Camerapixo Inside Out David Leslie Anthony

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PAGE 1
PHOTOGRAPHY DAVID LESLIE ANTHONY
BEING PUBLISHED MATTERS!
EXCLUSIVE INTERVIEW WITH DAVID LESLIE ANTHONY
EXCLUSIVE INTERVIEW
WITH DAVID LESLIE ANTHONY
ANETTA G.
HELLER
EXECUTIVE EDITOR
Welcome to another great issue

of INSIDE OUT. This time we have
the pleasure to interview inspiring
fashion photographer DAVID
LESLIE ANTHONY who shoots for
numerous magazines and clients
worldwide.
David Leslie Anthonys work has
been featured in books, gallery
shows, numerous interviews, and
major magazines worldwide,
including British Cosmopolitan;
Harpers Bazaar; Marie Claire;
ELLE Canada; ELLE Netherlands;
and Conde Nast Publications,
naming only a few.
David Leslie Anthony works

in the Chicago, NYC, Dallas,
Los Angeles, Miami, and the
international markets, with his
current base being divided
between Chicago, New York,
and New Orleans. His advertising
clients include Calvin Klein/Bon
Ton, Pepsi, U.K., Cino NYC, Blake
Standard, Bakers Shoes, Koros,
Yumi Eto, Canada, and more.
Additional work can be viewed
on his personal website:
www.davidleslieanthony.com
Enjoy!
SELF-PORTRAIT DAVID LESLIE ANTHONY

WEBSITE DAVIDLESLIEANTHONY.COM
Copyright Declaration
All images and media contained in this communication are protected by International Copyright Law
and by the Copyright, Designs & Patents Act 1988. All images are the 'intellectual property' of David Leslie Anthony
In this exclusive interview Camerapixo published all materials including photos by written permission from David Leslie Anthony.
CAN YOU TALK A LITTLE ABOUT WHAT

