 illg
• c ombinotio
courages IDany
has been i nundating the world si nce the
c1os11 ;11 s tyle e n ween s pace of seemi ngl y ill - s uited haut e
brc ~ t h 1 . 5 in - be t fi t products that Langer ' s s t ories early days of the digital revolution .
. 111 and l ow(cr ) pr o1 e
1s "We are all l ong ing for gui donce, look-
11 1urc h
ing for c l arity nod some sort of overa ll
co • 11 . a l produc t is a I ways predetermi ned by t e
b'ects to the compos. ition. until . it order . Peopl e wa nt t o be put in place
·. e the octu
beg •\{l1tl
Odds o the r o J
and put things In place themse l ves.·
·cnt , Langer rge l y wor kin progress, s tortrng with a ht -
1II Whi ch relates back to s till life pho-
cl •jckS· • rt is ding up some where totally differe nt, • Langer
tography. " I ts easier wi thout people .•
cl idea • ond e n a mas terp1·ece • one must assume, but at
and accept
t1e
soys. •To . r e I i nqu l. s h con tro l while s hoo ting,
compose
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Photogruplty PETER LA NGER Styling ANET T STEIN BR EC HER

Concept Se t Desi gn
Editorial Projec t for M LE MAGAZJ NE DU MON DE

Pho tography Concept MI RKA LAURA SEVERA St yling LILLY MARTIIE £DENE~
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