Salma Hayek, NYC, 2002. We wrapped in the studio, and while the shots did their job for the campaign, I was still missing that something—the spark that makes the work feel meaningful for me. Salma was on her way out the door when I stopped her. In order to get ‘the shot’—the one that actually meant something—I learned I had to put my subjects in a place, give them context. It always worked because suddenly, they’re no longer just posing in a studio. It’s different outside...they’re distracted from the camera, and they’re interacting with the world around them.So we stepped outside, and I stop her by the chain link fence. She grabs it, and right there—that was the moment. Getting outside of the confines of the studio gave me the ability to make a photograph that told a story, even though the background was nebulous. That texture, that depth, made the photograph. Sometimes, all you have to do is step out into the world to create something unforgettable.