SPARKED YOUR INTEREST IN BECOMING A FASHION PHOTOGRAPHER
AND WHAT THE PROGRESSION WAS
IN THE EARLY DAYS OF YOUR CAREER.
DID YOU GO TO COLLEGE OR HAVE
ANY FORMAL TRAINING?
I had always loved looking at photographs growing up. Id sit with my Mother
and pore over fashion and lifestyle magazines with her as a child growing up.
Later, when I was in college, I was getting my hair cut, and I noticed all these
great looking women getting their hair done. So I began attending Beauty
School in Los Angeles during the day, and college at night (because I figured
it was a great way to get laid). Making a long story short, I ended up quitting
college (a few credits short of graduation), finished Beauty School and found
I was actually good at the creation of design and imagery. I soon became
a sought-after platform artist, creating hair designs for various Hair product
companies. This was quickly followed with becoming the International Artistic
Director for some of the leading global Advanced Hairdressing Academies in the
industry, and performing on stage in major shows around the world. During
this time I was creating hair design work for hairdressing magazines, and this
opened me to a new world of creativity: Photography.
I bought some books on understanding exposure and how a camera works,
and began reading them. The first camera I bought and began working with
was a Canon AE1. And I started to shoot photographs. I shot all the time, and
every chance I got. I kept notebooks (which I still do today), and would record
everything I did, along with clips of the contact sheet or transparency.
I would record my mistakes as well, and learned from them. I made friends
with the people at the lab I went to, and they would teach me more about
why certain things happened, and what it created. To me, mistakes were
simply wonderful opportunities to make better photos. Later, I bought another
Canon and would shoot with one camera, and hock the other so I could pay for
film and processing. I began photographing my own work for the magazines,
and feeling that I had accomplished all I could in the beauty industry, decided
I wanted to embark on a whole new career. I would buy magazines and study
various photographers work who inspired me, and made me see new things.
In the fall of 1989, I discovered what happened when you cross-processed
film, by accident. I had been learning about developing films, and was at the
photo store to buy developer for colour chemistry. I was developing E6 film
and bought the wrong developer for C41 neg film. I was in the darkroom, and
suddenly found myself with weird, wonderful colours! So I went to my friends
at the Lab and they told me what I did wrong. I was so fascinated by what
I was getting, I bought and experimented with every type of film and filters I
could get my hands on. From fresh film from every manufacturer, to finding
outdated films in stores and Pawn shops.
I learned how to control the colours and the skin tones, how to bend the look
to my way of thinking through understanding and knowledge of light AND the
quality of light. At this time, only a handful of photographers were doing
this kind of work. Two such people were Javier Vallhonrat, a Spanish fashion
photographer who was just doing amazing work in cross-processing, and an
english photographer Nick Knight. I studied all the work I could on these people!
I studied the black & white work of Peter Lindbergh, the energy of Arthur Elgort,
the clean lines of Herb Ritts, etc. By this time I had retired from hairdressing
and became a photographer. Friends who were photographers I had met,
began teaching me more things and model agencies gave me people to test
shoot to build my viewpoint and style. In 1990, I got hired to shoot the
national Z. Cavaricci campaign shooting it in my cross-processed style.
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The ads I shot ran in magazines like Glamour, Madamoiselle, Vanity Fair, etc. All
with my name running down the side! This was followed by campaigns for Kad
Clothing Company, Khaki & Whites, and a handful of various denim companies
shooting their advertising. I traveled to New Orleans where I shot a few jobs
down there, and up to Vancouver, Canada shooting some work there. In
1994, I returned to Los Angeles, and sat down and began seriously thinking
about all that had happened thus far in my new career. Unlike MANY of the
young photographers today (who have huge egos and legend in their own
mind attitudes), I realized I had JUST been lucky and that I really didnt know
a damn thing. I realized that IF I really wanted to earn the right to call myself
a photographer, for me, I needed to relocate to Europe and train and assist
under some of the best photographers I could find. I packed some clothes,
packed my two cameras, and took what monies I had saved and moved
to Paris. I needed to be in the heart of fashion and photography IF I truly
wanted to be where I wanted to be in this profession. I sacrificed a lot at the
beginnings of my career. I got a job assisting one of the top photographers
in the business, but I had nowhere to stay. I learned another valuable lesson
once in Paris. Before you travel somewhere, make sure you know what the
true value of your money IS in the country you are going to. I discovered
that due to the exchange rate, my money was now worth half of what I had
brought.
So I lived in a hedge grove in a park, bathed in the park restroom, allowed
myself one(1) Franc a day for a meal, and worked until I had enough to get a
small cheap room in the 14th Arrondissement in Paris. I lived and worked in
Paris and Madrid for just over 5 years. It was the best education I could get,
and provided the foundation for where I am today in my career. I learned
about technical aspects of photography, the business side and how to work
with budgets, how to work with clients, and how to make a photograph feel,
to say what I wanted to say. FINALLY, I felt I could call myself a photographer.
By the way, I STILL keep a one(1) Franc coin in my wallet to forever remind me
of the struggles I overcame to get to the point I am now. Trust me, it keeps
you humble.
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BEHIND THE SCEENES WITH DAVID LESLIE ANTHONY
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IN YOUR OPINION, WHAT MAKES FOR

A SUCCESSFUL SHOOT?
I guess this really depends on what the shoot is for. If its for yourself and
you achieve what it is YOU want to achieve; then thats a successful shoot. If
its a commercial advertising or editorial shoot and the client is happy with
the results, then THATS a successful shoot. Then IF the client or magazine
picks the right photos to run, then THAT shoot is successful. What is really
important to achieve a successful shoot is, clearly understanding the client
or magazines demographics. Who are they marketing to, age group, buying
group, etc. You are creating images within THEIR image and demographics.
not yours. In the 23 years Ive been a photographer now, Ive NEVER had a
shoot occur without something not go wrong.
You could book a Make-up artist that you have worked with many times
before, and on THIS particular shoot she/he just does not get the concept.
You could be working with a model you have worked with prior, and today she
gets her period and she does not feel into it, or you are working with a new
model that, is stiff and doesnt quite get it. You could have an assistant fail to
pack certain equipment, an extension cord, batteries, etc. and they didnt tell
you, and you suddenly need it and its 1500 miles away from your location.
It could be a bright sunny day, and suddenly become overcast.
Its HOW you deal with these situations that makes a true professional, and is
part of what I learned by being an assistant.
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ARE YOU EVER 100% SATISFIED

