A multi-speaker conversation led by Chris Collins comparing mid-20th-century fashion photography to contemporary, social-media-driven photography. Speakers emphasize the emotional, non-intellectual impact of older work, note the long-term contracts and care (e.g., a photographer working for French Vogue for 33 years in the 1950s–1980s), contrast slow, single-image ambitions with today’s production of many images (editing from 120 down to 25), and criticize Instagram-era quick-scrolling (people viewing images for less than a second).
Questions this video answers
33 years (started in the 1950s; through the 1980s).
Chapters
How would you describe. When you're like, 18 or 19? How would you describe this book and the photography then versus now and what, you know now?
The photos were just different. His photos.
Different how?
It was like, it's music, but still.
It was like frozen music.
It's music, but still.
It just.
It's. You just look at it and you feel something.
And it's not really an intellectual feeling. It's sore. It's. It's like you don't need to think about it.
It just hits you. And that's. I love that there's photographers who have.
That and then there's photographers who don't. Like, this was always one of my favorites.
That's just great.
It's just he broke, like, all the rules, and I always love artists who.
Break all the rules.
Do you feel like you break the rules?
No, I don't break the rules.
Why not?
I should break the rules more often. I break. I break some rules, but they don't really.
It's such a different time to be in photography. I think this was like. This was like the golden age of fashion photography.
You know, it had a different meaning. Like, it sort of breaks my heart.
Like having Instagram now how, like, people look at a photo for, like, less than one second and then keep scrolling. And that's just.
I think photography had, like, a. A way higher standard back in the day than it has now, because people.
Don'T spend as much time looking at.
It or making the photographs.
Yeah, you don't spend as much time making it.
Yeah.
Had he worked for French Vogue for 33 years, which is unbelievable, he started in the 50s to the 80s. 33 years, he had a contract.
And for every single story, it will be a full spread.
One picture. Always one picture.
And when I do a story, it's like yesterday I edited something down from 120 to 25 photos to deliver, and I'm like, why so many?
Always, you know, just. Just make one great one would be way more interesting. I mean, I'm trying to make like 20 great ones, but Guy spent like.
A month on one, and, you know, it's just a different thing.
Obviously, I'm not on the same level.
As Guy, but just the mentality towards photography has just shifted so much with the Internet.
