6 styles
Editorial Photography
Shot in the manner of the great editorial portrait masters — Leibovitz cinema, Avedon studio, Lindbergh romance, Penn classicism.
Leibovitz Editorial
Vanity Fair cinema, painterly color.
Shot in the cinematic editorial manner of Annie Leibovitz — dramatic single-source lighting, painterly color, a narrative posed-but-natural staging that reads like a Vanity Fair cover. The couple as the subject of a quietly heroic story.
Avedon Stark Studio
White seamless, large-format gravity.
Shot in the unflinching studio manner of Richard Avedon — pure white seamless backdrop, large-format black-and-white, sharp focus, no props, no story. The portrait IS the people. Severe, dignified, unadorned.
Lindbergh Natural Romance
Raw monochrome, supermodel-era poetry.
Shot in the natural-light romantic manner of Peter Lindbergh — raw grainy black-and-white, unretouched skin, windswept hair, an industrial beach or empty street. The poetic 90s supermodel-era register of unguarded intimacy.
Penn Classical Studio
Gray seamless, timeless composition.
Shot in the refined studio manner of Irving Penn — soft gray seamless backdrop, classical composition, controlled north light, a quiet timeless elegance. Vogue's golden-era studio register, unhurried and impeccable.
Golden Age Hollywood
Hurrell lighting. Silver screen icons.
Two lovers photographed in the precise glamour-portrait style of George Hurrell's Golden Age Hollywood studio work — high-contrast butterfly lighting, silk and pinstripe, deep black velvet, and the smoldering register of classic cinema's greatest faces.
American Supper Club
The "21" Club, 1958. A perfect evening.
An intimate color portrait at the height of the American Supper Club era — plush red velvet booths, white tablecloths, candlelight in crystal, and the warm glamour of Midtown New York when the social season was still very much in bloom.