WITH WHAT YOU JUST SHOT OR DO
YOU THINK ABOUT THE THINGS YOU
WOULD DIFFERENTLY NEXT TIME?
I dont think an artist and/or photographer is ever truly satisfied with their
work. For me, Ill look at my work afterwards and think to myself what could
I have done more? What could I have done better. That is the growing
process that true professionals continue to deal with, and what keeps them
on top of their own careers. Its what makes them who they are. Anyone
can learn the technical aspects of photography from books. Anyone can buy
a digital or film camera. Style, viewpoint, and feeling NO one can teach
you. You either have it or you dont. When I read comments from young
photographers about how they consider their own work amazing, 10 out of
10 times its utter crap!
WHEN you become self-satisfied with your own work, you have stopped
growing! Since I am under contract with Conde Nast, I have been fortunate to
have met some of the top photographers and Ive NEVER heard or read about
them saying how wonderful they think their work is or how amazing their
shoot was. These are some of the MOST humble people Ive ever met. As Ill
always say its the run-of-the-mills who have the biggest egos.
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WHAT DO YOU LOVE THE MOST

ABOUT THIS CAREER?
The ability to do what I love, and get paid for doing it. The fact that Ive been to
so many countries around the world, met so many wonderful people, stayed
in beautiful hotels, and again got paid for it. The ability to then take the
money Ive been paid, pay my bills, THEN shoot whatever I feel like shooting
and not giving a damn whether anyone likes it or not.
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WHAT DO YOU DISLIKE?
The sameness and inflated egos the industry seems to be producing today.
Back in 89 when I started, you had to KNOW photography before you could
ever call yourself a photographer, and before anyone took you seriously as
one. Today the photo schools seem to be turning out nothing more than
digital technicians. Ive had some of these people contact me wanting to
be assistants, and they dont know how to work a light meter, have never
shot film, never been in a darkroom, dont know any other camera formats
other than what they used in school, or what their friend has, etc. Today
everyone calls themselves a photographer. They buy a digital camera, do
a 5 minute photo, then make up everything in the computer. That is NOT
being a photographer. That is being a technician. Why spend 5-10 hours
on a computer doing something that with photographic knowledge, in a few
minutes you can do on set? I shoot both digital and film, and I do 90% of
my image on set, at the time of shooting. That includes lighting, metering,
creating any special effects like gels etc, so all I have to do in post is clean up
the skin of the model, boost contrast, and enhance. I think about what Im
going to do in post AT the time of shooting, not after. In the major markets
they now have two schools of thought.
They say there are the Photographers, and there are the digital illustrators
who ONLY know digital and photoshop. Do these people even realize that
the SAME plugins and filters they buy and use are the SAME ones the person
down the street can buy? The argument of oh but I do it different does NOT
hold water.
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Why? Because all the plugins work the same way, giving the same results, at
the same angles for, and to everyone.
Its funny, that now you can look at a photo from so many of these people,
and immediately recognize what plugin or filter they used, and from
what company. The people AT the top of this profession are NOT some 20
somethings, but are photographers who CAME from a film background and
are in their 40s, 50s, 60s, 70s and older. THEY are the creators, the innovators,
the true avant garde! They are the ones creating the looks and visual styles
that the young are trying to copy. They are the ones you always see in the
major magazines such as French and Italian Vogue, W, and numerous others.
These magazines also are (in my opinion) the true avant garde publications. A
great Many of the so-called trendy online publications are nothing but poor
clones of mediocre digital work. Each one looks exactly like the other, with the
same mundane, comatose photographs of some model just standing there
looking blank.
In fact you often have to look for the name to see if the photographer has
even changed from one editorial to the next. Where as, with Photographers
such as Paolo Roversi, Steven Meisel, Mario Testino, Mario Sorrenti, David Sims,
Steven Klein, and many more... you know their style, their viewpoint.
Its unmistakable. I always tell my assistants You MUST know the past,
BEFORE you can create the future. Because it is both the past and the present
together, that make up the future.
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BESIDES PHOTOGRAPHY, CAN YOU

TALK ABOUT THE THINGS THAT INSPIRE
YOU, THAT FEED YOUR ART AND YOUR
EYE?
The street, and road trips. Often times I will go out at night and just watch
what is happening on the street. Ill see people in situations that might find
its way into one of my photographs. Music plays an important part in my
photographs and my films. Ill make special playlists for each shoot I am
doing to set a mood. Road trips are amazing to my mind, and I find inspiration
within them. Finding myself in small pockets of towns, I see fashion stories
and life stories unfold.
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WHO ARE SOME OF YOUR

HEROES?
I dont know if you would call them heroes, but I LOVE the work of Mario
Testino, Steven Meisel, Steven Klein, Paolo Roversi, Mario Sorrenti, David Sims,
Michael Thompson, Satoshi Saikusa, Ruven Afanador, Albert Watson, and many
others. Each one of these photographers has a sense, vision, and style to
their work, that tells a story within a story. They draw you in to the world
they unfold in front of you.
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IF YOU HAD IT OVER TO DO AGAIN,

WOULD YOU HAVE BECOME A FASHION PHOTOGRAPHER?
Absolutely.
WHAT MAKES YOU LAUGH?
Interviews and the questions they ask. Giving shit to people and having
them whip it right back. It shows they have a sense of humor and they are
not intimidated.
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DOES YOUR LIFE IMITATE YOUR ART

OR DOES YOUR ART IMITATE YOUR
LIFE?
Im not really sure of this question, so Ill answer the best I can. I think my life
imitates my art, or influences my art. So much of what is in my photographs,
comes from my experiences and people Ive encountered in my life. Of places
Ive been to, of places Ive lived. Of women Ive loved, and the periods of life
Ive lived through. Of what Ive seen and felt. These emotions are put into
and come through in my photographs. To me, a great photograph MUST have
emotion and feel. And for us to become we must feel.
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CHOOSE ONE FAVORITE PICTURE

YOUVE TAKEN OVER THE YEARS AND
TELL US WHY ITS YOUR FAVORITE.
( I KNOW, I KNOW, JUST TAKE ONE
THAT YOU REALLY LOVE)
I actually have a few. Two of them work together and were shot for Harpers
Bazaar. Unfortunately, they did not run because the Editors thought they
were too edgy. Its the woman in the pigs mask wearing an Oleg Cassini
dress and flashing her breasts (shot in 2001) and the photo of the two girls
sitting on the streets of New Orleans spitting beer (1998).
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WHAT ARE YOUR FEELINGS ABOUT

DIGITAL. AND WHAT ARE YOUR
FEELINGS ABOUT THE EXTRA WORK
IN POST-PRODUCTION?
As I said prior, to me, there are Photographers, and there are digital
technicians. I DO shoot digital, and I still shoot film when I have the chance.
I came from a film background where you HAD to know photography before
you called yourself a photographer. I strive to do 90-95% of my work AT the
time of shooting, and use the computer like I did when I was in a darkroom.
Now dont get me wrong, I have nothing against digital nor computer. As I
said I work with both, and I do retouch in the computer, and I feel these two
things have greatly enhanced and help make possible what we see in our
minds. Its just that whenever I see work that has been SO retouched, my first
question is I want to see the raw files. THAT will tell you whether someone
knows what they are doing or not, and whether they are just another guy/
girl with digital camera. There is one duo in the business that have SO much
digital work done such as arms, heads, legs exchanged, etc. and so much
post work, that I do not regard them as photographers at alljust as digital
illustrators. How do I know this? I was privy to seeing their raw files and I was
ALSO shown the 100 some layers it took to make one photograph. Lastly,
I do all my own post work. No one touches my photos but me. IF you have
someone else do your post work, and all you did was snap the shutterwho
then is the REAL creator of the work? If a retoucher is doing all the colour
changes, blurs, layers, etc, etc. can you really say you created a photograph??
To me, absolutely not! In NYC, there are many retouchers demanding the
same fees as the photographer AND demanding photo credit. What does
that tell you? In the hands of real photographers, computers and digital are
wonderful additions. In the hands of technicians simply the usual crap.
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HOW DO YOU HANDLE A SHOOT THAT

IS RUNNING ASTRAY?
We all sit around and hold hands singing kumbaya (joking). The photographer
is the Director of the shoot. Period. He/she is the one that has to answer
to the client or ad agency. When a client hires me, they are hiring me with
the knowledge that it is me who books the model(s), the hair and makeup people, and the wardrobe stylist. I work with the look and feel of the
assignment which Ive discussed with the client, and I direct my crew to this
end. Everything rests on my shoulders. If the model is a flop, its my fault.
If the make-up artist does a bad job, its my fault. If it rains that day, its my
fault. Why? Because Im the one who hired the crew. Its MY job to have the
best people ready and prepared. Im the one who should have checked the
weather and had plan B & C ready. Lastly, there is NO democracy on my
shoots. Its a dictatorship. I tell my crews that WHEN the day comes that they
tell me AND the client that hey, this is what I want to do, and if it does not
work, Ill pay for the cost of an entire reshoot, THEN it will be a democracy. I
often times work with ad campaign production budgets of $75,000 - $500,000
and more. It is ME who is responsible for that shoot budget, so trust me when
I say it is MY way. I am NOT there to be anyones best friend on a shoot.
I have a job to do.
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You and I could share a meal together the night before, tell jokes, and have a
grand old time. The next day, if you are not giving me your best, Ill be all over
your ass. Friends are friends, business is business. Regardless of how long
we have worked together. Shoots where the make-up artist does what they
want to do, a stylist that shows up with anything, a model who just goes
through the motions and/or pose A and pose B, and photographer who
does not know what they are doing and/or does not know how to direct well
the shoot can be summed up in one word clusterfuck. Ive also been asked
before, and I never allow people to watch a shoot take place. I dont need a
bunch of JAFOS on my shoots.
What does JAFO mean?? Just Another Fucking Observer.
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WHAT ADVICE WOULD YOU GIVE TO

THE KIDS STARTING OUT IN TODAYS
MARKET?
1ST: Learn the past. Study the photographers who are at the top and WHY
they are at the top meaning their work.
2ND: Realize, and I DO mean realize that A LOT was accomplished by many
long BEFORE you were born. That you are dealing with numerous people in
this business who know MUCH MORE than you, have SEEN much more than
you, have EXPERIANCED much more than you, and did so when you were
simply just another sperm cell.
3RD: Dont mistake a photographers style as how a photograph looks. The
visual imagery will change every season just like fashion AND life changes. A
photographers style is how they see things, how they view the world, how
they view music, life, sex, the people they love and have loved, etc. THIS all
goes into creating a style. Style is a viewpoint. If you look at my work, see
the kind of models I book, the strength in how I have them move, what I get
out of the shoot. THAT is my style. The physical look is simply that. The look
I chose for that particular shoot. I often tell my Assistants that they cannot
create what I can create. NOT because they are less talented, but because
they have not lived my life. They have not traveled and lived in the same
places I have. They have not met the same people I have, nor loved the same
women. They have not been through all my ups and downs, nor lived and
experienced the same periods in time I have. ALL of this goes into shaping a
Photographers point of view, and shaping their style.
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If you are wanting to work with certain magazines or ad clients, LEARN, STUDY,
and UNDERSTAND that magazine or clients DEMOGRAPHICS (marketplace).
When you are hired by a magazine or company, you are being hired to shoot
for THEIR marketplace. That means you bring only as much art as fits their
demographics. Look at any magazine or ad campaign, both fashion and
lifestyle, and youll see what I mean.
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THANK
YOU
ARTUR J.
HELLER
EDITOR-IN-CHIEF
Thank you David for taking the time

and giving us "inside" details of your
photography :) It's great to have
you onboard among other inspiring
photographers.
Davids photography work for
Sony recording artists 54-40 was
nominated for a JUNO Award
(Canadas Grammy Awards) in the
CD Cover Art catagory. U.S. Ad
Review selected Davids Michelob
Campaign as one of the best
campaigns. David Anthonys work
was also featured prominently in
the book Outdoor Lighting: Fashion
and Glamour published by AVA
Publishing, London, England, and his
photographs have appeared in both
solo and group exhibitions in New
York, London, Miami, Chicago, Los
Angeles, and New Orleans.
49
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Welcome to another great issue

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David Leslie Anthony works

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SELF-PORTRAIT DAVID LESLIE ANTHONY

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PHOTOGRAPHY DAVID LESLIE ANTHONY

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CAN YOU TALK A LITTLE ABOUT WHAT

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PHOTOGRAPHY DAVID LESLIE ANTHONY

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EXCLUSIVE INTERVIEW WITH DAVID LESLIE ANTHONY

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EXCLUSIVE INTERVIEW WITH DAVID LESLIE ANTHONY

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BEHIND THE SCEENES WITH DAVID LESLIE ANTHONY

BEING PUBLISHED MATTERS!

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IN YOUR OPINION, WHAT MAKES FOR

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PHOTOGRAPHY DAVID LESLIE ANTHONY

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ARE YOU EVER 100% SATISFIED

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BEHIND THE SCEENES WITH DAVID LESLIE ANTHONY

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WHAT DO YOU LOVE THE MOST

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PHOTOGRAPHY DAVID LESLIE ANTHONY

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WHAT DO YOU DISLIKE?

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